Lumen in Umbra is a sustained, atmospheric piece taking two lines of text relating to light and darkness and creating a slowly changing tableau that centres around a high-pitched drone from tuned wine glasses. The light in the piece changes from moment to moment, sometimes bright and coruscating, sometimes wan and distant.

My setting of the Agnus Dei is in a simple tripartite form, with softer modal writing balanced against more strident homophonic material. This balancing is accentuated by two different harmonic spheres which are in a benign conflict, with one ultimately prevailing over the other. Throughout, the organ acts as both onlooker and participant, providing the necessary detachment to create a meaningful setting of these heartfelt words.

Hodie Christus Natus Est is a homage to that particularly ‘rustic’ element in early medieval church music, where elements of the pre-Christian and Christian rites seemed to coexist in a beguiling symbiosis. The work aims to blend a folksy, communal dance element with more traditional choral writing. It is a light-hearted piece, and the score could be used as a blueprint to a more extreme version of what is composed where the ‘pagan’ aspects of the work could be exaggerated to great effect.

Ubi Caritas is a simple setting of these well-known and much loved words. My work is warm and direct with a wistful melody filtered through the whole choir in its short duration. The work is dedicated to my in-laws on their seventieth birthdays and was written for Benedict Preece and Caritas Chamber Choir who have supported my work with such dedication in 2022.

I Am The Voice is a simple setting of these powerful words from the Book of John. The work is in a direct two-part form, with a passionate chorale following a slowly building textural section.

Al is Alles Stil was written for the Dutch choir Cappella Vocale for their 25th anniversary concert in October 2022. On the one hand it is a work of celebration and festivity, however, as the world emerges from the Covid-19 pandemic, it is also tinged with sadness and nostalgia at all that was lost and could have been.

My second setting of the Te Deum is more expansive than the first, split into four movements and featuring a prominent solo soprano part. It takes a short self-quotation from an earlier work as the basis for a fifteen-minute modal fantasia.

Canticum Mariae Virginis juxtaposes two texts, both regarding the Virgin Mary, but offering different yet complementary accounts of the Blessed Virgin. As well as pairing these texts, the piece also uses two different languages and two points of view in its six-minute duration.

Coronach is the culmination of four years of incremental work and carries on a current preoccupation with integrating elements of Scottish history and culture into my work. The piece is in seven movements and alternates between settings of Scottish romantic poetry with Gaelic folksongs collected by Hamish Henderson (1919-2002), a renaissance man of mid-twentieth century Scottish poetry and folklore.

Regina Coeli is a simple and sustained setting of the well-known Marian Antiphon. It carries on a current desire to write shorter, easier motets that are more accessible to a wider range of choirs.

Alma Redemptoris Mater is a simple and sustained setting of the well-known Marian Antiphon. It carries on a current desire to write shorter, easier motets that are more accessible to a wider range of choirs.

My setting of the Gloria was written during the Coronavirus pandemic of 2020, and what I imagined might initially be an introspective and melancholy work actually turned out to be one of my most ebullient and colourful pieces, spurred on by this unusual and percussive collection of instruments.

Thread About My Heart is the second-largest piece that I have written to date, and certainly the most substantial since my oratorio Noah’s Fire that was premiered in 2015. It is, somewhat remarkably, the first time that I have set the words of any of the Lake Poets, never mind the work of the most illustrious of the group, William Wordsworth.

Salve Regina is a simple and sustained setting of the well-known Marian Antiphon. It carries on a current desire to write shorter, easier motets that are more accessible to a wider range of choirs.

My new work The Mystery of Light (2019) was performed by the University of Aberdeen Chamber Choir at a special graduation service at the University of Aberdeen to honour HRH Princess Anne.

When in Our Music is a ‘festival’ anthem for choir, brass, percussion and organ, written to be a celebratory and optimistic offering full of vibrancy and verve.

Ave Regina Caelorum is a simple setting of the well-known Marian Antiphon. It carries on a current desire to write shorter, easier motets that are more accessible to a wider range of choirs

To the End of the Age is a simple setting of this short section from the Book of Matthew relating to the Baptism of Christ. It carries on a current desire to write shorter, easier motets that are more accessible to a wider range of choirs, though still retaining the thumbprints of my mature style.

This setting of the Magnificat and Nunc Dimmitis has been performed all across the world. It was commissioned by the London Festival of Contemporary Church Music in 2018.