Sarah draws on her lifelong interest in European folksong, cybernetics and esoteric sound culture. These inspire her progressive and strikingly original music for film, theatre and the live music stage.
Her work reflects an eclectic musical background. A classically-trained composer who specialised in baroque and renaissance music, Sarah cut her teeth performing on the UK folk scene. Her desire to get inside notes and finely manipulate sound led her to study electroacoustic engineering, then robotics, alongside music – fields that continue to inform her unique compositional style.
Sarah composes for film and theatre. Her score for Eugene O’Neill’s The Hairy Ape (directed by Richard Jones) featured at The Old Vic, London, and Park Avenue Armory, New York. Her film score for Romola Garai’s horror Amulet premiered at Sundance 2020.
She’s also in demand as a live performer and extemporiser – particularly known for her skills on recorder, theremin and keyboard, her robotic, musical inventions and advanced coding skills in Max. Based in London, she tours widely and has been seen at The Royal Festival Hall, Union Chapel, Arnolfini, LSO St Luke’s, Star and Shadow, BBC Halls Swansea and Supersonic UK, Prima Vista, Estonia, National Sawdust, Brooklyn, and many other festivals and venues. She’s also widely known for her work exploring the haunting psychological effects of infrasound in music.
She’s been a recipient of the Paul Hamlyn Award for Composers (2018) and an Ivor Novello Award 2021 (category: Visionary Award).
A composition and live performance of a new work for live vocals and Oramics – using the mini Oramics machine built by Tom Riichards from Oram’s original notes and drawings.