Aurélie Webb is a British composer based in the UK and New York. Specialising in scores for film and live performance, her eclectic, original yet accessible work bears the influence of music as wide-ranging as American minimalism and Ralph Vaughan Williams, Radiohead and David Bowie. She was recently the subject of the first Composer Spotlight of the Women Composers’ Forum (now the
Alliance for Women Film Composers UK/ Europe). She is honoured to have been selected for the 2020 ASCAP Columbia University Film Scoring Workshop and the BMI Composing for the Screen Workshop.
'Frenzy', recorded as part of the BMI Composing for the Screen Workshop with the Sirius Quartet
Aurélie has worked with filmmakers and artists from across the world in various genres, also branching into animation, documentaries and literature-inspired concert music, as well as experimental dance. Following the Manhattan première in March 2019 of Consonance, a collaboration with choreographer Chaery Moon, Aurélieʼs original score in three contrasting movements received further performances when the piece was selected as part of both the Dumbo Dance Festival, Brooklyn, and the Your Move Modern Dance Festival, New Jersey. Today We Are, an animated short by Jillian Ostrander featuring Aurélie’s original score, received Honourable Mention at the Fusion Film Festival and was a finalist at the New Visions and Voices Festival, ASIFA Festival and the Dublin International Film Festival. Her new track Life can be heard on Isolation Textures, the debut album by Sister X. Her orchestral piece Nova, recorded with the Trackdown Studios orchestra in Sydney is due to for release in 2021 as is Frenzy, a hybrid piece recorded with the Sirius Quartet as part of the BMI Composing for the Screen Workshop.
Aurélie has composed for film genres as diverse as comedy, drama, mystery and horror, and she has a particular love of science fiction. She has recently completed work on the dramedy TV pilot Majestic 8, and How To Be An Artist, a compelling sci-fi short exploring what it means to be human. She is currently working on several commissions such as the coming-of-age short film Blueberry Island, and What Happened in Skinner, a 10 part mystery/ horror podcast series due for release in 2021.
Childhood songwriting and immersion in drama developed into combining Aurélie’s two great loves, film and music, into scoring for the screen. Drawing on her classical background, Aurélie’s style has been variously characterised as having foundations of ‘formidable skill and imagination’, ‘a beautiful modern melodic sense’, ‘lyric spontaneity’ and also as ‘neo-Baroque’. She often combines traditional string techniques with experimental electronics in her exploration of cinematic styles both traditional and modern, intimate and epic, including minimalism, post-minimalism and sound design, with a particular interest in combining old and new world sounds such as accordion, mandolin and synthesiser. Her work often heavily features the sounds of cello and viola.
With experience also in the narrative of theatre, including time at The National Theatre and The National Youth Theatre of Great Britain, Aurélie prioritises a sensitive and empathetic approach to musical storytelling which builds on her ‘ability to fuse classical influences and modern production, enabling her to engage with a diverse, growing community of listeners’. Her commitment to creative collaboration as the first principle of scoring for screen is paramount.
Remotely recording a Prague-based string orchestra from New York
Having graduated with a BA (Hons) in Music from the University of Bristol, UK, Aurélie also holds an MMus in Scoring for Film and Multimedia from New York University, where she studied under Paul Chihara and Chris Hajian.