Composers

Shorter House is proud to publish contemporary choral music by established and emerging composers, as you can see from the list below. 

Malcolm Archer has had a distinguished career in church music which has taken him to the posts of Organist and Director of Music at three English Cathedrals: Bristol, Wells and St Paul’s, and for eleven years, Director of Chapel Music at Winchester College. He has for many years directed the choir for the Jean Langlais Festival in France. His active career as a conductor and composer has taken him all over the globe, directing choirs and courses in the USA, Canada, New Zealand, Australia, South Africa and Europe. As an orchestral conductor, he has worked with the London Mozart Players, City of London Sinfonia and the BBC Concert Orchestra in addition to many other professional groups. He conducted a performance of John Rutter’s Requiem for the composer’s 70th birthday concert in the Temple Church, London, in the presence of the composer and recorded by Classic FM, and for several years, his choir in Winchester sang for the Classic FM Carol Concert. He also conducted the 20th anniversary performance of Andrew Lloyd Webber’s ‘Requiem’ in St. Paul’s Cathedral. Over the years, his BBC Radio 3 broadcasts and commercial recordings have won many plaudits, and his Christmas recording with St. Paul’s Cathedral Choir was editor’s choice in The Daily Telegraph. He has recorded with labels such as Warner Classics, Hyperion and Convivium, and his disc of Herbert Howells choral music with Wells Cathedral Choir and Hyperion has received wide acclaim. His recordings are frequently played on BBC Radio 3 and Classic FM including his recording of Mozart’s Requiem with Winchester College Chapel Choir and the London Mozart Players. He has worked with some of the world’s finest singers and has recorded with Dame Emma Kirkby, James Bowman CBE, Sarah Fox and John Mark-Ainsley. As an organist and harpsichordist he is in frequent demand and has given solo concerts all over the world, including concert tours in the USA, Canada, New Zealand and in Europe. His performances with orchestra have included Poulenc’s Organ Concert and Saint-Saens Organ Symphony, Brandenburg Concerto No. 5 and the Bach keyboard concertos, and he has performed with the London Symphony Orchestra in a classic rock concert in the Royal Albert Hall. He has an extensive concert repertoire and has recorded a wide variety of works, including J.S. Bach organ works and Messiaen’s La Nativite du Seigneur as well as his own compositions. Malcolm Archer’s choral works are performed in many countries and are respected for their approachable singability, interesting harmonic character and understanding of the singing voice. He is often commissioned to compose works for special occasions, which have included the 80th birthday service of HM the Queen in St. Paul’s Cathedral, the dedication of the Churchill Memorial Gates at St. Paul’s Cathedral, the Corporation of the Sons of the Clergy, the 800th anniversary of Magna Carta, and the Southern Cathedrals’ Festival. He has over 250 published works and amongst other companies, he publishes with Oxford University Press, with whom he has also co-edited two very successful books: Advent for Choirs and Epiphany to All Saints for Choirs. He was also editor of Carols Ancient and Modern. (published by Hymns Ancient and Modern). He also composes instrumental works, and choral works with orchestra. His one act opera ‘George and the Dragon’ has become very popular as a community project. Similar in scope and conception to Britten’s Noye’s Fludde, it involves young singers alongside an amateur choir and adult professional singers and chamber orchestra. He was recently commissioned to compose ‘Vespers’ by The Farrant Singers, and his ‘Requiem’ is performed frequently both here and abroad, either with orchestra, or in its original form with organ. Malcolm Archer has worked extensively for the BBC, including directing choirs for TV and Radio broadcasts, and he has worked with the BBC Singers and the BBC Daily Service Singers. He has on several occasions been an adjudicator for BBC competitions including the Young Choristers of the Year, and Songs of Praise School Choirs’ competition, where his co-adjudicators included Katherine Jenkins and Pete Waterman. He has also been a judge for the liturgical section of the British Composer Awards. He studied as an RCO scholar at the Royal College of Music and was Organ Scholar at Jesus College Cambridge, where he read music. His organ teachers were Ralph Downes, Gillian Weir and Nicolas Kynaston, and he studied composition with Herbert Sumsion, Bernard Stevens and Alan Ridout. He holds Fellowships from the Royal College of Organists, the Royal School of Church Music and the Guild of Church Musicians, the latter two awarded for his many years of service to the church as a choir trainer and composer.
George Arthur Richford is a multi-award-winning composer and conductor, living and working in the South of England. He currently directs at Salisbury Cathedral having held previous posts at Newcastle Cathedral, St John’s College, Durham, Romsey Abbey and Southampton University. His compositions have been performed and broadcast around the world, and have received premiers on BBC 1, Radio 3 and 4, and at the 300th Anniversary of the Three Choirs’ Festival in Hereford. He has had commissions from Ralph Allwood and the ORNC in Greenwich, Canterbury Cathedral, Choir and Organ Magazine, Royal Holloway University amongst others. He currently holds a major contract with Universal Edition and is recording a number of his works with the acclaimed chapel choir of Royal Holloway, under Rupert Gough.
Paul Ayres was born in London, studied music at Oxford University, and now works freelance as a composer & arranger, choral conductor & musical director, and organist & accompanist. He has received over one hundred commissions, and his works have been awarded composition prizes in Bulgaria, Canada, Croatia, New Zealand, Poland, Russia, Spain, Switzerland, the UK and the USA. Paul particularly enjoys "re-composing" classical works (Purcell, Bach, Handel, Fauré) and "classicizing" pop music (jazz and show tunes, The Beatles, Happy Hardcore). Paul conducts City Chorus and London College of Music Chorus (at the University of West London), accompanies Concordia Voices, and is associate accompanist of Crouch End Festival Chorus. He has led many music education workshops for children, and played piano for improvised comedy shows and musical theatre.
