studied at the Guildhall School of Music and Drama as well as London’s Royal Holloway. Her music has been performed by internationally acclaimed ensembles, including the New York Philharmonic, Ensemble intercontemporain, and the Tokyo Symphony Orchestra, at festivals such as Ultima, Présences and Warsaw Autumn. Davies’ work has been inspired by sources as diverse as Zaha Hadid (the Spiral House in The Hague) and Anselm Kiefer (Falling Angels). Her fascination with the troubadours is reflected in Troubairitz, a song cycle from 2010. Between Worlds, a response to 9/11 with a libretto by Nick Drake, premiered in 2015 at English National Opera (directed by Deborah Warner) and delivered a British Composer Award. Recent works include Re-greening for large singing orchestra (for the National Youth Orchestra of Great Britain) and Forest, a concerto for four French horns premiered by the Philharmonia under Esa Pekka Salonen. Cave, a second operatic collaboration with Drake, was premiered in 2018 by Mark Padmore, Elaine Mitchener and the London Sinfonietta. Davies is an associate professor of composition at the Jacobs School of Music, Indiana University. 

Selected works: Gin Trap for chamber ensemble (2001), Loopholes and Lynchpins for piano (2001), Arabescas for oboe and piano (2002), Inside Out I for trumpet, two electric guitars, Hammond organ, clavichord and double bass (2002), Fern for instrumental ensemble (2003), Greenhouses for male voice, soprano saxophone and percussion (2003), make black white for four violas (2004), Residuum for violin, cello, and strings (2004), Iris for soprano saxophone and a 15-strong ensemble (2004), Neon for an ensemble of seven instruments (2004), Spiral House for trumpet and orchestra (2004, rev. 2006), salt box for instrumental ensemble (2005), Dark Ground for percussion (2005), Tilting for orchestra (2005), Contraband for harpsichord and ensemble (2006), Falling Angel for 17 performers (2006), The Oven in the Underworld for children’s choir and piano (2006), grind shaw for flute, clarinet, prepared piano with electronic sound processing, violin, cello, electronics and CD (2007), Kingpin for orchestra (2007), Adorned for strings and bass clarinet (2008), grind show for chamber ensemble (2008), Hinterland for chamber ensemble (2008), Rift for orchestra (2008), Forgotten Game 2 for oboe and piano (2009), Static and This Love for tenor and piano (2009), As with Voices and with Tears for choir and strings (2010), Wild Card for orchestra (2010), Christmas Eve for choir (2011), Delphic Bee for wind nonet (2012), Nature for piano and orchestra (2012), Song of Pure Nothingness for voice and keyboard instrument (2013), The Beginning of the World for strings (2013), Between Worlds, opera (2014), Re-greening for choir and orchestra (2015), Song of Pure Nothingness for mezzo-soprano / countertenor with piano (2015), Forest, concerto for four French horns (2017), Antenoux for ensemble (2017), Dune of Footprints for string orchestra (2017), Cave, chamber opera in eight scenes for mezzo-soprano, tenor, ensemble and electronics (2018), What Did We See?, orchestral suite from the opera Between Worlds (2018), The rule is love, a song cycle for contralto and chamber ensemble (2019), Soul Canoe for chamber ensemble and 10 performers (2019), Plumes for orchestra (2019), Nightingales: Ultra Deep Field for string quartet (2020), Grand Mutation for violin, French horn and piano (2020), Yoik for one or more French horns (2020), Yoik II for flute (2021), Monolith: I Extend My Arms for strings and percussion (2021), Stone Codes for percussion and ensemble (2022), glider for bass clarinet and ensemble (2022), The Ice Core Sample Says for mezzo-soprano and piano (2024), Canopies of Liquid Light for chamber ensemble and fixed audio (2024).