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, premiĂšred 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 premiĂšred 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

Ed. Critica M. Talbot - Riduzione Per Canto E Pianoforte Di A. FrigĂ©. Par VIVALDI ANTONIO. RV 588 is Vivaldi’s ‘other’ Gloria, a composition having many parallels with Vivaldi’s better-known setting of the same text (RV 589). It dates similarly from the period 1713-1717, when the composer was acting choirmaster at the Ospedale della PietĂ  in Venice. It even borrows from the same work, a slightly earlier Gloria by the Venetian amateur composer Giovanni Maria Ruggieri, for its closing fugue. However, the present Gloria, RV 588, departs from its more famous counterpart in ingeniously combining its opening movement with the final movement of a specially designed introductory motet, Jubilate o amoeni chori (RV 639/639a), for solo contralto (or soprano) and strings, although Vivaldi makes it possible, through optional cuts indicated in the autograph manuscript in Turin, to perform the Gloria alone. With or without its Introduzione, RV 588 is a masterly work with many memorable moments, not least in its heartfelt second movement set to the words “Et in terra pax”. The Introduction and Critical Commentary for this vocal score prepared by Antonio FrigĂ© are closely based on those of the Critical Edition by Denis Arnold and Michael Talbot, published in 1990. / Niveau : IntermĂ©diaire / RĂ©pertoire / Voix et Piano RĂ©duction

Cantata. Par SILVESTROV VALENTIN. Diptychon est une composition de deux volets, qui peut ĂȘtre comparĂ©e Ă  un retable. En plus d'une image du Christ, cela reprĂ©sente gĂ©nĂ©ralement la vie d'un saint. L'image du Christ correspond Ă  la liturgie, notre pĂšre '(premier mouvement) et la vie d'un saint pour le cĂ©lĂšbre poĂšme de Tarass Chevtchenko, ' Zapovit ' (qui signifie 'dĂ©vouement' en ukrainien) (second mouvement). Strictement parlant, le premier texte est Ă©galement une dĂ©dicace. Le dĂ©veloppement musical au sein des mouvements semble aller dans des directions diffĂ©rentes, bien qu'il y a une sorte de plan cachĂ©. La Loi de la recherche au ciel correspond Ă  la ' descente ' tragique de terre et de l'humanitĂ©, qui est implorĂšrent pour ĂȘtre misĂ©ricordieux et tenir en souvenir... Cette lecture me semble plus prĂ©cis et plus rĂ©aliste. Pour cette raison, j'ai prĂ©fĂ©rĂ© pour dĂ©marrer avec la priĂšre et de ne pas mettre fin avec elle, mais je me rends compte que ce ne soit pas la sĂ©quence traditionnelle. ' (V. Silvestrov)/ RĂ©pertoire / Choeur Mixte a Cappella (SSAATTBB et Basse Profond

Active Songs for a Swingin' Classroom. Par ECKERT ROSANA / BURCH SHARON. Experience jazz in the music classroom with this swingin' collection designed for kids! Each song is written and arranged in a distinctive jazz style, or groove, while keeping it fun with movement, a singing game or activity - learning music concepts in the process. The music, piano/vocal arrangements and recordings are authentic and true to jazz. You also receive digital access to 3 audio mixes - with vocals, without vocals and with only the second vocal part included (when applicable) - and PDFs of singer parts for projection and reproducible options. Audio files with only the second vocal part recorded provide an opportunity to sing the primary vocal part independentlywhile listening to the second vocal part. Once young singers have the melody in the ear, move to singing without the recorded vocals, or keep it simple and sing along and play. Experience 12-bar blues, scat singing, call and response, improvisation, swing, New Orleans Second Line and more! Above all, have fun and swing! Songs include: Jungle Jazz, Jungle Jam, Five Little Monkeys, Shoo Fly, Miss Mary Mack, I'm So Sorry My Friend/Let's Celebrate, Singing This Song and a 12-Bar Blues in C activity. Suggested for grades 1-5./ Recueil / Voix

