The Olympus Suite
The Olympus Suite is a twelve-movement orchestral work inspired by Greek mythology, each piece vividly portraying a different god or legend through rich, cinematic orchestration and narrative-driven composition
In what ways can the integration of semiotic theory not only enhance but fundamentally transform the compositional process for new orchestral works? By adopting methodologies from narrative and music semiotics, this work explores how mythic archetypes, symbolic gestures, and structural semiotic models can be rendered in orchestral language.
The concept of 'narrative' has been employed across various art forms, manifesting in distinct capacities and interpretations, each adapting its essence to suit the particular needs of the medium. In literature, narratives weave complex stories through words, guiding readers through sequences of events and character developments. In visual arts, narratives are depicted through imagery, allowing observers to interpret stories and emotions portrayed in a single frame or a series of visual compositions.
In the realm of theatre and dance, narratives are expressed through a blend of movement, dialogue, and music, creating immersive experiences that convey stories and emotions to the audience. In each of these art forms, narratives serve as a foundational element, guiding the creative process and informing the audience's interpretation of the work.
In the context of this work, the notion of narrative is explored within the framework of orchestral composition, drawing some parallels with the practice of film scoring. The narrative serves as a blueprint for the compositional material and is communicated to the audience through orchestral music. Much like a film composer who crafts the musical score to complement and enhance the visual narrative of a film, in this research I have engaged with the narrative to shape the musical composition.
By delving into this intricate relationship between narrative and music, my work underscores the multifaceted nature of compositional practice. I have tried to navigate the delicate balance between fidelity to the narrative and the creative autonomy of the musical composition. In some instances, the music amplifies explicit elements of the story, while in others, it unveils hidden layers and subtexts, contributing to a richer and more immersive experience for the listener.
The exploration of narrative within this suite thus becomes a pivotal element of my work, providing both the foundation and the creative impetus for the compositional process. Through careful analysis and interpretation of narratives, my writing seeks to uncover how stories can shape and inform musical compositions, creating works that are both subservient to and in dialogue with the narratives from which they derive.
Child's Play
For Oboe, Bassoon and Piano
Child’s Play is a vibrant and characterful suite for Oboe, Bassoon, and Piano, inspired by my two nieces and the unpredictable world of children at play. Each movement captures a different stage of mischief, from joy and chaos to quiet misbehaviour, with a healthy dose of humour and heart.
Making Mischief Copyright Forton Music 2022
Making Mischief, the first piece in the series, is a spirited dialogue between Oboe and Bassoon. Here, the instruments act as two overexcited children, each trying to outdo the other amidst the whirlwind of their imagination. Full of echo-and-response motifs and nimble articulations, the piece uses chromaticism and rhythmic interplay to amplify the sense of cheeky chaos. It’s technically demanding, with extreme ranges and sudden shifts in dynamics, ideal for players looking to test their agility and expressive control.
Flying a Kite is light, breezy, and full of movement, a musical depiction of a kite catching gusts of wind and soaring unpredictably. Rapid changes in time signature mirror the shifting breeze, while playful semiquaver runs give the sense of lift and freedom. Precision in staccato and leggiero phrasing is key, as are the nuanced dynamic changes that bring colour and depth to the narrative. The piece closes with a lyrical diminuendo that requires delicate breath control and tonal clarity, a graceful landing after a skyward adventure.
Letters To My Younger Self
A One-Act Musical
Letters To My Younger Self is a one-act musical with book and lyrics by Claire Rivers and music by me. I first conceived the idea while studying musical theatre composition at Goldsmiths, London. I’d become fascinated by the way we carry our past with us; the ghosts, regrets, memories, and how, if we’re lucky, we find a way to reckon with them. I didn’t want to write an hour of gloom, though. I wanted something cathartic, yes, but also funny, heartfelt, and above all, human.
The story follows a group of strangers who come together in a group therapy session, each bringing their own story to the circle. From a has-been cabaret singer using humour and high-kicks to mask deep pain, to a self-deprecating Scottish drunk who faces his demons through a riotous pub number, to a folk-pop guitarist trapped in a monochrome view of life, and a mother who hides in her fiction while failing to connect with her child — the musical gives voice to a rich tapestry of characters, each with their own reckoning.
What made this project so special to me was the musical variety it allowed. I wrote everything from a sassy cabaret number inspired by Gypsy, to a sweeping ballad nodding to the grandeur of Les Misérables, to a raucous Celtic pub song built around lilting tin-whistle motifs. Every song offered a new world to explore, and every voice added something unique.
Though we never recorded a full cast album, I was fortunate to collaborate with the brilliant Tom Curran (Six, the Musical), who arranged the music beautifully. One of the standouts, Too Old To Care, was performed and recorded by West End’s Vikki Lee Taylor, a performance that still takes me back to the heart of that project and reminds me just how proud I am of what we created.
LIFE AND DEATH IN AN OCEAN FULL OF HOPE
Life and Death In An Ocean Full Of Hope was one of the most affecting projects I’ve ever had the privilege to work on. Conceived by playwright and director Andrew Muir, the piece was written specifically for the BA(Hons) Performing Arts students at Arts University Bournemouth, with the students themselves helping to shape the characters they portrayed through a devising process led by Andrew. I was brought on as composer, working closely alongside the cast and creative team to craft a sound world that could carry the weight of the subject matter.
The show explored the ongoing migrant crisis, a topic that remains heartbreakingly relevant, and sought to give voice to those too often unheard. As a play with music, the structure was driven by the book, but the music served to amplify the emotional and philosophical questions at the heart of the piece: What does it mean to belong? Who gets to be seen, heard, and safe?
Musically, I created a score that shifted between the abstract and the intimate, turbulent textures to reflect the perilous crossings, and tender motifs to honour the personal stories beneath the statistics. The production premiered at The Lighthouse Theatre in Poole before being selected by Paines Plough as part of their Roundabout series in Bournemouth - an honour that spoke to the show’s resonance.
This project reminded me of the power theatre has to confront urgent issues head-on, and the importance of keeping such conversations alive on our stages.
Whistle Stop
Whistle Stop is my latest creative venture, and for the first time, I’m taking on the role of composer, lyricist and book writer all in one.
Inspired by Fannie Flagg’s beloved novel Fried Green Tomatoes at the Whistle Stop Cafe, later adapted into the much-loved film, this new musical is still in its early stages, so I’m keeping the details under wraps for now.
What I can say is that I’m aiming for a southern-style story brimming with drama, humour and hope. It’s an exciting challenge, and one I’m approaching with a “slowly does it” mindset, savouring every step of bringing Whistle Stop to life.
"FACE IT GIRLS, I'M OLDER, AND I HAVE MORE INSURANCE!" - Evelyn Couch
“What’s the secret of fried green tomatoes? You got to get the oil hot first.” — Sipsey
