Increasingly in demand as a composer, Zoë’s work has been performed at leading venues including festivals at Aldeburgh, Cheltenham, Spitalfields, Dark Music Days (Reykjavik), MORS and Sonic festivals Denmark, FIM Luque (Andalucia) and Oviedo (Spain); Kings Place London, Linbury Studio Royal Opera House, Opera Holland Park and Wigmore Hall; in the US: 92Y New York City, Iowa University and Tanglewood Contemporary Music Festival.
Her music has been performed by internationally renowned solo artists and ensembles including: – Nicholas Daniel (oboe), Mark Simpson (clarinet), Huw Watkins (piano), Riot Ensemble, Lucy Schaufer (mezzo), Heloïse Werner (sop) and ensemble, Birmingham Contemporary Music Ensemble, Lore Lixenberg (mezzo) and Rolf Hind (piano) with festival ensemble, Anssi Kartunnen (cello), Tim Gill (cello) and David Gompper (piano), Alessandro Fisher (tenor) and Lana Bode (piano), and London Sinfonietta.
Recent/upcoming commissions include an audience interactive work for London Sinfonietta and large young ensemble, premiered at “Sound Out” festival Royal Festival Hall; “kiss kiss” for Onyx Brass Ensemble recorded for NMC; horn and electronics piece for Ben Goldscheider for Southbank London and Camerata Pacifica festival in California ’24; cabaret song cycle for Claire Booth (soprano) and Chris Glynn (piano) for Wigmore Hall 2024.
She was a 2022 Women Make Music artist, supported by the PRS foundation. Her works are recorded on Meridian, Non Classical, October House and Albany records, and some published by Schott.
Scores are available to purchase from Schott or directly from Zoë as indicated in the catalogue.
For info on upcoming performances, please click here and scroll down to “Events”.
“dazzling ” Classical Music Magazine
“nuanced, layered vignettes, expertly rendered ” Musical Opinion
“The most moving of these tributes was the one furthest from Knussen’s own style: Zoë Martlew’s mostly electronic O-lude, based on scraps of Knussen’s own voice recorded in rehearsal, overlaid with what sounded like a scratchy old recording of luminous chords from his 2nd Symphony. For a moment his shade seemed to be with us.” Daily Telegraph
“Fittingly, however, all was eclipsed by a ghostly collage put together by his companion, Zoë Martlew, that incorporated a tape of his voice — still haunting the festival where he inspired so many memorable performances.” The Times
“laugh-out-loud funny piece of musical theatre; Zoë Martlew’s Kiss Kiss. Here the vocal, breath and body sounds provide proper silliness” Classical Music Magazine
“set a pace that nearly set the floor on fire.” Independent on Sunday
“Martlew’s works have been drip-fed into the light of day; this reveals a voice that needs to be heard. We need fun, and we need depth. Rarely do these come at once these days; the piece is beautifully constructed and deeply funny” Seen & Heard International
“ …. caught Knussen’s free-spirited wit. So, too, did Zoë Martlew’s O-lude, a mini-drama featuring his trademark can of Diet Coke, baton and taped recording of his voice in a rehearsal with another composer recently departed, Harrison Birtwistle.” Guardian
“staggeringly beautiful, a complete jewel of sonic theatre that will resonate in my mind for months to come.” Helen Wallace, Artistic Director/CEO Kings Place London
“Not since Thomas Adès’ Powder Her Face have I heard anything so gleefully tawdry. Fabulous.” Simon Cummings, 5:4
“music that rises to a plangent emotional peak ” Wall St Journal
“Electrifying ” KQED – USA
“Decidedly fun ” Birmingham Post