Who or what inspired you to take up composing?
When I started learning piano I quickly found that improvising around the pieces I was learning was far more fun than practising scales! Quite soon after that, I realised I could begin to write these inventions down (inspired at first by an ardent desire to acquire a Blue Peter badge…!).
Who or what are the most important influences on your composing?
Recently I’ve been especially inspired by composers who have an outward-facing, collaborative approach to their craft. Composers like Nico Muhly epitomise this for me: not only is the music totally brilliant, but it’s made for people, not just the instruments they play.
What have been the greatest challenges of your career so far?
This past year I’ve been writing for the London Symphony Orchestra as one of their Panufnik Composers – this has certainly been a huge challenge, exciting and daunting in equal measure! Having the whole orchestra (under the baton of François-Xavier Roth) at my fingertips was an incredible feeling, but attempting to write not just a good overall piece but also great parts for all 80 phenomenal musicians certainly took a lot of careful balancing!
What are the particular challenges/excitements of working with an orchestra/ensemble?
It’s the biggest thrill of the process, BUT sharing music that you’ve been living with potentially for months for the first time is a daunting thing! A player’s relationship with the thing you’ve made is so different to your own, which is why I obsess over how parts look. Most performers won’t be religiously studying your score for weeks on end; they’ll be getting under the skin of the notes you’ve written for them, so it’s critically important that what they see is presented perfectly.
How would you characterise your compositional language/musical style?
My music is built out of a core I would describe as essentially emotional. I will never shy away from that word (which is often lazily conflated with ‘sentimental’) – I can’t imagine wanting to spend my life writing music if I didn’t want to move, surprise, excite, provoke people, and I’m obsessed with finding harmonic, melodic and rhythmic ways of aspiring to do just that. The Requiem that I’ve just written for Laura van der Heijden, Nicky Spence and a fantastic choir that I’ve put together is, in part, a kind of manifesto for everything I love about music. It’s my biggest work to date, and I’ve designed it in such a way as to (hopefully) crystallise the main things which make up my musical voice.
How do you work?
I work in very intense periods where a lot seems to happen very quickly! But of course this is only part of the process… I don’t believe there’s any such thing as ‘pre-composition’ – once an idea is floating around in my head, I find it very difficult to ignore, and it’s constantly evolving, shifting, forming… When these ideas get onto paper, the process has already begun (and a long night at my desk usually follows…)
Of which works are you most proud?
The works of which I’m most proud are the ones where I haven’t felt any pressure to make them something they’re not, or self-consciously ‘new’. One of my favourite Stephen Sondheim quotes is ‘Anything you do, / Let it come from you, / Then it will be new’. I think there’s a lot of truth in that.
Do you have a favourite concert venue?
My favourite venues and spaces make you feel like the music is happening to you, however big or small they are – but this has a lot to do with the performance too…
Who are your favourite musicians?
The musicians I’m most inspired by are those for whom the notes they play are only the tip of the iceberg – musicians who are obsessively curious, who understand why the music they’re playing exists, and who can make you hear familiar music as if it were completely new.
What is your most memorable concert experience?
In 2017 The Bach Choir performed my carol ‘Nowell’ at Cadogan Hall; there was some very specific choreography at the event which meant that I watched the premiere from onstage, facing sideways, so I was able to take in not only the choir but the full audience as well. This turned an already exciting moment into an electrifying one: it felt like a kind of arena, with 100 voices at the centre… what could be better?!
What is your favourite music to play? To listen to?
My Spotify history at any given moment is a completely bizarre and eclectic mix of music – musical theatre has an extremely special place in my life, and I still can’t beat it for listening to on the go. At the moment I’m trying to discover as much new choral music as possible. I love finding music I’ve never even remotely heard of; those are the most exciting listening moments for me. In terms of playing, I love anything that gets me performing with other musicians – I love accompanying, and recently I’ve been able to delve deep into the french horn repertoire for an upcoming recital at Buxton Festival with Alexei Watkins.
As a musician, how do you define “success”?
If I’ve made something that nobody else could have made in exactly the same way, and which the performers really want to own, I’ve succeeded. The rest is largely beyond my control!
What do you consider to be the most important ideas and concepts to impart to aspiring musicians/students?
Be polite; be punctual; be proactive. The rest will follow!
The World Premiere of Alex Woolf’s Fairfield Fanfare will take place on Wednesday 18th September 7.30pm as part of the Fairfield Halls gala reopening concert with the London Mozart Players: