Crystalla Serghiou composes music in both pop and classical styles, and she also works hard to fuse the genres. She explains how genre-blending is a reflection of her wide interests, all of which stimulate her.

When writing pieces for the National Youth Choir, Crystalla has taken inspiration from both her Cypriot upbringing, and her fascination with yodelling. She discusses writing music to suit different groups within the NYC and balancing fun with challenge.

Crystalla collects ideas in voice notes on her phone. She says she’s a perfectionist at heart, and has had to learn to accept more imperfections as she’s developed as a composer. She says it’s sometimes alright to start by writing, and come up with the meaning of the work later.

Jacob Fitzgerald is a composer of contemporary music. A piece Jacob wrote whilst studying music at school has been on the Trinity College London grade 8 piano syllabus. He explains how that came about, where the idea started and the response it’s had online.

Jacob discusses the programming of living composers’ music in concerts. Whilst he’s appreciative of opportunities, Jacob says sometimes it can be frustrating to be a token piece of new music.

Jacob says he tries to start writing music by hand, before inputting it into a computer. He says he composes quickly and doesn’t make many revisions of each piece.

Frankie Archer is an electrofolk artist who blends traditional music with synths and electronics to create a truly distinctive sound. She says she didn’t set out to necessarily create electrofolk music at first, but to bring together her interests.

Frankie explains how she comes across tunes and stories to work with and the process she goes through to make them her own, often starting by plucking melodies on her fiddle.

Frankie suggests the reason folk music contains lots of sad stories may be a reflection of people’s obsession with drama and gossip.

Frankie describes how she involves audiences in her live gigs, using special MIDI (musical instrument digital interface) controllers, and explains where the idea for that began.

David Lancaster is a composer and associate professor of composition at York St John University. He says while he writes a wide range of music, all of his work is related and each piece is a chip off a bigger block.

David constantly has a list of musical ideas queuing up, waiting to be written. He lives in York and he discusses how some of his ideas come from the city’s architecture, not least York Minster, and the stories of people who have lived in the city through history.

David describes the process he goes through when writing a new piece: often starting with the structure, then collecting material and developing ideas in a sketchbook before stitching them together. And David explains the joy he gets out of working together with performers.

Sharneisha Joyner is a composer based in North Carolina. She explains how she first got into composing for video games, and the difference between writing for games and film. She says starting with a blank sheet of paper can be frightening, but she draws inspiration from listening to a wide range of music as well as day to day life.

Sharneisha’s music has also been inspired by political events. She tells us how Donald Trump’s first presidential victory inspired her to write a requiem for America, and apply to transfer to the UK.

One of Sharneisha’s most formative musical experiences was playing in her school’s marching band. She gives us an education in American marching bands, and describes the practical requirements when writing music for them.

Paul Mealor is one of the world’s most performed living composers. He’s written music for many national occasions, including King Charles’ coronation. Paul explains how ‘Coronation Kyrie’ came into being, and how he marks the anniversary of the coronation each year.

Much of Paul’s output is choral music, and he talks about the challenges of setting text. Paul says some poets speak to him musically, and others don’t, even if he enjoys reading their work. He also describes the emphasis he places on craft, ensuring lines are practical.

He also describes the influence of growing up singing in St Asaph Cathedral in Denbighshire, his composition lessons with William Mathias and his time studying at the University of York.

Anna Appleby is a composer and professor of composition at the Royal Northern College of Music. Explaining her creative process, Anna says music often starts in either her body or voice, or it comes from the environment around her. She explains how the music she hears contributes to her creative output, and the role synesthesia plays in her relationship with sound.

Anna’s performer alter-ego is Norrisette. We find out how she found this voice during the Covid-19 pandemic whilst working on an opera for the BBC Philharmonic set on a fictional farm.

Anna also describes how important she finds restrictions, and the role of collaboration with performers, when commissioned to write new works. And she discusses the differences between writing for professional and leisure-time musicians.

Hello! This trailer features some of our first guests, with episodes coming your way weekly from Sunday 18th January 2026.