Who or what inspired you to take up composing, and pursue a career in music?
In my late teenage years I’d dropped out of school and was working in a dull office job in London, but also playing keyboards in a rock band and having piano lessons. My piano teacher was also a composer, and one day I sat down and wrote a piano piece and immediately I knew that this was what I wanted to do with my life – write music. It was very much a ‘Road to Damascus’ moment. After that things changed completely and I went to university and music college for the next seven years to catch up on the training I’d missed.
Who or what were the most significant influences on your musical life and career as a composer?
All my composition teachers taught me useful things, but my lessons with Oliver Knussen were especially helpful. I studied with him privately for a couple of years. He’d put the music up on the piano and play it whilst scribbling alterations and improvements. It was very practical, and great to be around a musical mind with so much to offer.
What have been the greatest challenges of your career so far?
Developing a musical language that is coherent and expressive. It’s been a slow journey for me, from atonal composing through to a style that is tonal/modal. I see music as about communication (what else can the arts be?) and for that one needs clarity of images and ideas; through this one reaches towards the strangeness that lies beyond our quotidian existence. As Paul Valéry once wrote “what is there more mysterious than clarity?”. I think that’ll go on my gravestone.
What are the special challenges/pleasures of working on a commissioned piece?
The pleasures are being paid to write it and having a performance at the end. The challenge is the deadline. I compose very slowly, almost every day for hours but only producing a few bars of music each week. I sometimes prefer to write pieces without a commission because they can develop at their own speed.
What are the special challenges/pleasures of working with particular musicians, singers, ensembles and orchestras?
Working with orchestras and ensembles is incredibly exciting but there’s always limited rehearsal time, which can be frustrating. Because of this I particularly like working with soloists, especially keyboard players and guitarists as their instruments are capable of doing so much. I’ve written quite a lot of music for piano (and harpsichord) and had some fantastic performances where the players have really taken the time to get inside the music. Giving a pianist some music is like handing over a novel, they can immerse themselves in it in their own time and space.
Which works are you most proud of?
Probably the pieces that reflect a temporary cohesion of my musical language at a given moment, in whatever guise that language presents itself. These would include the early orchestral piece Invisible Cites, the tango Milonga Azure, the White Books for piano, and recently Beyond the River God for harpsichord, and others.
Who are your favourite musicians/composers?
Bach, Couperin, Stravinsky, Debussy, Mozart, Ravel, to name just a few.
What is your most memorable concert experience?
It’s impossible to pick one as there have been many memorable concerts, in a generally terrifying way; first performances in particular are always nervy experiences. One of the most unusual performances, although it wasn’t a concert, was when an orchestral piece of mine was used as the modern test piece in the last Leeds Conductors’ Competition. I was able to hear it conducted and rehearsed in the semi finals by six different competitors.
What do you consider to be the most important ideas and concepts to impart to aspiring musicians?
Hard work and perseverance. I know that sounds very boring, but much the same advice was given out by the likes of Rilke, Mozart, Rodin, Ravel, and Cezanne. Plus, a relationship with all the arts. I’m a complete art gallery and book addict, and all these other arts feed into the music I’m writing.
What is your idea of perfect happiness?
West Ham winning the Premier League, but as that’s never going to happen I’d settle for the FA Cup.
What is your present state of mind?
Graham Lynch was born in London. He has a PhD in composition from King’s College London, and he also spent a year at the Royal College of Music, as well as studying privately with Oliver Knussen.
Graham’s music has been commissioned and performed in over thirty countries, as well as being frequently recorded to CD and featured on radio and television. Performers of his music include the BBC Symphony Orchestra, BBC National Orchestra of Wales, BBC Singers, Orchestra of Opera North, BBC Concert Orchestra, and El Ultimo Tango from the City of Birmingham Symphony Orchestra. He has also worked as an arranger for the Belcea Quartet. His works have been played in venues as diverse as the South Bank, Wigmore Hall, Merkin Hall New York, Paris Conservatoire, Palace of Monaco, and from the Freiberg Jazz Club to a cake shop in Japan, and everything in between.
In 2009 his orchestral work, Invisible Cities, was used as the modern test piece in the Leeds Conductors Competition, and the same year saw the release of the first CD devoted entirely to his music, Undiscovered Islands, which received high critical acclaim. Since that time many of his works have been recorded across a wide variety of CDs.
Graham’s interest in many musical styles has resulted in pieces that reach from complex classical works through to compositions that tread the line between classical music and other genres such as tango nuevo, flamenco, jazz, and café music. These diverse works are in the repertoire of ensembles such as Las Sombras, Ardey Saxophone Quartet, Terra Voce, Dieter Kraus and Tango Volcano. He has also written educational music as part of the Sound Sketches piano series.
Recent commissions include Present-Past-Future-Present for harpsichord (Finland), Arche for violin (UK), Sing-Memory for guitar and harpsichord (Finland), and Lyric Duo for two saxophones (Chile). Premieres for 2014 will include Apollo Toccate for guitar (Finland), Beyond the River God for harpsichord (Finland), Trio Cocteau for piano trio (UK), and French Concerto for baroque violin, harp, and harpsichord (France).
Graham has been the recipient of funding and awards from many organisations, including the Arts Council, Britten-Pears Foundation, PRS, RVW Trust, and the Lyn Foundation.