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

An Elegy For String Orchestra. Par ZEBELJAN I.. An Elegy For String Orchestra / Musique contemporaine / Répertoire / Voix et Orchestre

Par SCHUBERT FRANZ. SATB Soli - SATB Chorus - 0.2.2.2 - 2.2.3.0 - Timbales - Strings - Durée: 4/ Répertoire / Parties Orchestrales

Par SCHUBERT FRANZ. SATB Soli - SATB Chorus - 0.2.2.2 - 2.2.3.0 - Timbales - Strings - Durée: 4/ Répertoire / Parties Orchestrales

auf Texte aus der Bibel. Par HAKIM NAJI. Die Taube (The Dove) was commissioned by ”Kirchenmusik bei St. Anna Augsburg” to celebrate the 450th anniversary of the 'Augsburger Religionsfrieden' (Religious peace of Augsburg). It is based on three biblical verses related to peace : Gen. 8/11, Luk. 1/79, Joh. 14/27. The music is through composed and develops the character of the verses with contrasted string textures, putting in relief the expressive vocal line, declamation of light and happiness. The work exists in three versions : 1. for Tenor and string quartet, 2. for Tenor and string orchestra, 3. for Tenor and organ. First performance : by Robert Sellier, Tenor, Capella St. Anna Streichquartett, St. Anna Augsburg, Festkonzert zum Hohen Friedensfest, 8 August 2005. Gen.8/11 : ”And the dove came in to him in the evening; and, lo, in her mouth was an olive leaf pluckt off. ” Luk. 1/79 : ”To give light to them that sit in darkness and in the shadow of death, to guide our feet into the way of peace. ” Joh.14/27 : ”Peace I leave with you, my peace I give unto you. ” '...to guide our feet into the way of peace.' (Luke 1,79) Words and music bind people together to form fellowships which guide us into the way of peace. Singing or playing together combine bodies and souls, so that our rhythm and breathing becomes one - a sense of belonging to one another is created which instils the very nature of peace. So it is that by becoming an integral part of the music, our feet are guided 'into the way of peace'. In Luke chapter 1, both Maria and Zechariah are carried away, body and soul, in hymns of thanksgiving. They let God´s melody resound in their bodies. Ignatius, one of the Early Fathers of the Church, might have drawn his inspiration from them when he wrote to the Christians of Ephesus around the year 100, 'Let God´s melody resound in you.' The melody of our life is a single voice within God´s great melody; an everlasting celestial melody, in which we join together as integral parts - with time, we are gradually shown which chords we are given to touch and which chords to form with one another. God´s inextinguishable melody has an infinite galaxy of variations. As you would know, a variation is rooted but limitless. At our christening, God gives us a variation - an inextinguishable variation because of his promise, 'I am with you always, even to the end of the age.' (Matthew 28, 20). Deeply rooted as we are, God leads us through. He calls us to Life out of His Eternity, He lets his melody reverberate in us and finally calls us back, when we die, to His everlasting future. Let God´s melody resound in you and guide your feet into the way of peace./ Répertoire / Ténor et Quatuor à Cordes

With likely origins in the southern China provinces, the soothing pentatonic melody of this traditional folk song is reminiscent of the simple beauty of a white jasmine blossom. This lovely choral setting, layered with independent voice lines, is effective with the shimmering piano accompaniment or the optional string orchestra parts. / Choeur Mixte (SATB)

For Female Voice And String Orchestra. Par ZEBELJAN I.. Italian / Musique contemporaine / Répertoire / Voix et Orchestre

