Admired for her originality, fluency and professionalism, Cheryl Frances-Hoad has been composing to commission since she was fifteen. Classical tradition (she trained as a cellist and pianist at the Menuhin School before going on to Cambridge and King’s College, London) along with diverse contemporary inspirations including literature, painting and dance, have contributed to a creative presence provocatively her own.
'Intricate in argument, sometimes impassioned, sometimes mercurial, always compelling in its authority' (Robin Holloway, The Spectator), her output – widely premièred, broadcast and commercially recorded, reaching audiences from the Proms to outreach workshops – addresses all genres from opera, ballet and concerto to song, chamber and solo music.
Her works include From the Beginning of the World, a setting of Tycho Brahe's remarkably...
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Admired for her originality, fluency and professionalism, Cheryl Frances-Hoad has been composing to commission since she was fifteen. Classical tradition (she trained as a cellist and pianist at the Menuhin School before going on to Cambridge and King’s College, London) along with diverse contemporary inspirations including literature, painting and dance, have contributed to a creative presence provocatively her own.
"Intricate in argument, sometimes impassioned, sometimes mercurial, always compelling in its authority" (Robin Holloway,
The Spectator), her output – widely premièred, broadcast and commercially recorded, reaching audiences from the Proms to outreach workshops – addresses all genres from opera, ballet and concerto to song, chamber and solo music.
Her works include
From the Beginning of the World, a setting of Tycho Brahe's remarkably prescient thesis on the Great Comet of 1577 (BBC Proms, 2015),
Pay Close Attention, a homage to electronic music gods The Prodigy,
The Whole Earth Dances, a quintet influenced by the local landscape and the poetry of Ted Hughes (Spitalfields Festival, 2016) and
Game On, a duet for piano and Commodore 64 inspired by Game Theory and the crimes of bankers (NonClassical at the Dalston Victoria, 2016).
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