Dr Simone Spagnolo

Senior Lecturer and Course Leader for BMus / MMus Composition courses
London College of Music

Simone Spagnolo is a composer, lecturer and academic whose work embraces a wide range of artistic and scholarly activities.

His work is often driven by a profound curiosity for interdisciplinary interactions, within which musical composition interplays and amalgamates with other disciplines, as for instance narrative, theatre, drawing, philosophy, design, detecting and performance art. His compositional style tends to manifests through music-theatre, musical-actions, instrumental theatre, graphic scores, experimental opera and other hybrid forms that often feature unusual instrumental and vocal combinations. His portfolio includes numerous chamber-scale musical theatre spectacles that have received starred reviews, as for instance "Even you, lights, cannot hear me" for two singers doubling on piano and pebbles, and "Faust, Alberta", an operatic monologue for baritone and four instruments.

Spagnolo’s music has been performed in internationally known venues and festivals such as London’s Royal Festival Hall, St.Martin-in-the-Fields, Blackheath Halls, Riverside Studios, Tete-a-Tete Festival, Old Royal Naval College’s Chapel, Italian Cultural Institute London, Cambridge Mumford Theatre, Birmingham Symphony Hall, Stanford University, Los Angeles’ Aratani Theatre, Brno’s Janacek Academy, Budapest’s Liszt Academy, Chongqing University, Hong Kong’s Yuen Long Theatre, Centro de Estudios Públicos in Santiago de Chile, Padua’s Sala dei Giganti, Spoleto’s Casa Menotti, Bolzano Contemporary Music Festival, Salerno’s Dome, Campania Eco Festival and Pennsylvania’s Great Lakes Film Festival, among others.

Having composed music for a variety of settings and contexts – from live concerts to theatre and ballet, from soundtracks to library music – Simone Spagnolo has been commissioned from institutions and companies such as Opera in the City Festival, Trinity Laban Conservatoire of Music and Dance, Anderson Entertainment, Fabergé LTD, Intervox Music Production, ChinaWest Productions, Lost Picture Production, Dance Ahead and St Augustine Singers. Artists he has collaborated with include musicians Gabriele Baldocci, Timothy Schwarz and Alda Dizdari, conductors Diego Garcia Rodriguez and Paul Jackson, singers Kate SymondsJoy and Ben Bevan, ensembles Mifune Tsuji Trio and Arioso Furioso, playwrights Roberto Cavosi and Giordano Trischitta, directors Luc Mollinger and Ben Samuels, among others.

Spagnolo has also collaborated with numerous harpists, developing a rich repertoire of works for harp and harp ensembles which have been performed internationally by numerous musicians. His composition "Silenzio, for prepared harp" has been performed globally in tens of concerts. It was featured in a dedicated documentary broadcast on "Cultural Plaza", Jade Channel TVB, Hong Kong (2018), it is regularly performed as part of conservatoire’s recitals and exams and it is featured in the Trinity College London’s Syllabus.

Simone Spagnolo has received numerous awards, including the Asia America Symphony Orchestra Composition Prize, in Los Angeles, earning the distinction of being the first winner from outside the United States – an award he received from legendary pianist and producer David Benoit. Other prizes he received include Birmingham Conservatoire’s Philip Bates Prize and Middlesex University’ David Turton Prize. In 2011 he has been appointed as artist-inresidence at Bergen’s USF Verftet, Norway.

Since 2018 he has been Head of Composition at London College of Music, University of West London, where he leads the BMus and MMus composition curricula, as well as numerous knowledge exchange activities including the LCM Composition Festival and the Composers Workshops. Previously, he held the position of Senior Lecturer and Course Leader for Performing Arts at Anglia Ruskin University, Cambridge, and Lecturer in Music Theatre at University of Cumbria. He has also lectured on creative orchestration for the Conservatoire of Rovigo’s Master in Film Music Composition (Italy).

His academic writings have been published on Studies in Musical Theatre Journal (Intellect Books), Studies in Theatre and Performance and the Institute of Composing Journal, and he has delivered conference papers at University of Oxford’s APGRD, Oxford Brookes University’s OBERTO, London’s Royal Central School of Speech and Drama and Cambridge’s Anglia Ruskin University, among others. Some of his music scores are published by Universal Edition.

Simone Spagnolo’s discography can be found on Spotify, iTunes, and all the main music distributors.

