Peter Donald Mathews
1944 -
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
pdm/ds/2012
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
CHORAL WORKS
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 [1979], 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 [1979] 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 [1979] 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 [1979] 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
RESPONSES
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 [1928]) 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
SONGS
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
2013