Unpublished Works

Perusal copies of unpublished works are available from the composer, as well as copies for performance or permission to reproduce under limited agreement. Please use the “Contact” tab to inquire.

(by organ, unless indicated otherwise)

Unison voices/solo

  • Little Elegy (brief, quick setting of Elinor Wylie poem, for solo voice and piano) 2002
  • O You Whom I Often and Silently Come (lyrical setting of Walt Whitman poem, for solo voice and piano) 2002
  • Te Deum (English Language Liturgical Consultation text in well-supported setting intended for congregational singing; accompaniment suitable for piano or organ) 2001
  • Four Canticles (Magnificat, A Song of Wisdom, A Song of Jerusalem Our Mother, A Song of Judith; accessible settings written for congregational or small-choir use, vocal line supported in accompaniment; note that “A Song of Judith” is published in Enriching Our Music I, Church Publishing) 2000
  • I Love in Singing (challenging setting for solo voice and piano of George Eliot poem) 2000
  • Five Poems of Rupert Brooke: Song, August, The Path of Dreams, The Wayfarers, My Song (challenging settings for voice and piano) 1999 (except My Song, 2000)
  • Benedictus es, Domine (canticle in English setting, BCP 1979 text; tuneful, with a few rhythmic and range challenges) 1996
  • Anima Christi (English setting, John Henry Newman translation of 14th c. Latin text (“Soul of Christ, be my sanctification…”); lyrical, quiet and short setting, very accessible; usable as unison choral piece or solo) 1994
  • The Lord’s Prayer (simple lyrical setting of contemporary text from BCP 1979; usable as unison choral piece or solo) 1994
  • Jesus Walked this Lonesome Valley (baritone solo arrangement of traditional tune and text with sustained and rather open organ accompaniment) 1994
  • Blessed Be the Hour (Eric Milner-White text; short, lyrical, straightforward setting well supported in accompaniment; usable as unison choral piece or solo) 1994
  • This Sanctuary of My Soul (C.H. Sorley text in short lyrical setting with accompanimental support throughout; usable as unison choral piece or solo) 1993
  • I Saw a Stranger Today (Traditional text in lyrical, flowing setting; usable as unison choral piece or solo) 1992
  • Venite (Psalm 95, in English, BCP 1979 text; rather easy, quick and sturdy well-supported setting) 1989


  • Sometimes I Feel Like a Motherless Child (setting for two equal voices of traditional text and tune in very contemplative, slow-moving style) 2012
  • Pax Vobiscum (SSAA setting uses only the words of the title, along with a wordless soprano vocalise; outer parts employ the main ensemble in a passacaglia-like pattern, with the vocalise varying above; moderately difficult) 2004
  • Cantate Domino (fairly challenging SSA setting in English for trebles, text from Psalm 96 in New Zealand Prayer Book translation, with Latin refrain; fast, bright, big ending) 2002
  • Missa Brevis (challenging SSA Latin Mass setting for treble chorus with organ accompaniment) 1999
  • Who Can Paint That Lovely City? (SSA English setting of 11th c. text, Ad perennis vitae fontem; suitable for memorials, funerals, All Saints; tuneful, quiet, with moderate climax before soft ending) 1997
  • The House of Heaven (Relatively brief and straightforward SSA setting of John Donne text) 1993
  • How Lovely Is Your Dwelling Place (Lyrical SSA setting of Psalm 84, internal climaxes, quiet ending; substantial organ part) 1992


  • Into Paradise May the Angels Lead Thee (chant-like opening, slow crescendo to major climax, quiet ending; somewhat challenging) 1994

SATB (+)

