Dani Howard is the newly appointed Composer-In-Residence with London Chamber Orchestra for the 2022/23 season. Sarah Baker caught up with her about her plans with the orchestra.

Sarah Baker: Congratulations on your appointment with London Chamber Orchestra. Have you worked with them before? What is your relationship to the orchestra?

Dani Howard: I haven't worked with the London Chamber Orchestra previously, and I cannot wait to be involved in the orchestra's activities throughout the season, beyond just writing new works for them. I have started to get to know the wonderful team at LCO ahead of starting the residency, though I know I will get to know them all much better throughout the next season. I'm hoping to build a strong relationship with the players, team and audiences of LCO over the next year and beyond.

SB. What are you looking forward to most about this new position?

DH: It is really hard to say, as I know that each project with the LCO is unique and creatively exciting in different ways. I am certainly looking forward to writing a new saxophone concerto for Jess Gillam, but I am equally excited to compose a new work for their Music Junction project in collaboration with a large number of young musicians.

SB: You are to compose several new works for the LCO throughout the next season, including a concerto for Jess Gillam. Can you tell me any more about what is planned? How closely will you work with Jess on the new concerto? Is a recording planned?

DH: At this stage, we have confirmed a new saxophone concerto, along with a 10-minute commission comprising of a '3 tiered' piece that includes LCO members, advanced secondary student players, and younger musicians who are total beginners. In addition, a new chamber work is currently being discussed, but the details have not been confirmed yet. I will also be expanding on a work I have for string orchestra called "Silver Falls", adding an additional movement to the work for the orchestra's season finale.

I am also very exited to be orchestrating Florence Price's String Quartet number 2. This is a stunning work, and I will be re-orchestrating it for the LCO for their season finale.

SB: Part of your role will be working with emerging composers on the LCO's relaunched LCO New scheme. What are your hopes for your work with these young talents?

DH: I hope that this opportunity de-mystifies writing for orchestra for these young composers. I know from experience that writing for a large number of musicians is extremely daunting. However, these feelings can change after having a great experience with an orchestra, so it is my hope that we can create a wonderful environment in which they can learn and develop their skills of writing for an orchestra.

SB: You're no stranger to the US, having been composition fellow at the Cabrillo Festival of Contemporary Music, and Emerging Artist winner in the Chamber Music OC INMC. What do you like about being in the US? Did your experiences here change your compositional style? What did you learn? Has it affected your career?

DH: I have always been intrigued by the musical culture of the US since hearing Steve Reich and John Adams for the first time. The Cabrillo Festival of Contemporary Music was a completely transformative experience, where I was totally emerged in new music for the duration of the festival, learning from their composers-in-residence, and hearing such a variety of exciting music being rehearsed and performed. I learned a lot about orchestration from following along with the scores during rehearsals, as well as a number of practical elements of being a composer, including details surrounding self-publishing. I hope to spend more time in the US, and look forward to going to Texas next February for the US premiere of "Argentum" with the Fort Worth Symphony Orchestra, conducted by Kevin John Edusei.

SB: As a composer, what do you find greatly influences you? Are you inspired by particular people, or places, or projects? Or perhaps simple hobbies, like taking a walk or baking. How do you find your inspiration?

DH: I am often influenced by places I've visited, and by concepts in daily life/nature that I observe. Each piece is slightly different in how it is conceived, but for every new work, the concept is crystal clear before the writing of notes begin. This can vary from something extremely specific like a sculpture I have seen, to something more vague, like a time-lapse of a particular location. Taking a long walk when I am stuck with a particular passage or section always seems to solve the problem!

SB: Your debut opera 'The Opera Story', was premiered in 2019. Do you have plans for another?

DH: I would love to write another opera in the future. At the moment I don't have plans for this, but let's see what happens in the future! It was an incredibly collaborative experience, which I just loved.

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