Bio / Endorsements / Photos

SHORT BIO

The compositions of Andrew Maxfield—hailed as “rhythmically vital … superbly judged … [and] tender” by Fanfare Magazine—have been commissioned, performed, and championed by groups ranging from Utah Symphony, Milwaukee Symphony Orchestra, and Omaha Symphony to Chanticleer, The Gesualdo Six, the Choir of Royal Holloway, and Sound of Ages.

FULL BIO

Winner of a King’s Singer’s New Music Prize, Andrew Maxfield (b. 1980) has been hailed for his “rhythmically vital … superbly judged … [and] tender” compositions, which run the gamut from large-scale vocal and orchestral works, including works for young audiences, to short operas and chamber music, frequently in genre-bending terrain, where Renaissance linearity meets jazz harmony. 

Critically acclaimed for music that exudes “propulsive energy, masterful orchestration, great balance of materials, and just plain fun,” in 2026 Mr. Maxfield was commissioned by the Barlow Endowment for Music Composition to write a new “concerto for voices” for Utah Symphony, vocal sextet Sound of Ages, and Belmont University, to be premiered in Nashville and Salt Lake City in 2028. Other recent orchestral collaborations include performances by Omaha Symphony, San Francisco Symphony, Salt Lake Symphony, and others.

The most recent album of his vocal work—Wind, Water, Stone: Select Choral Works of Andrew Maxfield—was recorded by Sound of Ages and released by Navona Records in 2026. Writing for Fanfare Magazine, critic Ken Meltzer says, “Maxfield achieves [this Renaissance-Jazz] synthesis in a seamless and technically impressive fashion.”

Also in 2026, Mr. Maxfield was commissioned by Milwaukee Symphony Orchestra for a new work for young audiences: How to Escape from the Zoo. This 15-minute “Scheme and Variations” for narrator and orchestra is produced by the theater duo Really Inventive Stuff, and represents the latest installment in a serial collaboration with USA Today bestselling author and librettist Ruthie Prillaman, with whom Maxfield established the Ruthie Drew Series for Young Audiences. 

An advocate for arts education, Mr. Maxfield has composed orchestral adaptations of several books by Caldecott honoree Brendan Wenzel, including Good Golden Sun and They All Saw a Cat. Mr. Maxfield frequently appears on stage and in classrooms for educational concerts and initiatives, and has also been invited to testify before the Utah State Legislature on appropriations for arts education. 

Beyond the classroom, Mr. Maxfield is a dynamic public speaker, presenter, facilitator, and podcast guest. As a serial collaborator with Utah Symphony, he has taught seminars, facilitated workshops, and emceed concerts and fundraising galas. He has been the keynote speaker at UMTA annual conference and presenter at College Orchestra Directors Association, FolkAlliance, and multiple other conferences.

Stations of the Cross, a concert-length sacred work for voices and electric guitar, was recorded by Sound of Ages in 2025. Commissioned by the BYU Museum of Art, Stations of the Cross is a musical response to works by visual artist David Habben. Jamie Meaders, of Vox Anima (London), praises “its haunting austerity, the hints of Anglican and Gregorian chant, and [its] striking, descriptive writing.”

Soprano Chelsea Helm (Seraphic Fire, Santa Fe Desert Chorale, The Thirteen), who has commissioned, performed, and championed Mr. Maxfield’s art songs, describes his work as “curious, witty, articulate, attuned.”

Utah Chamber Artists, an award-winning professional choral-orchestral ensemble, commissioned and premiered Mr. Maxfield’s fantasia Digits of Pi. The ensemble’s director, Barlow Bradford, describes Mr. Maxfield as “one of the truly outstanding choral composers of this generation.”

With an interfaith/ecumenical disposition, Mr. Maxfield has served as the music director for Wayfare, an arts and culture magazine celebrating explorations in faith, since 2022. Multiple of his works explore aspects of spirituality, ranging from conventional liturgical/scared commissions to Book of the Way, a concert-length, jazz-tinged exploration of the Tao Te Ching.  

Meanwhile, flutist Jeiran Hasan, who premiered and recorded Mr. Maxfield’s works for flute and piano, describes his chamber music as “Challenging yet incredibly satisfying, with audiences enthralled by the effectiveness of the compositions.”

Conductor James Holleman, who spearheaded orchestral, choral, and art song commissions from Mr. Maxfield over multiple years, describes him as an “affable collaborator and colleague” and the music as “a rare synthesis of lyricism, intelligence, and fun.” 

A recipient of the Raymond C. Warren Composition Prize and finalist for the Ariel Bybee Prize, Mr. Maxfield is an active member of the NEXT Ensemble Collective, a co-presenter (with Liz Davis Maxfield) of A-Frame Concerts, and composer in residence for Sound of Ages. His genre-crossing projects stretch beyond classical formats, and include an EP of original songs with singer Ryan Innes (The Voice), and string arrangements for Brandon Flowers. 

A native of Salt Lake City, Mr. Maxfield developed his compositional craft at the University of Bristol (PhD), Boston Conservatory at Berklee, BYU, and the EAMA–Nadia Boulanger Institute in Paris, and via cherished mentorship with Philip Lasser (Juilliard), John Pickard, Jonathan Bailey Holland, and Marti Epstein. 

He lives downhill from Sundance in Provo, Utah, with his musical-artistic family and their goofy labradoodle Felix. 

[September 2026]

ENDORSEMENTS

"... Tight, clever, and evocative. Also very enjoyable—and approachable, too."
—David Yavornitzky, Utah Symphony Principal Bassist & Cover Conductor

"Andrew Maxfield is to be commended for a commanding sense of harmonies and spatial voices particularly beautiful in the SATB medium."
—King's Singers New Music Prize Jury

“Performing and collaborating with Andrew ... was a delightful and energizing experience for my orchestra and me! Andrew brings the music ... into the 21st century with colorful timbral effects in all sections of the orchestra, making it an ideal piece for a family or educational concert!”
—Dr. Christopher Fashun, Hope College Orchestra

“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

“… 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.

PHOTOS

Andrew Maxfield outside, color - High Res

Andrew Maxfield seated B&W - High Res

Andrew Maxfield seated, color - High Res

Andrew Maxfield at piano, B&W - High Res

Andrew Maxfield backstage B&W

Photo creds: Jessica Peterson