21 female composers you really need on your radar

Over the centuries, some of the world’s best-loved musical masterpieces have been written by women – and we’re here to celebrate them.

It’s no secret that in music, women are largely underrepresented – and it’s never been more important for us to address this issue.

According to research from Donne, which analyses composers’ works scheduled by 111 orchestras from 30 different countries, there is still much to be done.

Titled ‘Equality and Diversity in Global Repertoire’, the alarming research has shown that of the 16,327 concerts performed from 2023-2024, only 7.5% included works written by female composers – a statistic that has been steadily decreasing in recent years.

And perhaps more worryingly, only 1.6% per cent of those pieces were written by women from Global Majority backgrounds which is also lower than in previous years.

At Orchestras for All, we’re here to champion female composers every step of the way, so here are 21 women to be inspired by…

1. Dame Ethel Smyth

Ethel Smyth was a pioneering composer, conductor and suffragette, using music as a powerful tool for activism. Smyth is most well known for her opera The Wreckers, while her ‘March of the Women’ became the anthem of the suffragette movement.

She was the first woman to have an opera performed at the Metropolitan Opera in New York, breaking down barriers for women in orchestral music. Her work is bold, passionate and uncompromising – just like the composer herself!

Read more: 17 LGBTQIA+ musicians who totally rock our world >

2. Errollyn Wallen

Errollyn Wallen CBE is a Belize-born British composer whose work defies traditions. Not only is she a trailblazer in the classical world, being the first Black female composer to have her work performed at the BBC Proms (Concerto for Percussion, 1994), but she is also an accomplished singer-songwriter.

Wallen’s music spans a vast range of genres, from opera and chamber music to pop songs, blending classical traditions with influences from jazz, blues and contemporary styles. Earlier this year, Wallen also became the first Black woman to be proudly appointed as Master of the King’s Music.

3. Lucy Hale

Born in 1994, Lucy Hale inspired fans of orchestral music with her captivating compositions as well as being a role model for others living with disability. In 2019, Lucy became National Orchestra for All’s Inaugural Young Composer in Residence and worked closely with its diverse ensemble of 100 young musicians to create ‘Stories of Silk’ – specially written for NOFA’s 2019-2020 season, My Roots, Our Routes, exploring music inspired and influenced by human migrations and journeys.

After completing her studies for a Master of Music in Composition at the Royal Northern College of Music in 2017, she was appointed as inaugural Young Composer-in-Association with BSO Resound, Bournemouth Symphony Orchestra’s disabled-led ensemble. Alongside ‘Stories of Silk’, Lucy’s striking compositions include ‘Zeta’, ‘To Run With The Tigers’ and dramatic orchestral masterpiece, ‘Against the Tide’.

4. Dobrinka Tabakova

Born in Bulgaria and raised in London, Dobrinka Tabakova draws inspiration from medieval chant, minimalism and Eastern European folk traditions. Her music is filled with rich harmonies and luminous textures, creating deeply expressive soundscapes.

Her Concerto for Cello and Strings showcases her ability to blend tradition with fresh, modern sounds. As a composer-in-residence at the BBC Concert Orchestra, she continues to push orchestral music in new and exciting directions.

Read more: “Orchestral music-making isn’t just for the few – it’s for everyone,” says Modulo Programme Manager, Charlie >

5. Florence Price

Florence Price made history as the first African American woman to have her work performed by a major U.S. orchestra. Premiering in 1933, her Symphony No. 1 in E minor blends African American spirituals, Western classical forms and vibrant rhythms.

Last season, the young people in National Orchestra for All and our Modulo ensembles performed the spectacular ‘Allegro ma non troppo’ (first) movement from this symphony at arts venues nationwide, embracing Price’s groundbreaking legacy and keeping the work relevant today.

6. Mélanie Bonis

As a woman in 19th-century France, Mélanie Bonis faced significant barriers to become a composer. Despite her musical abilities and studying at the Paris Conservatoire, her parents opposed her ambitions, believing it was not a suitable profession for a woman.

Incredibly, she went on to compose over 300 pieces of music, including orchestral, choral and chamber music that bridges the Romantic and Impressionist styles. Her Femmes de Légende piano suite, inspired by legendary women from throughout history, mythology and literature, highlights her powerful storytelling and unwavering beliefs. Today, her music is finally gaining the recognition it deserves.

