Brian Daw’s performance of “Be Still, My Soul” as a piano solo is a deeply expressive and reverent interpretation of the beloved hymn. His playing captures both the solemnity and the quiet reassurance of the piece, creating a meditative atmosphere that draws the listener into a space of peace and spiritual reflection. From the opening notes, Daw establishes a gentle, flowing arpeggiated accompaniment, allowing the melody to emerge with delicate phrasing and nuanced dynamics. His touch is both sensitive and controlled, ensuring that each note resonates with emotional depth. Throughout the piece, his use of rubato (subtle tempo shifts) adds an organic, heartfelt quality, emphasizing the hymn’s message of trust and surrender. As the performance progresses, Daw builds the intensity with richer harmonies and dynamic swells and a surprising key change, evoking a sense of triumph and divine assurance. His interpretation skillfully balances moments of introspective stillness with soaring, expressive passages, reflecting the hymn’s journey from sorrow to hope. In the final section, Daw brings the piece to a hopeful and dynamic close, allowing the final rapid arpeggiation, using the full extent of the range of the piano to linger in the air, as if echoing the hymn’s promise of peace and divine presence. His technical precision and emotional depth make this rendition of “Be Still, My Soul” not just a performance, but a deeply spiritual experience that resonates long after the final note fades.

Brian Daw’s “Christ’s Atoning Sacrifice” is a deeply moving and contemplative piano solo that captures the profound reverence and solemnity of Christ’s suffering, atonement, and ultimate redemption. Through intricate harmonies and expressive dynamics, the piece unfolds like a sacred meditation, drawing the listener into a space of reflection and spiritual introspection. The composition begins with a soft, reverent introduction, with the sound of waves gently lapping on the shore, where gentle arpeggios and sustained chords create a sense of stillness, evoking the quiet reverence of Gethsemane. The left-hand accompaniment provides a steady, heartbeat-like pulse, symbolizing the weight of Christ’s sacrifice, while the right hand introduces a delicate yet deeply emotional melody. As the piece progresses, the dynamics gradually build, with richer harmonies and fuller chord voicings painting a picture of Christ’s suffering and love. Daw’s use of suspensions and expressive phrasing heightens the tension, reflecting the sorrow and sacrifice of the Savior. Midway through the piece, the intensity reaches a powerful climax. The melody ascends with strong, resonant chords, signifying triumph over suffering and the ultimate act of redemption. This moment in the music serves as a turning point, where sorrow transitions into hope, much like the narrative of the Atonement itself. Following this emotional peak, the music gradually softens and returns to a place of peace. The final section features a gentle, descending motif, symbolizing Christ’s final words on the cross and the promise of grace. The last chord is sustained, lingering in the air as a reminder of His eternal love and sacrifice. Daw’s signature style—blending classical, sacred, and contemporary influences—is evident throughout the piece. The harmonic language is rich yet accessible, with subtle modulations that add depth and contrast. The expressive use of rubato (slight tempo variations) allows the performer to convey a deeply personal interpretation, making each performance unique. “Christ’s Atoning Sacrifice” is more than just a piano solo; it is a spiritual journey set to music. The piece invites the listener to reflect on the depth of Christ’s love and sacrifice, offering a moment of peace, gratitude, and reverence. Whether performed in a sacred setting, as part of a worship service, or in personal devotion, this composition serves as a powerful testament to faith and the redeeming power of the Atonement.

Brian Daw’s arrangement and performance of “Come, Follow Me” is a beautifully expressive and reverent piano solo that captures the hymn’s message of discipleship and devotion. With a delicate touch and flowing arpeggios, Daw weaves a sense of gentle invitation and spiritual longing, allowing the melody to shine with warmth and clarity. His use of rich harmonies, subtle dynamic shifts, and expressive phrasing adds depth to the arrangement, creating moments of both quiet reflection and uplifting resolve. The performance gradually builds in intensity to a closing section in triple meter (one of Daw’s signature features of his performing style), symbolizing the journey of faith, before resolving into a peaceful, meditative conclusion, leaving the listener with a sense of tranquility and divine assurance.

