Who or what inspired you to take up composing, and pursue a career in music?
I came to composing by a rather unusual route. I was studying cello at Birmingham Conservatoire and during a musicianship course was asked to compose a piece in the style of Bartok. I quickly realised how much I had enjoyed doing this and within a few weeks had an interview to change onto the composition course. In the following couple of years I became familiar with Mark-Anthony Turnage’s music and this inspired me to keep going and find my own voice. Two years later, after accepting to teach me for my Masters Degree at the Royal College of Music, Mark continued to inspire me, this time in person.
Who or what were the most significant influences on your musical life and career as a composer?
My family have been the most significant influence. Without their continual support and understanding I am sure I would not have a career as a composer.
What have been the greatest challenges/frustrations of your career so far?
I find the greatest challenge to be balancing my time between composing and all the other things a composer must do to maintain one’s career. Being able to do this successfully whilst still finding the concentration and imaginative space one needs should not be underestimated.
What are the special challenges/pleasures of working on a commissioned piece?
Imagining the sound of the musicians and the process of working together with them on a new piece is something that I find incredibly motivating since this is a highlight of the whole process. When the ideas are flowing, I find the working process of composing very pleasurable.
What are the special challenges/pleasures of working with particular musicians, singers, ensembles and orchestras?
Building a long relationship with a particular ensembles make the experiences of working together all the more pleasurable. Birmingham Contemporary Music Group stands out for me in this regard. I got to know the ensemble and organisation as a student, received opportunities to develop my compositional voice through working with them, and continue to have a strong relationship now in my career as a professional composer. Their virtuosity and brilliance makes every encounter special.
Of which works are you most proud?
When I achieve something in a piece that is ‘new’, adventurous or challenging for me, that is when I am most proud.
How do you work?
I start composing first thing and work through until I feel my concentration diminishing. I work with pencil on paper for much of the process, moving to Sibelius when I feel I have enough of an idea about the piece. I use a keyboard and sometimes my cello too, especially to try things out later on.
Who are your favourite musicians/composers?
My friends. I find nothing more enjoyable that hearing and watching a friend perform or a friends’ music being performed; feeling their sound, expression and interpretation, each time knowing them a little deeper.
What is your most memorable concert experience?
My Proms debut in 2012 with ‘At the Speed of Stillness’. I’ll never forget the feeling of standing on that stage for the first time to take a bow.
What do you consider to be the most important ideas and concepts to impart to aspiring composers?
Write the music that you want to hear.
Play music that is being written now, before it is too late.
Where would you like to be in 10 years’ time?
The composer Charlotte Bray has emerged as a distinctive and outstanding talent of her generation. Exhibiting uninhibited ambition and desire to communicate, her music is exhilarating, inherently vivid, and richly expressive with lyrical intensity. Charlotte studied under Mark Anthony Turnage at the Royal College of Music and previously under Joe Cutler at the Birmingham Conservatoire. She participated in the Britten-Pears Contemporary Composition Course with Oliver Knussen, Colin Matthews and Magnus Lindberg, and at the Tanglewood Music Centre with John Harbison, Michael Gandolfi, Shulamit Ran and Augusta Read-Thomas.
(picture Michael Wickham)