Rhian has written for all kinds of ensembles and solo instruments/voices. Many of her orchestral works have been premiered by BBCNOW; others have been performed by the St Louis Symphony Orchestra, Sinfonia 21, the Brunel Ensemble, the BT Scottish Ensemble, Sinfonia Adesso and more. Orchestral conductors with whom she has worked include Leonard Slatkin, Tadaaki Otaka, Richard Hickox, Martyn Brabbins, Tecwyn Evans, Owain Arwel Hughes, Grant Llewelyn, Cayenna Ponchione and George Vass, while some of the many solo instrumentalists who have premiered her pieces include pianists Martin Roscoe, Russell Hirshfield, Chenyin Li and Jennifer Lee, harpists Skaila Kanga and Elinor BennettJoji Hattori (violin), Su Zhen (viola), Gemma Rosefield (cello), Dan Goble (saxophone), Pamela Thorby (recorder) and John Wallace (trumpet).
Pamela Thorby (recorder), RS and Mark Eager (conductor of the Welsh Sinfonia)
enjoying a rehearsal of The Path through the Woods, April, 2011  
Vocal music is a very important part of Rhian Samuel's output.  She has written works for solo singers including Susan Graham, Della Jones, Jane Manning, Valdine Anderson, Anna Stéphany, Frances Bourne, Gillian Keith, Alison Pearce, Sharon Mabry, Caroline MacPhie, Roderick Williams, Adam Green, Jonathan Sells, James Gilchrist and Edmund LeRoy; accompanists for the premières of these works have included Simon Lepper, Joseph Middleton, Sholto Kynoch, Susie Allan, Ja Yeon Kang, Russell Hirshfield, William Vann and Patsy Wade.  

RS at Western Connecticut State University, April 2015, with performers 
Russell Hirshfield (piano), Hannah Levinson (viola), Richard Weidlich (baritone), 
Dan Goble (saxophone) and Patty Goble (soprano) 
Throughout her career she has sung in and conducted choirs and written music for them, including those she has conducted herself at Reading University and City University London UK. (Many years ago, as a student, she even sang in the White House for President Johnson, in the Washington University Madrigal Singers!)  

                                     (RS is in the back row, just to the right of the conductor's hand.) 
In recent years she has written a number of works for Edward Higginbottom and the New College (Oxford) choir; the choir under its new director, Robert Quinney, recorded 'Love bade me welcome' for a CD released in May, 2017. Her works have been sung by many other choirs, including those of Christ Church Cathedral Oxford, Kings College London, Ithaca College NY, Austin Peay University TN, the Worshipful Company of Singers and Queen's College Oxford. 

In writing music, Rhian keeps the performer and performance uppermost in her mind. She believes that the performer contributes creatively to the work and that the composer should always offer him/her the space to make this contribution, a particular challenge in notated music. 

She acknowledges many other influences on her music, particularly those of her rich Welsh literary and musical heritage, the landscape of her present home in mid-Wales overlooking the Dyfi estuary and Cardigan Bay and her long sojourn in the USA. She is interested in all facets of classical music, particularly early music (witness her doctoral dissertation on 16th-century musica ficta) and American music of all kinds; in her youth she played the oboe in orchestras and the viol and wind instruments in early music groups. She identifies with her female colleagues in a profession still dominated by males, seeing her position, somewhat outside the male tradition, as an exciting one with many challenges and opportunities, not one, as in former times for many women composers, that must be denied. 

Rhian has collaborated with several women poets in creating her vocal music. She set a number of the poems of American May Sarton with the poet’s express encouragement, in, for example, the orchestral/piano song cycle, The White Amaryllis. She has worked extensively with the poetry of Anglo-American Anne Stevenson for compositions such as Daughters’ Letters, toured throughout Britain by Sinfonia 21 (with soloist Valdine Anderson) and later The Brunel Ensemble and Clio Gould's BT Scottish Ensemble (with soloist Patricia Rozario) and she has also set Welsh texts by Nesta Wyn Jones. 
RS with Anne Stevenson, poet
She does not confine her choice of texts to women poets, however: she has also set those of, for instance, Aeschylus (Clytemnestra for soprano and orchestra), Zulfikar Ghose (Haze and the Absence of Clouds, for soprano, string quartet and piano) and, for song cycles for baritone and piano, WW1 poet Charles Sorley (A Swift Radiant Morning) and Samuel Beckett (The Flowing Sand). 

She co-edited with Julie Anne Sadie and contributed to The New Grove/Norton Dictionary of Women Composers (1994). Her much-quoted preface to this dictionary discusses the situation of women composers over the past 100+ years. She has also written on several of the operas of Harrison Birtwistle, including GawainThe Minotaur and The Second Mrs Kong, publishing for the two former works both the programme notes for the ROH and diaries of their first productions for the Cambridge Opera Journal.  

In the United States Rhian taught at Washington University St Louis (where she completed a doctorate on 16th-century musica ficta) and the St Louis Conservatory of Music; in Britain at Reading University, City University London (where she was Professor of Music from 1998, and is now Emeritus Professor) and Oxford University where she was a member of the Music Faculty and tutored composition undergraduates at Magdalen College.  

Most of Rhian Samuel's music is published by Stainer & Bell Ltd:
while several of her works are published by Tŷ Cerdd: (hard copies) andd (digital). 
Others are published by Novello, Cadenza, ABRSM, Curiad, Simrock, and Andresier/Bardic.