Harmonizing Heritage: Des Oliver and the Windrush Opera's Impact on Classical Music! 

Interview by Gina Sedman | The Indie Post Magazine Head Editor 

In the vibrant landscape of contemporary classical music, Des Oliver's voice stands out with remarkable power and depth. As a composer of Jamaican heritage, Des weaves a rich tapestry of cultural influences into his work, exploring the intricate relationship between identity and tradition through music. Now based in Oxford and having spent years in London, he reflects on his journey, shaped by the vibrant stories of his childhood and the legacy of the Windrush generation.  

In this insightful conversation, we uncover Des's evolution as a composer, tracing his early musical encounters to his groundbreaking projects pushing classical music's boundaries. His innovative approach has garnered significant acclaim and ignited essential discussions about representation and diversity within the genre. Notably, his, Windrush Opera highlights his commitment to honoring the stories and contributions of the Windrush generation, blending cultural narratives into the fabric of classical music. We delve into Des's inspirations, his academic journey, and the significance of his collaborative works, unveiling a storyteller who creates not just music but narratives that resonate profoundly with our shared human experience. I was blessed with the opportunity to interview this amazing musical composer, and here’s what he shared with me. 

Gina: Hi, Des! How are you doing? 

Des: I'm good, Gina. Good to meet you. 

Gina: Great to meet you as well, Des. It's an honor to interview you. You’ve achieved so much, and I’m so proud of you. To start, where are you originally from, and where do you currently reside? 

Des: Absolutely! Right now, I’m living in Oxford, which is such a lovely place. I spent most of my adult life in London, diving into music and studying at two conservatoires, which was intense. 

People always said I’d never experience the composer’s life in cozy cottages, and while that felt like a dream, I’ve found myself living a bit of that life now. So, here I am! 

My roots are Jamaican. My grandparents, along with their nine children, moved to the UK in the 1950s from a place called St. Catharine’s, not far from Kingston. I talked to my aunt about this recently because, as you may know, it was common during the Windrush era (from around 1948 to the mid-70s) for families to come over and sometimes leave their children behind in the Caribbean. Some of those kids ended up spending years apart from their parents before they could be reunited. My aunt shared some of her own experiences, especially after attending a recent performance of scenes from the Windrush Opera. Hearing her stories was eye-opening and moving. 

Many young kids left their beautiful, sunny homes for a challenging life here, all while dreaming of the British Empire as a land of opportunity, only to find a very different reality waiting for them. So, that’s a bit about my background. My mom’s side is English, so I’m a mix of both, but I like to identify more with my Jamaican heritage. 

Gina: Thank you, Des, for sharing your incredible heritage. What inspired you to pursue your current path as a composer? When you reflect on your childhood, do you notice any moments that guided you toward this journey? 

Des: Well, Gina, people usually ask me about composing with a focus on classical music, which is my main area, but my journey has two parts. I discovered music at a young age, especially the desire to create music, to write lyrics, and make up songs—even before I could play an instrument or read music. 

I came to classical music relatively late. I was probably around 13 or 14, which sounds young, but in the classical world, many start at five or so. I had some catching up to do, and honestly, my introduction to it was more accidental than planned. 

There were a few key moments. One day, I wandered into the music room—maybe I was headed to the bathroom—and heard this incredible sound. It was a choir, and it just transported me. I knew I wanted to be part of that. Another moment was at my local library, which didn’t have a huge music collection, mostly classical. Without a library card, I admit, I “liberated” a couple of tapes that caught my eye because of their unusual album covers. One had a painting by Gustav Klimt of a woman with a snake around her arm. The music on it was by Gustav Mahler, and it was unlike anything I’d ever heard—long, symphonic, with no singing, just this incredible orchestral landscape. I wanted to understand it. 

So, I started making mix tapes of the music I was listening to at the time. I’d go from old-school hip hop to early house music, then to Bach and Tchaikovsky. To me, it all fit together, creating a unique musical journey. Eventually, I learned trumpet and piano. Once you get the music bug, you just keep going. As you know as a musician, you just want to do it all the time. That drive hasn’t stopped for me; it’s almost like a kind of "sickness." 

