The Son of Man is an oratorio is in two parts, each lasting approximately fifty minutes and scored for choir, three soloists and chamber orchestra.  The baritone soloist takes on the role of the Son of Man, while the soprano and tenor add commentary to the unfolding story.  A special symbiosis of music and poetry opens up the visions of Ezekiel, the dreams of Daniel, the meditations of the Psalmist, and the revelations of St John the Divine.

Following in the footsteps of Handel’s Messiah, the work uses texts from both the Old and New Testaments.  Unlike Messiah, however, which is a devotional work in adoration and praise of the man Jesus, The Son of Man addresses eternal questions: What does it mean to be human? How are we to understand the purpose and destiny of our life? What does a fully realised human life look like?

Expressed in Patrick’s unique way, the music is thoroughly accessible, lyrical and emotive.

The oratorio received a rapturous response at its World Premiere in Houston, Texas September 2024, performed by the Grammy® award-winning Houston Chamber Choir and Houston Symphony.

Find out more here >

The Son of Man is an oratorio is in two parts, each lasting approximately fifty minutes and scored for choir, three soloists and chamber orchestra.  The baritone soloist takes on the role of the Son of Man, while the soprano and tenor add commentary to the unfolding story.  A special symbiosis of music and poetry opens up the visions of Ezekiel, the dreams of Daniel, the meditations of the Psalmist, and the revelations of St John the Divine.

Following in the footsteps of Handel’s Messiah, the work uses texts from both the Old and New Testaments.  Unlike Messiah, however, which is a devotional work in adoration and praise of the man Jesus, The Son of Man addresses eternal questions: What does it mean to be human? How are we to understand the purpose and destiny of our life? What does a fully realised human life look like?

Expressed in Patrick’s unique way, the music is thoroughly accessible, lyrical and emotive.

The oratorio received a rapturous response at its World Premiere in Houston, Texas September 2024, performed by the Grammy® award-winning Houston Chamber Choir and Houston Symphony.

Find out more here >

A beautiful setting of this unusual fifteenth-century text.  There is an overriding atmosphere of joy and intense love, as well as touching moments of pathos, especially in relation to the premonition of Calvary.

Choirs should aim to have a clear understanding of the nuances of the text, particularly in terms of the dialogue between Mary and Joseph.

Underlying the entire performance should be a subtle sense of urgency as the poet’s dream unfolds. An optimistic tempo should remain rock-solid throughout and a sense of forward momentum must be maintained. The quaver patterns in the organ call for a bright registration, but not at a volume which dominates.

This endernight I saw a sight,
All in my sleep:
Mary, that may, she sang lullay
And sore did weep;
To keep she sought full fast about
Her Son from cold.
Joseph said, “Wife, my joy, my life,
Say what ye would.”
“Nothing, my spouse, is in this house
Unto my pay;
My Son a king, that made all thing,
Lieth in hay.
“Ah, my dear Son,” said Mary, “ah, my dear,
Kiss Thy mother, Jesu, with a laughing cheer.”

“My mother dear, amend your cheer
And now be still;
Thus for to lie it is soothly
My Father’s will;
Derision, great passion,
Infinitely,
As it is found, many a wound
Suffer shall I;
On Calvary that is so high
There shall I be,
Man to restore, nailëd full sore
Upon a tree.”
“Ah, my dear Son,” said Mary, “ah, my dear,
Kiss Thy mother, Jesu, with a laughing cheer.”

This attractive fifteenth-century text has inspired a setting which is reminiscent of medieval tonality and rhythm.

Dynamic contrast is important within the strophic framework but the choral tone should not be too rich, with a more restrained approach towards expression being preferable.  The frequent changes of time signature are intended to point both conductor and singers towards an idiomatic sense of phrasing but the quaver moment must be even throughout, without unnecessary stresses at the beginning of a bar.  Some of the verse openings are exposed and it is advised that the first note of a verse is placed firmly and confidently in order to maintain momentum.