James McCarthy’s highly emotional and distinctive music has been broadcast and performed around the world. His music ranges from large pieces for choir and orchestra, to film scores and songs produced as a singer-songwriter, and what binds all of McCarthy’s music together is a fascination with storytelling.
James McCarthy was born in Rush Green, Dagenham, in November 1979, and grew up in Romford, Havering. He began piano lessons aged 6 and shortly after began improvising and composing music. He went on to study at Royal Holloway, University of London, and graduated with Bachelor’s and Master’s degrees in music.
He wrote two operas and numerous orchestral pieces in his twenties but it wasn’t until his first large-scale choral work, 17 Days, that McCarthy truly found his unmistakable musical voice. 17 Days went on to be performed several times in the UK and also in Wellington, New Zealand. And it began a series of hugely ambitious, large-scale compositions. It was followed by Codebreaker and Malala in 2014, and One Giant Leap in 2019. The critically-acclaimed Codebreaker was commissioned by Hertfordshire Chorus, has been performed around the world, and has been recorded by the BBC Concert Orchestra, Hertfordshire Chorus, Julia Doyle and David Temple. The album went straight in at No 7 in the UK Classical Charts.
Alongside his music for choirs and orchestras, McCarthy has been producing music for various film and television projects and, most recently, has begun releasing recordings as a singer-songwriter. These new recordings take him back to where he began – with just a piano, and a story to tell.
James McCarthy was born in Rush Green, Dagenham, in November 1979, and grew up in Romford, Havering. He began piano lessons aged 6 and shortly after began improvising and composing music. He went on to study at Royal Holloway, University of London, and graduated with Bachelor’s and Master’s degrees in music.
He wrote two operas and numerous orchestral pieces in his twenties but it wasn’t until his first large-scale choral work, 17 Days, that McCarthy truly found his unmistakable musical voice. 17 Days went on to be performed several times in the UK and also in Wellington, New Zealand. And it began a series of hugely ambitious, large-scale compositions. It was followed by Codebreaker and Malala in 2014, and One Giant Leap in 2019. The critically-acclaimed Codebreaker was commissioned by Hertfordshire Chorus, has been performed around the world, and has been recorded by the BBC Concert Orchestra, Hertfordshire Chorus, Julia Doyle and David Temple. The album went straight in at No 7 in the UK Classical Charts.
Alongside his music for choirs and orchestras, McCarthy has been producing music for various film and television projects and, most recently, has begun releasing recordings as a singer-songwriter. These new recordings take him back to where he began – with just a piano, and a story to tell.
'I gripped the side of my seat trying not to weep. And failed... Deeply moving to all those increasingly familiar with Turing's story and profoundly beautiful, illuminating and touching to those who are to discover him through this piece. A humanising communion with the spirit of a beautiful man. A man punished (in spite of his importance to all of us as a war hero, codebreaker and the father of modern computer science) for being alive in an intolerant time. This is a wonderful, personal tribute and unique perspective on an extraordinary man and his tragic story.'
Benedict Cumberbatch (Oscar-nominated for his portrayal of Alan Turing in the film The Imitation Game) who attended the world premiere of Codebreaker in 2014
'Great art isn't about economics. It's about the ambiguity and restraint of Gerhard Richter's September; the lyrical insight of James McCarthy's 17 Days, the breath-stopping horror of Jacobi's Lear, the exploration of personal landscapes of Akram Khan's Desh, the restless looking of David Hockney, or Lucien Freud. These works, these artists, some exalted, others setting out to develop their voices, tell us something about ourselves, about how we live and about what it is to be alive at this time.' Liz Forgan, Arts Council Chair, State of the Arts speech, 2012
'A deeply moving work that showcases the composer’s ability to craft sumptuous melodies and build powerful climaxes with a full chorus and orchestra...this was a powerful concert that will stay with me for quite some time.' Rosie Pentreath, BBC Music Magazine
‘Remarkably engaging...genuinely moving.’ Cara Chanteau, The Independent
‘Made performers and audience alike feel exalted.’ The Times
'You know you’ve struck concert gold when performers and audience are on their feet, rapturously applauding the composer, within seconds of the conclusion of a world premiere performance...Codebreaker is well deserving of further performances for the sheer theatricality of its story but also as a celebration of the art of one of our great young composers.' Rob Barnes, The Newcastle Journal
'McCarthy drew the story to an end with the Chorus's voices rising to a crescendo using the words of Sara Teasdale's "If Death is Kind"...and leaving us with the line "the dead are free" echoing in our heads and tears on our cheeks.' Laura Enfield, St Albans Review
Benedict Cumberbatch (Oscar-nominated for his portrayal of Alan Turing in the film The Imitation Game) who attended the world premiere of Codebreaker in 2014
'Great art isn't about economics. It's about the ambiguity and restraint of Gerhard Richter's September; the lyrical insight of James McCarthy's 17 Days, the breath-stopping horror of Jacobi's Lear, the exploration of personal landscapes of Akram Khan's Desh, the restless looking of David Hockney, or Lucien Freud. These works, these artists, some exalted, others setting out to develop their voices, tell us something about ourselves, about how we live and about what it is to be alive at this time.' Liz Forgan, Arts Council Chair, State of the Arts speech, 2012
'A deeply moving work that showcases the composer’s ability to craft sumptuous melodies and build powerful climaxes with a full chorus and orchestra...this was a powerful concert that will stay with me for quite some time.' Rosie Pentreath, BBC Music Magazine
‘Remarkably engaging...genuinely moving.’ Cara Chanteau, The Independent
‘Made performers and audience alike feel exalted.’ The Times
'You know you’ve struck concert gold when performers and audience are on their feet, rapturously applauding the composer, within seconds of the conclusion of a world premiere performance...Codebreaker is well deserving of further performances for the sheer theatricality of its story but also as a celebration of the art of one of our great young composers.' Rob Barnes, The Newcastle Journal
'McCarthy drew the story to an end with the Chorus's voices rising to a crescendo using the words of Sara Teasdale's "If Death is Kind"...and leaving us with the line "the dead are free" echoing in our heads and tears on our cheeks.' Laura Enfield, St Albans Review