Psalm 23, John 1 :13 Isaiah 60:1, Revelation 21:1, Isaiah :7. Par TROTTA MICHAEL JOHN. Designed to be accessible for the choir looking to prepare a larger work within the constraints of limited rehearsal time, this work provides conservative ranges and straightforward rhythms that allow time to craft a more artistic performance. Cast in eight movements, this major work draws on texts that examine the many facets of death, the pain of transitions, and the hope and joy of a better place. The work is scored for choir, organ or piano, and optional string orchestra. Each of the movements is available separately; the work as a whole or as individual parts is recommended for concert or liturgical service use. Movements: 1. Do Not Stand at My Grave and Weep; 2. I Seek a Faith; 3. The Lord Is My Shepherd; 4. A Light Shines in the Darkness; 5. Death Shall Be No More; 6. I Saw a New Heaven; 7. Love Conquers All; 8. Gaelic Blessing (Deep Peace). / Date parution : 2021-11-03/ Répertoire / Ch?ur Mixte SATB et Orgue ou Piano

Par HOLST GUSTAV. Vocal Score TTBB and string orchestra with optional brass or piano./ Répertoire / Chant

Par SAINT-SAENS CAMILLE. Psalm 137 'Super flumina Babylonis' also known as 'By the rivers of Babylon' was an inspiration for many composers including Camille Saint-Saëns. He repeatedly occupied himself with his psalm motet for solo soprano, mixed choir, saxophone quartet, string orchestra and organ, originally composed in 1854. Two of the four versions ? the first version in Latin and a much later version in English for alto solo, SATB choir and piano ? are now available for the first time in Urtext performing editions taking a meticulous account of all the sources. / Date parution : 2023-07-31/ Répertoire / Alto, SATB et Piano

Hofmann, Klaus (Arr.). Par TELEMANN GEORG PHILIPP. for string orchestra with basso continuo Instrumental movements from church cantatas on hymns entitled “Herzlich tut mich verlangen, ” “Es woll uns Gott genädig sein” and “Es ist gewisslich an der Zeit. ”/ Répertoire / Choeur Mixte

Par SCHWANTNER JOSEPH. Détails de la formation instrumentale: Soprano - 3(3.pic).3(3.ca).3(3.bcl).3(3.c Basson)-4.3.3.1-timp.2perc(lg. bs. dr. · timbales · tom-t. · susp. cyms. · tam · crot. · trgls)-amp pno(hpd).hp-Strings - Durée: 30' -/ Répertoire / Soprano et Orchestre

Par STRAUSS RICHARD. Détails de la formation instrumentale: Major roles: dramS,lyrS,Bar - minor roles: colS,M/A,2T small roles: S,Bar,2B,10mimes - chorus 3(III=picc).2.corA.3.b Clarinette 3(III=dbn)-4.3.3.1-timp.sleigh bells-harp- strings - Durée: 150' -/ Répertoire / Solistes, Choeur et Orchestre

Tonalité : D-Dur -. Par HEINICHEN JOHANN DAVID. The Carus program featuring music of the Court of Dresden has been expanded with the publication of the first edition of the great masses of Johann David Heinichen, who, next to Hasse and Zelenka, was the most important musical representative of this capital of Saxony. A peculiarity of this work is the fact that Heinichen inserted an actual concerto movement for solo flute, 2 oboes, strings and continuo between the “Gloria” and “Credo, ” which recommends the Mass for concert performances. / Messe / Répertoire / Solistes SATB, Choeur SATB, 2 Flûtes Traversières,

Tonalité : F-Dur - Horn, Paul (Arr.) -. Par PLATTI GIOVANNI BENEDETTO. The first edition of a Missa in F by Giovanni Platti [ca. 1690–1763] is a rarity. Platti served at the Court of the Counts of Schönborn-Wiesentheid, and during his more than 40 years of service at the Court he worked for more than five masters and each of them knew how to make use of his musical abilities. Thus, in addition to his position as a virtuoso oboist, singer and violinist, he was also entrusted with the musical education of musicians. The Missa in F major is primarily a composition for choir; it is very singable, its construction is transparent and it is accompanied by only four strings and an organ. / Messe / Répertoire / Solistes SATB, Choeur SATB, 2 Violons, Alto et Bas