Composing

Gwyneth Wentink’s music began not in a studio, but during a week without electricity in the countryside where she lives.

In the quiet of candlelight, with no distraction beyond the harp itself, she began to write. The first piece was a lullaby for a newborn in her family. Others followed – slow, reflective works she later described as “staring-out-of-the-window music”: music born from stillness rather than urgency.

Her compositions are shaped by a lifelong relationship with the harp, an interest in how sound moves through the body, and a curiosity about the unseen patterns music creates in us and around us – offering us portals of connections. She has studied music therapy and drawn inspiration from the teachings of Hazrat Inayat Khan, whose understanding of sound as both physical and inward has stayed with her.

Rather than treating music as performance alone, she approaches it as a quiet form of ritual: a way of creating space, shaping attention, and allowing something inward to settle.

Nature is a constant presence in her work, but so is the tension between the organic and the modern. She is interested in the meeting point between landscape and technology, tradition and the present moment.

Film and image are an integral part of this world, extending the music rather than simply accompanying it.

She is currently working on several new pieces – a recently completed commission has become part of this growing body of work.