The Veil of the Temple is a journey from darkness into light. Care and attention has been given to the key chosen for each anthem and to the voicings so that these versions are attractive to the broadest possiblerange of amateur as well as professional singers. The breathtakingly simple Mother Of God here I stand and the quietly ecstatic Awed by the Beauty are for unaccompanied chorus. The remaining three anthems are scoredwith Organ accompaniment: the sonorous You mantle yourself in light; the contemplative What God is we do not know and the radiant O Mary Theotokos.

This work for unaccompanied SATB/TTB choir was commissioned by Hurstpierpoint College on the occasion of its 150th anniversary. The first performance was given in May 1999 at Hurstpierpoint College by the Chapel Choir conducted byRussell Burton.Vocal score.

The texts of these three antiphons commissioned by the World War II Commemorations Team and St. Paul's Cathedral are taken from the Psalms and Isaiah which have been set to music by this masterful contemporary composer.Theantiphons received their first performance in May 1995 at St. Paul's Cathedral London on the occasion of the Service of Thanksgiving Reconciliation and Hope to commemorate the 50th anniversary of the end of the war in Europe.

This work for soprano solo and SATB choir written in 1976 was commissioned by Cantores in Ecclesia. The first performance was given in April 1977 by the Rye Spring Music.This is a special item which is made to order. Pleasee-mail our Mail Order Department for further information.

A work written for double choir set to words from the Latin prayer Salve Regina and a German poem Stella Matutina.

Commissioned by George Watson's College to mark the Millennium. The work was first performed in December 2000 at St. Giles Cathedral Edinburgh as part of the College's Festival Of Nine Lessons And Carols by the choir ofGeorge Watson's College.

For SATB chorus with Organ accompaniment (with optional congregation Brass and Timpani available separately)

Kali-Yuga is a short symbolic piece for choirs representing in a simple almost child-like way the last days of the Kali-Yuga the Dark Age of Hinduism. We live in these days. The ?ugliness? of the modern world is portrayedin the first two sections as the singers from Choir II are given a free rein to represent ?triviality? in the first song and ?ugliness? in the second while the singing chorus in Choir I describes the events in Schuon?s Germanpoetry. The third section represents ?weeping humanity? personified by the two women and two men from the choirs as the rest sing with great dignity and solemnity about the Kali-Yuga.The musical material is tightly knitthroughout and the performance should be as vivid and imaginative as possible.

Commissioned by Eamonn Quinn for Louth Contemporary Music Society with funding from the Arts Council of Ireland/ An Chomhairle Eala on. World Premiere on 25th October 2008 at St. Patrick’s Church Dundalk by Polyphony conductedby Stephen Layton. This moving Byzantine text is taken from the Service of the Twelve Gospels celebrated at one o’clock on the morning of Good Friday in the Orthodox Church. The words are taken from Hosea but given aChristian context by the Byzantine poet. The final sacred monosyllable ‘OM’ from the Hindu and Buddhist traditions denotes The Eternal.

This work was commissioned by The Liverpool Culture Company Limited as part of the 2008 European Capital of Culture Programme. It was first performed on 28th February 2008 at Liverpool Metropolitan Cathedral by Josephine Knight(Cello) Elin Manahan Thomas (Soprano) Andrew Kennedy (Tenor) and the Royal Philharmonic Orchestra and Chorus conducted by Vasily Petrenko. Duration: 35 minutes.