This medley is appropriate for Easter Celebrations and is based on the following songs: "He Sent His Son," "All Creatures of Our God and King," "I Know That My Redeemer Lives," and "He is Risen." The genesis of this number was a request for music for a devotional and as the numbers came together, my wife explained her impression that while we don't have records of angels singing and rejoicing, such as at Christmas (Hark, The Herald Angels Sing) there must have been great joy and celebration once the Savior, Jesus Christ finished His mission and infinite and eternal Atonement for all mankind!

Brian Daw’s arrangement and performance of “Families Can Be Together Forever” offers a heartfelt and reverent interpretation of one of the Church’s most cherished melodies. His piano solo preserves the hymn’s simple yet profound message of eternal family bonds while enhancing it with rich harmonies and expressive phrasing.

With a gentle, flowing touch, Daw’s arrangement evokes a sense of warmth, hope, and spiritual reassurance. Subtle dynamic shifts and delicate arpeggios add depth, allowing the melody to resonate with deep emotion. The performance builds to a moving climax before resolving into a peaceful conclusion, leaving the listener with a sense of comfort and faith.

Brian Daw’s arrangement of “I Stand All Amazed” is a deeply moving and reverent piano solo that captures the profound awe and gratitude expressed in the hymn. His interpretation features tender, rich harmonic textures through exploration of homophonic chords, allowing the melody to unfold with gentle sincerity and emotional depth. Daw’s dynamic phrasing, register juxtapositions and subtle use of rubato bring a sense of personal reflection, drawing the listener into the hymn’s message of Christ’s infinite love and sacrifice. As the piece builds, swelling chords and expressive voicings convey a feeling of humble worship and devotion, before resolving into a soft, contemplative conclusion, leaving a lasting impression of peace and reverence.

This haunting melody from a long-standing spiritual explores various settings of the verse, "I wonder as I wander out under the sky, How jesus, the savior, had come for to die. For poor on'ry people, like you and like I. I wonder as I wander out under the sky." The composition ends with a repeating pattern in the soprano juxtaposed against a melisma of descending chromatic chords to a quiet and peaceful closing.

Brian Daw’s arrangement of “If You Could Hie to Kolob” is a mesmerizing and expansive piano solo that captures the hymn’s sense of eternal wonder and divine mystery. Through lush harmonies, flowing arpeggios, and dynamic swells, Daw creates a celestial atmosphere, evoking the hymn’s themes of infinity and the eternal nature of God’s creations. His expressive phrasing and subtle tempo shifts add a sense of exploration and awe, allowing the melody to soar with both grandeur and introspection. The piece gradually builds in intensity before settling into a peaceful, transcendent resolution, leaving the listener with a sense of reverence and limitless possibility

Brian Daw’s performance of his arrangement of “I’m Trying to Be Like Jesus” is a tender and heartfelt piano solo that beautifully conveys the hymn’s message of love, humility, and discipleship. With gentle phrasing and delicate arpeggios in triple meter, Daw brings a sense of introspection and sincerity, allowing the melody to shine with childlike simplicity and reverence. His use of rich harmonies and subtle dynamic contrasts adds depth, evoking both the quiet struggles and the uplifting joy of striving to follow Christ’s example. The performance flows with grace and warmth, concluding with a strong yet peaceful resolution that leaves the listener with a feeling of comfort and spiritual encouragement from this wonderful and timeless song by Janice Kapp Perry.

Brian Daw’s arrangement of “In Humility, Our Savior” is a reverent and introspective piano solo that captures the sacred essence of the hymn in the style of Mozart and mid eighteenth-century composers. With gentle, flowing chords and expressive phrasing, Daw creates a sense of deep reflection and quiet devotion. His delicate touch and subtle dynamic shifts bring out the hymn’s themes of grace, humility, and gratitude, drawing the listener into a moment of worshipful contemplation. The arrangement unfolds with tender simplicity, gradually building in warmth before resolving in a peaceful, heartfelt conclusion, leaving a lingering sense of serenity and spiritual reverence.

I created the "Missionary Medley" nearly 40 years ago to celebrate the Missionary Farewell of a nephew, who was called to Washington state. The genesis of the idea was to create a medley with songs from the development of our "missionary" from the time he (or she) was born, through Primary to end with the powerful song by Janice Kapp Perry, "We'll Bring the World His Truth" (Army of Helaman). I have been blessed to have played this medley for many of my nieces and nephews, and three of my own children, and now I have started on the long list of grandchildren! Now you can perform this great arrangement for those you love and bring the Holy Ghost to that special moment in time!