Gina: I completely relate, Des. I’m navigating the same challenges as you and many other creatives, so I genuinely get it. This struggle is woven into your identity. I have a question: As a young man exploring diverse sounds and styles, did your friends understand your perspective? Or did you end up retreating into solitude to carve out your niche? 

Des: That’s such an insightful question, Gina. Honestly, no one has ever asked me that before. When I first discovered all of this, it felt like a secret, and I quite enjoyed that. It was something special I didn’t necessarily want to share right away. 

There was also a shift around that time. I had moved from an area that was very diverse, with many Black people and others with dual heritage, to somewhere different. This change coincided with my discovery of classical music. Back then, some kids might see a choir and think it looked odd if they hadn’t experienced it before. But for me, discovering this “geekiness” felt special. At first, it was maybe a bit embarrassing, but the excitement outweighed that. 

Over time, the “geekiness” became cool to me. Recently, I reconnected with some people from that community—a working-class area in the UK. Their kind words about my journey meant a lot. 

In classical music, there’s a significant legacy of Black artists—singers, performers, composers—but you’re often in the minority unless you find a community. I found that later, through a documentary I created called Identity and the Anxiety of Influence, where I explored whether other Black composers had similar experiences. 

That documentary opened connections with others blending unique influences into classical music. Some, like Tunde Jegede, incorporate West African elements, while others, like Dominique Le Gendre, blend Caribbean influences. This sparked conversations around identity, especially in a genre like classical music with its complex history of cultural appropriation—sometimes borrowing with respect, other times not. 

Some composers shared how their work, which integrated African diasporic influences, was labeled as “crossover” rather than “pure” classical music, even though it followed classical traditions. Discovering groups like the Chineke!  Orchestra, Europe’s first majority Black orchestra led by  Chi-chi Nwanoku OBE, and the Pegasus Opera Company, was part of my journey. 

My collaboration with Pegasus Opera, under the visionary leadership of their artistic director, soprano Alison Buchanan, alongside the talented librettist and playwright Edson Burton MBE, has been especially impactful for me. 

It’s been a reflective, almost therapeutic experience, raising questions around identity, influence, and purpose—why am I telling these Black stories in a medium not traditionally associated with Black culture? This project has been one of the standout experiences in my career as a composer. 

Gina: That’s wonderful to hear, Des. And thank you so much for sharing insights about your journey into classical music. I also believe it’s wise to protect your vision from those who might diminish it. When you know where you want to go, it’s essential to shield yourself from distractions and naysayers. I admire the way you looked behind the closed door to see if an enchanted world was waiting—and it seems you’ve indeed found part of your purpose. 

Often, when you aim to break into a less conventional field, you feel the need to prove your worth—not only to others but to yourself. Bringing something new and fresh to a longstanding tradition can be challenging in any field—whether it’s gymnastics, golf, or tennis—where people of color introduce groundbreaking contributions. Often, it’s perceived as “different” or “unconventional,” but it’s really about innovation and authenticity. 

What did you tell yourself as you stepped into this industry about the unique mark you’d make? 

Des: That’s an interesting question, Gina! It would be nice to say I immediately knew my mission, with a clear purpose from day one. But honestly, that wasn’t my journey. In the beginning, I felt a pull to seek acceptance and perhaps even downplayed the influences I wanted to bring into my music. 

I remember years ago, during a composition lesson, I described a piece I wanted to write blending orchestral elements with reggae.  My teacher laughed, genuinely thinking it was absurd, and in that moment, I felt as though my ideas were being dismissed as ridiculous. 

Des: Over time, I realized that this fusion—the coexistence of seemingly distinct musical worlds—was integral to my identity. Reconciling these influences to create something unifying became my mission. This discovery allowed me to understand that it’s okay to be different and to bring unique elements to the table. But, of course, there are other anxieties. For instance, with the Windrush Opera, which draws from 1940s calypso music, I didn’t grow up with that genre, and part of me questions my place in telling that story. Am I the right person to represent Windrush? 

