Stefan Gros

Ohne Terzbasse.

Skempton's Third Magnificat and Nunc Dimittis setting was written for Wells Cathedral and premiered in May 2012. The simplicity and purity of the setting is typical of Skempton's style, ideal for male...

This reflective and affirmatory communion motet features fluid shifts between 3/4 and 4/4 time signatures and expressive melodic lines that are often underpinned by a drone.

John Sheppard's Verbum caro factum est is perhaps the most magnificent of his Responds, as befits its Christmas context. The music alternates between polyphony and plainchant, and the text is one that...

On one level it is an evocation of the vast spaces of the Australian desert . . . on another it is a metaphysical journey through the emotions . . . First and foremost, though, it is a hugely impressi...

Same as We is a 'scena', a 'theatrical monologue', rather than a 'song'. Using text from Alfred Lord Tennyson's The Promise of May, it is intended that the piece be both dramatic and, albeit in a gene...

The text is drawn from the various editions of Whitmans's 'Leaves of grass' (1855-97), and interspersed with excerpts from 'Specimen Days'. Together they form an autobiography, in which both singer an...

Michael Finnissy's John the Baptist won the 2015 British Composer Award in the Liturgical Category. Commissioned by St John's College, Cambridge, for Advent 2014, the piece recalls the folk music of t...

This anthem takes its words from the Book of Common Prayer. Finnissy's setting brings together simple melodic lines, astringent harmonies, and rhythmic organ counter-melodies to create highly emotive...