  • Psalm 146: Praise the Lord, O My Soul (setting of complete Psalm text from 1662 BCP; organ part fairly prominent, varied; big ending) 2013
  • Be Gracious to Us, O God (Psalm 67) (lyrical, accessible setting with internal climax, quiet ending; text from Psalter of A New Zealand Prayer Book) 2012
  • Love Is Our Lord’s Meaning (text from Julian of Norwich’s Revelations of Divine Love; moderate difficulty) 2011
  • The Risk of Birth (large, ca. 20 minute work in eight movements, with a variety of texts related to the Nativity; SATB choir, with mvt. 6 substantially an alto solo and some soli parts elsewhere in the work, accompanied by organ and wind quintet; texts from Auden, Madeline L’Engle, Katherine Lee Bates, Kevin Nichols, and traditional sources.  Movements: Invocation; The Risk of Birth; In This Time; Chorus of Angels; Incarnate One Continue; At the Manger Mary Sings; Christmas After War; Finale) 2007
  • A Song of Creation  (extended setting for SATB choir, two-part treble choir, keyboard (piano), violin, horn, and cello; combines Psalm 104 with traditional Tewa Pueblo text; considerable divisi in the SATB parts, trebles primarily in unison; big ending) 2005
  • This is My Beloved Son (moderately difficult Transfiguration anthem with quiet opening/closing, internal climactic passages involving considerable divisi writing; two short baritone or bass solos) 2005
  • The Feet of Judas (extended and fairly challenging setting of remarkable poem by African-American poet George Marion McClellan) 2004
  • Nunc dimittis: God’s Promise Is Fulfilled (Jim Cotter contemporary version of canticle text, with Latin antiphon at beginning and end (Lumen ad Revelationem…); quiet chordal opening/closing, recitative-like short tenor solo; main body of the piece lyrical, flowing, supported by organ, moderately difficult) 2004
  • Psalm 120: Levavi Oculos (Latin setting of the Psalm in a lyrical setting; quiet open and close) 2003
  • Te Deum: We Praise You, O God (vigorous and festive setting of the English Te Deum text from Enriching Our Worship) 2003
  • The Fountain of the Holy Spirit (anthem for the Baptism of our Lord; text from Mark and The Gospel of the Hebrews; medium difficulty, with brief chanted passage for solo or solo group,  flowing accompaniment through most of piece, quiet close) 2001
  • Two Poems of Gerard Manley Hopkins: Thee, God, I Come From; God’s Grandeur (large, fairly difficult settings with substantial accompaniment) 2000
  • Grand is the Seen (secular Walt Whitman text, piano accompaniment; challenging but accessible for amateur/school choirs; big ending) 1998
  • When in our Music God is Glorified (F. Pratt Green text (Hymnal 1982, No. 420); substantial setting, opening and closing with expansive tune) 1997
  • Te Deum (English setting of BCP 1979 text (“You Are God…”); substantial setting with forceful opening and close, important organ part)  1996
  • O God the Holy Ghost Who Art Light (Christina Rossetti text, suitable for Pentecost; substantial setting with important organ part; quiet close) 1995
  • Psalm 67 (festive Psalm setting, unison refrain with descant at final iteration; SATB verses in the style of Anglican chant) 1995
  • Jubilate (fairly demanding setting, in English, of Psalm 100 in BCP 1979 Rite II text; important organ accompaniment) 1994
  • With Music Strong I Come (Walt Whitman text; substantial setting with important piano accompaniment) 1994
  • O Thou Who Coverest the High Places (Orthodox text; quiet opening and closing with internal climax; fairly brief, medium difficulty) 1994
  • The Sun of Righteousness Will Rise (Setting of Malachi 4:1-2, RSV; atmospheric opening in organ followed by tenor solo to high A; choir then builds to climax, quiet ending) 1993
  • God Is Our Refuge (complete setting of Psalm 46, KJV, with organ and brass quintet accompaniment; fairly challenging, some divisi writing.  Quiet ending after large climax) 1993
  • O salutaris hostia (through-composed, fairly substantial Latin setting with important organ part) 1992
  • O sacrum convivium (fairly substantial Latin setting with important organ accompaniment, some divisi; medium difficulty) 1992
  • O Magnum Mysterium (Latin setting of Nativity responsory; atmospheric, mostly quiet) 1992
  • When All Things Were in Quiet Silence (Christmas I Benededictus antiphon, in English; quiet opening with atmospheric organ part, building to big ending in quick tempo; somewhat challenging) 1992
  • Psalm 91 (SATB plus separate unison part, can be sung antiphonally; moderate difficulty, quiet ending) 1992
  • The Voice of the Rain (substantial, moderately difficult setting of Walt Whitman text, with piano accompaniment) 1992
  • O Holy Spirit, By Whose Breath (Veni Creator paraphrase by John Webster Grant (Hymnal 1982, Nos. 501, 502) in a substantial setting, with descant at last verse using Latin “Veni Creator” text; second verse unaccompanied) 1992
  • Behold the Savior of Mankind (Samuel Wesley Passion text in a substantial setting with divisi in most parts) 1991
  • The Royal Feast (18th c. Anne Steele text, suitable for general use; moderate difficulty with central climax, quiet ending) 1990
  • O Jerusalem (Psalm 122 text in substantial setting, moderate difficulty) 1990
  • Thy Name, O Christ, as Incense (short Christina Rossetti text in brief setting, medium difficulty) 1989
  • And So We Come (William Bright Communion text, v. 4 of No. 337 Hymnal 1982; short, quiet, voices supported by accompaniment) 1988
  • An Endless Alleluia (text Hymnal 1982, No. 619; substantial, somewhat challenging setting for both choir and organ) 1988
  • Peace (text by Henry Vaughan, “My soul, there is a country…”; medium difficulty)1988
  • A Prayer of St. Francis (“Lord, make us instruments of your peace” text; medium difficulty, with fair amount of unison writing.) 1987