7. Samantha Fernando

The music of Surrey-based composer, Samantha Fernando, stands out owing to its harmonic colour and resonance, which often gives her work a meditative quality – with Sense of Place (2014) and The Journey Between Us (2016) being two of her most popular works.

Samantha’s career as a composer has gone from strength to strength in recent years, having been commissioned by numerous ensembles and festivals – including the London Sinfonietta, Aldeburgh Music, the Oxford Lieder Festival and the Philharmonia Orchestra. Currently, the multi-award-winner is an Honorary Research Fellow in composition at Royal Holloway, University of London and in 2020, she took to Twitter for a live Q&A to share her musical expertise with the 100 young musicians of National Orchestra for All.

8. Fanny Hensel

Fanny Hensel, more commonly known by her family name, Fanny Mendelssohn, was a visionary composer and pianist, who fought against societal restrictions to compose over 400 works that showcase her bold, romantic spirit and lyrical melodies.

Hensel played a crucial role in Berlin’s musical scene, proving her unstoppable passion for composition and performance. Her composition Das Jahr, a twelve-piece piano cycle inspired by the months of the year, highlights her emotional depth and innovative style.

Read more: 7 ways to support musicians in the LGBTQIA+ community >

9. Nadia Boulanger

Nadia Boulanger wasn’t just a composer, she was a force in 20th-century music. As a conductor, educator and mentor to legends like Philip Glass, Aaron Copland and Quincy Jones, she has shaped the future of orchestral music.

Her own compositions, such as Three Pieces for Cello and Piano, reveal her deep understanding of form and emotion. Boulanger shattered barriers by becoming the first woman to conduct major orchestras, proving that leadership in music knows no gender.

10. Rebecca Clarke

A groundbreaking violist and composer, Rebecca Clarke redefined chamber music. Her Viola Sonata is hailed as one of the greatest viola compositions ever written, blending Impressionist colours with passionate Romanticism.

Aged 16, she auditioned for the Royal Academy of Music, gaining a place as a violin student. However, after just two years, her father made her leave when her harmony teacher proposed to her. She later attended the Royal College of Music, where she was the first woman to be taught composition by Charles Stanford. Although much of her work remained unpublished for years, Clarke’s compositions are now celebrated for their intensity, lyricism and daring harmonic choices.

11. Clara Schumann

Clara Schumann was not only a celebrated pianist but also a brilliant composer who shaped Romantic music. She composed her famous Piano Concerto in A minor at only 14 years old. She was also a dedicated mentor to Johannes Brahms and a champion of contemporary music in the mid 1800s, along with being one of the first musicians to perform from memory, revolutionising piano recitals.

Most of Schumann's music was never played by anyone other than herself, and was largely forgotten until the 1970s. Today her compositions are increasingly performed and recorded, gaining her the recognition she deserves.

12. Francesca Caccini

Francesca Caccini was a groundbreaking composer, singer and teacher who became the first woman to write an opera: La liberazione di Ruggiero (1625).

Whilst working in the Medici court – the home of one of the most influential musical, political and powerful families in Florence, she composed intricate madrigals (non-religious songs popular in the Renaissance and Baroque periods) and songs that displayed her love for drama, counterpoint and lyrical expression. Her work helped to lay the foundations of early opera and paved the way for women in a male dominated musical world.

13. Amy Beach

A self-taught composer and virtuoso pianist, Amy Beach broke down barriers by becoming the first American woman to compose a symphony, titled Gaelic Symphony. Her music is known for its sweet, Romantic-style orchestration and stunning lyricism.

She composed over 150 numbered works, nearly all of which were published, including choral works, church music, chamber works, cantatas and songs to words of Shakespeare, Robert Burns and Robert Browning. She was a true trailblazer, who championed women’s roles in composition and performance.

Read more: 9 groundbreaking Black composers you really need to know >

14. Joan Tower

Joan Tower is one of the most influential living American composers. She is most well known for her Fanfare for the Uncommon Woman, which is a powerful response to Aaron Copland’s Fanfare for the Common Man, celebrating women’s contributions to music and society. In 1990, she became the first woman to win the prestigious Grawemeyer Award for ‘Silver Ladders’, a piece she wrote for the St. Louis Symphony Orchestra, where she was Composer-in-Residence from 1985-1988.

