Emma is a violinist, violist, freelance performer and teacher based in Edinburgh, sunny Scotland. Her work ranges from period baroque performance to collaborations with composers on cutting-edge new music. Recent performances include Sonorities in Belfast, Northern Ireland; Sounds of the Engine House, a regular music night in Manchester, UK, dedicated to programming the music of living composers; and Gaussian1, the first of a projected series of musical events where the chosen programme has an underlying research agenda. She has been thrilled to premiere works by Ian Vine, Jessica Aslan, Charlie Usher, Tom Harrold, Peter Longworth and Gemma McGregor. Future performances include the premiere of bet denagel for detuned baroque violin by Matthew Sergeant.
Emma is currently working towards a PhD at the University of Edinburgh with Professor Peter Nelson and Dr Nikki Moran, investigating the performer’s role in the interpretation of indeterminate scores. Prior to this, she completed a Bachelor’s degree with honours at the Royal Northern College of Music in Manchester, and a Master’s in musicology at the University of Edinburgh. During her time in Manchester, she studied violin with Eyal Kless, and viola with Michael Gurevich. She also attended summer courses and the Mozarteum University in Salzburg, Austria, and the International Chamber Music Festival in Eilat, Israel where she received tuition from Yair Kless. Since returning to Scotland, she has had tuition from Ruth Crouch, Ruth Slater, and Mieko Kanno.
Emma is a member of the Eris Ensemble, with whom she has performed and recorded music by up-and-coming British composers, as well as music by lesser-known Scottish composers from the baroque era. She has performed with Sospiro Baroque, Lord Rochester’s Monkey, the Rose Street Quartet and the Edinburgh Contemporary Music Ensemble, as well as touring with new musical theatre group Green Room, and Scottish band Meursault.
Current collaborations include continued work with Jessica Aslan on music for violin and electronics; the presentation of a joint paper with the composer Matthew Sergeant on our work on bet denagel at the ATINER conference in Athens, Greece; a new piece for violin and piano by Charlie Usher; a new piece for violin and electronics by Martin Parker; and an on-going project with visual artist Cate Smith, interpreting her paintings as graphic notation. Emma plays regularly with harpsichordist Andrew Wooley and will be performing works by Corelli, Scarlatti, McGibbon and Oswald in the Edinburgh Festival Fringe. She has also recently begun work with a new string quartet Spectra~ making plans for the autumn which include an exciting new project with some of the most innovative composers we know.