News

Anna Appleby Appointed Rambert’s Sixth Music Fellow

28 Oct 2016

Logo.jpg
Rambert has appointed composer Anna Appleby as the company’s new music fellow, who will be joining Rambert in autumn 2016. Over the course of the year-long fellowship, Anna will have the opportunity to gain experience in working with contemporary dance and make significant contributions to the company’s creative output.

Now in its sixth year, Rambert’s Music Fellowship was established by Music Director Paul Hoskins, as a continuation of the company’s commitment to artistic development. Tailored specifically for each recipient, the fellowship can include writing music for Rambert’s choreographic development programme, arranging and orchestrating music for the company’s national tours, leading workshops with dancers, choreographers and musicians or curating concerts and public events with dance at the Rambert studios.

Music is an integral part of Rambert’s work. The company is a major commissioner of new music and has worked with a variety of composers and musicians over the course of its 90 year history including Harrison Birtwistle, Gavin Bryars, Elena Kats-Chernin, Radiohead’s Philip Selway and Aleksandra Vrebalov. Rambert includes live music at every performance played by the Rambert Orchestra, which is made up of some of the country’s finest musicians.

Anna Appleby is a multi-award winning composer based in Manchester and the recipient of the Alan Rawsthorne Prize (2016), the Rosamond Prize (2015), and a finalist in the RNCM Gold Medal competition (2015). Earlier this year she received second prize at the Northern Sinfonia’s Mozarts of Tomorrow competition. To date Anna has written a diverse range of works spanning a variety of different genres. These include a song cycle for bass-baritone and guitar, a feminist piece for soprano and full symphony, a selection of contemporary songs which combine electroacoustic techniques with folksong and ballad writing and a string quartet for the 2016 RNCM Chamber Music Festival. Anna’s piano miniature In the Beginning was the Word was commissioned and premiered by pianist Grace Francis on BBC Radio 3 for International Women’s Day 2015 and released as part of the album Sacred by Launch Music International. Anna is currently the Manchester composer in residence with Streetwise Opera and the artist in residence with Quay Voices.

Previous music fellows were composers Gavin Higgins, Cheryl Francis-Hoad, Mark Bowden, Kate Whitley and Quinta. They all remain closely affiliated with Rambert collaborating on a variety of different projects. A new piece of music by Kate Whitley was specially commissioned to form part of the score for Malgorzata Dzierzon’s Flight which premiered this autumn and will receive its London premiere at Sadler’s Wells in November. Rambert’s 2015/16 music fellow, Quinta, is collaborating on works with Rambert dancers Miguel Altunaga and Hannah Rudd which will be performed as part of Rambert’s new choreography event in December.

Rambert’s Music Fellowship is supported by PRS for Music Foundation and the Harold Hyam Wingate Foundation.

Paul Hoskins, Rambert Music Director:
“Congratulations to Anna Appleby on her appointment as the sixth Rambert Music Fellow. Thanks to the success of past fellows, Rambert’s music fellowship is now established as an important scheme in helping to connect dancers and choreographers with new music. Anna was selected from over 120 applicants because of her lively energy, impressive track record, and very clear thoughts about how a year with Rambert would benefit her at such an early stage of her career. Although Rambert is based in London, we mostly perform in the regions, and so I am excited to see what comes from working with a composer whose orbit so far has largely been around Manchester and the North East.”

Anna Appleby says:
“I am honoured to have been chosen for this fellowship and I can’t wait to get started! The opportunity to work with world-class choreographers and dancers is a life-changing one for me. My dream for the past six years has been to compose for the stage, and this is the most exciting chance I’ve had yet in this field. There is so much to learn from choreography, I think that writing for dance will revolutionise my compositional technique. Equally, I want to challenge dancers and choreographers to think about musical form, rhythm and structure in a new light. Most of all, I see myself as a collaborative