Peter Donald Mathews
Peter Mathews, pianist, singer, conductor, and composer, is enjoying a career as a church musician and sought-after composer, one that now spans nearly fifty years. A prolific composer, he has written 185 compositions, many of which have been published. Beginning in the 1970s and continuing to the present, he has received numerous commissions for not only sacred works but also art songs and chamber music with voice and instruments in varying combinations.
Peter was born in Vancouver, British Columbia, Canada, the younger of two sons of Peter Mathews and Doris Luchak. His grandparents on both sides came from Galicia and Bukovina respectively, both areas in Ukraine which was part of the Austro-Hungarian Empire when they emigrated to Canada in the early 1900s. The original paternal family name was Mykytiuk, which was later legally changed to Mathews.
Peter recently wrote about his mother’s side and his early musical training:
On the Luchak side, my mother and two of her sisters had lovely, natural singing voices. She was especially attracted to the violin, so both I and my older brother, Reginald Gary, studied the instrument from the age of six. We eventually played violin duets for church and school functions in Vancouver, where we grew up, and also belonged to the Vancouver Junior Philharmonic Orchestra, where we played first and second violin. This provided my first introduction to classical music, namely Bach, Handel, and Mozart. My brother Gary eventually went into business while I continued my music studies, switching to piano the summer I turned thirteen.
Peter progressed quickly on the piano, studying first with Annette Coates and then with Edward Parker of the well-known Parker family of Canadian pianists. Parker introduced him to the repertoire and instilled the basic concepts of attention to detail and self-discipline. Peter also took organ lessons from Hugh McLean, a Canadian organist and musicologist, who introduced him to the music of Couperin.
He attended Vancouver Junior Academy from first through tenth grade and then transferred to Canadian Union College Academy, now Parkview Academy, in College Heights, Alberta, where he completed his final two years of high school, graduating in 1962. While there, he continued his studies in music theory with Vicki Tkachuk, and piano with Gem O’Brien Fitch, teachers at Canadian Union College, now Canadian University College. Fitch introduced him to Debussy’s piano music.
Peter prepared for and took graded examinations in both piano and theory that were offered through the Royal Conservatory of Music in Toronto and administered by adjudicators from Toronto. While still in high school he completed the exams in piano for Grades 8-10 and took additional examinations in theory, harmony, music history, counterpoint, and form and analysis. He also discovered the music of Ralph Vaughan Williams during this time. A study of his music not only inspired him but provided a tutorial in composition.
Peter would later observe that the intensity of the experiences he had with these teachers, his increasing awareness of music by significant composers, and the involvement with the RCM program during his formative teenage years provided a foundation for what has been a rewarding and fulfilling career as a performer and composer.
He entered Walla Walla College, now University, in 1962, where he studied piano with Richard Randolf and theory with Melvin West and was befriended and encouraged by singer Carolyn Rhodes Bisel. During this time Peter’s musical horizons were again expanded with the discovery of music by Francis Poulenc and Ernest Bloch.
In 1963 Peter went to Newbold College in England, to study with Morris Taylor who helped him refine his technique and increase his awareness of phrasing and sensitivity to the musical line. During his year in England he also received a Licentiate Diploma in Piano Performance at the Royal Academy of Music, London.
Upon his return to the U.S., he enrolled at Andrews University, where he completed a B.A. degree with a major in music and a minor in history in the summer of 1966. He studied piano and music history with Hans-Jørgen Holman, piano with Emmanuelle Verona, and organ repertoire with C. Warren Becker.
In the spring of his first year at AU, his composition Aprilliad, a work for soprano and tenor soloists with chorus and orchestra, conducted by fellow student Loren Perry, was chosen to end the eighth annual concert by the same name. In retrospect, he regards this work and those that followed to be his first viable compositions. Although Peter studied briefly with Blythe Owen at AU and later Gerald Kemner in Kansas City, his approach to composing, a highly personal and intuitive process, was largely self-taught.
A year before graduation from AU, Peter accepted his first job to teach piano in the fall of 1965 at Kingsway College in Oshawa, Ontario, where he worked with baritone and choral conductor Ralph Coupland, soprano Eloise Hill, violinist Elaine Badière, and pianist Lily Pan Diehl from the Philippines. Diehl’s husband, Dr. Hans Diehl, would commission several important works by Mathews in subsequent years.
