Acallam na Senórach by Tarik O'Regan was co-commissioned by the National Chamber Choir of Ireland The DeBartolo Performing Arts Center at University of Notre Dame Indiana and Peak Performances at Montclair State University Montclair New Jersey.First performed on 25 November 2010 at St Ann’s Church Dublin by the National Chamber Choir of Irelandwith Stewart French (Guitar) directed by Paul Hillier.The Guitar part was edited by Stewart French.Tarik O'Regan on the music:In writing this musical setting of Acallam na Senórach I was drawn to the evenness of the dialogue. Instead of St Patricksimply converting the pagan warriors he is encouraged to listen to Ca lte’s stories and poems of an earlier time in which the saint delights.This secular/sacred osmosis is maintained unwaveringly throughout the entire text. By the end of the narrative one has witnessed not only the arrival of a new religion in Ireland but also a richly-recounted secular narrative map of the entire island: the peaceful and enriching shaking of two great hands.In preparing the libretto (the sung text) I have focused on only a few of the shorter constituent tales. This decision was born of the practical constraints of duration. I have however kept the skeleton albeit smaller of the overall frame in place. Finally for the sake of simplicity Ois n is removed from the primary narrative.The characters are not assigned specific voices. The narrative as a whole is carried by a persistently changing combination of voices and guitar. The one exception is Cas Corach the musician of the s d (underworld) who is most closely embodied throughout this setting in the solo interludes for guitar.The music itself is not ethnographically inclined; that is I have not attempted to reconstruct theories on Irish music of the period from which Acallam stems. However the score generally and especially in the guitar writing is imbued with an air

With Each Passing Moment-Combining two treasured texts this anthem reminds us of the constancy and provision of our loving God. The assurance found in this sacred poetry is set with gentle elegance and tender expression and the well-crafted piano and part-writing create a tender expression of faith.

This is a wonderful juxtaposition of texts in a vibrant setting. It is sacred but gentle enough so that it should be usable in any situation.

Uses: General CommunionScripture: Psalm 78:19; I Corinthians 11:20-34; Matthew 14:13-21An engaging text that connects the miracle feeding of the 5000 with the mystery of communion is at the heart ofthis sacred original. The beautiful theme in the flute sets the mood and gradually reveals a tender ballad of grace and assurance. A confident statement of God's provision in our life completes this spiritual journey of worshipand thanksgiving. Flute part included. Duration: ca. 2:53.

The English School For 5 Voices-The volumes of this expanding series are devoted to a wide range of sacred renaissance motets with Latin texts and contain a mixture of well known and unfamiliar pieces some of which are published for the first time.Allappear in completely new editions by Anthony G. Petti.

There is heavenly music all around us in the voice of creation in the gentle sounds of friendships and family and in the songs of our faith. An ideal choice for music appreciation Sunday this piece will be an encouragement and areminder to your choir of their sacred mission of sharing the love of God through the ministry of music. Special!

A new classic this eighth century Easter text has been set in a neo-Baroque style by Dana Mengel. This light and bouncy resurrection anthem uses lots of imitation between voices to add interest and is sung a cappella calling tomind the sacred music of old. But “Sing an Alleluia!” isn't just for Easter. Optional text is provided for Christmas and for general use making it an extremely versatile anthem. “Sing an Alleluia!” is awonderful return to a time in music history long passed.

It is the Latin rhythm under the old Latin Carol that catches your imagination. How fun! Jo-Michael Scheibe selected this piece for his sacred series. Not only does this piece work well for church or school it is also a superb festival number.

The English School For 6 Voices-The volumes of this expanding series are devoted to a wide range of sacred renaissance motets with Latin texts and contain a mixture of well known and unfamiliar pieces some of which are published for the first time.Allappear in completely new editions by Anthony G. Petti.

The Italian And Spanish Schools For 5 Voices-The volumes of this expanding series are devoted to a wide range of sacred renaissance motets with Latin texts and contain a mixture of well known and unfamiliar pieces some of which are published for the first time.Allappear in completely new editions by Anthony G. Petti.

A good sacred concert piece adapted from Psalms 27 28 and 57 with optional brass ensemble and electric or string bass.