We sat down for a chat with Dr. Jorge Ramos, Young Composer for 2024/25 with the London Philharmonic Orchestra and a mentor and collaborator with The ACTOR Project: Orchestration in the 21st Century (Canada). Jorge also collaborates with the CESEM Research Group on Contemporary Music in Portugal, contributing to the exploration of contemporary music practices.
Could you tell us about the inspiration behind your current piece for the London Philharmonic Orchestra’s Young Composers programme?
The inspiration behind my current piece for the London Philharmonic Orchestra’s Young Composers programme comes from my fascination with perception and psychoacoustics. I’ve been exploring how technology can deepen our understanding of orchestration and timbral blend, particularly through intuitive electronic-informed orchestration, instrumental synthesis, and computer-assisted orchestration. This approach allows me to extend the expressive possibilities of sound, shaping immersive auditory experiences that challenge and expand traditional listening scenarios.
This season, the LPO overarching theme of the programme is Memory. So, I’ve chosen to focus on the concept of Confabulation—a phenomenon where individuals unintentionally recall false or distorted memories. To bring this idea to life, I’m merging computer-assisted orchestration with raw field recordings that serve as sonic “memories.” By blending machine-generated solutions with my re-imaginings, I aim to evoke the sensation of creative confabulation, where real and imagined sonic elements blur, inviting listeners into a world of reconstructed memories. It’s a deeply exciting process that bridges my technical and conceptual passions while pushing the boundaries of what orchestral music can express.
How has this theme or concept evolved through your residency?
Honestly, this piece has evolved so much since I first pitched the idea almost a year ago! Back then, I planned to explore the ‘memory palace’ technique, but once I started digging into it, I realized it’s a topic that’s been covered a lot already—and it just wasn’t sparking my creativity.
Since starting the residency in September, I’ve had a lot of time to reflect, especially during my walks to the Southbank Centre for our sessions. Those moments got me thinking more about perception, almost like how Hitchcock or [Christopher] Nolan approach storytelling in their films, with that psychological twist. I was also inspired by Bernard Herrmann’s music, which has such a strong sense of atmosphere. That’s when the idea of Confabulation really clicked.
A quick chat with my brother, who’s a neuroradiologist, confirmed that this concept had the depth and structure I was looking for. From there, it’s all fallen into place, and I’m more excited than ever about where this piece is heading!
Working with Tania León as a mentor must be a unique experience. How has her guidance influenced your approach to composing, and are there specific aspects of your work that have transformed under her mentorship?
We’ve only had one session with Tania so far—our next one is in early December—but that first meeting was already so impactful. We spent time listening to some of my recent pieces, sharing our stories, and diving deep into what it really means to be a composer. She talked about how important it is to write music that connects both the brain and the heart (i. e. emotions)—not just something purely academic or designed to fit a certain genre.
What really stood out to me was her energy and openness. She’s so passionate about music and constantly pushing boundaries, which is so inspiring. I’m already looking forward to our next session and seeing how her guidance helps shape this journey even more!
What excites you the most about creating for a chamber orchestra, and how does composing for the talented musicians of the LPO differ from your previous works?
For me, it’s not so much about the specific ensemble, like a chamber orchestra, or any particular instrumentation. What really gets me excited is the challenge of storytelling—figuring out what I want to say, no matter what platform or setup I’m using. I truly believe it’s less about the story itself and more about how you tell it—finding your unique perspective and making it authentic to who you are. That’s why I’m so fascinated by perception in orchestration and inspired by the works of people like Alfred Hitchcock, Bernard Herrmann, Ron Mueck, Giorgio de Chirico, and Marcel Duchamp, just to name a few.
As for writing for the LPO and the Foyle Future First musicians, it’s been amazing. These musicians are so talented that it really opens up possibilities—you can go much deeper with your writing without worrying too much about technical limitations. Expressiveness feels like a given. On top of that, everyone has been so welcoming and kind, which makes the whole experience even better. It’s been an absolute joy!
Could you share any challenges you’ve encountered in this program and how these have shaped you as an emerging composer?
Honestly, I haven’t encountered any major challenges in this program so far—it’s been a really supportive and inspiring environment. That said, every new opportunity comes with its own set of questions and decisions, like how to approach a theme as broad as Memory in a way that feels fresh and true to my voice.
Being part of this program has been a fantastic learning experience, and it’s pushed me to think deeply about my work and how I can continue growing as a composer and professional in this industry. It’s all about embracing the process, absorbing as much as you can, discussing it with others and yourself and letting it shape you, which has been so rewarding!
Looking ahead, how do you envision this residency impacting your musical career, and what advice would you give to other young composers aspiring to take part in programs like this one?
After finishing my Doctorate at the Royal College of Music last November, I made a big shift, to focus more on non-academic but more artistic challenges. It’s been exciting but also challenging to leave behind the familiar support of institutions like RCM. Since moving to the UK in 2019, finding similar opportunities to grow and refine my craft hasn’t always been easy. That’s why this residency is so meaningful to me—it’s a chance to establish myself as a composer here, with the guidance of incredible mentors and the opportunity to collaborate with the LPO. It feels like a pivotal step forward.
One thing I’ve realized as I’ve grown in my career is how much we tend to idolize institutions or people, sometimes to the point where it holds us back. We feel too intimidated to pitch ideas, apply for programs, or even start a conversation. But here’s the thing: everyone, no matter how accomplished, is just human. I’ve been lucky to work with some of the most respected figures in the music world, like Roger Reynolds—another Pulitzer Prize-winning composer—and it’s been so reassuring to see that, no matter their achievements, they’re just people pursuing their own path, like the rest of us. Guess what, we all enjoy going to the pub! 🙂
So, my advice to young composers is this: don’t let status intimidate you, and don’t let it limit your creativity. Trust in your work, if not you, who else? Be authentic and true to yourself—that’s how you’ll build meaningful connections and create work that really resonates. And remember, we’re in such a special industry where collaboration, sharing, and learning from each other is at the heart of everything. Embrace that, and even if you don’t know how, you’ll go far!