Edmund Finnis (b. 1984) lives and works in London Edmund says of his approach to creating work: 'Every time I set out to compose a new piece of music I aspire to create something I have never heard before; to explore the energy of sounds and invent original ways of combining them in unusual, compelling structures; and, fundamentally, to glean further insight into what music can potentially be, as opposed to what I already know it to be.' This attitude has found form in wide-ranging musical approaches and collaborations: instrumental and electro-acoustic music for art films, contemporary dancers, club dance-floors, sound installations, and above all for the concert hall. He has recently undertaken commissions for: London Sinfonietta (Unfolds, for quintet and Veneer, for solo viola with reverb, both premiered by London Sinfonietta in Queen Elizabeth Hall); Carnegie Hall Weill Music Institute (Relative Colour, for string septet; premiered in Carnegie Zankel Hall, March 2012); Mercury Quartet (Quartet in Three Parts, 2012); Spitalfields Music Festival (Spiel, for handbells and electronics, premiered at Spitalfields Festival, June 2011); and the British Film Institute (The General Line - original score for Sergei Eisenstein's 1929 film, co-composed and performed live by Finnis, Max de Wardener and the Elysian Quartet, May 2011). Edmund studied at King's College London and the Guildhall School of Music and Drama (DMus, and MMus with Distinction). His work has been performed internationally by ensembles including the Chicago Symphony Orchestra, the Sibelius Academy Symphony Orchestra (Helsinki), Isafold Chamber Orchestra (Reykjavik) and the Fromm Players (Tanglewood, Massachusetts). At present he is writing pieces for the London Symphony Orchestra, clarinettist Mark Simpson, and viol-player Liam Byrne.
Edmund Finnis | I’m sincerely grateful to the Paul Hamlyn Foundation for this generous Award. It’s a real honour to be granted the extra time, freedom and momentum that the Award brings. I see it as a huge opportunity to work on my music unhindered by external burden or restraint, and it’s one that I’m going to seize.