The Missa Omnium Sanctorum is the first full setting (i.e. including the ‘Credo’) of the Mass that I have made and one of my largest unaccompanied choral works to date. The piece alternates between a sombre, shadowy F minor and a brighter, iridescent modal A major – the former for more prayerful and supplicative material, the latter for the more celebratory moments of praise and benediction. The two harmonic areas coincide and colour each other throughout and the overall mood of the work is reflective but benevolent. 

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.