Par PEPIN CAMILLE. Il s'agit d'un cycle de mĂ©lodies pour mezzo-soprano, violoncelle et piano - commande de l'Association Olivier Messiaen au pays de la Meije - dĂ©diĂ© Ă  Anne Le Bozec, Yan Levionnois et Fiona McGown. Ce choix autour de la danse m'est venu Ă  la lecture de cette phrase du poĂšte amĂ©ricain Ezra Pound (1885-1972) - chef de file du mouvement imagiste et moderniste - dans son ABC of Reading : 'Music begins to atrophy when it departs too far from the dance... poetry begins to atrophy when it goes too far from music ('La musique commence Ă  s'atrophier lorsqu'elle s'Ă©loigne trop de la danse... La poĂ©sie commence Ă  s'atrophier lorsqu'elle s'Ă©loigne trop de la musique'). C'est cette phrase qui m'a inspirĂ©e pour les Dancing Poems. Les quatre mĂ©lodies de ce cycle ont Ă©tĂ© composĂ©es d'aprĂšs les poĂšmes At the still-point de Thomas Stearns Eliot (1888-1965), Slow Movement de William Carlos Williams (1883-1963), To a child dancing in the wind et Those dancing days are gone de William Butler Yeats (1865-1939). VĂ©ritablement pensĂ©e avec un rapport au corps, ma façon de concevoir le rythme est plus spontanĂ©e qu'intellectualisĂ©e. J'ai besoin de sentir intĂ©rieurement une rythmique - corporellement - avant de la coucher sur le papier. Musique et danse sont ainsi intimement liĂ©es. Pour moi, composer, c'est quelque part le point de rencontre entre la musique, la danse et la poĂ©sie - le point oĂč chacune de ces disciplines est indissociable l'une de l'autre. Aussi, mon choix s'est portĂ© sur la littĂ©rature anglo-saxonne, que Fiona McGown pratique Ă  merveille et qui en fait ressortir toute la musique des mots. J'ai alors imaginĂ© son timbre magnifique entremĂȘlĂ© Ă  celui du violoncelle - instrument que j'aime tout particuliĂšrement. Dans tout le cycle, l'enjeu a Ă©tĂ© de crĂ©er une ambiance intime et lumineuse. Les couleurs et les timbres se mĂ©langent de maniĂšre Ă  crĂ©er un halo sonore rĂ©sonnant et flottant autour ces trois instruments. Ainsi, le halo contribue Ă  recrĂ©er ce point particulier de rencontre entre la musique, la danse et la poĂ©sie - un point hors du temps libĂ©rĂ© des tensions du monde. Le cycle est Ă©galement imprĂ©gnĂ© de rythmes rĂ©pĂ©titifs et dansants, et les mĂ©lodies sont construites sur des formes simples utilisant des refrains. Cela confĂšre Ă  l'ensemble une couleur populaire, propre Ă  l'expression de la danse. La premiĂšre mĂ©lodie, At the still-point, cherche Ă  retranscrire cet Ă©tat de transe par un accompagnement rĂ©pĂ©titif oĂč piano et violoncelle se mĂ©langent pour crĂ©er une texture planante. Il est conçu comme un moteur essentiel au sein duquel le mouvement est toujours prĂ©sent. Sa rĂ©pĂ©tition permet toutefois de conserver une immobilitĂ© apparente. La voix, sensuelle, se dĂ©ploie sur ce tapis sonore brumeux et flottant. Point d'Ă©quilibre fragile, ce still point n'est donc ni en suspens, ni en mouvement : il est les deux Ă  la fois. C'est le moment oĂč le temps s'arrĂȘte et oĂč nous nous retrouvons immergĂ©s dans nos propres mondes. J'ai imaginĂ© certains vers comme un refrain, rappelant rĂ©guliĂšrement l'Ă©quilibre subtil et dĂ©licat de ce still point. La seconde mĂ©lodie, Slow Movement, est le mouvement lent du cycle et Ă©voque les souvenirs - ces trĂ©sors que l'on peut enfermer une boĂźte. J'ai donc choisi d'utiliser la voix parlĂ©e. Seuls le dĂ©but et la fin sont fredonnĂ©s (Ă©teint, sans timbrer) comme un Ă©cho au thĂšme de violoncelle. Violoncelle et piano prennent tour Ă  tour la parole pour chanter l'expression des mots dĂ©clamĂ©s dans ce numĂ©ro. Les deux derniĂšres mĂ©lodies Ă©voquent successivement l'enfance et la vieillesse. To a child dancing in the wind dĂ©crit un enfant dansant sur le rivage, insouciant des sons menaçants qui l'entourent. Le fracas incessant des vagues, les hurlements du vent, ou encore les gouttes d'eau salĂ©e qui perlent de ses cheveux sont autant d'images des Ă©vĂšnements de la vie qui nous assaillent. Le rugissement du vent et le dĂ©ferlement des vagues semblent ĂȘtre une allusion aux injustices et au dĂ©sordre de la vie ('L'amour est perdu aussitĂŽt qu'il est gagnĂ© et l'imbĂ©cile triomphe'). Toutefois, l'imbĂ©cile peut ĂȘtre une personne motivĂ©e par l'amour et ne se souciant pas du reste. 'Le meilleur ouvrier est mort', mais il Ă©tait peut-ĂȘtre le meilleur parce qu'il a travaillĂ© avec amour. Ce poĂšme parle donc Ă  la fois de l'insouciance de l'enfance, et de l'expĂ©rience de la maturitĂ©. J'ai choisi de transcrire en musique cette insouciance de l'enfant qui danse, cette incarnation de la vie dans le moment prĂ©sent, en un vĂ©ritable moment vif et dansant. De plus en plus apaisĂ©e, la danse s'achĂšve et nous ramĂšne Ă  la rĂ©alitĂ© du monde adulte avec la derniĂšre mĂ©lodie du cycle. Ici, Yeats fait allusion aux moments heureux qui ont pris fin. Les jours dansants sont terminĂ©s. L'Ă©pouse et les enfants ont disparu. Un corps enveloppĂ© dans un haillon sale Ă©voque aussi bien la mort que l'Ă©clat de vie perdu. La boucle rythmique utilisĂ©e traduit avec mĂ©lancolie et sensualitĂ© les heureux jours disparus. Les vers 'I carry the sun in a golden cup, the moon in a silver bag' Ă  la fin de chaque strophe sont utilisĂ©s comme un refrain. Ils portent Ă  la fois l'idĂ©e du rayonnement du soleil comme Ă©clat de vie et de l'ombre de la lune qui tombe dĂ©licatement dessus comme un voile mystĂ©rieux. Mais peu importe que la mort arrive car l'on peut toujours danser et chanter. Jusqu'Ă  notre dernier souffle. / Contemporain / RĂ©pertoire / Mezzo-Soprano, Violoncelle et Piano