John Baird hails from Greenock in the west of Scotland. Despite making London his home since his college days, he maintains a strong affinity with Scotland, and its influence is apparent in much of his music. John studied with Herbert Howells and Sir Adrian Boult at the Royal College of Music, where he also met his wife, Penny. Subsequently, he has divided his career between composing, conducting, playing and teaching - mainly at Westminster School - becoming Director of Music there in 1983 and then Composer-in-Residence from 1996 to 1999. Since retiring from Westminster School and a career largely spent in the environs of Westminster Abbey, John now enjoys working in Wandsworth Common, the London suburb where he first settled as a student. Besides composing and teaching, John is organist and choirmaster at the local St Mary Magdalene church and conductor of Medici Choir.
Caz’s love of music began while singing in Gloucester Cathedral as a member of the choir at the King’s School, Gloucester. She began composing for the piano, her principal instrument, before branching into instrumental and choral music while at Cambridge University. She holds an MA from Cambridge and an ABRSM Diploma. As a composer, Caz’s work has been premiered by the Brunel Sinfonia and the Red Maids’ Chamber Choir. More recently she has branched into work for theatre productions and short films. As a viola player, Caz has played extensively with string ensembles, symphony orchestras and quartets. She has taught music for eight years in senior schools as well as working with students at the Bristol Pre-Conservatoire.
David Bevan was educated at Westminster Cathedral Choir School and Downside from where he won an open scholarship to The Queen's College, Oxford. In 1972 he was appointed assistant Master of Music at Westminster Cathedral under Colin Mawby and remained in that post until 1976. In 1973 he won a French government scholarship to study organ with Gaston Litaize and Jean Langlais in Paris. David gained the B Mus degree in composition from Oxford University in 1997. Between 1976 and 1979 he was organist of St. Agnes Church in St. Paul, Minnesota. Since 1980 he has worked as a singer, organist, composer and sixth form music teacher. In addition he has been Director of Music at the Church of Our Most Holy Redeemer and St Thomas More, Chelsea for the past 25 years. His output includes a Magnificat for 8 voices which has been broadcast live by Westminster Cathedral Choir on BBC Radio 3.
Simon is a Melbourne born professional tenor soloist equally at home in Grand Opera, Lieder and English Song, Early Music and contemporary performance art. Since moving to London in the mid 1990’s composition of choral works and editing of Renaissance Polyphony has flourished alongside opera and song, with appearances in the Aldeburgh Festival, Wigmore Hall and the Royal Opera House lunchtime recital series. The London Oratory Senior Choir regularly sings his editions of works by Nicolas Gombert on whose oeuvre his research into musica ficta and polyphony of the High Renaissance has centered. His choral works have been performed by The Tudor Choristers and The Canterbury Fellowship (Melbourne) the London Oratory School Schola (for whom he has written a number of commissions), the choirs of the London Oratory, St. John's, Hampstead and St. Bride's, Fleet Street.
David Briggs is an internationally renowned organist whose performances are acclaimed for their musicality, virtuosity, and ability to excite and engage audiences of all ages. With an extensive repertoire spanning five centuries, he is known across the globe for his brilliant organ transcriptions of symphonic music by composers such as Mahler, Schubert, Tchaikovsky, Elgar, Bruckner, Ravel, and Bach. Fascinated by the art of Improvisation since a child, David also frequently performs improvisations to silent films such as Phantom of the Opera, Hunchback of Notre-Dame, Nosferatu, Jeanne d'Arc, Metropolis, as well as a variety of Charlie Chaplin films. At the age of 17, David obtained his FRCO (Fellow of the Royal College of Organists) diploma, winning all the prizes and the Silver Medal of the Worshipful Company of Musicians. From 1981-84 he was the Organ Scholar at King's College, Cambridge University, during which time he studied organ with Jean Langlais in Paris. The first British winner of the Tournemire Prize at the St Albans International Improvisation Competition, he also won the first prize in the International Improvisation Competition at Paisley. Subsequently David held positions at Hereford, Truro and Gloucester Cathedrals. He was Artist-in-Residence at St James Cathedral, Toronto and  is currently Artist-in-Residence at the Cathedral of St John the Divine, New York City.David's schedule includes more than 60 concerts a year, spanning several continents. Deeply committed to making organ music vibrant for future generations, he enjoys giving pre-concert lectures designed to make organ music more accessible to audiences. In addition, he teaches at Cambridge (UK), frequently serves on international organ competition juries, and gives masterclasses at colleges and conservatories across the U.S. and Europe. David Briggs is also a prolific composer and his works range from full scale oratorios to works for solo instruments. He has recorded a DVD, and 30 CDs, many of which include his own compositions and transcriptions.
Daniel was born in Kent and has been a choral singer since primary school. After entering the Kent Youth Choir in 1990, Daniel sang in several chamber and University choirs, before moving to London in 1997 and joining the internationally renowned Vasari Singers. Daniel’s compositions are predominantly sacred choral settings with a distinctly modern harmonic style. Several of Daniel’s works have been commissioned and premiered by the Vasari Singers, including the Responses, which are in regular use in several chapel and chamber choirs in England.
Hilary is currently studying Choral Conducting at the Royal Academy of Music having previously gained a distinction for her MA in Vocal Studies at the University of York and an Advanced Postgraduate Diploma in Performance at Trinity College of Music. She has won awards in competitions including the Musica Sacra Composer’s Competition, Shipley Arts Festival Composer Award, Leeds Philosophical and Literary Society Choral Composition Prize and Philip Bates Prize for Young Composers. Her work has been performed across Europe and the UK by major choirs such as Trinity College Cambridge (conducted by Stephen Layton), and has also been workshopped by the BBC Symphony Chorus. She has been commissioned by Choir and Organ Magazine and by choirs in the UK and Holland and, in 2008, she became Composer in Residence for the Ebor Singers. Hilary is also a singer and conductor and undertook the mentor scheme with The Sixteen in 2009. She is MD of Harpenden Music Makers, the Blossom Street Singers and the King William Singers and Orchestra and has conducted for TV and Radio broadcasts.
