Inside the Composer Circle
Four composers, four sets of pieces, and an afternoon exploring new piano music at the Newcastle Piano Festival.
Almost three weeks ago, Annie Ball, Catherine Hearne and I spent two full days listening to new music.
Fifteen composers had submitted work to be part of this year’s Composer Circle at the Newcastle Piano Festival, and our job was to read, listen, reflect, and decide who would join the line-up. I was delighted to have been asked by festival director Annie to curate a concert for this years event.
It’s always a strange and slightly humbling experience being on both sides of this process. Sometimes you’re the person sending work out into the world and hoping it resonates. Other times you’re the one entrusted with making the decision.
What I can honestly say is that we loved discovering every submission. Each one had its own voice and perspective.
But when it came to the final conversation, the panel was almost unanimous.
This year’s Composer Circle brings together three very distinctive voices alongside my own work - composers who each approach the piano in completely different ways.
Four composers. Four perspectives.
Ieva Dubova (performing as Aura Mae) explores how the living DNA of chant can be reimagined in contemporary instrumental music. Her work blends intimate piano textures with subtle electronics and immersive harmonic worlds, creating something quietly experimental but emotionally direct.
Charles Mauleverer is an internationally performed composer whose music has been played by major orchestras across Europe. Although his work often operates on a large scale, there’s a philosophical curiosity at its core - and it’s exciting to have someone with that kind of scope rooted here in the North East.
Calum Howard, based in Newcastle, brings yet another perspective. His synaesthesia means music appears to him as colours, patterns and textures, and his instinctive, ear-led approach draws on minimalism, jazz improvisation and electronic sound worlds.
And I’ll be sharing my own work as part of the circle too - continuing something I care deeply about: creating different spaces where composers can present their music in a direct, personal way.
A different kind of concert
The format is intentionally simple.
Each composer introduces a piece of their music, performs it, and then hands over to the next person in the circle. Over the course of the afternoon the spotlight moves gently from one voice to another and back again.
There’s something very special about hearing music this way. When composers speak about their work before playing it, the music opens up differently. It becomes less abstract and more human.
It’s not about academic explanation.
It’s about connection.
A small but important reflection
One thing that did stand out during the selection process: of the fifteen submissions, only two were from women composers.
That tells its own story. There’s clearly more work to do in encouraging women to put themselves forward, and it’s something we’re committed to improving in future festivals.
An invitation
If you’re curious about contemporary music.
If you want to hear living composers talk about their work.
If you believe the North East deserves bold artistic voices and new ideas.
This event is for you.
The Great Northern Piano Session – Composer Circle takes place on Sunday 22 March at 2:30pm as part of the Newcastle Piano Festival at Jesmond United Reformed Church.
Tickets and full festival details are here:
https://www.eventbrite.com/cc/the-newcastle-piano-festival-2349389
If you’ve ever wondered what new piano music sounds like when it’s shared directly by the people who write it, I’d love you to come along and experience it.
Steve