Stage

I work in theatre and dance as a composer and performer. Recent work includes Rob Drummond's The Majority at The National Theatre, Father and Son at The Traverse, Hedda Gabler at Northern Stage, In The Ink Dark, an extended dance piece for Luke Pell as part of the 2017 Leith Late Festival and Hope Is The Thing With Feathers, a piece of aerial dance for BalletLORENT and Newton's Ladder.

music for theatre and dance

music in context

press

...a sharp moody production, especially Scott Twynholm’s subtle sound design which shifts to create shadowy interludes between scenes.
— Diane Snyder, TimeOut New York
Scott Twynholm’s composition moves through calm contemplation to musical maelstrom. We are the eye of the storm, static, all around us kinetic.
— Paul Montague, The Fountain
in Dominic Hill’s exquisite production, we see a great mechanical shifting of corrugated metal, accompanied by Scott Twynholm’s grinding score, as the scene changes become part of the action.
— Mark Fisher, The Guardian
...a set that becomes an actor in the play driven by Scott Twynholm’s astonishing soundscape
— Joyce McMillan, The Scotsman
David Harrower’s Good With People, a haunting work greatly aided by atmospheric sound design from Scott Twynholm.
— Fiona Mountford, London Evening Standard
All the while, Scott Twynholm and Kim Moore provide a live music accompaniment. Sometimes keening, most often throbbing with the drive of modern dance music, it has a fluidity to it as it rides, flexible, around the unfolding drama.
— Thom Dibdin, All Edinburgh Theatre
...to the final, multi-lingual life affirming chorus which falls just the right side of quirky in Twynholm’s lovely score.
— Neil Cooper, Herald Scotland
Sitting alongside all this wit, charm and pathos, is a live soundtrack which adds an extra layer to all of those qualities. Composed and performed by Scott Twynholm and Kim Moore, the music and song is an integral, and often beautiful, part of the show’s emotional integrity.
— Kelly Apter, The Scotsman
the music by Scott Twynholm and Kim Moore is flawless helping to create a seamless transition between stories; the music encapsulated the atmosphere of the performance.
— Stephanie Whitelock, The Reviews Hub
Scott Twynholm’s music is deliciously atmospheric, veering from approximations of a glass harmonica to spooky bleeps.
— Thom Dibdin, The Stage