Biography
Finlay Grimsley Graham (b. 2005, he/him), is a composer from Asheville, North Carolina whose work is inspired by nature, spirituality, and the lived emotional experience. Coming from a diverse musical background spanning genres from the classical orchestra to pop, he has studied piano in both jazz and classical contexts, as well as classical percussion and clarinet.
Graham’s music incorporates ideas of range, rhythm, and physicality. He aims to be both visceral and relatable in his approach, emphasizing the role of music as a connective fabric between lived experiences. He has a sizable body of work for the percussion ensemble and piano, though he considers himself instrumentally versatile.
Graham is currently enrolled at Oberlin College and Conservatory studying Music Composition, Neuroscience, and Hispanic Studies with a minor in Music and Cognition. He currently studies Composition under Stephen Hartke and Michael Frazier. Graham’s interests outside of music include running, poetry, teaching, whitewater kayaking, and backpacking.
Education
Royal College of Music
Master of Music in Composition
Conservatorio di Santa Cecilia
Bachelor of Music in Composition
Recent Achievements
International Composition Prize
2023Awarded for outstanding contribution to contemporary classical music
London Symphony Orchestra Commission
2023Commissioned to write a new work for the 2024 season
Composer-in-Residence
2022European Chamber Music Festival
Royal College of Music Fellowship
2021Honorary fellowship for contributions to composition
Compositional Philosophy
Music should be both intellectually engaging and emotionally resonant, creating spaces for contemplation and wonder.
My approach to composition is rooted in the belief that music can serve as a bridge between the rational and the intuitive, the familiar and the unknown. Each piece begins with a question or an image, often drawn from the natural world or from moments of profound human experience.
I am particularly drawn to the concept of musical time as something fluid and malleable, where moments can expand or contract based on their emotional weight. This leads me to explore extended techniques, unconventional forms, and the integration of silence as an active compositional element.
The relationship between performer and audience is central to my work. I strive to create pieces that offer both technical challenges for the musicians and accessible entry points for listeners, regardless of their musical background.