If there were a stereotype for ‘commissioner of new music’, I’m sure I don’t fit. I live in rural Wales on a holding where I try to be as self-sufficient as possible on restricted funds. My first connection with music was to play the violin rather badly at school, and later in our local amateur orchestra. It had an inexplicable thrill effect on me, and I held the people who ‘could do it properly’ in great awe.

Coming to mid-Wales from Cambridgeshire over 30 years ago, I had not expected to encounter live classical music of the highest quality, as had been readily available in Cambridge. I was stunned by Musicfest Aberystwyth, which I got to hear by acting as a concert usher. I became a dedicated regular, eager for my annual fix.

This intimate festival made it easy to get to know the musicians and, rather distantly at first, the composers involved. In time, I became as comfortable chatting to these birds of paradise as I was helping my neighbour bring in the hay. My respect for their resilience grew to match my love of their music. It’s a lot harder life than it may look.

Meanwhile I inherited a small sum, which changed the dynamics. I had little use for material goods. The money instead enabled me to help Musicfest with three small commissions. I didn’t set them up – it would never have occurred to me – but in discussions I saw a way I could be useful, so I helped pay. 

The way the composers reacted changed my life. Their enthusiasm, the way they wrapped me into their worlds, was fascinating, rewarding, satisfying, exciting, and I was soon emboldened to try commissioning on my own behalf.

I soon found it was the most natural – and possibly the most important – thing in the world. From time to time, after listening to a new piece, where the composer was very likely to be in the audience, I approached her or him after the concert, saying I had enjoyed their music, and would they like to write something for me? I always had a performer or a group in mind for the new piece, and the composers always said yes! Indeed, the pleasure they seemed to derive from my request was a delight in itself.

The last piece I commissioned from Welsh composer John Metcalf was intended for the Solem Quartet. I gave John an extremely hard brief – to express the sadness and horror of ecological breakdown – and, in the event, the composition period coincided with the pandemic lockdown. Dark times… but it has proven to be a fitting climax to my adventures in commissioning. It cost John much effort, but the result, entitled Towards Silence, is exquisitely beautiful – and painful. The Solems love it, and play it when they can. They have made it the centrepiece of a concert they’re giving at King’s Place as part of the venue’s Earth Unwrapped series. I never thought a piece I’d commissioned would end up in a major London festival. How could I miss it? I now find travel quite difficult, but I will be there! So, I hope, will John and his wife.

You can hear Towards Silence in a specially-made film, linked here.

We are grateful to Carol sharing her story, as we encourage members of the public to consider their own potential as commissioners of new music – and the rewards that come from connecting in this way with composers. You can read more about this prospect here on our website.