In his four years at Kingsway College, Peter taught music and history courses, conducted the band, and continued piano lessons at the RCM in Toronto, studying with the Swiss pianist Pierre Souvairan. During this time he became acquainted with Virginia-Gene Rittenhouse and collaborated with her in public concerts and in numerous chamber concerts in her historic home in Sterling, Massachusetts. This was the era of the remarkable Canadian pianist Glenn Gould, whose piano playing was a constant source of wonder, delight, and despair to any aspiring pianist.
Mathews later wrote about major events that occurred in his life near the end of the 1960s and in the following decade:
In 1967, I married Barbara Virgin, an English major at AU whom I had met at Newbold College. We had one son, Roland Vaughan. At the end of our honeymoon trip I played for the ballet classes at Lake Manitowabing Summer Camp in Ontario, and accompanied various members of the Toronto Symphony and Philadelphia Philharmonic orchestras.
The next year I accompanied Jacob Groob, a first violinist in the Toronto Symphony, in concerts at the Festival of the Seven Arts, Lake Tarleton, Vermont. Barbara and I had spent the summer of 1968 at the Adventist Seminary in Collonges-sous-Salève, France, studying French with the prospect of teaching there for a year. This did not work out, as Barbara was expecting Roland, and the decision was made to have the delivery closer to home, but it gave me some intensive exposure to another language and became part my continued study in other languages which by this time included Latin, German, and Italian.
I was asked to teach piano and other music courses at AU for the 1969-70 school year. During that time, I met soprano Betti McDonald, for whom I wrote a number of songs, including the Four Sonnets of Edna St. Vincent Millay. I toured Jamaica with her in the summer of 1970 and collaborated with violinist LeRoy Peterson on a West coast tour that same year.
After my divorce in 1970, I became choir director at First Congregational Church in St. Joseph, Michigan, remaining there for five years. Linda van Niekerk was my organist, a musical connection which would be renewed many years later in Florida. During this time, I took a piano lesson from Marion Hall at Indiana University. It was an unforgettable experience, one that remained with me and confirmed my belief that it is possible to learn much in a short period of time with a master teacher, if one is ready for that kind of instruction. I also collaborated with George Lamphere, a virtuoso organist and graduate of Oberlin, and wrote several anthems for George and his choir. One of them, a setting of Psalm 150 for two oboes, strings, SATB and organ, written in 1979, won First Prize in the Wayne Hooper Young Composer Award Competition the following year.
These proved to be transitional years for me both personally and professionally. In 1975 I met my life partner, Eric Jump, a graduate student from Loma Linda University, largely through a mutual friend, Stan Harris, a musician/physician and an AU and Loma Linda University graduate. Eric’s decision to begin medical studies in Kansas City took us to the mid-West with my son, Roland, who remained with us until 1980.
It was also during this time that I attended two workshops at LLU: in 1974, a choral workshop with Sir David Willcocks and, in 1976, an orchestral conducting workshop with Herbert Blomstedt. I had the good fortune to meet John Schaefer, the organist/choirmaster at Grace & Holy Trinity Episcopal Cathedral in KC in this decade. He helped me discover my alto voice, and made me Composer-in-Residence for the cathedral. This led to the writing of over a dozen choral works in five years, culminating in 1982 with Come Down, O Love Divine for two trumpets, two trombones, baritone solo, SATB, and organ. Schaefer continued to commission other works and promote my work for the next three decades.
My friendship with Joëlle Gouël, a Swiss musician, resulted in Mon coeur est prêt for unaccompanied SATB (1981), a setting of Psalm 57 for her choir, Cantilène, in Geneva. I also received support through commissions and encouragement from organist/choirmaster and harpist Ivy Reed, who became a lifelong friend and mentor. Another satisfying activity for me in the late 1970s included singing countertenor with the Early Music Consort of Kansas City.
Beginning in the fall of 1980, Mathews began graduate studies in conducting at the University of Missouri, Kansas City, where he worked under Eph Ehly in the choral department. He held a graduate teaching assistantship, teaching choral conducting to undergraduate students, and also directed choral music at Rockhurst College. He completed an M. Mus. in 1982 and a DMA in 1986. During this time he also studied piano with Ruth Anne Rich and Ravel specialist John McIntyre. His faculty advisor, Joanne Baker, head of the piano department, was an inspiring source of support.