Alexander Campkin's music, described as 'fresh and attractive' by Gramophone, has attracted the attentions of some of the top ensembles. His work has been performed or broadcast in over forty countries. It features on over 20 CDs recorded by ensembles including the London Sinfonietta and the BBC Singers, and one of which was Christmas CD of the Year for Classic FM. His musical journey was changed forever after medical symptoms and the diagnosis of multiple sclerosis aged 17. This was shortly before he was due to perform with the Arad Philharmonic in Romania as a viola player. 'MS changed my life. It stopped me playing viola. But it certainly didn’t stop me composing.' Alexander (b. 1984) has received over one hundred commissions from organisations including The Royal Opera House, The Tallis Scholars, The Royal Ballet Sinfonia, The London Mozart Players, English Touring Opera, The BBC Performing Arts Fund, The Swedish Arts Council, New London Children's Choir, Episcopal School of Jacksonville Florida, The Joyful Company of Singers and The Theatinerkirche Vokalkapelle Munich. He has been appointed Composer in Residence of Ampersandance Contemporary Dance Company, The Bournemouth Symphony Orchestra Changemakers Ensemble, The Fulham Camerata, The Cantus Ensemble, The Fourth Choir, The Portsmouth Grammar School and Neresheim Abbey in Germany. Alexander's music has been performed in venues including the Berliner Philharmonie, Amsterdam Concertgebouw, Tokyo Opera City Concert Hall, Shakespeare's Globe Sam Wanamaker Playhouse, Grace Cathedral San Francisco, L'Oratoire de Louvre Paris, Tongyeong Concert Hall South Korea, Christ Cathedral California, LSO St Luke's, Muziekgebouw Amsterdam, Westminster Abbey, National Concert Hall Dublin, King's Place London, St Martin-in-the-Fields London, Cathedral of Saint John the Divine New York City, Southbank Centre and the Barbican Centre. Alexander is conductor of The Oxbridge Singers and the minimaLIST ENsemble. His growing passion for music education has led him to direct workshops for the Royal Opera House, the BBC Symphony Orchestra Learning, English Touring Opera, Royal College of Music Sparks and Streetwise Opera. Alexander studied at Oxford University where was choral and organ scholar, the Royal Academy of Music, and the University for Performing Arts in Vienna. He has received tuition from Sir Peter Maxwell Davies, Robert Saxton, Stephen Montague, Michael Jarrell and Simon Bainbridge. He has been elected an Associate of the Royal Academy of Music for services to music.
Solfa Carlile is originally from Cork, Ireland. She was awarded the Bill Whelan Music Bursary, graduating with first-class honours from the Royal College of Music, London.  She recently completed doctoral study in music at University of Oxford. Her work has been performed by  National Chamber Choir of Ireland, Illumina, Okeanos, London Chamber Orchestra and the Composers Ensemble among others. She was awarded the Jerome Hynes Commission by The National Concert Hall, Ireland, and was also a recipient of the Sean O’Riada composition award in 2013.  Recently, her Three Byzantine Hymns were commissioned and performed by UK-based Cantata Dramatica, and her cantata on the life of St Cuthbert, co-written with librettist Nick Pitts-Tucker, will be performed at the Durham Vocal Festival in February 2019.
Bill is a composer-traveller who writes music inspired by journeys. He is published by Shorter House. Recent commissions include 'The Duel of the White-necked Ravens' for choir and piano, inspired by Mount Kilimanjaro. In 2016 he explored glaciers in East Greenland for a collaboration with Little Baroque Company, poet Helen Mort and film director Richard Jones, to premiere at Poetry-next-the-Sea, 2017. Bill studied English at Cambridge and conducting at The Royal Scottish Academy of Music and Drama. He was Music Director of William Tuckett's 'Elizabeth' at The Royal Ballet, Covent Garden, in 2016. As a specialist SEN educator, Bill has worked with SEN schools across the UK to create musical productions culminating in performances at The Royal Albert Hall and Symphony Hall, Birmingham. In 2002 he founded Pembroke Academy of Music in Walworth, South London, to provide instrument lessons to children who wouldn’t otherwise have the chance. He is a trustee of the Elgar Foundation.
Carson Cooman (b. 1982) is an American composer with a catalog of hundreds of works in many forms—from solo instrumental pieces to operas, and from orchestral works to hymn tunes. His music has been performed on all six inhabited continents in venues that range from the stage of Carnegie Hall to the basket of a hot air balloon. Cooman’s music appears on over forty recordings, including more than twenty-five complete CDs on the Naxos, Albany, Artek, Gothic, Divine Art, Métier, Diversions, Convivium, Altarus, MSR Classics, Raven, and Zimbel labels. Cooman’s primary composition studies were with Bernard Rands, Judith Weir, Alan Fletcher, and James Willey. As an active concert organist, Cooman specializes in the performance of contemporary music. Over 300 new compositions by more than 100 international composers have been written for him, and his organ performances can be heard on a number of CD releases and more than 2,400 recordings available online. Cooman is also a writer on musical subjects, producing articles and reviews frequently for a number of international publications. He serves as an active consultant on music business matters to composers and performing organizations, specializing particularly in the area of composer estates and archives.
John was a chorister at Westminster Cathedral before reading music at Oxford University, where he also played drums in jazz and pop bands and developed an interest in electronic music. He has written for choirs including Commotio, Westminster Cathedral Choir and East Oxford Community Choir, and has written commissions for the Edington Music Festival, Crossover Intergenerational Dance Group, Oxford Youth Dance and The Oxford-Grenoble Association. In 2006 John co-founded Oxford-based choir Sospiri with Chris Watson. Sospiri specialises in liturgical singing of plainsong and sings Latin Vespers at Merton College each term, as well as performing regular concerts. Since 2007 John has written a series of settings of World War I poetry, a number of which were recorded by Commotio and included in their disk; Night (released by Herald, 2007). A more recent set was recorded by Sospiri for a disk titled Requiem (The Gift of Music, 2010).