Arrangeur: Klaus Hofmann. Par TELEMANN GEORG PHILIPP. This psalm setting was originally the opening and concluding movement in the Epiphany cantata from the annual cycle “Musicalisches Lob Gottes in der Gemeine des Herrn, ” published at Nuremberg in 1744, and it is also from the “Biblische SprĂŒche” [see p. 12]. As in the cantata, here the vocal bass part may also be omitted. The lively alternation between soli and choir in the second and third sections is especially fascinating./ RĂ©pertoire / Choeur (SA), 2 Violons et Basse Continue, (Choeur

Arrangeur: Klaus Hofmann. Par TELEMANN GEORG PHILIPP. This psalm setting was originally the opening and concluding movement in the Epiphany cantata from the annual cycle “Musicalisches Lob Gottes in der Gemeine des Herrn, ” published at Nuremberg in 1744, and it is also from the “Biblische SprĂŒche” [see p. 12]. As in the cantata, here the vocal bass part may also be omitted. The lively alternation between soli and choir in the second and third sections is especially fascinating./ RĂ©pertoire / Choeur SS (SA), 2 Violons et Basse Continue, (Choe

Oratorienfragment. Teil I: Die Geburt Christi - Teil Ii: Das Leiden Christi. Par MENDELSSOHN-BARTHOLDY FELIX. Mendelssohns unfinished 3rd oratorio in its first critical edition. The parts 'Die Geburt Christi' and 'Das Leiden Christi' are presented with full orchestration. In 1852, five years after Mendelsohn’s death, two independently-performable fragments of an unfinished oratorio were published under the title 'Christus'. The second fragment, 'The Suffering of Jesus', comes from the middle of the Passion story: the scene 'Jesus before Pilot' is presented with rapid, dramatic alternation between the recitatives of the evangelist [tenor] and choruses of the people. A contemplative choral movement closes the fragment. / Oratorio / RĂ©pertoire / Solistes STBB, Choeur SATTBB, 2 FlĂ»tes TraversiĂšre

Oratorienfragment. Teil I: Die Geburt Christi - Teil Ii: Das Leiden Christi. Par MENDELSSOHN-BARTHOLDY FELIX. Mendelssohns unfinished 3rd oratorio in its first critical edition. The parts 'Die Geburt Christi' and 'Das Leiden Christi' are presented with full orchestration. In 1852, five years after Mendelsohn’s death, two independently-performable fragments of an unfinished oratorio were published under the title 'Christus'. The second fragment, 'The Suffering of Jesus', comes from the middle of the Passion story: the scene 'Jesus before Pilot' is presented with rapid, dramatic alternation between the recitatives of the evangelist [tenor] and choruses of the people. A contemplative choral movement closes the fragment. / Oratorio / RĂ©pertoire / Solistes STBB, Choeur SATTBB, 2 FlĂ»tes TraversiĂšre