Through the influence and direction of Dr. Ehly, Mathews was allowed to compose a major choral work for his doctoral dissertation, a first for a DMA candidate at the university. He composed a twelve movement Vespers for soprano and baritone soloists, choir, and orchestra that ended with a Magnificat. At his graduation in 1986 he was given the Graduate Academic Achievement Award for Doctoral Studies.
In 1982, Peter and Eric moved to Jacksonville, Florida, so that Eric could work on his internship and residency in pediatrics. Peter’s son, Roland, rejoined them and remained with them until he left home. Those early Florida years were taken up with homemaking and composition, as well as teaching piano at Jacksonville Junior Academy and doing church work. Peter was pianist/choir director at Mandarin SDA Church from 1984-88 and also began doing adjunct teaching for Jacksonville University, Florida Junior College, and the Florida School of the Arts in Palatka.
He was invited to perform as a paid singer in the choir of St. Johns Episcopal Cathedral in Jacksonville under John Barry, who commissioned O sacrum convivium!, which became one of Mathews' most popular works. He also worked for extended periods with the United Methodist Church and the Presbyterian Church (PCA). His main publishers at this time were H. W. Gray, Neil A. Kjos, Lawson-Gould, Lorenz, and Southern Music Company. Eventually MorningStar, Alliance Music Publications, Choristers Guild, and St. James Music Press also published his music.
In 1984 Mathews, along with Linda van Niekerk, formed the Florida Hospital Chorus in Orlando, which developed a significant choral reputation and following in Central Florida. The choir, which continued until 1997, performed a number of concerts each season and was especially known for its annual Thanksgiving service.
He was choir director at Markham Woods SDA Church in Longwood, Florida, in 1990-91 and from 1994 to 2003 was Artistic Director of the Central Florida chamber choir, Orlando XIII, which he helped form with locally talented musicians Holly Rogers and Andrew Walker. His talents as composer, conductor, and singer led to the choir’s being hailed by the Arts connection on WMFE-FM as "one of the most exciting music groups in Central Florida." In 1997 the choir included a premiere of his motet A Prayer as part of their first appearance on the Choral Artists' Series in the annual Piccolo Spoleto Festival in Charleston, South Carolina. The Charleston Post and Courier declared the debut "spectacular."
In 1998-99, Mathews taught theory at Stetson University in DeLand, Florida, and then served as choirmaster for St. Barnabas Episcopal Church in DeLand from 1999-2010, where he worked with organist Michael Rickman, a collaboration he particularly enjoyed.
Highlights in commissions over the years have included Three French Carols by the Kansas City Chorale under Jon Griffith in 1982; Missa brevis for SATB and organ by Paul Riedo, organist/choirmaster at St. Thomas Aquinas in Dallas in 1988; and Magnificat and Nunc dimittis, SATB and organ, by the Texas Choral Directors’ Association in San Antonio in 1992. As a conductor and workshop clinician, Mathews conducted his Benedictus es, Domine (Song of the Three Young Men) for brass quintet, SATB, and organ, a commissioned work for the 1993 Southeast Regional Convention of the American Guild of Organists. The 1994 Episcopal Diocese of Central Florida Choir Festival also featured him in this dual capacity.
In 1999 Mathews was featured as a clinician and awarded the anthem commission for the 49th Annual Sewanee Church Music Conference in Tennessee. The commissioned anthem, Deck Thyself, My Soul, With Gladness, later received Honorable Mention in the 2003 Raabe Prize for Excellence in Church Music, awarded by the Association of Lutheran Church Musicians. Additional commissions in the 1990s included Four Winter Poems for SA and piano in 1996 for Boston’s Youth Pro Musica by Hazel Somerville, director; and nine choral works from 1992 to 1999 by Rick Effinger, MD, an Orlando physician, singer, and avid supporter.
In the first decade of the new century Mathews conducted two commissioned choral premieres at St. Paul’s Episcopal Church in Augusta, Georgia as part of their 250th anniversary celebration in January 2000 and, in April 2004, composed a setting of Psalm 91 for SATB and organ, in response to a commission for the 150th anniversary of the First Congregational Church in St. Joseph, Michigan. Cathedral musicians Ben Lane and Claire Hodge at the Cathedral Church of St. Luke in Orlando commissioned Magnificat & Nunc dimittis for SA and organ in 2007. Earlier, in 2005, Canon Lane had commissioned a Missa brevis for SA and organ for his choir’s European Christmas tour to Salzburg, Vienna, and Prague. As the second decade began, Mathews was commissioned in 2011 to write an anthem, Ubi caritas, for the consecration service of the new bishop of the Episcopal Diocese of Central Florida.
