Matthew Martin
Matthew Martin's varied career as a composer and performer has earned him a noteworthy place in the UK's musical life as well as further afield. His "spikily dynamic style of composition" brings in regular commissions from prominent groups and he continues to be in demand as both a recitalist and teacher.
Works
| Title | Year | Description | Duration | Composer |
|---|---|---|---|---|
| Ut Unum Sint! | Written for the choir of New College, Oxford, Ut Unum Sint! (That they may be one) sets words from St John’s gospel in which Christ prays that all may be one. This was the title of Pope John Paul II’s encyclical on church unity. Combining atmospheric sections with more dramatic material, it was given its first performance by the choir of New College in St Peter’s, Rome in June 2015. | Matthew Martin | ||
| Invocation to the Holy Spirit | Invocation to the Holy Spirit is a short and simple work, dedicated to the memory of David Trendell. It sets two Latin texts concerning baptism and the Holy Spirit. It is an ideal piece for confirmation or baptism services as well as for the season of Pentecost. | Matthew Martin | ||
| O lux beata Trinitas | 2015 | This setting of ‘O lux beata Trinitas’ (ascribed to St Ambrose) weaves together a range of vocal styles and textures to build gradually from the quietly pensive opening section to a rousing unison declamation on the words ‘Deo Patri sit Gloria!’. With the hallmarks of Matthew Martin’s inimitable voice, this anthem will prove a powerful choice in evensong or as part of a mixed choral programme. | 3:30 | Matthew Martin |
| Dormi, Iesu! | 2015 | This piece is a reticent carol and weaves a complex web of counterpoint within both the vocal lines and organ part, distilling into a stark treble solo as the text turns to English. An ideal work to highlight a more reflective side of the festive season. | 2:45 | Matthew Martin |
| Laudate Dominum | 2015 | This joyful piece for SATB and organ alternates spritely and brassy organ fanfares with bold choral assertions, with the core pulse often offset by intricate rhythmic dialogue between organ and choir. It uses varied choral textures to paint the text, culminating in the bold, homophonic statement ‘Omnis spiritus laudet Dominim!’ (All creatures praise the Lord), before an ecstatic Alleluia. | 3:15 | Matthew Martin |
| Nowell, sing we | 2015 | A festive choral work for SATB and organ by composer Matthew Martin. Commissioned by The Chapter of York for the Festival of Nine Lessons and Carols in York Minster, 22 and 24 December 2014. | 3:20 | Matthew Martin |
| Chester Missa Brevis | 2015 | The Chester Missa Brevis was written for the choir of Chester Cathedral by Matthew Martin | 10:30 | Matthew Martin |
| Haec Dies | Haec Dies (This is the day which the Lord hath made) is a lively and rhythmic piece. It was commissioned by the choir of Clare College, Cambridge and has recently been recorded by them on the Harmonia Mundi label. It sets a joyful Latin text suitable for Eastertide and, with very little divisi, is within the reach of proficient choirs. | Matthew Martin | ||
| Behold, now praise the Lord | 2015 | Behold, now praise the Lord is a dramatic work, written for the combined choirs of St Paul’s Cathedral, Westminster Abbey and Westminster Cathedral and was commissioned for the annual St Cecilia Service in St Paul’s Cathedral by Help Musicians UK. Dedicated to the memory | 4 | Matthew Martin |
| A Hymn of St Ambrose | 2013 | SATB chorus | 4½ | Matthew Martin |
| A Hymn to St Etheldreda | 2013 | SATB chorus and organ | 4½ | Matthew Martin |
| Te Lucis ante terminum | 2013 | Written for the Exon Singers' 2013 Festival, this setting of Te lucis ante terminum offers choirs an ideal introduction to the choral works of Matthew Martin. This work is suitable for use throughout the church year and combines musical sophistication with accessible choral parts. An English singing translation is included. | 3 | Matthew Martin |