During a career spanning more than 60 years, she has made lasting contributions to music in the United States and beyond as a composer, performer, conductor and educator. Her works have been commissioned by countless major ensembles, soloists and orchestras and are regularly performed worldwide.

15. Hildur Guðnadóttir

Born in 1982, Hildur Guðnadóttir is an Icelandic composer and cellist whose haunting, immersive soundscapes have transformed film and television scores. She made history as the first woman to win an Oscar for Best Original Score for Joker (2019).

Guðnadóttir has continued to be celebrated, winning a BAFTA, Golden Globe and two Grammy’s in her ncredible career so far. Her innovative use of electronics and live recordings has redefined the boundaries of composition for cinema and inspires composers across the world.

16. Margaret Bonds

Margaret Bonds was a composer and pianist whose music was deeply rooted in African American spirituals and activism. Bonds was the first African American woman to perform with the Chicago Symphony Orchestra, and was the featured pianist for the Woman’s Symphony Orchestra of Chicago’s performance of Florence Price’s Piano Concerto in D Minor. She also collaborated with poet, Langston Hughes, and wrote powerful choral and orchestral works, advocating for social justice through music.

This year, her composition ‘The Montgomery Variations’ has been featured as one of the BBC’s Ten Pieces. Written in response to the Montgomery Bus Boycott, a huge protest brought about by the brave actions of Rosa Parks, the piece is an incredible example of Bonds dedication to social activism and support of Black women at a time of segregation.

17. Louise Farrenc

Louise Farrenc was a pioneering composer, pianist and professor, now celebrated for her powerful symphonies and chamber music. As one of the few female professors at the Paris Conservatoire, she fought for and won equal pay, paving the way for future generations.

Her acclaimed Symphony No. 3 is a stunning example of 19th-century orchestral writing. She never received the popular recognition she deserved during her lifetime, but kept writing her music and fighting for gender equality.

18. Judith Weir

Judith Weir is a composer of lyrical, folk-inspired music. Originally an oboist, she was a member of The National Youth Orchestra of Great Britain and went on to study composition at both Cambridge University and the Boston University Tanglewood Institute.

Weir was the first woman to hold the title of Master of the King’s Music in the UK. Her operas, such as Blond Eckbert and Miss Fortune, blend contemporary themes with traditional storytelling, showcasing her unique voice in modern orchestral music.

19. Hildegard of Bingen

Born in 1068, Hildegard of Bingen was a medieval nun who went on to become not just a composer but a poet, theologian and visionary, and is one of the first known female composers. She lived until 81 years of age – an incredible feat in the eleventh century – and her music (known as ‘chants’) was truly ethereal and intensely spiritual. Hildegard even believed these chants were given to her in a series of visions.

Her sacred music remains as some of the most celebrated early music compositions, influencing generations of composers and musicians throughout history.

20. Yoko Shimomura

Yoko Shimomura is one of the most acclaimed female video game composers in history, known for her emotive, orchestral scores for Kingdom Hearts, Street Fighter II, and Final Fantasy XV. Born in the Hyōgo prefecture of Japan in 1967, Shimomura has had a passion for music and video games since she was a child, and been an active composer for video games for over 30 years.

Her work brings symphonic grandeur to gaming, proving that video game music belongs in the concert hall, and continues to play a crucial role in the lives of composers and gamers alike.

21. Cassie Kinoshi

Cassie Kinoshi is a Mercury Prize-nominated and Ivors Academy Award-winning composer, arranger and alto-saxophonist, blending jazz, classical and African rhythms. As the leader of SEED Ensemble, she challenges conventions and creates music that celebrates identity, culture and storytelling.

Kinoshi’s ‘the colour of all things constant’ is a beautiful new piece written for the BBC Ten Pieces, and co-commissioned by the BBC together with the ABRSM, Music for Youth and Royal Albert Hall. It was first played by the BBC Philharmonic Orchestra and included a powerful 40-strong choir of 16-18-year-olds.

At Orchestras for All, we believe that every voice deserves to be heard – and these composers remind us why representation matters. These extraordinary composers have shaped music in ways that continue to inspire generations. By celebrating their achievements and performing their works, we can ensure that their legacies continue to thrive and inspire future musicians.

Keen to support diversity in music? Please donate what you can to our inclusive programmes:

‘A more equal world is a safer place for everyone,’ says visually impaired composer, Xia-Leon

‘It’s rare to find a space where people’s differences are celebrated – and yet I have found that Orchestras for All is such a space.’

