It seems almost by accident that I became a composer of Orthodox liturgical music. As a music student at Oxford in the early 1970s, I had written some rather complex modernistic pieces, some of which were performed at various concerts. While staying in Siena, Italy, in the summer of 1974, I had the audacity to show them to the famed Italian composer, Luigi Dallapiccola, who was presenting talks about his music at the Accademia Chigiana. (I vividly recall him pausing to catch his breath at the tops of hills as we walked about the city; his health was already failing, and he died early the following year.) For my postgraduate studies I had to decide between composition and musicology. After receiving no particular encouragement to pursue composition, I chose musicology, and around 1976 I stopped composing altogether, never expecting to return.
That was until the early 1990s. By then I was living in Amsterdam, had converted to Christianity and was moving in British Anglican and Dutch Protestant circles. Through them I got to know the music of Taizé: short, chant-like pieces and canons that were dignified and easy to sing. The canons especially reawakened the dormant composer inside me. I thought it would be good to try composing something similar, so I wrote a series of them, most based on Scripture. I went on to set several sections of one of the innumerable Anglican Communion rites: series III, as it was known. Read More



