Dyson's sumptuous choral epic of 1938 subtitled ‘A Cycle of Poems’ charts man's journey through life and the afterlife using a collage of English poems. Quo Vadis is a work that in its aim design and achievement reaches for visionary heights. Right from the start Dyson's harmonic language and skilful orchestration are completely at the service of his beautiful and carefully crafted libretto. The composer fervently believed in the English choral movement's need for practical tuneful and lively music. Quo Vadis with its colourful orchestration and fine melodies demonstrates the effectiveness of this aestheticapproach. Arranged for SATB Chorus and Orchestra this major yet often overlooked piece lasts about 90 minutes in 9 movements.Sir George Dyson was a well-known English musician and composer of the 20th century. His compositions include a symphony in G major a violin concerto and a number of other works many of them for choir. Apart from his musical career Dyson was involved with the military during WWI his handbook on grenade-fighting techniques became the standard Army text for many years.

'Church music ' Kenneth Leighton once wrote 'is undoubtedly a channel of communication for me' - one that remained open throughout his working life. The distinguished post-war Birtish composer’s sacred and liturgical music is widely known and performed regularly across the UK and in other countries. His lifelong passion for the music of Bach is reflected in his work for Organ which is widely credited with injecting new life and vigour into the British Organ repertoire of the late 20th century.Just as many other of his over 100 compositions the Sarum Mass is published by Novello and Co. Arranged for SSAATTBB Voices and Organ this piecereflects the strong sense of lyricism diatonicism contrapuntal mastery chromaticism and rhythmic invention typical for Leighton’s works. Duration: ca.10 minutes.

Preview Pack (Book/Listening CD)-Here is a new major work for Spring programming based on early American folk songs and hymns. Sacred Places explores the story of Christ's ministry passion and resurrection all emphasizing the locations where these great moments occurred: The Sea of Galilee The Wedding at Cana The Sermon on the Mount Jerusalem The Upper Room The Garden of Gethsemane Calvary and the Garden of Resurrection. With poignant narrations and scripture along with the creative orchestrations by Brant Adams this is a memorable telling of the life of Christ. Two distinct endings are provided allowing for a presentation during Holy Week that ends with the crucifixion or an Easter momentthat concludes with a joyful affirmation of life. Songs include: Prelude - Songs from the River - Come and Hear the Wondrous Story - My Song in the Night - Lift Up Your Heads Jerusalem - The Remembering - The Midnight Garden - A Green Hill Far Away - Sunrise - Alleluia! Christ Is Risen! Full Orchestration (fl 1-2 ob cl 1-2 bn hn 1-2 tpt 1-3 tbn 1-2 tba hp pno timp perc 1-2 vn 1-2 va vc db) available as a Printed Edition and as a digital download. Consort Orchestration (fl cl tpt 1-2 tbn bells perc kybds) available as a Printed Edition and as a digital download.

Music runs through the story of Arion which begins with a singing competition in Sicily. Arion wins the prize and this puts his life in danger: his newfound wealth excites the greed of the sailors who are supposed to be bringing him back to Corinth and they threaten to kill him. They allow Arion to sing one last song and the power of his singing attracts dolphins to the ship.  At the end of his song he jumps overboard and one of the dolphins carries him to safety.  So Arion’s musical gift gets him into trouble but it is also his salvation.   The idea of being rescued by a music-loving dolphin is very appealing. In Robert Graves’account of the myth the dolphin could not bear to be parted from Arion and accompanied him back to court where “it soon succumbed to a life of luxury.”  However Herodotus says that after his rescue and return to Corinth Arion failed to return the dolphin to the sea and it died there.  Apollo placed the dolphin among the stars and next to it Arion’s lyre in recognition of his musical skill.  This is one of the mythical explanations of the origins of the constellations Delphinus and Lyra. It seems natural to sing a story that has singing at its heart. When I was asked by the Nicholas Berwin Charitable Trust to write a choral work for Making Music something that would be within reach of many choirs and involve children this story struck me as ideal: the men of the chorus could be the bloodthirsty sailors and the women could create an atmosphere of mystery for the arrival of the dolphins represented by children’s voices. There would be one solo voice: Arion the marvellous singer. Andrew Fardell the conductor who was advisor to this commission had suggested that I might use the same instrumentation as a popular arrangement of Orff’s Carmina Burana a work that as well as using children’s chorus features a solo countertenor. I thought the magical otherworldly quality of this

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

Four poems sharing a common motif of 'Night' provide the texts for the choral cycle Nocturnes the American Choral Directors Association's commissioned work for its 2005 national convention. For Rilke's atmospheric “Sa nuit d'ete ” several melodic themes are supported by dense colorful harmonies in both the choral and piano parts leading to a climactic section where all are combined and stated simultaneously. Neruda's “Soneto de la Noche ” from his Cien Sonetos de Amor speaks of an eternal love that transcends death while reaffirming life. The a cappella setting of this gorgeous poem is predominantly quiet sereneand folk-like utilizing direct harmonies accompanying long lyrical vocal lines. Agee's wondrous “Sure on this Shining Night” is set much like a song from the American musical theater a genre for which I have held a life-long esteem. Rilke's poignant “Voici le soir” recalls the opening bell sounds and jazz-tinged chords of the first movement and serves as an epilogue quietly concluding this cycle of night songs as darkness descends.