The process brings a productive sense of panic. That anxiety brings diligence and sensitivity, especially when representing historical narratives. Without that sensitivity, I feel the work might lack depth, and honoring that responsibility is crucial to me. 

Gina: You know, Des, I admire those who embrace their individuality and venture into the unknown with a positive spirit. You have truly exemplified this. You are the perfect storyteller, fueled by your passion and equipped with the resources to make your vision a reality. It's truly inspiring. Now, let’s delve into the topic of education. I’d love to hear about your academic journey, particularly your experience studying composition at the Guildhall School of Music & Drama under the guidance of Robert Saxton and Simon Bainbridge. 

Des: Certainly, Gina. Robert Saxton is a notable British-Jewish composer and a prominent figure in the British contemporary classical music scene. He studied under the distinguished composer Benjamin Britten and was my first composition teacher. His approach focused heavily on the “whys” of composition: why you’re writing something, what each idea aims to convey, and how it might evolve. He emphasized planning, which is crucial in classical composition, where pieces are often lengthy and complex. This focus on structure and intention was foundational, and his humor added a unique dynamic to our lessons. 

Simon Bainbridge, another influential teacher, was a kind and gentle presence. He sadly passed away a few years ago but left a lasting impact. He had a quiet approach to teaching. At a younger age, I found it surprising, as I was accustomed to more direct instruction. Our sessions involved a lot of silence, which I later realized was his way of encouraging me to initiate discussions about my work. Bainbridge had explored various sub-genres of classical music, including minimalism and serialism, and this broad perspective greatly enriched my learning. 

Studying at Guildhall was like stepping into the TV show Fame, with musicians and actors all around, though in reality, we rarely interacted, as musicians often spent hours in practice rooms. Both Saxton and Bainbridge set me on a unique path, each in their own way, helping me sift through diverse influences to find what resonated most with my artistic journey. But it took time to sort that out. 

Gina: Of course! I also recall Fame. Soul Train and Fame were among my top TV shows. Attending a school filled with creative minds must have been incredibly fulfilling—I can only imagine. Thanks for sharing that, Des. Now, I’d love to hear about your scholarship win at the Royal Academy of Music and about Steve Martland. 

Des: Steve Martland was a different kind of composer. Our first lesson wasn’t at the Academy; I went to his house, but he left a note saying, “I'm in the cafe down the road.” So, I found him there, reading The Guardian newspaper. We spent hours talking politics, and I thought, “What does this have to do with composition?” But I eventually realized this was the real stuff. As an artist, you need to speak to the world. 

Young artists often talk about personal experiences, but as you grow, you start to turn mirrors into windows. You realize that sometimes the best way to say something is by looking outward. Steve was a groundbreaking composer—known as the “rock minimalist”—and a hardcore socialist. His influence didn’t sink in right away, but years later, I still hear his words, like “ghosts of the past,” whenever I’m stuck on something. 

Gina: What an incredible story, Des! I love how you shared that real-life experiences shape our compassion. Artists and writers risk running out of inspiration if they limit themselves to personal narratives. By stepping outside our personal boundaries, we can connect with people from all walks of life. Thank you for that insight! Now, I’d love to hear about some of your collaborative projects.   

Des: Towards the end of lockdown, the Bach Choir commissioned me to write a piece in response to Bach’s Saint Matthew Passion. The idea was to create a piece inspired by just a small section of a choral fragment. I wrote Dreams in the Garden of Love’s Sleep, inspired by a biblical story where Jesus ascends a mountain, and the disciples fall asleep, only to awaken to his frustration. I imagined what they might have been dreaming about, crafting a piece that captures that dream state and the intrusion of reality. 

Another recent piece was for a brilliant Chinese accordionist named Mingyuan Ruan, titled Iconoclast, dedicated to Steve Martland. The accordion wasn’t an instrument I ever expected to compose for, but it forced me to overcome a “sonic bias” and discover a new world of sound. It was a wonderful project, and she’s an incredible performer. 