  • Christ our Passover (fraction anthem intended for liturgical use; unison chant and “Alleluia” refrain, with descant for final Alleluias) 1991
  • Jesus, Lamb of God (accessible SAB setting of BCP 1970 fraction anthem text) 1990



  • Benediction (prayer of Jan Fuller Carruthers; brief SSA setting usable as a benediction or choral response; some divisi writing, with final chords in 7 parts) 2001
  • Angelus ad Virginem (somewhat challenging SSA Latin setting of 14th century tune, each verse using different choral treatment; last verse climactic, big ending) 1994
  • The Soul’s Superior Instants (fairly challenging SSA setting of Emily Dickinson poem) 1991


  • Three Memorial Psalms, II: Psalm 27, to the memory of Matthew Shepard (BCP 1979 Psalter text; fairly challenging and substantial setting) 1999

SATB (+)

  • For Peace (text from A New Zealand Prayer Book; accessible setting with some prominence given to alto part) 2013
  • Grant Blissful Rest (setting of English text in Thomas J. Samuelian translation of prayer by Armenian St. Gregor Narekatsi; fairly demanding; considerable divisi writing) 2013
  • Asperges me, Domine (Latin setting from Psalm 51:7, Antiphon for the beginning of Mass, including optional doxology; moderate difficulty) 2009
  • Last Words of St. David (short accessible setting suitable for use as introit) 2003
  • I Would Be True (setting of 1906 Howard Walter hymn text; sustained parts and short phrases in main chorus while solo line, singable as treble solo or solo group, carries text) 2000
  • Christ Church Evening Service (English settings of BCP 1979 Rite II Phos hilaron, Magnificat, and Nunc dimittis; vocally accessible but somewhat challenging settings, with solo lines often cast in relief; Phos and Nunc slow and sustained; Mag gently flowing) 1999
  • Three Memorial Psalms, I: Psalm 23, to the memory of Nathaniel Patch (BCP 1979 Psalter text; divided SATB+SATB choir throughout; builds to large climax, subsides to quiet ending) 1998
  • Three Memorial Psalms, III Psalm 139, to the memory of Robert Simpson (BCP 1979 text; moderate challenges but accessible) 1999
  • Two Baudelaire Settings: Hymne, Le Chat  (substantial and fairly challenging settings; “Hymne” generally quiet and gentle, “Le Chat” quick, light, humorous) 1998
  • Tristis est anima mea (sustained and quiet Latin setting of Responsory for Maundy Thursday Matins; fairly challenging, with brief divisi in most parts) 1994
  • Peace (substantial and fairly challenging setting of secular WWII poem by Margery Smith) 1994
  • Be Thou Then My Atmosphere (Gerard Manley Hopkins text, Marian theme; lyrical, mostly quiet setting with small internal climaxes; medium difficulty) 1994
  • Adam Lay Y-Bounden  (SATB+SATB divided setting of familiar 15th c. text; fairly demanding, rhythmic, energetic, big ending) 1993
  • O Thou Who Hast Prepared (brief syllabic setting of text by Bishop Hall of Norwich, moderately demanding; quiet ending) 1993
  • Wherefore, O Father (strophic setting of hymn anthem for communion (Hymnal 1982, no. 338); may be sung SATB unaccompanied, accompanied in unison, or SATB with parts doubled on organ) 1993
  • To Thee, O Jesu (short setting of moderate difficulty, text attr. to Sir Walter Raleigh) 1993
  • To Us This Night Is Born a Child (Martin Luther Christmas text; two verses in modified strophic setting, medium difficulty) 1992
  • Rise, Heart, thy Lord Is Risen (George Herbert text in modified strophic setting; moderate difficulty) 1992
  • In This Time (16th c. anonymous Christmas text; slow, sustained, not too difficult, some divisi) 1988



  • Fantasy on Pange lingua (fairly virtuosic, free variations on the chant; big opening and close with a quiet central variation) 2001
  • Prelude on an Appalachian Melody (short, quiet organ solo based on an Appalachian tune, “Where will I shelter my sheep tonight?”) 1990

Trumpet and Organ

  • Two Pieces for Trumpet and Organ:  Hymn; Scherzo and Trio (challenging; Hymn sustained and lyrical; Scherzo quick, light, somewhat angular, irregular meters, with longer, more sustained trumpet lines against organ ostinati in trio) Hymn, 2009; Scherzo and Trio, 2001

Trumpet, Trombone, Piano

  • Essay for Trumpet, Trombone and Piano (lyrical; contrasting middle section, quiet ending)

Two pianos, eight hands

  • Pavane (quiet piece perhaps reminiscent of Fauré and Ravel Pavanes; accessible for student performers) 1997

Cello and Organ

  • Chorale Partita on Erhalt uns, Herr, bei deinem Wort (five variations on the chorale, ranging from slow and expressive to quick and angular; fairly challenging) 1988