O Boundless Ecclesia premier

My new piece, O Boundless Ecclesia, a setting of a Hildegard von Bingen text will be performed by Voice in their Hildegard Transfigured: A medieval trance for the 21st Century concert at SJE Arts Oxford on Friday 21st May.There are two one-hour performances, 8pm and 10pm.

Link below –

Hildegard Transfigured: A medieval trance for the 21st Century

New piece at Avgarde concert

A new piece, Libera Me, Dies Irae for voice, percussion, harmonium and violin with be performed at the Avgarde concert on 8th November at Nøsteboden in Bergen.

This is the 3rd concert in a series which asks,

¨can art music composed today also be meant for “community singing”? Together we learn songs that are completely newly composed by contemporary composers. This time we have the theme “Requiem fragments”! Come and sing with us!¨


Great review of Sacred Space

Klassik Musikk – Annabel Guaita

The program opens with Marcus Davidson’s Sacred Space for organ and electronics, an exciting work that sets the tone for the concert and makes me open and curious. Davidson has listened to recordings made by scientists from space and been inspired by this. The electronics and the organ dress each other tonally. Organist Anders Eidsten Dahl is a steady musician throughout the concert and alternates between virtuoso and intense static organ playing. The music draws us into a musical chaos that turns into broad soundscapes. Later in the concert we hear the vocal ensemble Tabula Rasa in Davidson’s Musical harmony and the premiere O, great spirit. This is a beautiful work with delicate, free-tonal harmonies that are reminiscent of Fartein Valen’s expressive tonal language. The vocal ensemble appears as a cohesive organism with listening vocalists. One can only sit back and enjoy their sublime intonation


Pieces at Bergen Kirke Autunnale

Tabula Rasa ensemble and organist Anders Eidsten Dahl will perform 6 of my pieces at the Bergen Kirke Autumnale in Bergen on Sunday 27th September at Johanneskirke, Bergen.

Included is a premier of a new vocal piece Oh Great Spirit, a setting of a prayer by Native American Lakota chief Yellow Lark from 1887.


And The People Stayed Home

The lock down has produced many unexpected collaborations. A chance remark during a conversation with my good friend Clemmie Franks, has resulted in a setting of And The People Stayed At Home by Kitty O´Meara. Clemmie performs the piece in 4 parts, with images by Tabby Lincoln, artwork by Emmy Franks and music by yours truly! Kitty O´Meara herself has written about the video –

“It’s very beautiful….; thank you for sharing. We enjoyed your incredible vocals and the artwork and mixing very much. Very well done!” Kitty O’Meara

Great review in Adverse Effect Magazine

Many thanks for the great review of our album ¨The Wave¨ in Adverse Effect Magazine by Richard Johnson.

STANDING WAVES The Wave CD (self-released, 2019)

Seven collaborative compositions by Marcus Davidson, already known for his work with Chris Watson and Philip Jeck, and classical violinist Roger Huckle that merge the music of the eastern and western hemispheres. Following the first one, ‘Tabla Dance’, a heady and rousing number one can imagine many letting their feet respond wildly to, ‘Elegy’ is rather more restrained and polite as it veers away from the folkish nature towards a chamber piece a little out of place as the rest of the album unfolds to reveal an approach generally more in keeping with the opener. Fourth cut ‘Hildegard’s Dream’ includes a powerful and mesmerising vocal performance from Kat Kleve, whilst ‘The Wave – Part 1’ throws in vocalisations from Jayson Stilwell and assumes a more sober posture without losing the eastern elements that buoy almost everything else so well. The second part of the title track is more spirited despite a slightly sorrowful air hanging over the proceedings you can still imagine being jigged to, then the final, wonderfully titled, ’Sky of Consciousness’ brings everything to a close on the kind of atmospheric high note commanding further returns to this fray. Although not quite as subtly envelope-pushing as, say, Michel Banabila’s own dabbling with such areas, this delivers like it would be great in its original setting with films from Kam Wan and the European Space Agency accompanying it. (RJ)