Emma began her musical career as organ scholar at Pembroke College, Cambridge, subsequently holding organ scholar posts at St. Martin-in-the-Fields and Southwell Minster, during which time she was awarded the ARCO diploma. She studied for an MMus in organ performance at the Royal College of Music, before spending a number of years working in and around London: as Director of Music at High Wycombe Parish Church, Associate Organist at St. Sepulchre-without-Newgate, in the City of London, Director of a newly formed Girls’ choir at Brentwood Cathedral in Essex and accompanist of the South West London Choral Society. She relocated to Northern Ireland in August 2008 to take up the position of Director of Music at St. George’s Church in Belfast. She has played harpsichord and organ with the Ulster Orchestra and is also active as an organ and piano teacher in Belfast and Armagh.
Catherine was born in Luxembourg but now lives and works in London. She studied composition with Roger Redgate, the piano with John Tilbury and Michele Ries and the cello with Ivan Andrews. In 2008, she was awarded a PhD in Composition by Goldsmiths College, University of London. Catherine is an experimental composer who uses a mix of traditional and graphic scoring methods and works in a variety of genres including contemporary opera and performance art. She has composed works for voice, toy pianos, massed harps, orchestra and the glass harmonica. She is an active performer and one half of critically acclaimed experimental pop duo French For Cartridge. Catherine has been commissioned for new works by Huddersfield Contemporary Music Festival, Rational Rec/London, Chetham’s School of Music, Centre National de L’Audiovisuel/Luxembourg and Banque Centrale de Luxembourg. Her work has been performed extensively throughout Europe.
James has written music for the choir of Westminster Abbey, Graham Johnson with The Songmakers' Almanac at the Wigmore Hall, Guy Bovet, James Bowman, for the service in King's College Cambridge celebrating the university's 800th anniversary, and was one of the composers of Song in the City's collaborative song cycle 'Voices of London'. His work has been performed by English Voices, Vivamus and the choirs of St Paul's Cathedral and Trinity College Cambridge, with recordings by the choirs of Girton and Selwyn and the chapel choir of Bedford school. Theatre music includes Io Theatre Company's adaptations of A Christmas Carol and The Snow Spider, their realisation of J. M. Barrie's A Well Remembered Voice and their forthcoming production The Confessions of Fanny Cradock. He wrote new musical Miracles at Short Notice (MusicalTalk's pick of the 2011 Edinburgh Fringe) andthe award-winning 2007 total Fringe sell-out show Tony Blair – the Musical (“runs the melodic gamut from near-Weillian severity to knowingly schmaltzy balladry, and is packed with rich, tight harmonies” - The Daily Telegraph) and performed in 2006 one-man musical The Rise and Fall of Deon Vonniget (“very funny…fantastically skewed” – the New York Times). Other productions, as both a composer and musical director, include Peter Pan: the Revenge of Captain Hook, Theophilus Scatterdust's Magical Gift, The Borrowers, With Blacks, Lysistrata, NewsRevue and a setting of new words by Andrew Motion for Bush Theatre's Sixty-Six Books at Westminster Abbey. Short film scores include Death Sentence, The Ghost of Kirkton Fell, A Hand in the Bush and Savage Mountain. He was composer-in-residence at Bedford School and is Director of Music at Westminster Abbey Choir School.  
One of Canada’s foremost organists and church musicians, Matthew Larkin has forged a successful career in many musical forums, including as choral and orchestral conductor, composer and arranger, accompanist and recording artist. He is the Founding Artistic Director of Caelis Academy Ensemble, Ottawa, Music Director of the Anglican Chorale of Ottawa, Principal Family Conductor of the Ottawa Pops Orchestra, and maintains a busy calendar of recital, conducting, and collaborative projects. Performances this season include conducting Israel in Egypt with Caelis Academy Ensemble, Carmina Burana with Ottawa Choral Society (piano), a solo recital of Messaien’s organ works with Toronto’s Confluence Concerts, as well as Bach’s St. John Passion (organ) with Ottawa Choral Society, and Charpentier’s Messe des morts (organ) with Ottawa Bach Choir. For the past two decades, Matthew has made his home in Ottawa, where he has served as Director of Music of both St. Matthew’s Church and Christ Church Cathedral. Matthew lead the Choir of Men and Boys of Christ Church Cathedral on several cathedral residencies in the UK, including Ely, Salisbury, and St. Paul's Cathedrals, and Westminster Abbey. His extensive liturgical music experience has included appointments at the Church of St. John the Divine, Victoria, St. James' Cathedral, Toronto, and St. Thomas's Church, Toronto. While Music Director of the Ottawa Choral Society (2005–12), Matthew introduced many new works into the choir's repertoire, collaborating frequently with the National Arts Centre. As a choral and orchestral conductor, he has led performances of a wide range of oratorio and symphonic works. A published composer, Matthew Larkin’s music has been performed and recorded worldwide, and he is frequently in demand as an instrumental and choral arranger. He has worked extensively with instrumental ensembles as soloist and guest conductor, and has appeared as organist with the Gabrieli Consort, the National Arts Centre Orchestra, the Ottawa Symphony, the Victoria Symphony, the Theatre of Early Music, and the Toronto Symphony Orchestra. Matthew Larkin has been featured as solo guest artist and collaborator with many of Canada's summer music festivals, including Ottawa's Chamberfest, the Elora Festival, and the Music and Beyond Festival. A Fellow of the Royal Canadian College of Organists, he has concertized throughout Canada, the United States, the United Kingdom, France, Italy, and China. A native of Oxford, UK, Matthew spent his childhood in Kingston, Ontario, where he received his early musical instruction in singing, piano and organ playing, as well as liturgical composition. He later attended the University of Toronto (as Organ Scholar of Trinity College) where he studied with John Tuttle, and the Royal College of Music, London, where he studied with Nicholas Danby.

