Frederick Magnificat

for 2-part chorus (SA, TB, or mixed) and organ

In writing this setting of the Magnificat (and its corresponding Nunc Dimittis), I have attempted to create something that would work within the constraints common to a large segment of parish churches in the English-speaking world. Its forces are not only small, but also modular: the work may be sung by treble, adult male, or mixed voices. Its music seeks to form a connection with various older styles, such as Gregorian chant (heard in its modal harmonies and psalmtone-inspired incipit) and the classical sonata form.

Frederick Nunc Dimittis

for 2-part chorus (SA, TB, or mixed) and organ

Like its corresponding Magnificat, this setting of the ancient Song of Simeon was written with practicality in mind. The organ takes its cantus firmus from the hymn Mit Fried und Freud ich fahr dahin. This melody is commonly known as the Lutheran Nunc Dimittis, and has inspired numerous composers, including Bach, Buxtehude and Brahms.

The Risen Christ

for SATB chorus, brass quintet, and organ

The Risen Christ is my own arrangement of Walter Greatorex's resolute tune WOODLANDS, given new life by Nigel Weaver's splendid text.

As the Wind Song

for SATB chorus, flute, wind chime, and piano


A Pentecost anthem for intimate forces. Swee Hong Lim's tuneful melody WAIRUA TAPU marries perfectly with Shirley Erena Murray's evocative text in the hymn As the Wind Song. My arrangement seeks to preserve the simplicity, accessibility, and melody-driven textures of the source material as found in the Glory to God: the Presbyterian Hymnal. The addition of a flute and wind chime work in tandem with a newly-written piano part to paint the various images presented by Murray's pictorial text.

Der Tod seiner Heiligen

for mixed a cappella chorus (SSATTB) and baritone solo

In 1616, a city official in the German town of Jena commissioned 16 composers (including Schütz, Schein, and Prätorius) to set Psalm 116 to music. Four centuries later, in celebration of their 30th season, the Hamburg vocal ensemble vOkabile asked eight composers for their own take on this ancient text. Der Tod seiner Heiligen sets verses 15 and 16 of the psalm, along with portions of the Great Litany of the Saints, blending Renaissance counterpoint with aleatoric chanting and a modernist take on sacred cantillation.

Scores of all of the above works are available through the composer.