Mathews' music has gained exposure through live performances of his work in six major concerts, two in Michigan, one in New York City, and three in Florida. His liturgical music was also featured in June 2000 at the Regional Convention of the National Association of Pastoral Musicians held in Orlando, Florida.
Additional exposure has been afforded through recordings, including compact disc projects for the choirs of Edith Ho (Church of the Advent - Boston) and Anton Armstrong (St. Olaf College). The Murray/Lohuis Duo in Richmond, Virginia, recorded Mathews’ Intermezzo for violin and organ in 2003; and his Four Seasons for cello and organ, performed by Chicago Symphony cellist Donald Moline and Ricardo Ramirez, organist at Holy Name Cathedral in Chicago, was released in 2006 on a Centaur label CD. Two of the works in that set were commissioned by Moline.
Since 2006 Mathews has been teaching Music History, Enjoyment of Music, and Form & Analysis at the University of North Florida in Jacksonville. In 2011 he was invited by Oxford University Press to update and revise the article on Jacksonville, Florida, in the New Grove Dictionary of American Music.
Since 2000 Peter and Eric have been involved in a project visiting and photographing the 162 cathedrals and other great churches in France, which they visit by bicycling from town to town. A spinoff project is that of becoming acquainted with the 130 historic churches of Paris. Photos of these churches can be seen at Mathews' website.
For additional information or to arrange a commission, Mathews can be reached at 126 Timber Lane, Palatka, FL 32177. (386) 312-0001. E-Mail: Roundlake126@aol.com
Peter Mathews' Website: www.petermathews.net
Sources: Autobiographical sketch with listing of compositions prepared by Peter Mathews, October 2012; “Student Creativity Featured at Aprilliad,” Lake Union Herald, 27 April 1965, 16; personal knowledge.
Music by Peter Mathews
All listed works are available in printed form. Those not published are available directly from the composer. You may hear many of these works and contact the composer by going to: www.petermathews.net
Fantasia on "O Come All Ye Faithful" (J. F. Wade; tr. Frederick Oakeley) SATB and 2 pianos, 1966
Behold, He Cometh (The Bible) baritone solo, SATB and organ, 1970
Remember These Things (Isaiah 44:21-23) SATB and organ, 1971
Behold, What Manner of Love (1 John 3:1-3) unaccompanied SATB, 1972
Give Ear to My Prayer (Psalm 55:1-8; 22:1-11, 15) soprano, SATB and organ, 1973
The Lord's Prayer (Matthew 6:9-13) SATB and organ, 1973
The Angels Sing (Christina Rossetti) SA and piano, 1973
Bless the Lord, O My Soul (Psalm 104) 3 trumpets, 2 trombones, timpani, SATB and organ, 1974
Bow Down Thine Ear, O Lord (Psalm 86) SATB and organ, 1976
For Us a Child Is Born (Isaiah 9:6) SATB and organ, 1977
This Is the Day (The Bible and Shelley's "Ode to the West Wind") mezzo-soprano, SATB and organ, 1978
Go Ye Into All the World (The Bible) horn, 3 trumpets, 2 trombones, tuba and SATB (Also arranged for SATB and organ), 1978
Shepherds All (Text and melody by Georgiana King) harmonized for SA and harpsichord, 1978
A Song to the Lamb (Revelation 4:11; 5:9-10, 13) trumpet, SATB and organ, 1979
Birds of Paradise (Christina Rossetti) SA and piano, 1979, Lawson-Gould, 1988
I Love the Lord (Psalm 116) SATB and organ, 1979
Psalm 150 for 2 oboes, strings, SATB and organ, 1979