A jolly Christmas carol-This lively carol was commissioned in 2005 by Lichfield Cathedral Special Choir (now called the Cathedral Chorus) to celebrate the birth of Hannah Scriven and Holly Mason the daughters of the two cathedral organists at that time. The words were specially written by Tony Barnard the then Canon Chancellor at Lichfield and a member of the choir. This carol whilst not entirely foreign to my normal style touches more ‘country and western’/popular buttons than I am in the habit of touching. But I wanted to write a tuneful piece which swayed and danced and reflected the colourful imagery of Tony Barnard’s text. Recommended recording: Comeout Lazar – The shorter choral works of Paul Spicer (Regent REGCD280) by The Chapel Choir of Selwyn College Cambridge and Claire Innes-Hopkins (organ) directed by Sarah MacDonald. Text: This child of God who’s born on Christmas day whom shepherds view to whom kings homage pay is called to be a shepherd and a king. Sing alleluias praise this wondrous thing. This child of God is shepherd born to lead through pastures green by banks of golden reed; nor left nor right but ever on the way which leads to Calvary and endless day. This child of God this Son of David’s line is root of tree a shoot a fruitful vine it shelter gives to all who see the way which leads them to the cross and Easter day. This child of God this many spangled star is light’ning flash which dazzles near and far; bright light to guide our feet along the way that leads to Calvary and endless day. This child of God is called to save mankind to open eye and ear the heart and mind; to heal and make the lame man leap and play along the road that leads to Easter Day. This child of God let angel voices praise. Give God the glory live his loving ways. Let peace on earth o’er come our worldly strife through all who walk his road throughout their life. Tony Barnard

Uses: General All Saints Day MemorialScripture: Jeremiah 31:6; Revelation 21:2A refreshing perspective is given to two early American hymns in this choral tapestry of hope. A buoyant rhythmicpattern in the accompaniment creates a rocking motion that comforts and assures while the choral texturing uses lots of unison and two-part writing for ease of learning. Far from being gloomy this arrangement is life affirmingand filled with the light of God's promise of eternal life. Duration: ca. 2:27.

Rollo Dilworth Choral Series-Dominick DiOrio's Cuckoo Cuckoo for SATB choir a cappella.This jaunty little work is a setting of text from William Shakespeare's “Love's Labour's Lost” one ofhis earliest comedies. The tongue-in-cheek text talks of married life and the woe that comes from being unable to pursue the frolicsome fruits of spring. Keeping with the profile of the Rollo Dilworth Choral Series this piece isdesigned for upper-level high school singers honours choirs and festivals.

Try A Little Tenderness is the perfect choice for amateur choirs seeking an elegant and sophisticated centrepiece to their choral pop repertoire. A classic song of love and longing this is based on Otis Redding's smooth and soulful take on the song and is bursting with rich harmonies and jazzy chord progressions. Try A Little Tenderness has been arranged by Jeremy Birchall for SATB Chorus with Piano accompaniment this piece opens with a reasonable challenging intro setting the scene for beautiful and tender song that is sure to captivate and touch audiences. Originally composed by Jimmy Campbell Reg Connelly and Harry M.Woods the song was radically changed for Otis Redding's version featuring an incredible introduction backed by the ever-so-subtle instruments of Booker T. and the M.G.'s before breaking into a more upbeat slowly evolving rhythm and blues climax. With legendary producer and songwriter Isaac Hayes working on Redding's arrangement this soulful blues ballad will sound simply stunning sung by an SATB chorus the interplay of the different voices' harmonies will breathe new life into this classic love song. 

To Nocturner (2001) - for Chamber Choir (12 or 24 Voices). Texts by Ole Sarvig and Ib Michael. English version available: KP01444E Programme note: These two choral pieces for 12 voices consists of radical recompositions on of earlier themes: in Summer's Sleep we hear new combinations of two 'Sarvig melodies' from the 1970s (one of which is now in the Danish Hymnbook under the title 'Året' The Year); Michael's Night is based on an earlier simple choral song (Star Mirror 1987) now for 12 voices and composed such that an original idea of 'simultaneously displaced opposite motions' cf. the poem)comes out as desired. Of the Nocturnes Nørgård writes: 'Summer's Sleep was composed to stanzas of Ole Sarvig's poem The Year (from the collection Forstadsdigte ('Suburban Poems')) and forms the picture of 'the summer of life' which is asleep - while the 'heaven seed' waits for the summer wind ('invisible to every mind'). The many layers of text are expressed musically in a multilayered choral texture with 'looks' up and down through the various tempo and time-worlds: summer sleep summer dream. 'The second nocturne Michael's Night takes its name from the author Ib Michael whose poem Star Mirror (from the collection Himmelbegravelse ('Sky Funeral') (1986) I pushed/coaxed him to expand from one to nine stanzas. The four selected stanzas set in the nocturne focus on the pan-erotic elements of the moonlit starlit night. With the titles I have chosen I have stressed the mythic layer of the text the summer night not as a dream but as sensual reality. 'The two nocturnes are dedicated to Ivan Hansen on the occasion of his fiftieth birthday on 25th February 2003 out of gratitude for over a quarter of a century of inspiring collaboration'.

