Commissioned for Together We Sing by the ACDA 2001 National Convention in San Antonio Texas “Three Movements for Advent” is a walk through music history with each movement standing out in its own distinctmusical style. Each of the three movements could stand alone as an impressive Advent anthem but the work in its entirety is an experience not to be missed.

Nr. 1 aus The Same Flame-Commissioned by the Somerset England based charity Churchill Music! The Same Flame was inspired by Pierre de Coubertin?s ideals of Olympism which gave rise to the modern Olympic and Paralympic values: Respect Excellence Friendship Courage Equality Determination and Inspiration. These seven values are celebrated in five movements so four of them had to double up ? Friendship with Equality and Courage with Determination. Each movement is scored for slightly different choral forces so the work is varied. Also individual movements may suit different choirs giving the opportunity for individual performance or collaboration between choirs. All fivemovements of The Same Flame are published as individual octavos. A complete vocal score is available on request from the publishers.This movement is essentially a surge of enthusiasm an outpouring of grateful hyperbole from one who?s inspired towards one who inspires. Though mostly homophonic this quick-moving movement will offer an element of challenge to a choir ? the reward will be an exciting and engaging piece of music.

Dan Forrest's Jubilate Deo brings to life the global aspect of the traditional Psalm 100 by setting it in seven different languages and drawing from a wide spectrum of musical influences. Here movement 4 shifts to Africa setting portions of the text in Zulu and drawing from African vocal and drumming traditions. Works well in the context of the entire work or standing alone.

Requiem canticorum is a five-movement work of 12 - 14 minutes’ duration. Its title means 'a Requiem of song' or 'a Requiem of canticles' indicating that it is a commemorative piece which sets texts associated with theRequiem mass rather than being a full Requiem. It is scored for choir soprano saxophone and organ a scoring it shares with the 'Son of God Mass' by the same composer.It can be performed as a concert piece or as afree-standing anthem within the context of a commemorative event or liturgy.‘Requiem canticorum’ can also be performed in conjunction with selected movements from the ‘Son of God Mass’ to make a full concert Requiem. Thekey-structure of the two works allows for a seamless intertwining and in concert should be performed in the sequence indicated below. When performed in this way the sequence can be given the title 'Requiem' or 'Requiem Son of GodMass' in a concert programme.Introit (Requiem canticorum)Pie Jesu (Requiem canticorum)Kyrie (Son of God Mass)Alleluia (Requiem canticorum)De profundis (Requiem canticorum)Sanctus and Benedictus (Son ofGod Mass)Pax Domini (Son of God Mass)Agnus Dei (Son of God Mass)Lux Aeterna (Requiem canticorum)Amen (Son of God Mass)Additionally some of the work can be used within a Requiem liturgy the followingmovements having a liturgical place:Introit (Requiem canticorum) until bar 68Kyrie (Son of God Mass)Alleluia (Requiem canticorum)or De profundis (Requiem canticorum)Sanctus and Benedictus (Son of GodMass)Agnus Dei (Son of God Mass)Lux Aeterna (Requiem canticorum) and Amen (Son of God Mass).'There is real depth and sincerity to Whitbourn's writing lending an atmosphere of solemnity and reassuring calm. The thickhomophonic scoring and complementary modal flourishes from the Sax imbue the piece with an eastern ambience only occasionally brought back to western shores by the limited use of Organ. Low basses are essential but otherwise the

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

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 thePortsmouth 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 & III here) was offered I knew the piece I was

Kantate Zum Epiphaniasfest. Par BACH JOHANN SEBASTIAN. This six-movement cantata uses the hymn of the same name by Ahasverus Fritsch, first recorded in 1698 in the Darmstädter Liederbuch. This places it amongst those chorale cantatas which use a hymn from the repertoire associated with Pietism. As was customary, the hymn text is retained in the outer movements, whereas the text for the inner movements - two secco recitatives and a tenor and a bass aria - are concerned with the contrast between the hostile world and the certainty of Jesus- the links between the cantata text and the Feast of the Epiphany are correspondingly tenuous. In the first movement the soprano sings the hymn melody complete, accompanied by mainly homophonic vocal parts, whilst the instrumental writing is largely influenced by the melody of the first line of the hymn. Remarkable is the tenor aria, with its contrasting central section and its chromatic twists and turns, in which Bach once again proves himself to be a master of harmony. The demands on the chorus are fairly modest, whereas the instrumentalists are challenged in the first movement and in both the arias./ Répertoire / Choeur Mixte (SATB) et Orchestre

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.

Kantate zum Reformationsfest [Rekonstruktion: Reinhold Kubik]-J.S. Bach's Ein feste Burg ist unser Gott for SATB and Orchestra.Bach's Reformation cantata based on what is probably Martin Luther's most famous hymn evolved over a period of several years. At the beginning was a Weimar cantata for Oculi Sunday 1716 now missing which was based on the hymn with an instrumental quotation in the opening aria and with the final chorale. In the Leipzig years around 1730 Bach wrote a cantata for Reformation Day using this material. It began with the first verses of Luther's hymn in a simple four-part setting and also included the other verses. Later on in the 1730s or 1740s Bach replaced the introductory chorale movement with achorale setting which was unique spacious and motet-like in its style; this uniquely in this respect incorporated the choral writing in an instrumental canon for oboes and organ continuo. The powerful opening chorus is followed by recitatives and arias which reflect the full breadth of Bach's art of word painting and emotion. One of Bach's most magnificent cantatas one of the greatest works in the history of music. In addition to the complete performance material the arrangements of movements 1 and 5 (with 3 trumpets timpani as playing score) by Wilhelm Friedemann Bach are available.

In four movements. The first two choral movements memorialize the composer's mother and mother-in-law. The final movement depicts Mary Magdalene inspired by Harbison's work with Bach's St. John Passion.

Par BACH CARL PHILIPP EMMANUEL. C. P. E. Bach's nine-movement Magnificat (1749), the first great vocal work from his Berlin years, is among the most magnificent sounding, in which the solo vocal parts are also among the most ambitious settings of the 'Hymn to the Virgin Mary” (Luke 1). The work fulfills all the criteria required for a larger sacred composition: grandeur, dignity, polyphonic and concertante choral movements, sensitive ('empfindsam”) and expressive arias, a long concluding double fugue. This richly scored Magnificat (with 3 trumpets and timp. ad. lib.), which is almost one hour in duration, would be well suited, for example, as the central work on every Christmas or pre-Christmas concert programme./ Répertoire / Choeur Mixte (SATB) et Orchestre

This clever lighter concert number for more advanced choirs is a three movement set featuring humorous texts by poets May Swenson Sid Hoddes and Grey Held inventively interpreted for choirs by composer Paul Carey. A challenging performance piece but a lot of fun! Movement titles: Summer's Bounty Mashed Potato/Love Poem Vending Machine. Total Duration: ca. 7:00. (Movements may be performed separately.)