The Prayer of Jonah (Jonah 2:2-9) harp, SATB and organ, 1980
Mon coeur est prêt (Psalm 57:8-12) unaccompanied SATB, 1981 Alliance Music Publications, 2004
Psalm 148 for SATB and organ, 1981
The Song of St. Cecilia (Cantantibus organis) ( Latin liturgical text from the First Antiphon of the Vespers) unaccompanied SSAATTBB (or SATB and organ), 1981
At the Round Earth's Imagined Corners (John Donne) SATB and piano, 1982
Come Down, O Love Divine (Bianco da Siena; translated by R.F. Littledale) 2 trumpets, 2 trombones, baritone solo, SATB and organ, 1982
Here Am I; Send Me (Isaiah 6:1-8) SATB and organ, 1982
Three French Carols for unaccompanied SATB, 1982, Neil A. Kjos, 1985
1. Dans les ombres de la nuit (Anonymous) 2. Entre le boeuf et l'âne gris (Traditional) 3. Chantez Noël (Claude Bernard)
Two Communion Hymns for SATB, 1982-83, MorningStar, 1992
1. Until He Come (George Rawson, 1857) 2. Bread of Heaven (Josiah Conder, 1824)
Hear Me When I Call (Psalm 4) SAB and organ, 1983, Voice of the Rockies, 1998
Blest Be the King (Frederico J. Pagura; translated by F. Pratt Green) unison voices, flute and keyboard, 1983, MorningStar, 1994
O Sacrum Convivium! for unaccompanied SATB, 1985, Southern Music Company, 1989
Enseigne-moi Yaweh (Psalm 86:11-12) SA and keyboard, 1986, Alliance Music Publications, 1997
I Will Exalt You (Psalm 145) trumpet, SATB and organ, 1986, MorningStar, 1991
Lamentationes for solo cello, SATB and string orchestra, 1987
O Love Divine (Charles Wesley) SATB and organ, 1987, MorningStar, 1991
We Praise Thee, O God (Abbreviated Te Deum) unison chorus and organ, 1987, Southern Music Company, 1992
Missa Brevis for SATB and organ, 1988, Southern Music Company, 1989
Love Divine, All Loves Excelling (Charles Wesley) SATB and organ, 1988, MorningStar, 1990)
The Lord Reigneth (Psalm 99) SATB and organ, 1988
Arise, Shine (Isaiah 60:1-3, 11a, 14c, 18, 19) SS and organ, 1989
Evening Service (Book of Common Prayer , Rite II) SS and organ, 1990, St. James Music Press, 2000
1. Song of Mary 2. Song of Simeon
Out of the Depths I Cry Unto Thee (Psalm 130, adaptation of 1973 song) SATB and organ, 1990
Communion Service (Book of Common Prayer  Rite II) SATB and organ, 1990, Southern Music Company, 1992
1. Glory to God in the Highest 2. Holy, Holy, Holy
The Lord Is My Light (Psalm 27) flute, SATB and organ, 1991
Magnificat and Nunc dimittis (Book of Common Prayer  Rite 1) SATB and organ, 1992, Southern Music Company, 1992
Song of the Three Young Men (Benedictus es, Domine) horn, 2 trumpets, 2 trombones, SATB and organ, 1993
Christus factus est for unaccompanied SATB, 1993, Southern Music Company, 1994
Walk in Faithfulness (Psalm 26) SATB and piano, 1994, MorningStar, 1995
Jubilate Deo (Psalm 100) SA and piano, 1994, Southern Music Company, 1994
Alleluia for unaccompanied SATB, 1994
I Sat Down Under His Shadow (Song of Solomon 2:3b-4) unaccompanied SATB, 1994
O vos omnes (Lam 1:12) unaccompanied SATB, 1994
O Sing to the Lord a New Song (Psalm 98) SATB double chorus, 1994
The Spirit of the Lord Is Upon Me (Luke 4:18-19; Isa. 61:2b-3) SATB and organ, 1994
Pray for the Peace of Jerusalem (Psalm 122:6-7) unaccompanied SATB, 1995, Alliance Music Publications, 2001
Ubi caritas for unaccompanied SATB, 1995
Lord, You Have Been Our Refuge (Psalm 90) SATB and organ, 1995
Ave Maria for unaccompanied ATTBB, 1996, Alliance Music Publications, 1996