| I Saw the Lord | 2012 | The Festival Anthem I saw the Lord (2012) is a setting of words from Isaiah Ch 6, some of which are perhaps better known in the context of the great Victorian anthem by John Stainer. This Trinitarian/Dedication text (starting with the words “in the year that King Uzziah died”) is both powerful and full of dramatic imagery - flying seraphim, live coals, cries of the Tersanctus - as well as containing darker and more reflective passages. | 10 | Matthew Martin |
| O Oriens | 2012 | Commissioned for the Choir of St Paul’s Cathedral, this superb festive choral work brings together the traditional French melody of Veni, veni Emmanuel with the Advent Antiphon O Oriens. The relatively accessible choral lines are underpinned by a wonderfully majestic organ accompaniment, which exhibits Matthew Martin’s genius for creating a new sound-world from the perfect balance of tradition and innovation. O Oriens is suitable for Advent services and concerts and would be an ideal choice for choirs performing in vast acoustics. | 6 | Matthew Martin |
| The Westminster Service | 2012 | Written for the choristers of Westminster Abbey, Matthew Martin’s canticles offers upper-voice choirs a welcome alternative to more established settings. The bright, fanfare-like theme of the Magnificat is complemented by an atmospheric Nunc dimittis, with the organ part adding texture and unity to the whole. This innovative work is suitable for Evensongs throughout the year. | 8 | Matthew Martin |
| Mass of St Dominic | 2012 | The Mass Of St Dominic was written in 2013 at the request of the Spode Music week for the 60th anniversary of their summer course. It is a setting in English of the new translation of the Mass and is designed to be both short enough for regular liturgical performance and accessible enough for both cathedral and parish use. | 12 | Matthew Martin |
| A Song of the New Jerusalem | 2011 | SATB chorus and organ | 5 | Matthew Martin |
| When David Heard | 2011 | SATB (divisi) | 6 | Matthew Martin |
| The St John's College Service | 2011 | SATB chorus and organ | 9 | Matthew Martin |
| Preces and Responses | 2011 | Preces and Responses SATB is an exquisite set of preces and responses composed for the choir of Merton College, Oxford. Perfectly balancing classic sounds with a splash of contemporary sonority, these responses provide an exciting alternative to more traditional sets. A great investment for cathedral, college and church choirs around the country. | 5 | Matthew Martin |
| O Rex Gentium | 2011 | O Rex Gentium sets the Magnificat antiphon for December 22 - one of the great 'O' antiphons traditionally sung at Vespers in the week before Christmas. These texts are all invocations of the coming of Christ, each one offering praise to him using titles taken from the prophet Isaiah. | 4 | Matthew Martin |
| Adam Lay Ybounden | 2006 | unaccompanied SATB chorus | 3:30 | Matthew Martin |
| O Magnum Mysterium | 2005 | This setting of O Magnum Mysterium for double mixed voice choir is an ideal choice for Christmas services. Matthew Martin's soft yet intricate setting of the Matins Responsory for Christmas Day was written for Andrew Carwood and The Cardinall's Musick. | 4:30 | Matthew Martin |
| Iustorum animae | 2003 | unaccompanied ATB chorus | 2 | Matthew Martin |
| Ecce Concipies | 2001 | Matthew Martin's setting of Ecce Concipies was written for Andrew-John Smith and the Choir of St. Peter's Church, Eaton Square, London. Scored for SSAATTBB | 3 | Matthew Martin |
| The Oratory Mass | 2017 | Commissioned by The Oratory School, Woodcote for the 2016 Conference of Catholic School Directors of Music, this congregational mass for unison voices is a joyful and uplifting setting. | Matthew Martin | |
| Lamentations of Jeremiah | 2017 | Commissioned by the Tallis Scholars, Lamentations of Jeremiah is a prime example of Martin’s exemplary choral writing. Combining complex harmonies and intricate, antiphonal rhythms Martin has created a rich and sonorous setting of this sombre, mournful text. | Matthew Martin |