Who or what inspired you to take up composing, and pursue a career in music?
Since my earliest years, I’ve had an impulse to make up pieces at the piano, and that hasn’t really changed – except that eventually I learned to write them down, and nowadays often play virtual instruments via a keyboard. When enough people started asking me to write them something, it turned into a career.
Who or what were the most significant influences on your musical life and career as a composer?
Musicians and theatre-makers who asked me to write music for them, including dancer/choreographer Clare Whistler and director Jonathan Kent; and who listened, encouraged and offered constructive criticism, notably composers Stephen Oliver and Julian Grant, conductors David Parry and Brad Cohen, opera-directors Graham Vick and Richard Jones. Probably the most significant of all were two people at Glyndebourne, Katie Tearle and Anthony Whitworth-Jones, who commissioned my first published piece (the wind serenade Figures in the Garden), three community operas, and my first main-stage (and most widely produced) opera – Flight.
What have been the greatest challenges/frustrations of your career so far?
Trying to get the current piece to be as good as I believe it can be.
What are the special challenges/pleasures of working on a commissioned piece?
With a commission comes a deadline, without which I never finish a piece. More exciting, there is a date when you know certain musicians will be performing your piece in a particular place. The idea of these wonderful singers or instrumentalists is, in itself, inspiring.
How would you characterise your compositional language?
Pandiatonic, rhythmically driven, singable.
How do you work?
Dreamily and fitfully at first, as vague initial ideas start to emerge; then more continuously, as they gradually turn into stronger, more potent ideas. Mostly I work out pieces at the keyboard, but walking and cycling are also an important part of the process.
Who are your favourite musicians/composers?
Mozart, Stravinsky, John Adams
What do you consider to be the most important ideas and concepts to impart to aspiring musicians?
Write the music you want to hear.
Born in 1959 to architect parents, Jonathan Dove’s early musical experience came from playing the piano, organ and viola. Later he studied composition with Robin Holloway at Cambridge and, after graduation, worked as a freelance accompanist, repetiteur, animateur and arranger. His early professional experience gave him a deep understanding of singers and the complex mechanics of the opera house. Opera and the voice have been the central priorities in Dove’s output throughout his subsequent career.
Read Jonathan Dove’s full biography here
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