Jesus, the Very Thought of Thee (Bernard of Clairvaux; translated by Edward Caswell, 1849) hymn anthem for unison voices with optional 4-part stanza and descant, 1996 (adapted from hymn tune originally composed in 1983), St. James Press, 1996
Four Winter Poems for SA and piano, 1996, 3 and 4 published by Alliance Music Publications, 1998
1. Afterflakes (Robert Frost) 2. Winter, My Secret (Christina Rossetti) 3. Stopping by Woods on a Snowy Evening (Robert Frost) 4. Why Does It Snow? (Laura Richards)
Creator of Creation (St. Patrick) SATB and piano, 1996, St. James Music Press, 1997
A Prayer (Thomas Dekker) unaccompanied SATB, 1996, Alliance Music Publications, 1998
I Will Greatly Rejoice in the Lord (Isaiah 61:1, 2, 6, 10) SATB and organ, 1997
Antifona (in Spanish) unison trebles and keyboard, 1998
Antiphon (English version arranged in 2000)
Bread of Heaven (Josiah Conder) two-part mixed choir and organ, 1998, MorningStar, 2005
Deck Thyself, My Soul, With Gladness (Johann Franck; tr. Catherine Winkworth, 1863) SATB and organ, 1998, MorningStar, 2001
The Circle of Days (Reeve Lindberg) unison treble and piano, 1999, Alliance Music Publications, 2000
Praise the Lord, His Glories Show (Lyte and Shafer) unison trebles and piano, 1999, Choristers Guild, 2000
Haec dies (Psalm 118:24) SATB a cappella, 1999
Take My Life, and Let It Be (Francis Ridley Havergal) SATB and organ, 2000
O Splendor of God’s Glory Bright (Ambrose of Milan; tr. Robert Seymour Bridges) SATB and organ, 2000, St. James Music Press, 2001
Carol (arr. from "Five Bagatelles for Clarinet and Piano" by Gerald Finzi) SSATB wordless chorus, 2001, copyright by Boosey and Hawkes, London
O magnum mysterium for SATB and organ, 2001, MorningStar, 2004
God Is Our Refuge and Strength (Psalm 46) SATB and organ, 2001
O Gracious Light (Phos hilaron) unison trebles and organ (high & low versions), 2002
I Will Bless the Lord (Psalm 16:7-11) SATB and organ, 2002, MorningStar, 2004
Easter Bells (Psalm 118:24; 1 Cor. 15:20, 22) unison trebles and piano, 2002, MorningStar, 2006
Psalm 91 (KJV) SATB and organ, 2004
Missa Brevis for SA and organ, 2005, Alliance Music Publications, 2006
There Is a Fountain (William Cowper) for SATB and organ, 2005
Magnificat and Nunc dimittis (Book of Common Prayer  Rite 1) SA and organ, 2007
Ubi caritas for SATB and organ, 2011, MorningStar, 2013
The Best of Rooms (Robert Herrick) SATB and organ, 2012, St. James Music Press, 2012
Call to Prayer (Psalm 5:1-2) unaccompanied SATB with organ introduction, 1965
Amen (Theme from Vaughan Williams' Fifth Symphony) unaccompanied SATB, 1967
Thou Wilt Keep Him in Perfect Peace (Isaiah 26:3) unaccompanied SATB, 1972
Lord, We Praise Thee (Peter Mathews) Introit for SATB and organ, 1977
Alleluia! Christ Our Passover (The Book of Common Prayer ) SATB and organ, 1978
Walk in the Light of the Lord (Isaiah 2:3, 5) a fanfare for unaccompanied SATB, 1983, MorningStar, 1993
Sing with Joy to God Our Strength (Psalm 81:1-10) Anglican chant for SATB, 1991
To You, O Lord, I Lift Up My Soul (Psalm 25:1-8, 11, 12, 19, 20) Anglican chant for SATB, 1994
Evening Prayer – Preces and Responses (Book of Common Prayer, Rite I) Unaccompanied SATB, 2000
The Lord Is My Strength and My Song (Psalm 118:14-29) Anglican chant for SATB, 2002
A Litany of Reconciliation (Provost Howard, Coventry Cathedral) SATB and organ, 2005
The Lord is My Shepherd* (Psalm 23) hv 1964
David's Lamentation (2 Samuel 1) lv 1965
Four Psalms hv 1966-68
