CoDI Mentors 2019/20
I am a composer, installation artist, and curator. My music has been commissioned by institutions and ensembles including the LA Philharmonic, BBC Proms, Wigmore Hall, Philharmonia Orchestra, King’s Singers, the Britten Sinfonia, the Aldeburgh, Cheltenham, Presteigne, Santa Fe, and Cheltenham festivals, and released on Signum, Nimbus, Nonclassical, and NMC records. I am currently associate composer at Wigmore Hall as well as associate composer of Nightmusic at St. David’s Hall.
During an Open Space Residency at Snape Maltings, I created Permutations, an architectural installation, which invites the listeners to explore a new work of my music through playing the acoustics of six adjustable chambers. Permutations launched at the 2017 Aldeburgh Festival, and toured to Dartington Festival, The Royal Academy of Music and the Royal Institute of British Architecture, North. The music has been released on Signum Classics. Permutations was created in collaboration with my sister, violinist Tamsin Waley-Cohen, and architectural designers Finbarr O’Dempsey and Andrew Skulina. Other listener-interactive works I have created include Linea at Kew Gardens and this rope and glass between us at the National Maritime Museum, both collaborations with Reverie Choir and poet Caleb Klaces.
In 2012 I co-founded Listenpony, with composers Josephine Stephenson and William Marsey. Listenpony is a concert series, commissioning body and record label that programmes classical music, both new and old, alongside a variety of other genres including folk, jazz and pop, in beautiful and unusual venues. Listenpony has commissioned over 30 composers since 2015, when it became a charity. My work with Listenpony, which includes co-producing all the concerts, has lead to me curating for other concert series’ including Nightmusic and Nonclassical.
Among other teaching projects, I currently mentor the Rosie Johnson RPS Wigmore Hall Apprentice Composer, have mentored some of the young composers commissioned for Nightmusic, and have taught the open composition course at Dartington. All of these focus on the compositional process, which is something I believe I could support a composer in thinking about. I also think I could be helpful in discussing the creation of self-instigated projects, collaborative work, curating and programming concerts, or related interests.