Oratorienfragment. Teil I: Die Geburt Christi - Teil Ii: Das Leiden Christi. Par MENDELSSOHN-BARTHOLDY FELIX. Mendelssohns unfinished 3rd oratorio in its first critical edition. The parts 'Die Geburt Christi' and 'Das Leiden Christi' are presented with full orchestration. In 1852, five years after Mendelsohn’s death, two independently-performable fragments of an unfinished oratorio were published under the title 'Christus'. The second fragment, 'The Suffering of Jesus', comes from the middle of the Passion story: the scene 'Jesus before Pilot' is presented with rapid, dramatic alternation between the recitatives of the evangelist [tenor] and choruses of the people. A contemplative choral movement closes the fragment. / Oratorio / RĂ©pertoire / Solistes STBB, Choeur SATTBB, 2 FlĂ»tes TraversiĂšre

Oratorienfragment. Teil I: Die Geburt Christi - Teil Ii: Das Leiden Christi. Par MENDELSSOHN-BARTHOLDY FELIX. Mendelssohns unfinished 3rd oratorio in its first critical edition. The parts 'Die Geburt Christi' and 'Das Leiden Christi' are presented with full orchestration. In 1852, five years after Mendelsohn’s death, two independently-performable fragments of an unfinished oratorio were published under the title 'Christus'. The second fragment, 'The Suffering of Jesus', comes from the middle of the Passion story: the scene 'Jesus before Pilot' is presented with rapid, dramatic alternation between the recitatives of the evangelist [tenor] and choruses of the people. A contemplative choral movement closes the fragment. / Oratorio / RĂ©pertoire / Solistes STBB, Choeur SATTBB, 2 FlĂ»tes TraversiĂšre

Oratorienfragment. Teil I: Die Geburt Christi - Teil Ii: Das Leiden Christi. Par MENDELSSOHN-BARTHOLDY FELIX. Mendelssohns unfinished 3rd oratorio in its first critical edition. The parts 'Die Geburt Christi' and 'Das Leiden Christi' are presented with full orchestration. In 1852, five years after Mendelsohn’s death, two independently-performable fragments of an unfinished oratorio were published under the title 'Christus'. The second fragment, 'The Suffering of Jesus', comes from the middle of the Passion story: the scene 'Jesus before Pilot' is presented with rapid, dramatic alternation between the recitatives of the evangelist [tenor] and choruses of the people. A contemplative choral movement closes the fragment. / Oratorio / RĂ©pertoire / Solistes STBB, Choeur SATTBB, 2 FlĂ»tes TraversiĂšre

Oratorienfragment. Teil I: Die Geburt Christi - Teil Ii: Das Leiden Christi. Par MENDELSSOHN-BARTHOLDY FELIX. Mendelssohns unfinished 3rd oratorio in its first critical edition. The parts 'Die Geburt Christi' and 'Das Leiden Christi' are presented with full orchestration. In 1852, five years after Mendelsohn’s death, two independently-performable fragments of an unfinished oratorio were published under the title 'Christus'. The second fragment, 'The Suffering of Jesus', comes from the middle of the Passion story: the scene 'Jesus before Pilot' is presented with rapid, dramatic alternation between the recitatives of the evangelist [tenor] and choruses of the people. A contemplative choral movement closes the fragment. / Oratorio / RĂ©pertoire / Solistes STBB, Choeur SATTBB, 2 FlĂ»tes TraversiĂšre

Arrangeur: Klaus Hofmann. Par TELEMANN GEORG PHILIPP. This psalm setting was originally the opening and concluding movement in the Epiphany cantata from the annual cycle “Musicalisches Lob Gottes in der Gemeine des Herrn, ” published at Nuremberg in 1744, and it is also from the “Biblische SprĂŒche” [see p. 12]. As in the cantata, here the vocal bass part may also be omitted. The lively alternation between soli and choir in the second and third sections is especially fascinating./ RĂ©pertoire / Choeur SS (SA), 2 Violons et Basse Continue, (Choe

Oratorienfragment. Teil I: Die Geburt Christi - Teil Ii: Das Leiden Christi. Par MENDELSSOHN-BARTHOLDY FELIX. Mendelssohns unfinished 3rd oratorio in its first critical edition. The parts 'Die Geburt Christi' and 'Das Leiden Christi' are presented with full orchestration. In 1852, five years after Mendelsohn’s death, two independently-performable fragments of an unfinished oratorio were published under the title 'Christus'. The second fragment, 'The Suffering of Jesus', comes from the middle of the Passion story: the scene 'Jesus before Pilot' is presented with rapid, dramatic alternation between the recitatives of the evangelist [tenor] and choruses of the people. A contemplative choral movement closes the fragment. / Oratorio / RĂ©pertoire / Solistes STBB, Choeur SATTBB, 2 FlĂ»tes TraversiĂšre