MATTHEW ELDERTON-LEWIS

How did you get into composition?
I had a wonderfully passionate music teacher whilst at school which started my interest but it was cemented when I attended Hans Zimmer Live. The concert was three or four days after the tragic Manchester bombing incident and you could sense a tension and wariness prior to the concert starting. Fast forward to the end and I remember seeing individuals from all walks of life in complete unison and comfort with each other, all because of their love of music. It was then I thought to myself, “Yeah, I want to be able to facilitate that!”

What sort of music do you like to write?
I would say my composition style sits within a contemporary classical sphere taking influence from twentieth century and film music but I still feel like I am finding my compositional voice! As someone who doesn’t come from a musical family (not that that ever stops my mum from being incredibly supportive), I aim for my music to be an accessible gateway for those who might be hesitant in exploring new music.

What excites you most about being a part of Opus 1?
Meeting and connecting with creatives! It’s always inspiring to see what other composers are up to and provides an opportunity to be exposed to new ways of thinking I may not have otherwise explored. I can’t wait to be challenged, pushed out of my comfort zone and hear new sound worlds by the other composers. Working with top-rate musicians is always a cherry on top too and I feel so lucky knowing they’ll be bringing my dots to life!

What three pieces of music would you have on your desert island?
This is difficult because if you were to ask me a month ago or in a month’s time, I would almost certainly give you different answers. It’s always changing! Currently, I would say Stravinsky’s Firebird for its masterfully crafted scale, Yoshimatsu’s Memo Flora for its beautiful economy of material and anything by Rachmaninoff as his music is responsible for my first deep dive down the rabbit hole of concert music.

What is the best snack? (We ask everyone this… its important research!)
For me, it would be cookies and/or biscuits. And in case there is any confusion, cookies are soft, biscuits are crunchy!

Born in Hockley, Essex, Matthew Elderton-Lewis (b. 2001) is a contemporary classical composer and conductor whose infectiously passionate personality and musical talent is continuing to emerge onto the contemporary classical and multimedia stage. With his style being described as both idiosyncratic and memorably melodic, Matthew started to gain recognition for his work after being awarded the MMus Prize for Outstanding Achievement for his postgraduate degree.

He has been composer-in-residence for Royal Holloway Picture Gallery, commissioned by Carla Rees for PLAY! Festival 2023 and Belle Quartet, and has received a number of performances and workshops by the likes of Catrin Finch, Ligeti Quartet, Phacelia Ensemble, Riot Ensemble, Chroma Ensemble, LCM Big Band and Royal Holloway Chapel Choir. As a media composer, Matthew has enjoyed a busy work schedule working on several adverts, scoring competitions, trailers and short films. Most recently he has completed contributing music to Paul G Raymond’s The Suicide (2025).

Learn more about Matthew on his website.