About (Bio / Endorsements / Photos)
Thanks for visiting! I appreciate your interest in my work. Making beautiful things that people love makes me whole, happy, and sane—and hopefully leaves the world around me a little better. I hope you enjoy browsing my music and projects.
Comprising choral, art song, chamber, and orchestral works, Andrew Maxfield’s compositions have been performed throughout the United States and Europe. Additionally, Andrew has produced creative work ranging from music videos to children’s books to The Bridge, a genre-bending contemporary ballet.
Andrew studied music at Brigham Young University, where he was valedictorian and where he occasionally teaches. He pursued advanced studies in counterpoint and harmony at the EAMA–Nadia Boulanger Institute in Paris, France, and additional composition studies at Boston Conservatory at Berklee. His primary teachers include Philip Lasser (of The Juilliard School), Jonathan Bailey Holland, and Marti Epstein, and he has also studied with Aaron Jay Kernis and Steven Sametz through the ACDA Choral Composers Forum. He also holds an MBA in Arts Administration from the University of Wisconsin–Madison. Recent commissions include choral works for the Barlow Endowment for Music Composition and an extended concert music adaptation of a Caldecott honor book, They All Saw A Cat, for the Center for Latter-day Saint Arts in New York City. Andrew was the 2018-2019 Composer-In-Residence at the Newburyport Choral Society and a 2019 Composer Fellow of the National Collegiate Choral Organization. His music is published by Walton, Santa Barbara, and Yalecrest.
Andrew lives with his wife Liz Davis Maxfield—a professional cellist, expert in Irish traditional music, rock climber, and doula—and their two handsome, high-octane boys (plus a hyper puppy) in Provo, Utah.
“In Andrew Maxfield’s settings of [Wendell] Berry’s texts, we feel a … clarity of purpose. This is music that draws reverently and articulately from our rich traditions—harmonic and communal—but is written for today’s ensembles and audiences. … Maxfield’s ample demonstration of craft is typified not just in his artful treatment of text and use of the human instrument, but in his restraint. This is straightforward and honest music.”
— Dr. Jo-Michael Scheibe, Choral and Sacred Music Chair, Thornton School of Music–University of Southern California
“I find Andrew Maxfield’s work to be engaging and relevant. His music reaches audiences yet maintains sophistication and compositional integrity. His use of texts is particularly inspiring and bring in the audience with words, concepts and sound.”
— Dr. Robert Baldwin, Director of Orchestral Activities, The University of Utah / Music Director, Salt Lake Symphony
“His music is well-crafted, approachable, American, and my singers have taken well to it. He has a great affinity for good texts and a love for the voice.”
— Dr. George Case, Music Director, The Boston Cecilia & Newburyport Choral Society
"I have had the privilege of conducting 'They All Saw a Cat,' an orchestral adaptation of the children’s book by Brendan Wenzel. Andrew writes skillfully and imbues his music with wit and heart, comfortable in all styles of writing, and accessible to all. I was fortunate to have Andrew as the narrator for the performance. His performance captivated adults and children alike."
—Dr. Ramiro Miranda-Rios, Emporia Symphony Orchestra
"Succinct, witty, yet still profound, like so much of Andrew's music, 'The Door' proved to be a delight for both singers and audience."
—Daniel Gee, Long Beach Symphony, Assistant Conductor & Choral Arts Initiative, Associate Conductor
“‘Great work is done while we sleep’ says the poet, and Maxfield’s setting reflects the mystic side of night. The setting ends with a radiant choral explosion on the word ‘joy’ itself, replacing that sense of straight truth the poet brought; an interesting, and stimulating, juxtaposition of readings of the same text.”
— Colin Clarke, Fanfare magazine
“Andrew Maxfield is an exciting new voice in American choral music. Not only is he committed to an exceptional level of craftsmanship but in speaking clearing and evocatively to his audience. His elegant, idiomatic part-writing is a breath of fresh air in modern choral music which appeals to a variety of audiences. It is at once rustic and refined. Elevated and relevant. Comforting and refreshing.”
—Matthew D. Nielsen, Conductor, Brevitas
“Maxfield’s settings of Wendell Berry’s texts are fresh and innovative … text and music are wedded beautifully together in every piece from the most contemplative and poignant to the powerfully dramatic, from lively dance tunes to simple prayers.”
— Brady R. Allred, Artistic Director & Conductor, Salt Lake Choral Artists
“[Wendell Berry] has received numerous awards, but never anything like this tribute, which puts Berry’s words to music—in two distinct formats, each succeeding admirably.”
— Dan Forte, Vintage Guitar magazine
“… high quality, meaningful, valuable; it’s a good fit for public radio listeners.”
— Stephanie Elkins, Wisconsin Public Radio
“This is attractive and approachable music. Mr. Maxfield has also aptly set each text so that the meaning comes through loud and clear.”
— Eric Glissmeyer, Station Manager, Classical 89 KBYU-FM.