Cantata for string orchestra and chorus. Triptych represents the concatenation and re-orchestration of two extant works. Movement I was commissioned with funds from The RVW Trust for the inaugural concert of the Choir of London conducted by Jeremy Summerly in Christ Church, Spitalfields on 18th December, 2004 - the work, premièred as Threnody, was subsequently toured by the Choir to Jerusalem and the West Bank from 19th-26th December, 2004. Movements II and III, commissioned by Portsmouth Grammar School with financial support from the PRS Foundation, were premièred as And There Was a Great Calm in a contiguous version for lower strings and upper voices by the Portsmouth Grammar School Chamber Choir and the London Mozart Players in a concert at Portsmouth Anglican Cathedral on 13th November, 2005 conducted by Nicolae Moldoveanu. The title of this latter section is taken from Thomas Hardy's poem of the same name, written at the signing of the Armistice on 11th November, 1918 - a couplet from which is set, in a moment of tranquillity, in the final movement. Relatively new to living in New York, I am much more aware of the independent, vibrant cultural plurality that exists today - it's probably the single most dazzling facet of the City and is largely responsible for the infamous 'edginess' that pervades daily life there. With this in mind, I set to work on Threnody (movement I here) in 2004 - I wanted to write something that was relevant to the Israeli/Palestinian issue without losing that City 'edge'. The texts, in English, are excerpted from a variety of sources: William Penn, William Blake, the Psalms of David and Muhammad Rajab Al-Bayoumi, an Egyptian poet of the early twentieth-century. Fast and rhythmically influenced by the music of North Africa in its syncopations, this movement was the first composition that evolved entirely from my New York perspective. From the moment that the commission for And There Was a Great Calm (movements II and amp - III here) was offered, I knew the piece I was about to embark upon would end up being linked with Threnody in some way. I realized that what I had been aiming for in Threnody served as a template for this new piece, originally composed for a Remembrance Sunday concert. Musical works connected with commemoration or memorials are often suitably pensive and slow - I wanted to start with that concept, but to bring in some of the relentless urban rhythms that had been such a large influence on my life in the preceding two years. The result is that that the second movement is quiet and gentle (a moment of recollection), while the final movement is much faster and vibrant, returning to a more openly elated rendering of the start of Triptych (the texts here dealing with transmigration and the future). and nbsp - I gratefully acknowledge the assistance of Bruce Ruben and Judith Clurman, as well as that of my parents, with the collation of the texts. Tarik O'Regan New York, February 2006 / Soprano, SATB Et Orchestre De Cordes

It has been said that you can see Buenos Aires while listening to Astor Piazzolla’s music. This is one of his talents that sets him apart from other composers. Piazzolla made a revolution with the tango which createdmany problems for him in his country (traditionalists did not accept his music as tango). But everybody finally accepted his changes because his music put the Argentine dance the tango at the highest level.VeranoPorteno (Summer of Buenos Aires) is the first of four tangos that Piazzolla wrote about the seasons of Buenos Aires.. SATB A Cappella

Song Of The Burn is a 'cantata for a summer's day' written in 1954 by Thea Musgrave for SATB voices with a Piano accompaniment supplied for rehearsal. Based on a text by Maurice Lindsay.

This was Haydn's penultimate Mass composed in the summer of 1801 as a central part of the name-day celebrations for Princess Marie Hermenegild Esterhazy. Written for SATB chorus and accompaniment.This version is edited by H.C. Robbins Landon and contains a piano/organ accompaniment.

Uses: General Lent commitment youth praise teamScripture: Proverbs 3:6 Matthew 16:24 Mark 8:34 Luke 9:23Like a summer breeze this warm sentiment of faith refreshes and delights. A true call todiscipleship this text is a thoughtful choice for early Lent or for churches observing the 40 days of purpose. The music is immediately endearing and singers will find it easy to sing. The inclusion of I Have Decided to FollowJesus is inspired! A winner! Also available: LiteTrax CD.

This easy arrangement of the traditional Latin hymn would be a wonderful addition to your summer program!

A challenging comical-tragical-ecological Pastoral for SATB and piano. Although this work has a serious message about the preservation of the countryside it also has a great sense of fun which will be enjoyed by audiences and choirs alike. Indications like ‘solo’ or ‘small group’ should be distributed according to talents available and any solo which bears a ‘character-name’ like ‘cow’ or ‘crow’ may be sung by any type of voice regardless of pitch.A Double Bass part is available seperately - Catalogue No. NOV200174-01

For SATB. Inscribed 'To the memory of Arnold Bax' composed for the 1965 Cork International Festival.

There is no rose may be considered as having three distinct but musically interlinked phases. The first is reflective in nature a set of musings on the mysteries of Mary as the Mother of God the nature of God Creation and the Trinity; the music lends a sense of the rising expectation appropriate to the season of Advent. This increasing tension breaks out into the angelic chorus Gloria in excelsis Deo a brief glimpse of something other which is then echoed by the fading repetitions of Gaudeamus (we rejoice). Finally the poem moves on joining the procession towards Christmas; a new key the expanding range and Transeamus (we go/proceed/cross over) fading intothe distance serve to provide a musical metaphor for the journey.The Novello New Choral Series is an inspiring selection of new works from a range of contemporary composers offering pieces for all types of choirs including sacred and secular works from simple four-part settings to more expansive yet accessible repertoire in an exciting variety of styles. This collection is perfect for choirs looking to broaden their repertoire and explore some of the best new music around.Andrew Cusworth (b.1984) read music at Magdalene College Cambridge where he was also an Organ Scholar. Recent compositions include Factum est silentium for double choir and organ which won the first New Music for St Paul’s Cathedral Composition Competition and Give ear O ye heavens which was shortlisted for the King James Bible Trust Composition Awards. 'This is a piece whose effect greatly exceeds its simple means and it would be welcome in any serious carol service.' - Jeremy Summerly Choir & Organ

As part of the Discovery Pop Series this light-hearted fun-loving medley of five songs from the Broadway-classic Grease is a guaranteed crowd pleaser. Including the well known tune of the title song Grease the iconic duets Summer Nights and You’re the One That I Want the familiar ‘rama lama lama ka dingitty ding de dongs’ of We Go Together and Rock’n’Roll Party Queen this clever arrangement by Roger Emerson for SATB (Soprano Alt Tenor Bass) Voices and Piano accompaniment with optional Guitar chords will have audiences on their feet throughout. Best effects are achieved when all songsare performed together as intended but these fifties-inspired numbers are just as successful individually. Performance time is approximately 6 minutes.Grease first opened in 1971 in Chicago but was soon moved to Broadway where the story of the students of Rydell High remains the 15th longest running show. The multiple revivals and adaptations make it a staple on all levels of theatre.The film-adaptation of the same name released in 1978 starring John Travolta Olivia Newton-John Stockard Channing and Jeff Conaway was highly successful both critically and at the box office keeping it the No. 1 highest-grossing musical in the United States to date. With the announcement of a three-hour live television broadcast of Grease in 2016 this score is not only guaranteed to be fun to rehearse and perform but is also more relevant than ever!

Peace, I leave with you was originally written as part of a summer retreat at the Norfolk Music Festival. Appropriate for any time of the church year, the work is set in a fresh, flowing harmonic style that works well with choirs of all sizes and abilities. The text from John 14 works well as a choral benediction, introit, or offering. The work is also a good choice for concert occasions, as the text is inherently ecumenical and inclusive in its message. The premiere performance was given in 2007 by the Harvard Choral Fellows and Carson Cooman, conductor. / Choeur Mixte (SATB)