At such a crucial stage in my development as a musician, the support of the BBT is a life line. It has given me the chance to fulfil vital things necessary for my career that I wouldn't otherwise have been able to do. Most importantly, was the chance to build a really fantastic website that brings together all the strands of my musical identity, as composer and performer. I've been able to purchase scores and music that I wouldn't have been able to. And there are many other things that have helped to ease my life, and increase my productivity that I am truly grateful for. It's an honour to be chosen as a BBT artist and a dream come true.Mark Simpson"
Born in Liverpool, in 2006 at the age of 17 Mark Simpson became the first ever winner of both the BBC Young Musician and BBC Proms/Guardian Young Composer of the Year Competitions.
Now emerging as a major new voice, in 2012 Mark was selected by YCAT and joined the BBC Radio 3 New Generation Artist Scheme. He went on to embark on a full publishing relationship with Boosey & Hawkes, and in 2014 won a Borletti-Buitoni Trust Fellowship Award.
During 2015 Mark’s new work commissioned by the BBC Scottish Symphony Orchestra, and a dramatic work for solo baritone, chorus and orchestra (supported by Sky Arts Futures Fund, in association with IdeasTap) are premiered in Glasgow and Manchester. As a performer Mark takes part in concerts at the Aldeburgh International Festival and appears as soloist with the BBC Symphony Orchestra at the Proms. Future projects include an operatic collaboration with writer Melanie Challenger (supported by a Jerwood Opera Writing Fellowship).
Between 2012-2014 Mark's commissions included sparks which was premiered at the Last Night of the Proms, Exile for the National Youth Choirs at the Royal Albert Hall and Geysir for Britten Sinfonia. His orchestra work a mirror-fragment… received its London premiere with the BBC Symphony Orchestra at the Barbican.
A passionate exponent of new music, during 2013 Mark performed and recorded the Lindberg Concerto with the BBC Symphony Orchestra, Adams' Gnarly Buttons with the BBC National Orchestra of Wales and took part in the Julian Anderson Day at Wigmore Hall.
Mark read Music at St. Catherine’s College Oxford and completed an MMus in composition with Julian Anderson at the Guildhall School of Music & Drama.
Photographs by Kaupo Kikkas
- Purchase of scores and music books
- Purchase of new computer
- Writing a clarinet work for himself
- French lessons
- Purchase of office furniture
- Supporting Debut CD for NMC Recordings
- Assistance with purchase of a new clarinet
Mark Simpson: Night Music (start) Leonard Elschenbroich cello | Alexei Grynuk piano
Mark Simpson: Barkham Fantasy (excerpt) Richard Uttley piano
Mark Simpson: Ariel (end) Mercury QuartetComprising eight new-to-CD works, composed between 2006 and 2014, NMC’s survey of Mark Simpson as composer features all the artists for whom these particular works were written. Mark himself appears in his dual role of composer and clarinettist on two of the works.
See NMC’s Mark Simpson Music Map here
Night Music (2014)
Barkham Fantasy (2009)
Echoes and Embers (2012)
Un Regalo (2004)
Nur Musik (2008)
Nicholas Daniel | Jonathan Small oboes
Mark Simpson clarinet
Leonard Elschenbroich | Guy Johnston cellos
Ian Buckle | Alexei Grynyuk | Víkingur Ólafsson | Richard Uttley pianos
Ensemble 10/10 | Clark Rundell
Released May 2016
NMC D225 | www.nmcrec.co.uk
NIGHT MUSICMark Simpson’s Composer Debut on NMC
BBT Fellowship winner 2014, Mark Simpson reflects on his dual life as composer and performer as we join him at a recording session in September 2015 for his debut NMC disc as a composer. In addition to exploring how the process of recording can enhance music making, Graham Johnston’s film also features artists for which Mark Simpson composed his Windflower (oboist Nicholas Daniel), Barkham Fantasy (pianist Richard Uttley) and Ariel (Mercury Quartet).
Listen to CD extracts here
BBT DEBATES - IS THE CONCERT HALL THE ONLY PLACE?BBT award and fellowship winners consider the pros and cons of purpose-built concert halls and other venues
How does a symphony orchestra sound in a car park? Or is it best appreciated in specially-built halls? BBT stirs the ongoing debate surrounding the idea of taking classical music out of the concert hall to imaginative and often unusual venues. Does this help cultivate new audiences? Younger audiences? Or does it compromise the music? Is taking down the barriers opening a pathway to more people enjoying classical music? Is the ultimate aim to get them into a concert hall?
These questions are addressed by a representative sample of Borletti-Buitoni Trust award and fellowship winners as they take their careers not only into new repertoire but new venues. See what ATOS Trio, Erik Bosgraaf, Alec Frank-Gemmill, Bram van Sambeek, Sean Shibe, Mark Simpson, Kate Whitley and others have to say.
General Management: Clarinet/Composer
General Management: Composing