Simon Lindley is Organist of Leeds Parish Church and of Leeds Town Hall.

At the City's historic and famous Parish Church his duties included the direction of its world-renowned Choir. He is also Music Director of St Peter's Singers, one of England's leading Chamber Choirs, and has served in that capacity since the foundation of the group in 1977.

Other current conductorships include Sheffield Bach Society, Halifax-based Overgate Hospice Choir and Leeds College of Music Community Choral Society. During the coming season (201011) Simon is Chief Guest Conductor of Doncaster Choral Society. He is pianist to St Peter's (Leeds Parish Church) Church of England Primary School, Burmantofts.

Senior Lecturer in Music at Leeds Polytechnic from 1976 to 1987, Simon was in 1988 appointed to the new post of Senior Assistant Music Officer for Leeds City Council's [then] Learning and Leisure Department, working on a kaleidoscopic diversity of productions in the office of the award-winning Leeds International Concert Season – notably weekly Town Hall Lunchtime Recitals, programmes for the Saturday symphony and choral concerts and as Artistic Advisor to the Leeds Summer Heritage Festivals from 1989.

Before moving to Yorkshire thirty-five years ago, Simon was organist to several famous London Churches [notably St Anne & St Agnes and St Olave, Hart Street, in the City], Organ Tutor at the Royal School of Church Music's College of St Nicolas – then at Addington Palace, Croydon – and held posts at Westminster and St Albans Cathedrals and as Director of Music to St Albans School.

At St Albans, he was the first full-time assistant to the legendary Dr Peter Hurford OBE.

A notable 1969 début recital at Westminster Cathedral, and his acclaimed live broadcast from the 1975 Proms of the Elgar Sonata at the Royal Albert Hall established his reputation as a player of distinctive style. This reputation has been enhanced by an extensive discography including two best-selling Naxos CDs [French Organ Music from Leeds Parish Church and Handel Concertos with Northern Sinfonia] and an award-winning performance of the fiendish solo part in Khachaturian's Organ Symphony with the BBC Philharmonic on Chandos conducted by Feyodor Gluschenko and recorded live at a concert in Leeds Town Hall.

Also for Chandos he has made a number of critically praised CDs as accompanist to cornet virtuoso Phillip McCann in the series The World's Most Beautiful Melodies. Simon's playing is also to be heard on many recordings by the Orchestra of Opera North - most recently with Paul Daniel in a Walton CD including Belshazzar's Feast and the 1937 and 1953 Coronation Marches, and in Bartók's Duke Bluebeard's Castle under Richard Farnes.

As an orchestral organist, he has worked – and continues to work – with all the leading British orchestras, and very regularly as organist for concerts by Huddersfield Choral Society. He remains one of very few players regularly playing full oratorio organ accompaniments without orchestra. Recent solo work has included the Poulenc concerto with the Orchestra of Opera North and the Royal Liverpool Philharmonic. There have been recent performances of the Saint-Saëns Organ Symphony with the RLPO and, on a UK Tour, with the Warsaw Philharmonic. He undertook a similar tour in 2007 with Maestro Paul Freeman and the Czech Philharmonic.

In the 70s' and 80's, Simon worked as Chorus Master to two of the West Riding's most famous adult choruses – Halifax Choral Society under Dr Donald Hunt OBE and Leeds Philharmonic Society with Meredith Davies.  He still conducts Leeds Philharmonic on a regular basis for the annual Lord Mayor's Carol Concerts at Leeds Town Hall and is a life Vice-President of both choirs.

President of the Royal College of Organists from 2000 to 2003 and of the Incorporated Association of Organists from 2003 to 2005, Simon is Secretary of the Church Music Society – a position he has held since 1991.

As a choral conductor, his work is to be heard on many recordings and broadcasts with the famous Choir of Leeds Parish Church whose director he has been since early 1975. Two trail-blazing Amphion CD's of the two monodramas by doyen of British composers and former Minster Organist at York, Dr Francis Jackson OBE - Daniel in Babylon and A Time of Fire [Scenes from Tyndale's Dream] - have attracted widespread critical acclaim; these historic performances, recorded in Leeds Parish Church, feature the composer at the organ, actor-dramatist John Stuart Anderson and St Peter's Singers under Simon Lindley's direction.

Personalia, awards and achievements: Born in London, the son of an Anglican priest and a writer and the grandson of Belgian poet and art historian Professor Emile Cammaerts, Simon was educated at Magdalen College School, Oxford and in London at the Royal College of Music, studying organ, piano and voice. He is an Associate of the Royal College and a Graduate of the Royal Schools of Music [London].

