Monday
Today is a composition day, but before work I make myself a coffee and then take my Miniature Schnauzer, Arty, to the park. I’ve been going to this park for years and it’s a wonderful opportunity to just think about the music I’m working on. In the past, I wouldn’t leave the house without my trusty headphones but these days I just like to take an hour at the beginning of the day to think and process.
Peckham looks so good in the sun and there’s a real buzz. Summer is finally here, and everyone is out enjoying themselves. The Bold Tendencies festival has just started and, if you’re out at the right time, you can sometimes hear the Philharmonia Orchestra from the park above the cinema.
Back at my desk (with another coffee) and it’s time to start writing. I am currently working on a large work for orchestra, chorus and soloists for the Three Choirs Festival which will premiere in 2027. The piece is based on a Selkie myth (Selkies are shape-shifting creatures from the Faroe, Shetland and Orkney Islands.
In the sea they take the form of seals, while on land they shed their pelts and walk around as humans) and is a partner piece to my cantata The Faerie Bride. I’m once again working with my long-time librettist and famous children’s author Francesca Simon who has written some cracking text for me to set.
Every time I start a new piece it feels like I’ve never written a note of music before in my life. But today I’m making good progress and by 6 p.m. I’ve managed to write 30 seconds of music which I’m happy with. It feels a long way off – and I have a lot of music to write first – but the premiere will take place as part of the 2027 Three Choirs Festival with the BBC National Orchestra of Wales.
Tuesday
Today starts like yesterday: a coffee and walk round the park with Arty and then back to my desk for a morning of composing. I’m working on a trio between the three soloists today: mezzo-soprano, baritone and countertenor. The tricky thing is getting the pacing of the music right while following the libretto as closely as I can. I am in daily contact with Francesca though and if I feel we need to cut or edit we just have a chat. It’s a great way to work and Francesca is usually open to my suggestions. The afternoon is used for research. Once this cantata is finished, I need to start another work for orchestra and chorus, this time for the 300th anniversary of the Three Choirs Festival in 2028. They have asked for a celebratory piece inspired by the British choral singing tradition and so I’m on the hunt for the text and poems that I’d like to set. I think I may also include an offstage brass band in this new piece; if it’s good enough for Walton…
Wednesday
Today is a busy day. I start by answering all the emails that have piled up – when I’m writing I tend to keep my phone in another room to avoid any unnecessary distractions, but by the end of the day I’m usually so mentally exhausted all I can manage is to play computer games (they’re very hectic but really help me unwind), which means I am often behind on my admin.
A quick coffee and I’m off to the BBC to record an episode of Add To Playlist. I’ve been a recurring guest on this show for a few years now and I absolutely love it! The idea is to create a sort of cosmic playlist, with each track linked musically somehow. This week I’m talking about Nina Simone’s version of I Loves You Porgy from Porgy and Bess.
Later I’m back at my desk and need to put the finishing touches to my new clarinet concerto which is written for Mark Simpson and will be premiered by Royal Liverpool Philharmonic Orchestra in October. It’s a huge four-movement work and lasts 35 minutes. It feels really special because Mark is one of my dearest friends. We’ve been talking about me writing him a clarinet concerto for nearly two decades so I’m very thankful to the RLPO for commissioning the piece.
The concerto is finished but I need to do a final check through the score and parts so I can sign them off with my editor and send them to the orchestra. People often don’t realise that writing the music is only one part of the process. Producing elegant scores and parts is a lot of work and making music look good is an art form. Luckily, I have a fantastic editor who can take care of this for me so I can continue working on my next project.
Thursday
Today I’m off to Gloucester Cathedral for a rehearsal of my new Magnificat and Nunc Dimittis which will premiere at this year’s Three Choirs Festival. I’m rather new to the world of choral music and this is my first liturgical work set on religious texts. I’m not religious but It’s been fascinating delving into this world – the words of the Magnificat are so evocative, and I’ve responded to them completely intuitively. But it’s been a rather daunting commission. With the sheer number of Magnificats already in circulation and the weight of that huge canon on my shoulders, what could I possibly add?
This is the first time all three choirs (Gloucester, Hereford and Worcester) have come together to rehearse this piece. It’s also my first time hearing the brand-new organ and it all sounds magnificent. Rehearsals are always strange experiences, getting to hear the music that’s been in your head for the first time can be quite stressful. Sometimes things you thought would work simply don’t, other times you’re surprised by how effective something is. Today was a good rehearsal. The chorus had learnt the music well and, though there’s still work to do before the premiere, the piece is in good shape.
Friday
I’m off to Cardiff to record a piece with the BBC National Orchestra of Wales. I’ve been the orchestra’s Composer-in-Association for the past six years and today is my last official engagement with them in this role. We are recording my new concert overture John Barleycorn Must Die, which was commissioned by Jonathan Bloxham and Nordwestdeutsche Philhamonie. This is a studio recording for radio broadcast but will also feature on my new album, which is coming out in 2027, the centrepiece of which is my Concerto Grosso for Brass Band and Orchestra. I think it’s going to be a great disc!
It feels sad to say farewell to the orchestra today. It’s been one of the best musical experiences of my life (I was on the verge of giving up composing altogether the very week I got the job), and I’ve composed some significant works for them (and won a few awards along the way). It’s been a brilliantly collaborative relationship. The orchestra knows my music so well, and it always feels easy coming into the studio as they just play my music brilliantly. I know it won’t be the last time we work together, but I’ll miss having that regular contact with them; it’s been such a privilege, and I feel very lucky to have had this opportunity.
Saturday
Today is London Pride so I’m taking the day off to hang with my friends. I’m off to see a bit of the parade and then we’re off to a club in the evening – I’m over 40 now but I can still just about manage a big night out! It’s a long day but I love reconnecting with my mates after a long week alone composing. My job is often very solitary, usually only meeting other musicians for rehearsals and meetings, so I love an opportunity to hang out with other humans! Pride is always a super fun day and a lot of fun was had.
Sunday
After a very slow morning (having perhaps overindulged a bit the night before!) I spend the rest of the afternoon finishing off a little section in my cantata. Weekends don’t really exist for me and I’m usually working throughout, so today is just another workday. But it’s also an opportunity to study some scores which have been piling up on my desk. Listening to music, reading, visiting galleries and museums, and so on, are all important parts of the composition process – creativity is a little like a jug of water and when it runs low you need to fill it up. Finding the time to just sit and listen or read can be really tough when you’re endlessly working to very tight deadlines, but it’s so important.