According to disability equality charity, Scope, there are currently 14.6 million disabled people living in the UK. That’s 22 per cent of the total population, with 9 per cent being young people – and yet, one in three disabled people feel that disability prejudice exists.

At Orchestras for All however, we fully embrace equity, diversity and inclusion. This means celebrating each and every one of the young musicians or staff members that we work with regardless of the daily challenges they might be facing.

Ahead of International Day of People with Disabilities on 3 December 2022, we caught up with one of our Wellbeing Tutors, Xia, to find out more about their firsthand experience of living with a disability and why raising awareness of disability is vital in today’s world.

Please introduce yourself and tell us a little about what you do.

Hello, I’m Xia-Leon. I’m from Cambridge, non-binary (trans-neutral) and my pronouns are they/them. I like to compose music that responds to the beauty and fragility of the living Earth, reflecting on issues of spirituality and identity. I’m also autistic and have been blind for almost all my life. In future I hope to train as a therapist, exploring how listening, creative practice and embodiment could form part of healing processes.

What does music mean to you?

Music has played diverse roles in my life. At times, it’s been a safe place that I could retreat to, away from the clamour of the world and complex social dynamics of my peers. It’s also been a vessel for social connection – a space where I could meet others who share this part of my identity. Most people I tend to engage with are either musicians, composers or music creators.

Read more: Vulnerable young musicians supported nationwide as Orchestras for All secures new Arts Council England funding >

Pictured: Xia-Leon (left) enjoys a ‘rise and shine’ wellbeing activity at NOFA’s summer course in Nottingham

One of my earliest memories is of my dad handing me stones to throw into the ocean. I felt so much joy and fascination at the sounds that emerged from the different shapes, weights and sizes of stones as they hit the water. Although it’s not strictly ‘musical,’ it was undoubtedly part of the early explorations of sound that ultimately birthed my later passion.

In terms of my listening preferences, I love Morton Feldman’s late music as well as the jagged beauty of Pauline Oliveros’ accordion improvisations. Laurie Spiegel’s evolving soundworlds and Salvatore Sciarrino’s luminous, fragile timbres fascinate me and have influenced my own work. I also love the harmonies of traditional Bulgarian vocal music, the lyrics and music of Scottish folk singer, Karine Polwart, and I was recently introduced to Malian artist, Oumou Sangare, whose beautiful and versatile work I look forward to exploring further.

How did you first find out about Orchestras for All (OFA) and what’s been your involvement with the charity so far?

After completing a Masters, I was looking for positions that would prepare me for my future training as a therapist and allow me to hone my existing skills. I came across the opening to work with OFA as a Wellbeing Tutor and the role seemed perfect: I would be supporting people from a huge range of backgrounds in a musical setting. I was successful with my application and attended my first National Orchestra for All (NOFA) course in July. It was a privilege to work alongside my fantastic colleagues to support a group of amazing young people, seeing the brilliant culmination of their work together over those four days.

Watch NOFA’s summer concert >

On 3 December 2022, OFA and many others worldwide will be celebrating International Day of Persons with Disabilities. Could you tell us why raising awareness of disability is so important and what it means for you?

As someone who interacts with the world free from ‘visual dependence’, I am very lucky to have grown up in a culture where perceptions of accessibility have come a long way. I had tactile and Braille resources throughout my education and in the UK, it’s not unusual to see someone out walking with a white cane. Most people I know make me feel that blindness is only one aspect of who I am – one node in our connection to be acknowledged and supported, which infuses the relationship in multiple ways.

‘We must move away from the paradigm of ‘inclusivity’ to one that strives towards equality,’ urges Xia-Leon

We have a long way to go before we reach complete equality in the world. It would mean radically reassessing what we value, both individually and collectively, and reshaping our existing frameworks to ensure that everyone’s voice is heard, so they can contribute fully and meaningfully. We need to recognise that change is needed, with the fierce yet compassionate desire to come together and make it happen. All too often, raising awareness is framed as an end point. I think it’s far from that but it’s a crucial first step.

Spending a lifetime moving through a world that simply isn’t made for you is exhausting – especially when articulating who you are and your needs isn’t something many of us have been taught to do. With the help of allies, I hope that those of us who do have the resources to raise awareness can offer others the tools to join us and together, we can learn to use them. An equal world is a safer, happier place for everyone.

