This setting of the Benedictus was written for Sarah MacDonald and the choir of Selwyn College, Cambridge for their recording of a disc of my liturgical choral works on the Regent label.

The text of the Benedictus is far more reflective than the Te Deum and Jubilate morning canticles, and so it begins and ends quietly. The whole work is based upon a running semiquaver movement heard firstly in the pedals, then transferring to the manuals and finally reappearing at the Gloria. Throughout, there is a close relationship between the keys of Ab major and E major, which gives the piece a sense of freshness without being overly dramatic.

For much of the piece, the organ should stay in the background, almost shimmering, whilst producing a subtle pulsating effect. However, at bars 42 - 48 and bars 117 - 121 the tutti should be used, with no restraint shown! Passages marked "soli" would work full, but ideally will be sung as marked, in order to give a contrasting texture.

Please note the Scorch playback has been muted. If you would like to hear the piece, please use the MP3 here.