Timothy Cape is a composer and performer interested in the theatrical possibilities of musical performance. Recent projects have developed beyond instrumental work, exploring the use of language as a tool for a performance’s introspection. His interest in the inherent musicality contained in the nuances of conversational speech has lead to pieces dealing with political issues such as advertising and the value of work, and other themes such as the ego of the artist and the anxiety of the performer.
He has been recipient of the West Cork Chamber Music Festival Composition prize, the Francis Chagrin Award from Sound and Music, a Help Musicians talent bursary to study with Jennifer Walshe and a Britten Pears commission to write for the Project Instrumental String Ensemble.
He is appreciative of and committed to the social and cultural value of live performance sharing.
He also enjoys surfing, apple crumble and long journeys.
Edward Henderson is a composer and performer based in south London. He makes work with instructional scores, found materials, repetition and duration. He studied music at the University of Cambridge and composition at Trinity Laban where he won the 2014 Directors Prize for Composition and was a finalist in the Gold Medal Showcase at Kings Place.
He directs with Tim Cape the composers’ collective Bastard Assignments, contributing work and co-curating their shows in south London. Tim and I have performed as Bastard Assignments in Copenhagen and Aarhus with Danish collective AUT; Frontiers Festival, Birmingham with Andy Ingamells; headlined Nonclassical at The Shacklewell Arms and The Russet in London; were guests of ACM at Apiary Studios as part of their Sound and Music tour Fleck and produced a show at Block T in Dublin with Barry O’Halpin.
Edward has produced two theatrical pieces for Second Movement’s rough for opera night, Manspangled and Hum, both of which transferred to Tête à Tête: The Opera Festival at Kings Place. He was commissioned by the pianist Jean-Bernard Marie to write Milk 2 which has been widely performed across Europe and at the Art Gallery of New South Wales in Sydney, November 2015.
He teaches at City Lit and Junior Trinity Laban and runs two inclusive community choirs for Certitude.
Caitlin Rowley’s work often blurs the boundaries between music and visual art. Working in a range of media including conventionally notated music, text scores, video, electroacoustic music, digital prints and collage, she often combines several of these in a single piece. Her recent work has explored her interests in public/private spaces in composition and the role of fear in artmaking.
Caitlin studied composition in Australia and the UK with teachers including Peter Sculthorpe, Errollyn Wallen, Paul Newland and Stephen Montague. In 2014 she graduated with a Master of Fine Arts Creative Practice (Music) degree from Trinity Laban Conservatoire of Music and Dance, for which she completed a major research project exploring an interdisciplinary approach to composition. She is currently studying independently with Claudia Molitor.
Josh is interested in storytelling and the deconstruction of theatre. His approach to creating Music Theatre is often informed by artists from other disciplines, notably Pina Bausch and Samuel Beckett due to the their clarity of ideas. His work recently has been highly theatrical and meaningful, concerned with contemporary issues.
Josh has recently completed a Master’s degree in Composition at Trinity Laban Conservatoire of Music and Dance where he studied with Edward Jessen and Deirdre Gribbin and received the Director’s Prize for Excellence in Music Composition. He is a grateful Trinity College London Scholar and a graduate of the University of Manchester where he studied the Clarinet with Alan Hacker.