Could you tell us about some of the barriers visually impaired people face in music?

During a rehearsal I played in as a 13-year old, I remember a conductor saying: ‘You have to look at me. Your ears are not enough.’ This is a common barrier I’ve encountered throughout my musical training and despite the stereotype of blind people as exceptionally gifted musicians, often there is still a perception in this ocular-centric society that it’s not possible to engage in musical practice without the visual sense.

Other barriers are much simpler and easier for me to accept as ‘just one of those things’. Although I no longer sing in choirs or play instruments, there was very little music available in Braille notation when these were still integral parts of my life, so I learned almost everything by ear. Even when I did have access to Braille scores, I had to memorise them, since I couldn’t read the music with my fingers and play at the same time.

NOFA’s Wellbeing Tutor, Xia, attends a sectional rehearsal with diverse young musicians from across the UK

As a composer, my music has also been impacted by only being able to read up to two lines of music at once (by reading one line with each hand), rather than having an overview of the page as sighted music readers do. It means my musical structures – the shape of the path a particular piece traces through time – are often much simpler than those of my peers. However, the intimate relationship I form with my work by processing it through touch is a dimension many stave-notation users are missing.

Why do you feel it’s important for an inclusive charity like OFA to exist?

It’s rare to find a space where people’s differences are celebrated rather than viewed as tragedies or challenges to overcome – and yet, I have found through personal experience that OFA is such a space. During my time with NOFA, I taught Braille as part of a wellbeing challenge and connected with neurodivergent members who previously, may not have had many role models they could relate to like their neurotypical peers. At OFA, I felt the very aspects of my lived experience were not a burden; they became an entry point for meaningful contribution to the charity’s work, which is empowering and invaluable.

Read more: 13 ways you can be kind to others in an inclusive youth orchestra >

How can arts organisations better support young musicians and staff members with disabilities?

Arrange for music to be transcribed into Braille in advance, and be sensitive to who is in the room when giving instructions. The most important thing for me is to move away from a paradigm of ‘inclusivity’ to one that strives towards equality. ‘Inclusivity’ means allowing people into existing frameworks, often created by those in positions of power, and giving them the tools to be there without changing the frameworks themselves.

National Orchestra for All musicians, orchestral tutors and wellbeing tutors team up for group activities

But you could go further: maybe follow Daniel Barenboim’s example and conduct from memory, if this is open to you, and lead a rehearsal where everyone has their eyes closed or faces away from you. Explain on your public platforms that these are the approaches you take, so that no member is singled out. Connected with this, ask all members, disabled and non-disabled, to share their needs with you, for example through OFA’s ‘PEN profiles’ (as written in the young person’s own words). This will help to convey that you are serious allowing these to shape your organisation alongside each of your members’ strengths.

If you could give three top tips to disabled young people who are considering starting out on their musical journey, what would they be?

1. Listen as widely and as deeply as you can, discover what you love and spend time with like-minded people or communities that value you and make you feel excited about music-making.

2. There may be times when things get tough. Know you’re not alone. These troughs or valleys don’t make you any less of a musician. Stay connected with that initial spark: go back to that person if you can, listen back to that piece, relive that experience if it’s possible and safe to do so. Keep listening and nourishing your creative fire in any other ways that have meaning for you. It might take some time to reignite but it will happen, even if your musical practice changes radically in the meantime.

3. Stay connected. Go back to that person, replay that piece or relive that experience. Keep listening and nourish your creative fire in a way that has meaning for you.

Finally, please complete the following sentence. Orchestras for All is…

…a vibrant, invaluable community shaped by the diversity of its members’ strengths and needs, which dissolves the barriers that so many young people face and welcomes their skills and passion into an industry that is enriched and enlivened by those gifts.

Please support our life-changing musical programmes and donate today >

British composer, DJ and university lecturer, Jack McNeill, invites music leaders to free webinar

The virtual event aims to empower music leaders across the UK and break down common barriers to using music technology in the classroom.

Orchestras for All is delighted to announce that internationally-recognised composer, DJ and Associate Lecturer in Music and Sound Recording at the University of York, Jack McNeill, will be hosting the second webinar in the charity’s Music Leadership Training series.

Titled Achieving Equity and Empowerment Through Music Technology, the live session will take place via Zoom on Tuesday 24 May 2022 and aims to boost the skills and confidence of music teachers and hub leaders across the UK.