He comes from a musical family. Simon's sister Ruth was for years a leading member of the Choir of the London Oratory. His son Nicolas proved a notable Parish Church Head Chorister and soloist at Leeds and great-grandmother, Marie Brema, colleague and friend of Elgar, sang the role of the angel in the première of  Elgar's The Dream of Gerontius at the 1900 Birmingham Festival.

Work in many capacities for the Royal School of Church Music has included directing RSCM courses on four continents. He is a member of the Royal School's Advisory Board and holds the honorary diplomas of ARSCM [1987], and FRSCM – the latter presented in 2002.

In 2003, Simon succeeded the late Dr Lionel Dakers CBE [RSCM Director from 1973 to 1989] as Chairman of the Friends of the Musicians' Chapel at Church of St Sepulchre-without-Newgate in the City of London - the National Musicians' Church. He is also a Churchwarden of St Sepulchre's.

Additionally on the national musical canvas, he is Chairman of the Ecclesiastical Music Trust [the charitable arm of the English Hymnal Company, a Trust founded by Ralph Vaughan Williams], a founder-trustee of the Sir George Thalben-Ball Memorial Trust and the longest-serving trustee of the John Pilling Trust. Simon is also a member of the Royal Society of Musicians and a Liveryman of the Worshipful Company of Musicians.

Dr Lindley is a Director of the English Hymnal Company and worked extensively on New English Praise, the recently published supplement to The New English Hymnal issued by the Canterbury Press in 2006.

Simon is a Fellow of the Royal College of Organists and holds the College's coveted Choirmaster's Diploma [CHM]. He is also a Fellow of Trinity College of Music and a Licentiate of the Royal Academy of Music.

In Autumn of 2001 an honorary doctorate of Leeds Metropolitan University was conferred upon him in recognition of his services to the musical and civic life of his adopted city. He is the recipient of Honorary Fellowships from Leeds College of Music, the Guild of Church Musicians, the Guild of Musicians and Singers and, most recently, the Royal School of Church Music.  In Summer 2005 he received the Freedom of the City of London, where he began his career as an organist over forty years ago and in the Spring of 2006 he was the recipient of the coveted Spirit of Leeds award from Leeds Civic Trust.

A number of Simon's small-scale compositions and carol settings for worship services have achieved widespread provenance. A very popular setting of Ave Maria is sung and recorded very widely in and by quires and places where they sing and his carol-arrangements include Now the green blade riseth – used very widely in churches, cathedrals and chapels of all denominations at Eastertide. Katherine Jenkins' acclaimed CD Sacred Arias includes a performance of Simon's Ave Maria.

His interests include writing, printing and typography, cooking, travel - especially rail travel - and local history.

Simon lives at the Moravian Settlement in Fulneck near Pudsey at the confluence of the West Riding rural and industrial heartlands. He is currently Grand Organist to the United Grand Lodge of England and to the Masonic Province of Yorkshire, West Riding.

He has four children and two grandchildren: Nicolas, the eldest son – with two children of his own – lives and works in Florida, USA; Dominic is Senior Economic Policy Advisor to the Consumers' Association. Benedict – a stalwart of LPC Choir Tours – holds at BSc in computer science from Leeds Metropolitan University and works in IT. Rebecca is currently recently returned to Leeds, having recently graduated from the University of Northumbria.

Matthew Martin is Precentor and Director of College Music at Gonville & Caius College, Cambridge. He read Music at Magdalen College, Oxford before studying at the Royal Academy of Music and with Marie-Claire Alain in Paris. From 2015-2020 he was Director of Music at Keble College, Oxford and Artistic Director of the Keble Early Music Festival. 

Matthew spent much of his early life immersed in cathedral music and in 2010, after six years as Assistant Master of Music at Westminster Cathedral, he decided to focus more on composition. Since then he has been commissioned to write music for the The Tallis Scholars, the choirs of Westminster Abbey, St Paul’s Cathedral, The Gabrieli Consort and The Sixteen. Matthew won the Liturgical category in the 2013 British Composer Awards, and the first disc of his choral music (Jubilate Deo) was recorded by Daniel Hyde and The Choir of Magdalen College, Oxford (Opus Arte/2014).

More recently, he has written for the Cheltenham Music Festival (Trumpet Sonata) and The Tallis Scholars (Lamentations of Jeremiah). His Rose Magnificat for Paul McCreesh and The Gabrieli Consort won the Choral category in the 2019 BBC Music Magazine Awards. Earlier in 2019, he was asked to write a festival anthem (In the midst of thy Temple) for the choir of Westminster Abbey, marking the 750th anniversary of its refounding, and a test piece for organ (Triptych) for the 2019 St Albans International Organ Competition. 

