Alannah has caused people to think – something she, and her music, do brilliantly.’ (Mike Atkinson, The Amanuensis, 2016)

‘Alannah Marie Halay’s new commission, Air, Earth, Fire, Water, [Air, Earth, Water, Fire] featured an array of extended instrumental techniques that conjured some extreme sounds from the orchestra, […] conductor Tom Hammond carefully guided the young players towards sections of almost Romantic melody.’ (Martin Scheuregger, York Press, 2015)

Alannah Halay in person is very quiet. This sweet introverted exterior is in significant contrast to her The Ridge is Beyond the Edge. Described as ‘a state of limbo induced by the act of ‘waiting to wait’ within a timeline that is not straightforwardly linear’, Halay works with clocks and voices announcing time and counting in a thunderous and nightmarish composition which took me to the feverish place of not sleeping. I loved this full frontal snapshot of psychosis.‘ (, 2014)

The most forceful one for me was Dry Veins, which begins and ends with spoken words. The poem, by John Darley, is scattered across two pages, its typography well matched by Alannah Halay’s startling music. With Dan Holden at the piano, exploring its percussive aspects, soprano Rhiannon Beck excelled. The dramatic pauses and long-fading resonances were most effective.‘ (Richard Wilcocksbachtrack, 2012)


Photo by Craig Brannon and Jâle Özakinci