Jack said: “I’m really excited to be working with Orchestras for All to bring you a workshop on demystifying music technology in the classroom, offering some ideas on the potential it has for equitable music-making.

“The session is about empowering teachers and students to use music technology. Hopefully, by the end we’ll be able to remove some of the barriers that people face when using the DAW (or digital audio workstation) and perhaps, to understand how technology might help students and teachers to achieve their creative or professional goals.”

Read more: Tear-jerking performances and togetherness wrap up National Orchestra for All’s memorable spring season >

Pictured: Composer, DJ and university lecturer, Jack McNeill, with National Orchestra for All guitarist, Kit

He continued: “There will be room in the session for an open discussion, so please come with ideas, thoughts and concerns that you might have come across while using music technology in your classroom. I look forward to sharing some of my own experiences and perspectives as well as hearing yours.”

It will surely be a memorable evening for both attendees and the keen composer, who is also a guitar tutor for National Orchestra for All (NOFA) and recently penned the score for the ensemble’s captivating audiovisual track, ‘The Great Interstellar Orchestra’ (watch below) – created and performed by NOFA’s inspiring young members during the COVID-19 lockdown.

While Jack’s forthcoming webinar is free to attend, participants are invited to donate what they can to help the charity continue its life-changing work.

The event comes after leading saxophonist, author and music education consultant, Professor Nate Holder, launched OFA’s virtual series last November with a session exploring whiteness in music education, diversity versus decolonisation and how relationships form an integral part of a music educator’s practise.

Orchestras for All wins award for Outstanding Musical Initiative at the Music and Drama Education Awards 2022 >

With thousands of music educators across the UK still facing significant challenges as a direct result of the coronavirus pandemic, the need to provide support and improve access to music-making is growing.

That’s why to complement the webinars, 10 online modules have become available as part of the charity’s Music Leadership Training course – providing flexible, hands-on guidance through short videos filmed in real life contexts and in partnership with leading practitioners.

As well as covering traditional conducting techniques, the course invites music leaders to reflect on approaches to group composing, learning music by ear, teaching music without notation and arranging music for inclusive ensembles. 

Thank you to each of our loyal funders, individual donors and supporters as well as The Rachel Baker Memorial Charity – without you, our Music Leadership Training programme and webinar series would not be possible.

Achieving Equity and Empowerment Through Music Technology will be available to livestream via Zoom on Tuesday, 24 May 2022 at 19:00 GMT.

Sign up for Jack’s free webinar >

‘Embrace your individuality and put yourself out there’ – composer shares top tips with young people

From starting his musical journey and getting through the pandemic to the perks of playing music with others, National Orchestra for All composer Jack McNeill reveals all…

What’s your earliest musical memory?

Learning a piece called ‘Knickerbocker Glory’ for my Grade 1 violin exam! I remember really struggling with the piece and getting frustrated with this instrument that was so new to me.  But when I finally managed to learn the piece and got through the exam, I can also remember the feeling of satisfaction, pride and achievement. Years later, I’m still humming the tune!

Who, or what, inspired you to pursue a career in music?

Throughout my musical journey, I’ve had inspiring people around me who have pushed me to do what I’m doing now – from instrumental and classroom teachers when I was at school to university lecturers when I was a student. Friends and family also pushed me to take that next step in my career. I have a great network, both musical and non-musical, who are always eager to hear about what is coming next, sharing their own musical creations with me and supporting me through the successes (and inevitable failures) that I’ve had. 

In terms of what inspired me to pursue a career in music, it was obsessively listening to music and going to concerts or gigs and thinking ‘I could do that!’.  I always wanted to be the person standing on stage or in the studio and was keen to know how that world works.  While I rarely perform these days, I still get a buzz from hearing my work performed live or recorded!

Read more: Keyboard tutor Matt is running the London Marathon to raise money for Orchestras for All – and he needs your help >

Tell us about some of your career highlights so far.

Performing ‘Crossfade’ at Leeds Arena with National Orchestra for All (NOFA) a few years ago was definitely a highlight! The piece was written with the space in mind, so once the electronic parts, amazing light show and visuals came into the space with the orchestra, it was a truly awesome collective moment.

A few years ago, I also released a record and went on a little tour in some venues around the country. It was early on in my career and the shows were small, but I distinctly remember the excitement of standing up on stage, playing my own music and people appreciating it. That was pretty special!