1. In My Distress* (Psalm 120) 2. I Will Lift Up Mine Eyes* (Psalm 121) 3. By the Rivers of Babylon* (Psalm 137) 4. I Will Praise Thee* (Psalm 138)
My Heart is Ready, God* (Psalm 57) hv 1970
Three Songs of Solomon, 1970
1. I Am the Rose of Sharon hv, 2. Rise Up, My Fair One lv 3. Thou Art Beautiful, O My Love - duet
The Lamb (Blake) hv 1970, MorningStar, 1991
Make Haste, O God* (Psalm 70) hv 1970
Be Still, My Soul, Be Still (Housman) hv 1972
Now Begin (Hopkins) lv 1972, MorningStar, 1991
Storm Fear (Frost) hv 1973
Entreat Me Not to Leave Thee* (Ruth 1) hv 1973
Out of the Depths I Cry* (Psalm 130) hv 1973
Chanson d'Automne (Verlaine) hv 1973
Sleep, Sleep, My Holy One* (E. B. Browning) hv 1973
It Is a Beauteous Evening* (Wordsworth) hv 1974
Clear and Sweet Is My Soul (Whitman) lv 1974
The Dream (Song of Solomon) lv 1976
Four Sonnets of Edna St. Vincent Millay hv 1976-77
1. Thou Art Not Lovelier 2. This Beast That Rends Me 3. I Pray You If You Love Me 4. And You as Well Must Die
Blessed Is the Man (Psalm 1) lv 1978
Psalm 19 lv 1980
1. Prologue: Let the Words of My Mouth 2. The Heavens Declare the Glory of God 3. The Law of the Lord Is Perfect 4. Who Can Understand His Errors? 5. Epilogue: Let the Words of My Mouth
Do Not Go Gentle (Dylan Thomas) lv 1981
The Prayer of St. Francis (Francis of Assisi) hv 1983, MorningStar, 1991
Pastourelle (Traditional Auvergne) hv 1985
Sonnet XIII (Louise Labé) hv 1988
Prospero to Ariel (Auden) hv 1988
The Prayer of St. Augustine* (St. Augustine) hv 1991
Music, When Soft Voices Die (Shelley) hv 1992
The Velvet Shoes (Wylie) hv 1997
O Sing Unto the Lord A New Song* (Psalm 96) hv 1998
My God and I (Sergei) lv 1999
What Sweeter Music (Herrick) lv 2001
A Hymn to God the Father (Herrick) lv 2012
* Thirteen Sacred Songs for High Voice and Piano (Published in one volume by the composer). (These 13 songs are also arranged for low voice).
CHAMBER AND INSTRUMENTAL WORKS
Aquarelle for piano, 1969
Fanfare for 2 trumpets and organ, 1970
Cavatina for organ, 1970, Lorenz, 1977
Be Thou My Vision (organ) 1971, Lorenz, 1977
The Flower (Herbert) violin, soprano and piano, 1972
Elegy in Spring for violin and piano, 1972
Quartet (clarinet, violin, cello and piano) 1972, Andante Tempo di Valse Andante maestoso
Lament for Anna (cello and piano) 1973, (see Four Seasons for cello and organ #2, 1997)
Capriccio (flute and piano) 1976
Improvisation on a Theme by César Franck for organ, 1978, Lorenz, 1979
Quintet for Six Players (string quartet and piano four hands), 1975-78, Moderato, Passacaglia (Andante commodo)
Prelude for flute and harp, 1981
Psalm 8 for 2 treble voices and harp, 1982
Twelve Fanfares for organ, 1983
Two Carols (arranged for flute choir, 1985, 1. Hark the Herald Angels Sing (8 flutes) 2. Joy to the World (6 flutes)
A Carol Fantasy for piano, 1985
Psalm 84 for violin, soprano, and piano, 1989
Aria for harp and organ, 1990
Fanfare for a Festive Occasion (2 trumpets and organ) 1990 (Also arranged for brass quintet and organ, 2004)
In the Lord Put I My Trust (organ) 1991, MorningStar, 1993
Intermezzo for violin and organ, 1991, MorningStar, 1997
Pastorale for clarinet and organ, 1993, MorningStar, 1994
Four Seasons for cello and organ, 1986-99
1. Autumn Nocturne, 1987, MorningStar, 1997
2. Winter Lament, 1997, MorningStar, 2001
3. Spring Serenade, 1999, MorningStar, 2001
4. Last Song of Summer, 1986, MorningStar, 1989
Hymns for harp and organ, 2005, 1. Slane 2. Windsor 3. Crucifer, MorningStar, 2007