Paul Saggers (b. 1985) was born in Cornwall. He started playing the cornet at the age of 12, more recently playing for the Camborne Town Band and the Flowers Band. At the age of 25 he decided to pursue a career in the Royal Marines Band Service and is currently based in the Plymouth Band. His interest in composition started later in life after enrolling in the BMus degree programme through the Royal Marines. His first work to be performed by a brass band, entitled The Great Storm Cat, was premiered by The Cornwall Youth Brass Band of which he was a former member. His work The Roar of the Khamsin was shortlisted for the 2017 RWCMD composer competition and was premiered by the Cory Band. In 2019, Paul became a finalist at the European Brass Band Association composition competition in which his work Ironbright was awarded 2nd place. Paul has written extensively for Wind Band and in 2019 completed an MMus in Composition through the Royal Marines in partnership with Plymouth University where he was tutored by Simon Dobson.

The title 'Vulpes Vulpes' is the binomial name for the red fox. Inspired by the brief for the O/Modert Composition Award 2021, Paul Saggers' work depicts the challenges the red fox faces in urban and rural environments.

The winning piece by composer Paul Saggers will be premiered at the Manchester International Festival on the 16 of July.

Her music has been featured at the ISCM World Music Days (Romania 1998; Hong Kong 2002 and Switzerland 2004), Warsaw Autumn Festival, Festival Berlioz (France), Bourges Electroacoustic Festival, Festival Leo Brouwer (Cuba), Festival Berlioz (France), Festival Messiaen (France), Australasian Computer Music Association Festival, among others.

She was a Jury member of the International Computer Music Conference 2007 (Copenhagen) as well as the Semaine Internationale de la Musique Électroacoustique 2018 (Lille, France).

She studied Gregorian Chant, Piano and Composition and specialized in Indigenous Wind Instruments studying with several teachers of the oral Tradition of the Andes.

As one of the researchers of the Center of Ethnomusicology and Creation (IDECREA) of the National University and member of the Orchestra of Indigenous Instruments and New Technologies she has focused in the study of the indigenous vocal techniques of the Piaroa and Tukano communities in her field trips to the Amazonas Rainforest of Brazil.

She graduated from the Master Degree in Musical Creation, New Technologies and Traditional Arts of the National University at Tres de Febrero and teaches Composition in the Bachelor Degrees in Indigenous, Classic and Popular Music of the Americas at the same University.

The piece Todo Era Vuelo En Nuestra Tierra (Everything was flight on our land) traverses the nostalgia of mythical time, that one of the lost paradise. It is, at the same time, a reflection on the contradictions posed by our gregarious condition. Since immemorial time, the tension between the human and the polis has accompanied us like an insurmountable wound. The city appears in all its duality: it saves us from self-absorption and sterility while, like a living organism, it imposes entropic forces on us that depersonalize us. That spiritual tear, irresolvable and constitutive of our human essence, runs through this piece as a question inward and outward.