With Pipes of Tin and Wood was originally composed as a choral work; the organ plays an integral role in the piece. When arranging a new commission for Anna and Erik Meyer, I adapted the choral texture and wove it into a new work scored for flute and organ; the original choral parts find their way into the texture and melodies of both instruments. I also added a new slow section that matched the arrangement better, and created solo opportunities for the flute. In many ways the resulting composition is more than an arrangement—it’s a new work. The title takes its name from a poem that asks the organ to communicate spiritual love and praise through music; the fanfare music in the work represents joyful praise, while the central moments of repose give the listener a chance to reflect on the quieter aspects of love.