Morton Gould's Hosanna Amen from 'Quotations' for Double Chorus of Mixed Voices and Wind Orchestra. Piano reduction.This work was commissioned by L. Anthony Fisher for the New York Choral Society Robert DeComier conductor and first performed by them on January 28 1983 at Carnegie Hall.The composer after thinking over the possible approaches to a choral work found the ide of platitudes common sayings and poetic referenmces challanging and stimulating. As 'Quotations' evolved he found that these sayings evoked nostalgic momories of his own childhood in Richmond Hill New York where he was reared on such aphorisms as 'theearly bird catches the worm ' 'a stitch in time saves nine ' 'a bird in the hand is worth two in the bush.'After setting the scene in Richmond Hill the piece begins with Hallelujah Amen the common shout for joy and closing whisper of all religions. An antiphonal series of platitudes follows and then moves to more complex secular litanies the 'ballads ' or stories of young love and old age and the precariousness of life which have been told and retold through the ages. In the last movement the religious litany resumes with 'ashes to ashes dust to dust' echoing the earlier prosaic motif 'here today gone tomorrow ' or as Gould finally writes 'time's up!'

Morton Gould's Ballads from 'Quotations' for Double Chorus of Mixed Voices and Wind Orchestra. Piano reduction.This work was commissioned by L. Anthony Fisher for the New York Choral Society Robert DeComier conductor and first performed by them on January 28 1983 at Carnegie Hall.The composer after thinking over the possible approaches to a choral work found the ide of platitudes common sayings and poetic referenmces challanging and stimulating. As 'Quotations' evolved he found that these sayings evoked nostalgic momories of his own childhood in Richmond Hill New York where he was reared on such aphorisms as 'the earlybird catches the worm ' 'a stitch in time saves nine ' 'a bird in the hand is worth two in the bush.'After setting the scene in Richmond Hill the piece begins with Hallelujah Amen the common shout for joy and closing whisper of all religions. An antiphonal series of platitudes follows and then moves to more complex secular litanies the 'ballads ' or stories of young love and old age and the precariousness of life which have been told and retold through the ages. In the last movement the religious litany resumes with 'ashes to ashes dust to dust' echoing the earlier prosaic motif 'here today gone tomorrow ' or as Gould finally writes 'time's up!'

Morton Gould's The Early Bird from 'Quotations' for Double Chorus of Mixed Voices and Wind Orchestra. Piano reduction.This work was commissioned by L. Anthony Fisher for the New York Choral Society Robert DeComier conductor and first performed by them on January 28 1983 at Carnegie Hall.The composer after thinking over the possible approaches to a choral work found the ide of platitudes common sayings and poetic referenmces challanging and stimulating. As 'Quotations' evolved he found that these sayings evoked nostalgic momories of his own childhood in Richmond Hill New York where he was reared on such aphorisms as 'theearly bird catches the worm ' 'a stitch in time saves nine ' 'a bird in the hand is worth two in the bush.'After setting the scene in Richmond Hill the piece begins with Hallelujah Amen the common shout for joy and closing whisper of all religions. An antiphonal series of platitudes follows and then moves to more complex secular litanies the 'ballads ' or stories of young love and old age and the precariousness of life which have been told and retold through the ages. In the last movement the religious litany resumes with 'ashes to ashes dust to dust' echoing the earlier prosaic motif 'here today gone tomorrow ' or as Gould finally writes 'time's up!'

Morton Gould's Hallelujah Amen from 'Quotations' for Double Chorus of Mixed Voices and Wind Orchestra. Piano reduction.This work was commissioned by L. Anthony Fisher for the New York Choral Society Robert DeComier conductor and first performed by them on January 28 1983 at Carnegie Hall.The composer after thinking over the possible approaches to a choral work found the ide of platitudes common sayings and poetic referenmces challanging and stimulating. As 'Quotations' evolved he found that these sayings evoked nostalgic momories of his own childhood in Richmond Hill New York where he was reared on such aphorisms as 'theearly bird catches the worm ' 'a stitch in time saves nine ' 'a bird in the hand is worth two in the bush.'After setting the scene in Richmond Hill the piece begins with Hallelujah Amen the common shout for joy and closing whisper of all religions. An antiphonal series of platitudes follows and then moves to more complex secular litanies the 'ballads ' or stories of young love and old age and the precariousness of life which have been told and retold through the ages. In the last movement the religious litany resumes with 'ashes to ashes dust to dust' echoing the earlier prosaic motif 'here today gone tomorrow ' or as Gould finally writes 'time's up!'