from The Telegraph: Colin Mawby, who died aged 83, was a conductor, composer and organist known for his love of polyphony, his engaging personality and his enthusiasm for choral singing; he played for the Queen at St Paul’s Cathedral, President Kennedy at Westminster Cathedral and two popes at St Peter’s in Rome. From 1961 Mawby was master of music at Westminster Cathedral, where he tried in vain to resist the liturgical reforms of the Second Vatican Council, regarding them as leaving Catholic music “in an unsatisfactory state”. He also faced a constant battle for funding: while the boys’ choir was financed by the diocese of Westminster and by school fees, the men’s choir was financed by the cathedral, which struggled to meet their modest honorariums. Despite such issues absorbing his time, Mawby continued to lead his choristers in the daily offices of the Church with professionalism while championing composers such as Lennox Berkeley, the premiere of whose Five Part Mass, commissioned by Cardinal Heenan, he directed in 1964. Mawby’s tenure ended after 14 years in a dispute about musical policy and the future of the cathedral choir school that was aggravated by personality conflicts. Matters came to a head shortly after Cardinal Heenan’s Requiem in 1975, after which Mawby was asked not to carry out his duties in the cathedral, although he was involved in Cardinal Hume’s installation in 1976. In 1979 he was succeeded by Stephen Cleobury, who died two days before him.
Mawby became a central figure to choral music in Ireland, starting the RTÉ Philharmonic Choir and Cór na nÓg, the broadcaster’s children’s choir, and developing the RTÉ Chamber Choir. Colin John Beverley Mawby was born in Portsmouth on May 9 1936, the son of Bernard Mawby, a Roman Catholic convert, and his wife Enid (née Vaux). He was educated at St Swithun’s Primary School, Portsmouth, but his mother’s death when he was three, and the Luftwaffe’s blitz of the city, made him an unruly child. Although a conventional boarding school was beyond his father’s means, young Colin had perfect pitch and was one of the first choristers when Cardinal Griffin reopened Westminster Cathedral choir school in January 1946. He sang for 14 services a week in repertoire that was largely plainchant and polyphony, recalling how by the age of 12 he was “very fortunate” to be assisting George Malcolm, the master of music, in the organ loft. Thanks to Malcolm’s contacts Mawby entered the Royal College of Music at the early age of 15. He was choirmaster at a couple of London churches and at Plymouth Cathedral before returning at 23 to Westminster Cathedral as assistant to Francis Cameron, Malcolm’s successor. Cameron left after two years, whereupon Mawby became master of music.
After parting company with the cathedral Mawby, who also taught at Trinity College and directed an amateur choir, re-emerged in 1978 at Sacred Heart Church, Wimbledon, his last church appointment. Around that time he wrote an article articulating how the church’s liturgical changes had caused so much anguish. “We have seen many extraordinary advances since Vatican II, but also the destruction of much that was good,” he wrote, urging fellow Catholics to “see what of the old can be incorporated into the new”. Meanwhile, a nun in the amateur choir drew his attention to an advert for the post of choral director at RTÉ in Dublin. Despite no previous connection with Ireland he settled happily there. Matters were eventually smoothed over at Westminster Cathedral and his return visits were well received. It was not until he was 52, soon after the birth of his first son, that Mawby took up composition seriously: “I remember going into his bedroom and looking at his crib and thinking to myself, ‘I have to support this baby and I have to get him through university, I have to educate and clothe him. How am I going to do this?’ I thought, ‘The only thing I can do is compose.’ So I decided to sit down and seriously work at composition.”
His output was prolific, including masses, motets and hymn tunes, as well as two secular operas for young people. “Religious belief is fundamental to my work,” he said. “Without faith I couldn’t compose.”
In 2006 he conducted his 70th birthday concert in Ireland, expressing delight at having no responsibility for its planning. “All I do is wave my arms,” he said. “I don’t have to organise anything, it’s all done for me … why didn’t I think of this years ago?” From 1994 to 2017 he published Vivace!, a newsletter for church choirs. Mawby, was awarded a papal knighthood in 2006.
Philip studied at the Royal College of Music in London where he won the Walford Davies Prize for Organ Playing and the Limpus, Turpin, and Read Prizes in the Royal College of Organists’ exams. He holds a Bachelor in Music degree from the University of Durham and, more recently, he was awarded Honorary Fellowships by the Royal School of Church Music, the Guild of Church Musicians, and the Academy of St Cecilia for his services to Church Music. After graduation, he taught at Eton College, moving to Canterbury Cathedral in 1968 as Assistant Organist, and in 1974 to Guildford as Organist and Master of the Choristers. In 1983 he became Organist and Master of the Music at York Minster, succeeding Dr Francis Jackson. When he retired from the Minster in 2008 he was appointed Organist Emeritus, and the Archbishop of York awarded him the Order of St William, an honour entirely within his gift. As a composer, he has written extensively, primarily music for choir and organ, but also music for chamber ensembles.
Anthony was born in France and has sung in various choirs since attending school in East Anglia. He has written music in a broad range of classical forms including symphonies, canticles, piano pieces and chamber music, but choral works dominate his output. He has a particular interest in Latin motets and Gregorian chant, with French neoclassicism and Bruckner foremost among his influences. Anthony's works have been performed in Norwich and Ripon cathedrals, Paisley Abbey and in Edinburgh, where he now lives.
James O’Donnell is the Abbey’s Director of Music and principal conductor of the Abbey Choir. He is the head of the Abbey music department and is responsible for all musical aspects of the Abbey’s work. Internationally recognised as a conductor and organ recitalist, James has performed all over the world, including the United States, Japan, Australia, New Zealand, and throughout Europe, and appeared in the BBC Proms and at many other festivals. Recent engagements have included Poulenc’s Organ Concerto with the London Philharmonic Orchestra under Yannick Nézet-Séguin at the Royal Festival Hall, broadcast live on BBC Radio 3 and released on CD on the LPO Live label, and solo recitals in the United States, Germany, Norway, and the Netherlands. Before taking up his appointment at Westminster Abbey in January 2000, James was a junior exhibitioner at the Royal College of Music and then Organ Scholar of Jesus College, Cambridge.  He was appointed Assistant Master of Music at Westminster Cathedral, where he became Master of Music in 1988.  Under his direction the Choir of Westminster Cathedral won the Gramophone ‘Record of the Year’ award (for its Hyperion disc of masses by Frank Martin and Pizzetti in 1998), and a Royal Philharmonic Society award (1999), both unprecedented for a cathedral choir. As soloist and director James has worked with many of Britain’s leading ensembles. He is Music Director of St James’ Baroque and appears regularly with the BBC Singers. He is Visiting Professor of Organ and of Choral Conducting at the Royal Academy of Music and was President of the Royal College of Organists from 2011–13. He is an Honorary Fellow of Jesus College, Cambridge and Doctor of Music honoris causa of the University of Aberdeen.