Meet Orchestras for All’s young musicians >

What do you love the most about being a composer?

I love that every day I get the opportunity to create new work and access some level of creativity in myself. I am constantly able to experiment with new ideas and ways of making sound and music. I should say these ideas don’t work 80 per cent of the time, but I really enjoy the process of failing with ideas and building better ones from them – failure is such an important part of the creative process for me. 

I also spend a lot of my time teaching composition and this has allowed me to experience loads of other peoples’ work. It’s always inspiring to hear ideas and engage in creative discussions with other people who are doing similar things to me. No two days are the same in composing or teaching and I find that variety really rewarding.

Jack (bottom right) teams up with National Orchestra for All and its tutors to play online during the pandemic

‘The Great Interstellar Orchestra’ is an incredible piece of work – are there any standout moments for you?

It was all NOFA members’ work! When Bryony and I ran workshops with NOFA in April, we had no idea what material we would be sent to work with and had no outcomes in mind, so for me the standout moment was sitting down after the course and listening to all of the amazing sounds, fragments and compositions that members had created. They even came up with the name for us! 

About halfway through the piece, there’s this rich evolving chord sequence accompanied by some stunning visuals from Bryony. I made that part when I was at a bit of a dead end and didn’t know where to go next. I put one of the NOFA member’s recordings into a sampler, added some effects and started improvising around a pentatonic scale – literally playing random notes and experimenting with building the texture, which I then recorded and loved it. What you hear in the piece is an exact unchanged version of that improvisation!

Read more: Watch this mesmerising work created by 100 young musicians >

Do you have any tips for young people considering a career in music?

Share what you do! Something I have always struggled with is having the confidence to put myself out there. In fact, it is something that I still struggle with. But no-one is going to know about your talents unless you take the plunge and share your work. Getting feedback is a great way to build your confidence and even if something doesn’t work out at first, sometimes connections come back around in the future. 

I would also say that you should embrace your individuality! You are you and it’s never helpful to compare yourself to others. As you develop through your musical journey and eventual career, you’ll find a good space where you belong.

Why has wellbeing become so important for musicians during the coronavirus pandemic?

What we do is based on collaboration and the ability to play together, work together, listen together and perform together. This has become a serious challenge during the pandemic and many musicians – myself included – feel that these challenges have compromised a significant part of our identities. 

The NOFA online courses over the past year or so have been an incredible way to reconnect with group music-making and for many of us, this is central to wellbeing. However, being mindful and recognising our different moods has become important to not burn out! It’s okay to take days off where we don’t pick up our instrument or sit down to do some writing. I’ve learned to listen more carefully to my level of wellbeing, understand exactly when creativity or productivity might strike, and not beat myself up when I have musically (and generally) unproductive days!

What are your plans for 2021-22 – do you have any exciting projects in the pipeline?

I’m working on a really exciting project at the moment with Liverpool’s Resonate Hub, alongside a beatboxer and spoken word artist, Testament, and NOFA’s resident percussion master, Ollie Tunmer. It’s a culmination of workshops with the young people in Resonate’s ensembles that will combine electronic and acoustic music – hopefully it will be an exciting spectacle.

I’m also working on a new sound installation project with Orchestras for All’s Modulo programme in collaboration with Bryony Simcox (of ‘The Great Interstellar Orchestra’ fame!).  The project looks specifically at alternative ways to produce and experience sound, and might get quite experimental! Other than that, I’m hoping to focus a little more on creating my own music, with a few solo and collaborative projects on the go… 

Why is it important for us to break down barriers to music-making?

I have worked with Orchestras for All in various capacities for almost 10 years now. I have seen firsthand the impact that the charity has had on the young people it supports as well as seeing them develop in confidence – whether that’s their instrumental playing, creative music-making, or in themselves.

Orchestras for All offers an extraordinarily unique extracurricular opportunity for young musicians that historically, has only been accessible to a small number of musicians. Year upon year I have seen innovation, both in the way the charity carefully and genuinely supports its members as well as in the ambition and creativity in its artistic choices. I believe this can act as a model in innovative practice for any group, organisation or individual who feels passionately about breaking down barriers to music-making.

And finally, please complete the sentence. Orchestras for All is...

…a voice for innovative, creative and inclusive music-making for young people across the UK.

To fund a programme like NOFA and inspire young musicians in the UK, please donate today >