And a little bit more recently, just shortly after that I was selected as a Jerwood Composer working with the players from the London Symphony Orchestra. Once of the pieces I wrote is entitled The Diasporic Quartets, which is a string quartet in four movements (sections). And each one was dedicated to the four composers that I had previously interviewed on the documentary series that I did. So, they were like tribute pieces to kind of each of the composers, because as you know, sometimes when you conduct an interview or you're filming people and you're sitting and watching. 

It's like there's this sort of, almost therapy-like connection that just happens between you and the person you're interviewing, and I felt like maybe there's something more to explore here than just the documentary filmmaking. There's some artistic thing to say about that interaction. 

Gina: That's wonderful, Des! I've come across a few pieces from your collection, and you are remarkable! I'm thrilled that others recognize your worth because you truly deserve every opportunity that comes your way. I understand that you also teach—let's dive into that! 

Des: Well, Gina I used to teach at the ACM Academy of Contemporary Music, but that was a while ago, maybe around 10 years ago. How time flies. But I taught there for a long time, and it was a rock and pop school. I was teaching music production. And working with popular musicians and that was an amazing experience. I learned so much. Working with young producers has taught me that the challenges of music creation are fundamentally the same for both producers and composers. And you know we all have the same artistic creative challenges to overcome in that way. So, I learned I It was a very valuable experience. But presently I teach at Oxford. 

Gina: That's fantastic, Des! I have a question that's been on my mind for a while, especially when it comes to classical music. You know how some pieces are incredibly intricate, almost reminiscent of the work of Miles Davis? He really elevated jazz to new heights, often embracing a raw, unrefined sound where musicians might not even bother to tune their instruments. It creates this incredible atmosphere, doesn’t it? What I've always been curious about is the process of naming a piece of instrumental music. When you give a composition a title, how do you determine what it should sound like? For example, if I asked you to create a piece inspired by the phrase "traffic backed up on the M1," how would you go about it? What kind of emotions or sounds would you associate instrumental music with that title? 

Des: Well, Gina, I think there were really two main ideas in what you mentioned. One focused on form and structure, and the other explored the abstract relationship between words, music, and ideas. 

Starting with form, as you noted, listening to artists like Miles Davis or some classical music, we see extended pieces and unique forms that always tell a story. In film music, for instance, a composer is given a narrative to structure their music around—the visuals, emotional undertones, and nonverbal cues all guide how the music integrates. Concert music works similarly, but with composers bringing their own stories. Sometimes, these are clear, programmatic stories they’ve outlined, while other times, they're more abstract, centered on color, texture, or emotional flow. Personally, I often experience music through synesthesia, seeing colors and textures that blend with emotions, sometimes even envisioning sounds as characters or interactions. 

As for the abstract connection—like linking a piece to the idea of a motorway—every composer interprets differently. There are obvious sonic responses, like imitating traffic or road sounds, but that might feel too literal. Instead, I might focus on the energy of speed, traffic jams, or even breaking the speed limit, weaving in subtle motorway elements only peripherally. I’d avoid a direct replication since no one wants a reminder of a real traffic jam! 

Gina: Well Des, I'm sorry but I must break the news to you in an easy way and that is that I think you are absolutely brilliant! 

Des: Thank you, Gina. 

Gina: My pleasure and thank you for just simply being brilliant! Somehow, I feel that I’m interviewing another “historically great figure” that the next generation will be reading about in the future. Now Des, let's talk about what you're doing right now. What beautiful creative things are happening in your life right now, and what are you working on for 2025? 

Des: Thank you, Gina. So, at this moment, I’m working still on the Windrush Opera. So, what happened was Pegasus Opera Company and the Royal Liverpool Philharmonic Orchestra toured the scenes a few months back, like quite a substantial portion. 