David read Music at Rhodes University in Grahamstown, South Africa. After his Master's degree, he taught for some years in independent schools before being appointed Director of Music at St George's Anglican Cathedral in Cape Town, with responsibility for the cathedral's overall programme of both liturgical and secular music. He returned to independent education in April 2013 and is now Head of Music and Head of Culture at Epworth School in Pietermaritzburg. His compositions are mainly choral, many of them written for specific occasions or for the particular choirs he has worked with.
Francis Pott has acquired an international reputation over the past thirty years. His dramatic, challenging music unites a distinctive personal voice with a highly-disciplined but versatile technique rooted in a keen awareness of the past. To date his works (including a steady flow of major commissions) have been heard in concert and on radio across the UK and in over forty countries worldwide. They have been published by such major houses as Ricordi [UK], Novello [Music Sales], United Music Publishers and Oxford University Press. In December 2013 Francis signed an exclusive agreement with Edition Peters (London, Frankfurt, Leipzig and New York) which entails publication of all his future choral and organ works and of his hitherto-unpublished back-catalogue. An increasing range of his piano and chamber music is published by Composers Edition. A highly personal harmonic voice lies at the heart of Francis’s style. His output includes many solo piano and chamber compositions, with a strong commitment also to solo song. However, he has attracted particular attention hitherto for his organ music and sacred choral works. In both he has harnessed fifteenth– and sixteenth-century polyphonic techniques to a distinctively recognisable idiom. An unusually rigorous use of motivic counterpoint, allied to a concern with the symphonic methods of the Danish composer Carl Nielsen, has found favour in Britain and also particularly in the USA, Canada, Australia, Germany and Scandinavia. Francis’s sound, difficult to pigeon-hole, has been compared in the press with composers as diverse as Nielsen, Barber, Janacek, Messiaen, Martin, Vaughan Williams, Tippett, Simpson and even Fauré, though it could be mistaken for none of these and the sheer diversity of this list is probably more indicative than any single name on it. Francis began musical life as a chorister at New College, Oxford. He held Open Music Scholarships at Winchester College and then at Magdalene College, Cambridge, where he studied composition with Robin Holloway and Hugh Wood while also pursuing piano studies privately in London with the distinguished British artist, Hamish Milne. After six years teaching in the independent secondary sector, he became a tutor in composition for the University of Oxford, gradually expanding his remit until he was teaching for over half of its colleges. Throughout the 1990s Francis was John Bennett Lecturer in Music at St Hilda’s College, Oxford, and also a bass lay clerk in the Choir of Winchester Cathedral, under the directorship of Dr David Hill. In 2001 he relinquished these roles to become Head of London College of Music, University of West London, later leading Research across the University’s wider Faculty of Arts and acceding in 2007 to its first ever Chair in Composition. In addition to his current Professorship he holds MA and MusB degrees from the University of Cambridge, a Fellowship of London College of Music [FLCM], a PhD and a Principal Fellowship of the Higher Education Academy [PFHEA]. In September 2018 Francis voluntarily semi-retired from his university post in order to devote more time to composition. Winner of four national and two international composition awards, in 1997 Francis received First Prize in the piano solo section of the S.S. Prokofiev Composing Competition in Moscow, for his Toccata (dedicated to his friend, the legendary French-Canadian virtuoso Marc-André Hamelin). In 2004 he was awarded Honorable Mention in the Barlow International Award for Composition (USA), placed 2nd in a worldwide field of 362 professional composers behind his friend and compatriot, Judith Bingham. In 2006 and 2011 he was a nominated finalist in the BASCA Annual Composer Awards, staged in association with the BBC. In August 1999 A Song on the End of the World, his oratorio for soloists, chorus and orchestra, was hailed in The Times as ‘thrilling music, …contemporary and original, …impressive and profoundly affecting’ , and in The Birmingham Post  as ‘a stunning première, …apocalyptic and luminous’. In 2006 his further oratorio for tenor soloist, double chorus and organ, The Cloud of Unknowing, was acclaimed by Richard Morrison in The Times:  ‘A sincere, intelligent and admirably unsensational meditation on the darkness at the heart of man.  …One sometimes writes, hyperbolically, of a performance moving one to tears. But at the end of Francis Pott’s The Cloud of Unknowing, genuine tears were shed’. Francis’ recent output includes Word, a half-hour meditative sequence for chorus and organ which interrogates the meaning and message of the Gospels in a postmodern age, and which intersperses five poems of R.S.Thomas with verses from St John’s Prologue in the New Revised Standard Version; also a large-scale Mass for eight parts, recorded in 2011 on the Naxos label by its dedicatees, the Oxford-based chamber choir Commotio under their conductor, Matthew Berry. Concert music has included Einzige Tage, a song cycle setting German translations of Russian poems by Pasternak and Akhmatova, and a half-hour Sonata for viola and piano; these two works were released together on CD in December 2014. Recent projects also include two major works for chorus and orchestra, while current activity embraces concertos for violin and for cor anglais and further works for organ and for piano. Francis remains active as a piano soloist, accompanist and chamber partner and maintains a particular research interest in the oeuvre of the émigré Russian composer-pianist, Nikolai Medtner. Francis Pott is married with two adult children (both following him in musical directions) and lives in a village on the outskirts of Winchester.