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Zusatztext The accompaniment is founded on an overlapping arabesque figure that recurs frequently throughout the piece. The accompaniment's spicy chromaticism is countered by the stable tonality of the choral parts. The accompaniment is somewhat tricky yet very enjoyable to play, and Owens uses the organâs resources creatively. This short work is of moderate technical difficulty, and it would serve its purpose in a service well. Informationen zum Autor Matthew Owens studied at Chetham's School of Music and became Organ Scholar at The Queen's College, Oxford from where he graduated in music. He won many prizes and awards as an organist, then studied at the Sweelinck Conservatorium in Amsterdam. He was Tutor in Organ Studies at the Royal Northern College of Music and at Chetham's and worked for BBC Religious Broadcasting. Matthew worked extensively as Assistant Conductor of the National Youth Choir of Great Britain from 1993-1999 and conducted many distinguished orchestras. He is in demand for choral workshops, masterclasses and adjudications in the UK and abroad and has made over twenty-five CDs as a conductor or solo organist. He has championed new music, particularly of British composers, premiering many new works by leading composers ranging from Jools Holland to James MacMillan, and John Rutter to Sir Peter Maxwell Davies. He is Organist & Master of the Choristers of Wells Cathedral and a composer. Zusammenfassung for SATB and organA stunning atmosphere is instantly created in this short piece by an almost ethereal organ part, featuring flourishes on flute stops, later supported by a drone-like pedal line. The choral lines are slow-moving and homophonic, allowing the text to come to the fore. These words are traditionally used on Trinity Sunday, but their general message is suitable for use throughout the year, making Owens's setting a useful and practical addition to any church choir's repertory.
