Cassandra Miller

Miller studied with Christopher Butterfield at the University of Victoria (2005) and at the Royal Conservatory of the Hague (2008) with Richard Ayres and Yannis Kyriakides before studying privately with Michael Finnissy in 2012.[6]

Miller returned to academic research in 2014, as a PhD candidate at the University of Huddersfield, supervised by Dr Bryn Harrison and supported by the Jonathan Harvey Scholarship.[7]

Miller's music has been commissioned and performed by orchestras including BBC Scottish Symphony Orchestra,[8] the Oslo Philharmonic,[9] the Toronto Symphony Orchestra[10] and the Winnipeg Symphony Orchestra.[11] Ensembles who have performed her work include EXAUDI Vocal Ensemble, the London Sinfonietta,[12] I Musici de Montréal, Ensemble Plus-Minus, Ensemble contemporain de Montréal, and Continuum Contemporary Music.

She has ongoing artistic relationships with the soprano Juliet Fraser[13] and the Canadian string quartet Quatour Bozzini, for whom she wrote the pieces About Bach (2015),[14] Leaving (2011), Warblework (2011) and Just So (2008/2018). These four works were released as an album by the label Another Timbre in 2018,[15][16] alongside a second album of her orchestra and ensemble music.[17]

From 2010 to 2013, Miller also was artistic director of the concert series "Innovations en concert" in Montreal.[2][18] Miller moved to London to take up the post of Associate Head of Composition (Undergraduate) at the Guildhall School of Music and Drama in September 2018.[19]

In March 2023, her viola concerto, I cannot love without trembling, was premiered. This piece was commissioned by violist Lawrence Power, BBC Radio 3, Canada's National Arts Centre Orchestra, and the Scottish Chamber Orchestra.[20][21]

Miller often bases her work on pre-existing music, for example: a computer transcription of Kurt Cobain singing the folk song "Where Did You Sleep Last Night?", in For Mira (2012), written for violinist Mira Benjamin,[15][22] a recording of Maria Callas singing "Vissi d’arte" from Puccini's opera Tosca in Bel Canto (2010),[12] and a recording by Mozambican mbira player Zhukake Masingi in Philip the Wanderer (2012).[23][24]

Her work takes these transcriptions as starting points, investigating her response to the music through processes of repetition and looping.[23] Often the source material is unrecognisable in Miller's finished works.[15]

Her works employ musical notation, but also sometimes recordings of the source music, which performers learn by memory, such as a recording of the blues singer Maria Muldaur, which Miller uses in her piece Guide (2013).[25]

• I cannot love without trembling (2022) for viola and orchestra
• La Donna (2021) for orchestra, commissioned by L'Auditori from Barcelona
• Round (2017) for orchestra, for the Toronto Symphony Orchestra[26]
• Tracery (2017–2018) for voice and tape, in collaboration with Juliet Fraser
  • Tracery : Hardanger (2017)
  • Tracery : Lazy, Rocking (2017)
  • Tracery : The Slits (2017)
  • Tracery : attending to a task (2018)
• Traveller Song (2017) for ensemble, for Plus Minus[27]
• About Bach (2015) for string quartet
• Duet for cello and orchestra (2015) for Charles Curtis and the BBC Scottish Symphony Orchestra at Tectonics Festival
• Guide (2013) for vocal ensemble, for EXAUDI
• Philip the Wanderer (2012) for piano
• For Mira (2012) for solo violin
• Leaving (2011) for string quartet
• Warblework (2011) for string quartet
• Bel Canto (2010) for mezzo-soprano and ensemble
• A Large House (2009) for orchestra, for the Janácěk Philharmonic at the Ostrava New Music Days
• Just So (2008/2018) for string quartet
• O Zomer! (2007) for the Asko Ensemble
• Orfeo (2006) for ensemble
• Dry Bones (1998), for eight timpani, bass drum, viola and cello[23]
• Through night and day and in and out of weeks and almost over a year (1998) for two recorders, prepared cello and three prepared double basses[23]