Biography

Gary Davison is an internationally acclaimed
musician of diverse talents. His work as a keyboard artist, composer, and conductor has been described by various critics as "seductive and spirited...smooth, flexible and clear, allowing the music to shine from within" (Hamburger Abendblatt, Germany), "persuasive ...imaginative and polished... sumptuous and engaging" (The Washington Post), as well as "breathtaking and exquisite" (The Journal of the Association of Anglican Musicians).

Mr. Davison has been a featured artist throughout the United States and Europe, on public radio, and in such notable venues as The National Cathedral and The Kennedy Center for the Performing Arts in Washington, DC, Saint Thomas Church and Columbia University in New York City, the renowned Methuen Memorial Music Hall in Massachusetts, Harvard University and Church of the Advent in Boston, London's Southwark Cathedral and Hamburg's famed Hauptkirche Sankt Katherinen. Both The American Guild of Organists and The Association of Anglican Musicians have featured him at regional and national conventions.

Currently, Mr. Davison is the Organist and Choirmaster of Saint Francis Episcopal Church in Potomac, Maryland. He served as Composer-in-Residence and Keyboard Artist for the Washington area's Cantate Chamber Singers for seven seasons, and has held two fellowships in composition at The Virginia Center for the Creative Arts.

Mr. Davison is a Dean's Scholar graduate of Boston University's School for the Arts (MusM, MusB magna cum laude), a recipient of the Associate Certificate from the American Guild of Organists (AAGO), and an inductee of Pi Kappa Lambda, the National Music Honor Society. Along with his wife, Julie, Mr. Davison resides in Maryland with their "Little Bear," Colette.

Reviews

Invocation and Litany

"Davison's own Invocation and Litany (was) attractive and spirited."

Hamburger Abendblatt, Germany (August 1990)
Review of Hauptkirche St. Katharinen zu Hamburg concert

How Shall I Sing That Majesty

"His own composition, How Shall I Sing That Majesty ... emerged as sumptuous and engaging."

Bob Waters
The Washington Post (January 11, 2000)
Review of Woodley Ensemble concert

Most Ancient Of All Mysteries

"This is an exquisite motet for Trinity Sunday, based on a too-little known hymn text by Frederick Faber. ...the ending, though simple, is breathtaking. ...Describing the supple, chant-like rhythms and bittersweet harmony is more difficult. Without being either predictable or precious, it is, as I say, exquisite."

John L. Hooker
The Journal of the Association of Anglican Musicians (April 1997)

"This is a reverent and accessible setting, both for the choir and for the listening congregation."

Susan Treacy
Sacred Music (Summer 1997)

Santa Fe Canticles

"These exciting settings draw their flexible, expressive lines from the flamenco tradition, bringing exactly the kind of rewarding challenge treble singers love best. I would dearly love to hear this wonderful music performed, and I cannot recommend it too highly to our choral establishments that feature treble voices."

John L. Hooker
The Journal of the Association of Anglican Musicians (May/June 2002)

What Child Is This?

"The harmonies are as tart as a good fall apple, and the strophic setting allows both listener and singer to sink more and more into their beauty; I found myself eagerly awating the rapture of the final refrain."

John L. Hooker
The Journal of the Association of Anglican Musicians (December 1994)

"Among the selections . . . Gary Davison's What Child Is This? (was) excellent."

Judy Gruber
The Washington Post (December 1994)
Review of Cathedral Choral Society concert