In 1994 I approached my business partner Laura Grosvenor with the idea that we collaborate on a setting of the English translation of the Song of Mary. I wanted to create something that combined her raw, imaginative ideas with my more refined techniques. I've always believed a composer loses some spontaneity as he improves his technique, and therefore hoped we could achieve the best of both worlds with this collaboration. This setting is scored for four-part chorus, brass quartet, tympani, and organ. Our attempt to merge our two very different styles made for some bold and daring harmonies and transitions. The work has a very "primitive" feel, invoking the charismatic spirit of the early Christian church.
I wrote the sketch of the first movement before ever discussing my idea of a collaboration with Laura.
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