With her distinctive and intensely striking sonic language, Berlin-based British composer Rebecca Saunders is a leading international representative of her generation. Born in London, she studied composition with Nigel Osborne in Edinburgh and Wolfgang Rihm in Karlsruhe. Saunders pursues an intense interest in the sculptural and spatial properties of organised sound. chroma I - XX (2003-2017), Stasis and Stasis Kollektiv (2011/16) are expanding spatial collages of up to twenty-five chamber groups and sound sources set in radically different architectural spaces. insideout, a 90-minute collage for a choreographed installation, created in collaboration with Sasha Waltz, was her first work for the stage and received over 100 international performances. Most recently in 2017, Yes, an expansive 80-minute spatial installation composition, was written for Musikfabrik, Donatienne Michel-Dansac and Enno Poppe for the extraordinary architectural spaces of the Berlin Philharmonie and the St. Eustache Cathedral in Paris. Since 2013, Saunders has written a series of solos and duos for performers with whom she has collaborated closely over many years, including Bite (2016) for bass flute, Aether (2016) for bass clarinet duo, dust (2017/18) for percussion, O (2017) for soprano, hauch (2018) for violin, and Flesh (2017/18) for accordion. She has simultaneously pursued her keen interest in works in the concertante form, writing a double percussion concerto Void (2014), a trumpet concerto Alba (2015), and both Skin (2016) and Yes (2017) for soprano and large ensemble. Alba and Void marked the close of a triptych of works which also includes the violin concerto Still (2011). In 2016, her extended violin concerto Still (2011/16) was performed in collaboration with the choreographer Antonio Rúz, the dancers of Sasha Waltz & Guests, Carolin Widmann, the Junge Deutsche Philharmonie
Saunders' music has been published by Edition Peters since 1997.