'A Christmas Offering is what it says on the tin: nine movements and each of them a little Christmas composition'

When did you know music was your calling?

My first piano teacher was the person that turned me from someone who was just taking lessons to someone who thought, ‘OK, I could do this as a profession.’ She was inspirational. She was slightly prophetic as well.

Back then I lived in Armenia and it was a very big journey to England. She would tell me as a small child, ‘I see you in London…’ and here I am. This year, I went back to Armenia and performed my piano concertos with the Armenian State Symphony Orchestra. She was there, which was very special.

What are your musical influences?

Beethoven is my absolute hero, and JS Bach. I also love Renaissance polyphony and the music of English composers such as Henry Purcell, John Dowland and William Byrd.

I grew up singing in church choirs within different denominations of Christianity, including the Armenian Apostolic church, which is on the Orthodox branch. It’s a very different sound world with lots of drones and beautiful melodies, and the stillness in my music is connected to that. I was also part of choirs during my studies at the Purcell school and Oxford University so the English musical tradition is part of my musical DNA, too.

What brought you to King’s?

The people are really what got me thinking about King’s. Professor Silvina Milstein was my primary supervisor, and also Sir George Benjamin, who is one of the greatest living composers. I was also impressed by the notable alumni in the music department and I looked forward to having a chance to teach at King’s alongside studying.

Do you have a favourite memory of your time at King’s?

Exploring the King’s Chapel, because it’s so beautiful. I remember just walking around and hearing some choral music – you can hear it from the cafeteria – and I went in when the choir were rehearsing. It’s an incredible place.

It sounds like this past year’s been particularly exciting. What have been some of the highlights?

It’s been my year of concertos. The year started with the premiere of my piano concerto with the Armenian State Symphony Orchestra and myself at the piano, followed by the release of my piano album Dreamland via Apple Music’s Platoon label. Another highlight was hearing my organ concertino called Toccata performed by Anna Lapwood and the Philharmonia Orchestra at the Royal Albert Hall. I also played the piano part with the BBC Philharmonic of my Aurora Borealis, which imagines what the Northern Lights might sound like musically and aired on BBC Radio 3.

All three experiences have been incredibly inspiring. As a composer, I’d say 99% of my time is just me on my own in this little office. I’m composing and bringing things that are in my inner ear onto the page. Then, when you actually get all those musicians on the stage and they’re performing your music, it’s one of the most exciting things.

Tell me about A Christmas Offering...

It was commissioned as companion music to Benjamin Britten’s A Ceremony of Carols, which is a seminal work originally written for upper voices and harp. It’s what it says on the tin really. There are nine movements and each of them are little Christmas-related compositions. It starts with Gregorian chant, then Gaudete, which means rejoice, an example of one of the more lively movements and a contrast with calmer movements such as Out of the East. A particular highlight was There is No Rose of Such Virtue, which uses the same text as one of the Britten movements.

It was such a pleasure to work with King’s Choir. The recording took place during a busy time in the academic year and I was so grateful for having the chance to work with them – a real joy to be able to complete my studies at King’s with this wonderful project.

What have been the big challenges in your music career so far?

The inner critic, who’s always going 'I could have written that slightly differently', is one challenge. As a composition teacher now myself, I’m very aware that as a composer you need positive voices around you.

Another challenge is having a portfolio career, like many other freelance musicians, which means that in a way I’m a different person in each job. I’m a composer, a teacher, a pianist and I do a bit of performing. I also have a little boy. I’m trying to balance everything. When I say it’s a challenge, it’s a wonderful challenge. It’s a good thing to learn how to balance the different parts of life.

What advice do you have for aspiring musicians and young composers?

Find and surround yourself with supportive people. Find a mentor who you click with and who encourages you. And be curious about everything and try out new things.

What’s next for you?

I’m working on a composition called Hymn to the Muses for Huddersfield Choral Society. It’s a companion piece to Elgar’s The Music Makers, which is about how profoundly music connects us all. The word ‘music’ comes from the Muses, so we’re travelling back to Ancient Greece to the creation in mythology, with each character – such as Chronos, Chaos, Gaia, Aether – becoming a movement. It’s taken over my whole life and I love it.

Do you have a favourite piece of festive music?

The one that I love now is White Christmas. The jazz harmonies are gorgeous – the chromaticism in the harmony. And Silent Night also. It has such magic to it.

Buy A Christmas Offering.