Christopher Jessup is an award-winning composer and pianist whose music has been hailed as “lovely” (The New York Times), “imaginative” (Fanfare), and “ethereal” (Textura). With a catalogue spanning orchestral, chamber, choral, and solo works, Jessup revels in capturing a wide range of emotions in his music, especially in miniature form.
We spoke with Jessup about his earliest experiences with music, his work with the London Symphony and The Crossing, and what he does in his spare time.
Tell us about your first experiences with music as a child.
My first experiences with music as a child began with a tiny toy piano. It had only five keys and I played it so much that most of them broke! When I started going to school, I would get there early to practice and improvise on the piano because I didn’t yet have one of my own. I learned to play by ear long before being able to read music. Ella Fitzgerald and Duke Ellington were major early influences for me—surprisingly, jazz was my first love. “Take the A Train” by Duke Ellington, which I taught myself to play, was one of my favorite pieces.
You are equally accomplished as a composer and a pianist. How does your work as a pianist inform your creativity as a composer, and vice versa?
Being a pianist heavily influences my work as a composer and can be hugely beneficial when I write. At the same time, I try to break away from writing from the perspective of a pianist so that I can be mindful of playability for other instruments. That can be challenging at times. Certain types of passages that might be easy for a pianist to play in a fast tempo can be extremely difficult or even unplayable for another instrument, like the cello for instance. Ultimately, when I compose, I want to make sure I am bringing out the best in each instrument and allowing the instruments to shine in their own unique way.
You mention in your bio that you are especially interested in miniature forms of composition. What is it that attracts you to this short form? Can you give a recent example or two?
I first became interested in writing miniatures after being introduced to Schoenberg’s "Sechs kleine Klavierstücke” in 2016. I was fascinated by how Schoenberg is able to capture an immense amount of emotion and expression in such brief little pieces and with so few notes. The first collection of miniatures I wrote was Cinq États d’Esprit (Five States of Mind) for solo piano. I went on to compose numerous other collections of short miniatures, including Phases for flute, cello, and piano (based on the five natural elements) and my Suite for Viola and Piano. I believe that music does not have to be long in order to be meaningful. In fact, some of the most poignant pieces are incredibly short. A well-crafted miniature can have more of an impact than a 30-minute requiem.
Your music has been performed and/or recorded by a number of notable ensembles, including the London Symphony Orchestra and Grammy Award-winning choir The Crossing. Tell us some highlights about working with these ensembles.
Working with the London Symphony Orchestra and The Crossing has been amazing. Having my music accepted, performed and recorded by these esteemed ensembles is an incredible honor. In the LSO’s recording of Svítání, a tone poem for orchestra, the orchestra’s musicianship was breathtaking and their execution of the piece was flawless. The Crossing and Donald Nally recorded Astronomia, which is one of my most difficult pieces. They sang it with complete ease and agility, producing a truly marvelous result. The opportunity to collaborate with these ensembles is a deeply enriching and validating experience for me as a composer. I’ve learned and grown in remarkable ways each time I work with them, and that inspires me to continue to compose.
Tell us about the compositions that you are currently working on.
I recently completed a piano trio called Impetus, which was premiered in Los Angeles in August 2025 at the Impulse New Music Festival. I am working on a piece for flutist Lindsey Goodman and pianist Clare Longendyke, which they commissioned. That will be performed in the 2026-27 season.
On the horizon, I am outlining a new multi-movement choral work with a mental health theme. Mental health is widely misunderstood and stigmatized in our society, and I believe it is my duty as an artist to address topics that are uncomfortable to talk about, and by doing so we can have a big impact. That is what I plan to do with this piece.
What do you enjoy doing when you are not making music? How does it affect or enhance your work?
When I’m not composing or playing piano, I love to get out in nature, especially on the water. Not only does it calm my nerves and clear my mind, but it also gives me a tremendous amount of inspiration as a composer. Water is very musical—the rise and fall of the tide and the sound of waves crashing all serve as vital inspiration for my compositions.