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composer, performer and sound designer
An Ivor Novello Award winning composer and sound designer, creating new music and soundworlds for film, theatre, opera, dance, installations and her own live performance. Sarah’s work seamlessly combines voices and instruments with finely wrought, bespoke electronic effects.
Above: The Ealing Feeder – robotic polyphonic carillon
Giant – a new opera, Aldeburgh Festival 2023. Excerpt feat. Melanie Pappenheim, Héloïse Werner, Steven Beard and Jonathan Gunthorpe; excerpt feat. Gweneth Ann Rand – still photos by Marc Brenner; video produced by Matt Jolly. Vault – New music for silent gothic film (BFI).
Seleccted album tracks and music for film and theatre.
View more projects on the portfolio page.
Contemporary voice and the sounds of 1920s radio take flight along a London street, in this new piece exploring resonances between early wireless and telepathy. For Nick Ryan’s VoiceLine, a 39-speaker array which stretched 170m along the The Strand, outside the old BBC Marconi building.
Composition and sound design for The Hairy Ape (1922) – Eugene O’Neill’s expressionist masterpiece which uses the overwhelming sounds of the engine room on an ocean liner to explore dehumanisation and the shock of modernity. At The Old Vic, London, and Park Avenue Armory, New York. Directed by Richard Jones.
A short biography of composer Daphne Oram, co-founder of the BBC Radiophonic workshop and inventor of the Oramics ‘drawn sound’ system. For a reprint of her treatise on sound, electronics and metaphysics.
Composition and sound design for the for the first official stage production of The Twilight Zone in 2017. Adapted by Anne Washburn from the classic 1960s CBS television series and is directed by Richard Jones. At The Almeida Theatre and Ambassadors (West End), London.
Combining the robotic carillon with a machine learning algorithm from Dan Stowell to hear automatic transcriptions of the dawn chorus played by polyphonic bells. For International Dawn Chorus Day.