Luke Faulker

Composer and Pianist

United Kingdom



Born in Shropshire in 1991, Luke studied piano and composition at Chetham's School of Music before attending Oxford University on an academic scholarship to read Music at Christ Church. Since graduating with "double" first class honours in 2013, he has been active as a composer and recording artist.

Luke's original compositions and recordings have been published by Halidon Srl (Milan) and Cavendish Music Ltd (London) and include six albums. In 2017 he was admitted a Fellow of the Royal Schools of Music (FRSM) with distinction, and in 2018 he became a YouTube Official Artist. To date, his recordings have been streamed over 15 million times.




What does music mean to you personally? 

A means of expressing and exploring when composing. A means of expressing and communing when performing. A means of being moved and inspired when listening.

Do you agree that music is all about fantasy?

Music alone is inherently non-representational. It can strongly allude to something - such as water in Ravel’s Jeux d’eau - but cannot represent a concept with the utility of words. At the same time, when listening to concert music we try to understand it, or at least connect with it in some way. Hence imagination steps in. In this sense, I suppose music can be a sort of fantasy.

If you were not a professional musician, what would you have been? 

A London fund manager with a mutual interest in music once offered me an internship and I enjoyed my time there.

The classical music audience is getting old, are you worried about the future? 

Will we still be playing Mozart in 1,000 years time? Probably not. Society is always evolving and tastes are always changing. It’s up to the individual musician how to respond to this, if at all. There is still a large demand for Classical music as it continues to resonate with many.

What do you envision the role of music to be in the 21st century? Do you see that there is a transformation of this role?

  The transformation is already under way. We consume music much differently now to 10, 20 years ago. In the 90s we’d pop into a CD store and weigh up whether we wanted to hear Ashkenazy or Horowitz play Chopin. Now their entire catalogues are in our pockets, and everything else besides. The result, as we are witnessing, is the ubiquity of music.

Do you think that the musician today needs to be more creative? What is the role of creativity in the musical process for you? 

Creativity is the fruit bearing tree. I wouldn’t advise less creativity. It is at the heart of everything a musician does whether interpreting a passage of Bach or writing an avantgarde masterpiece. Music isn’t a paint-by-numbers game.

Do you think we as musicians can do something to attract the younger generation to music concerts? How would you do this? 

TwoSetViolin are successful - a violin-centric Victor Borge act of the social media age, who seem to be experiencing concert success too. If you want to reach the younger generation, enter their smartphones.

Tell us about your creative process. What is your favorite piece (written by you) and how did you start working on it? 

When composing, I sit at the piano with my dictaphone switched on and improvise. Listening back, if I like what I’ve done, I’ll transcribe it and mould it into a composition. Occasionally compositions appear fully formed during improvisation, and these are often my best works as they are the least contrived. Daydreaming is a case in point.

Can you give some advice for young people who want to discover classical music for themselves? 

Find a comprehensive playlist that covers a wide range of Classical music. Listen through, taking note of every track you like. Once done, research the composers of those tracks. What other works did they write? Who are their contemporaries? What did they write? For example, I found a pocket of gold in Rachmaninoff and his contemporaries.

Do you think about the audience when composing?

Not so much when composing, but certainly when publishing. There are works I’ve withheld from publication simply because I doubted the audience would like them.

What projects are coming up? Do you experiment in your projects? 

This year I set myself the task of publishing a new composition every week on YouTube. These are to be organised across 5 studio albums, each with accompanying sheet music compilations. Two of these albums are to be New Age peaceful piano works, and I have experimented extensively with my piano and microphones to forge a warm and soft sound unique to these albums.