Website

  • Qualifications

    • BA Music (Middlesex University)
    • MMus Music Composition (Trinity Laban Conservatoire of Music and Dance)
    • PhD Creative Practice, Music Theatre Composition (Trinity Laban Conservatoire of Music and Dance)
    • PGCert in Teaching and Learning (Anglia Ruskin University)
  • Memberships

    Member of the Performing Right Society (PRS)
    Associate Editor of Xournals' Academic Journal of Arts and Humanities
    Trustee of OperAmore, London Centre of Italian Opera
    Member of the International Network of Italian Theatre
    Trustee Member of the London Centre of Italian Opera
    Previous memberships:
    Founder and Artistic Director of The Music Theatre Hub
    Member of Societa Italiana Autori e Editori (SIAE)

Teaching

I am a Senior Lecturer and Course Leader for Composition at the London College of Music. I have composed music for concerts, theatre, opera, ballet, film and multimedia. My music has been performed in internationally known venues and festivals such as London's Royal Festival Hall, St. Martin-in-the-Fields, Birmingham Conservatoire, Stanford University, LA's Aratani Theatre, Budapest's Liszt Academy and Hong Kong's Yuen Long Theatre.

  • Research and publications

    Publications

    Simone Spagnolo, Polymath (score), in 'The Ruskin Songbook: Twenty-Fifth Anniversary Commemorative Edition', ed. Paul Jackson and Jane Boyer, (Cambridge: Ruskin Arts, 2018). Buy book.

    Simone Spagnolo, Touch-less: Wearable Music and the Score Theatre, in Studies in Musical Theatre Journal, Special Issue (Intellect Books), ed. David Roesner, Volume 11, Number 2, June 2017, pp. 147-164.

    Simone Spagnolo, Unsaid by the Mouth, but Spoken by the Drums, Institute of Composing Journal, 9th Issue.

    Alessandra Totoli, Vocalisations with Movement (Vocalizzi con Movimento), English-Italian bilingual trans. Simone Spagnolo (Salerno: Edizioni Casa Musicale Cav. Quinto Fabio, 2015).

    Simone Spagnolo, Each Tale Chases Another. Metaphorical Representations, Non-Linearity and Openness of Narrative Structure in Italian Opera from Post-WWII to It Makes No Difference, PhD thesis (Trinity Laban Conservatoire, Jerwood Library, City University London: 2014). Read thesis.

    Graham Johnson and Simone Spagnolo, ‘Musical Saw’, in The New Grove Dictionary of Musical Instruments, ed. Laurence Libin (New York: Oxford University Press, 2013).

    Compositions

    For a full list of compositions please see Simone's website.

  • Conferences

    Delirious Marks, Assessment Symposium, Anglia Ruskin University, Cambridge, 12 May 2018

    Teatro Polidittico: Classics-inspired Contemporary Italian Opera and the Concept of Openness, Italy and the Classics. APGRD, University of Oxford, 10 Jun 2016

    The Colour Blue. A Musico-Theatrical Metonymy, SongArt Symposium (Institute of Musical Research). Royal Central School of Speech and Drama, London, 27 Jun 2015

    Touch-less: Wearable Graphic Scores for Acting Singer, SongArt Symposium (Institute of Musical Research).
    Royal Central School of Speech and Drama, London, 26 Jun 2015

    Italian Experimental Post-WWII Opera as a Means to Reflect on the Concept of Openness to a Plurality of Interpretations, CUK Research Forum. Royal College of Music, London, 23 May 2015
     
    Opera Aperta: Non-linearity of Narrative Structure in Italian Experimental Opera, OBERTO Opera Research Conference.
    Oxford Brookes University, Oxford, 17 June 2014

  • Research degree supervision

    Principal Supervisor

    • The Thriller Gesture. A gestural approach to the analysis of thriller music. (Leonardo Landini, PhD student)
    • “Jazz improvisation and interpretation within contemporary composition: An auto-ethnographic study from the composer/performer perspective” (Michele Tacchi, PhD student)

    • The Delirious Harp: towards a de-contextualisation of the pedal harp from its conventional venues and a modernisation of the instrument (Clara Gatti Comini, PhD student)

    • Enhancing non-linear film narrative through alternative approaches in music composition (Arin Aykut, PhD student)