Florence Anna Maunders started to compose music when she was a teenager, and her early tape-based pieces from this time reveal an early fascination with the unusual juxtapositions of sounds and collisions of styles which have been a hallmark of her music-making ever since. This is perhaps a reflection of the music which interested and excited her from a very young age — medieval dance music, prog-rock, electronic minimalism, bebop jazz, Eastern folk music, the music of Stravinsky and Messiaen, and the grand orchestral tradition of the European concert hall. Flori started out young, as a chorister, clarinetist and saxophone player, but following an undergraduate degree at the Royal Northern College of Music, where she studied with Anthony Gilbert, Adam Gorb, Simon Holt and Clark Rundell, she's enjoyed a mixed and international career as a jazz pianist, orchestral percussionist, vocalist arranger, electronic music producer and teacher. Since 2018 she's had a bit of a radical transformation of her self and her career, and returned to composition as a main artistic focus, and is currently working on a Ph.D. as a doctoral fellow at Cardiff University.

Since returning to writing music, she's enjoyed significant successes in the United Kingdom, the United States, Europe and across the rest of the world, leading to a string of high profile awards and prizes including the Royal Philharmonic Prize. Recent highlights include commissions, collaborations and performances with internationally renowned ensembles such as the City of Birmingham Symphony Orchestra, Third Coast Percussion, London Chamber Orchestra, Psappha, Black Pencil Ensemble, Rarescale, Strange Trace Opera, the Villiers Quartet, Calefax Reed Quintet, Fulham Brass Band (where she is currently composer-in-residence), Wigmore Hall and Kyan Quartet as well as leading soloists and other opportunities. Florence also writes extensively for film and media, enjoying ongoing collaborations with directors on both sides of the Atlantic. Her music is wild, rhythmical and exciting, filled with "energised, rough-edged juxtapositions" — “a crescendo of outright queer orchestration” — and reveals a wide range of influences from electronic dance music, contemporary jazz, Middle Eastern traditional music, and the music of Stravinsky and Messiaen. She always aims to write music which makes the listener move — perhaps even to dance! She is currently working with London Chamber Orchestra as their new composer-in-residence, and working on a new piece for the musicians of the Philharmonia Orchestra as well as ensembles and festivals across the world, including as composer-in-residence at the 2024 Deal Music Festival.