Operas take often quite a while to write because they're very long and it's just an awful lot of work for a composer. It's basically like making a movie in essence except you are the movie, yeah. In that way, it has been an absolutely brilliant experience. It was conducted by the pioneering Jeri Lynne Johnson, an American conductor who is the artistic director and founder of the Black Pearl Chamber Orchestra in Philadelphia. And she’s phenomenal.  

And after the back of the tour because it toured basically in lots of places in the UK, in Bristol, in Birmingham and Liverpool several times in London and basically some of the main places in the UK where many of the Windrush generation ended up moving to. 

So, I’m still coming out of the back of hearing some of the stuff, which is quite unusual. Normally, you write something, and then you hear played when the whole thing is complete.  It's like I wrote this big chunk, and it was performed, and it toured, and it was a very weird experience for me because it's like it's still in progress so. I’m now going back to that and so that’s what I’m doing at the moment. 

Gina: Well, Des! I think that is amazing! You know, it's really been a blessing talking to you. I've learned so much from you during this interview, and I think that's the beauty of what I do. I get a chance to meet so many different people doing so many wonderful things, but diverse. And, speaking of being diverse, what is something that you also enjoy doing that is separate from music that maybe some people may not know? 

Des: Wow, Gina, what a question. I don't know if there is to be honest. I cannot think of anything else to do besides work, it brings me joy. But I do love playing chess, I love science fiction, I love film, I love watching film. I think it's just it's such an elegant medium and probably it's quite kind of close to kind of music. I have like a little  dog who is like the light of my life and her name is “Peque.”  She's not here in the room now but she's a Tibetan Terrier.  

And she’s one of those small dogs that have the kind of grumpy face, and she’s adorable. I love going for walks with her which is kind of great because it gets me out of the house as well, you know. 

Gina: Awesome. And how can people find out more about you and what you are doing?  

Des: They can visit my webpage at https://www.hennesseybrownmusic.com/classical-musicians/des-oliver-composer 

Gina: Fantastic! I really appreciate you, Des, for opening up about your other hobbies that you dive into when you manage to step back from music. That’s truly inspiring! Now, I have one final question for you. What advice would you offer to aspiring artists, composers, producers, and filmmakers looking to break into your field of expertise? Is there any wisdom or insights you've gained that you’d like to share to encourage them? 

Des: There are so many things, Gina. I think a general industry tip and something that took me a while to figure out is that most people within the industry are quite happy for people to ask them for advice, and I think that often with young artists, it's something that they sometimes don't ask for advice. Now, that doesn't mean that if they speak to someone who’s maybe a bit more senior and more 'seasoned,' that person is going to change their world, but I think drawing from other people's experience is always useful. It takes courage to say, 'I don't know how to do this thing,' and it's often a very hard thing for people to do. 

And I think if you learn, I think to do that at a very young age, then actually as you get older, it becomes easier. If you don't do that when you're young, then you're going to grow up as the kind of person that just won't ask for help in that way. And I think any music industry that you're in, like you, it’s so much of it is about forging relationships in that way. 

Creatively, I think for young artists, it’s important to cherish the time you have to explore as much as possible and embrace the unfamiliar. The unique sound that is intrinsically yours will never disappear—it will only grow stronger the more you explore in different ways. And try not to worry too much about what others think! 

 Gina: That is so beautiful, Des. I love that you said, “Try not to care too much what others think.” I love that. Be uniquely you in your artistic creativity. Well said. It has just been such an honor and a privilege to speak with you today. My prayers are that God will continue to bless the works of your hands, be it done according to His will for your life, that the Lord will open major doors for you, that you will be blessed and protected wherever you go. I want you to know that I am so incredibly proud of you for every achievement, every milestone. You are a role model to so many people, including myself. I thank you for the wonderful, beautiful advice. It has been a wonderful, wonderful blessing to be able to interview you tonight and to tell your story. Thank you for that honor. 

Des: OH, that's lovely, Gina. Thank you. It's been great to meet you and to hang out. 

Gina: Thank you so much, Des. Same here! You’re awesome! You have a wonderful rest of your evening. Goodnight and God bless you. 

Des: Alright, take care.