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Beautiful harmonies, expressive dynamic range, and an evocative text set to flowing speech-like rhythms are only some of the features that make choirs love this original concert work. Each part is written within a comfortable vocal range, making this a great choice for developing choirs to increase their musical sensitivity. Sublime!

Flow Water

SATB Octavo

Copyright Year

A familiar Irish folk song, this rousing arrangement brings energy and character that will provide your mixed choir with plenty of opportunity to play up the humor. Beginning with a slow a cappella introduction, it opens up with a dancing piano accompaniment that sets up the rest of the piece. It will surely bring a smile to every face!

I'll Tell Me Ma

Tranquil and contemplative, this adaptation of Psalm 131 offers a message of hope and inner peace. Simple and affecting homophonic refrains perfectly surround flowing verses scored for optional duet. The piece is a nice choice for congregational participation or as an uplifting concert performance. Accessible vocal ranges and a supportive piano accompaniment combine to create a piece that is suitable for choirs of all levels.

Truly I Have Set My Soul

Zutshi's setting of Ubi Caritas is full of tenderness and warmth, with a relaxed tempo giving the beautiful text time to speak. The gentle pacing also allows the harmonies to develop organically from simple and austere into moments of rich grandeur. The piece ends with the members of the choir independently singing quasi-plainchant fragments of the words Ubi Caritas et amor'. Enchanting!

Ubi Caritas

Ding Dong toutes les cloches sonnent, Joyeux Noel! (Ding Dong the bells are ringing, Merry Christmas!) Set as three short verses in French, the simple text is given simple melodies composed using the pentatonic scale, making it easy to learn. The tune is presented as a round with an obligato pitched percussion instrument providing stability and interest as the round unfolds.

Toutes les Cloches Sonnent

Two-Part Octavo

Time is an exhilarating new piece for a cappella mixed voices by composer Sean Doherty. The core message of the text is time can, and will, overcome the evils of our world. Doherty sets the lyrics to a beautiful melody entwined around which are ostinato motifs written in augmentation (increasing rhythm values) across the parts. The contrast between these motifs is, of course, a play on the concept of time but they also serve as a commentary on the pace of life itself. An exquisite middle section provides heightened drama and anticipation before Doherty sets free the ostinato motfis once more until they cease when time ends.'

Time

The sense of loss and veneration in Katharine Tynan's touching poem Epiphany, written in memory of fellow Irish poet Dora Sigerson Shorter, is revealed in Sean Doherty's heart-breaking setting. Dying on the Feast of the Epiphany, Tynan draws upon the imagery of the day to chart Sigerson Shorter's ascension to heaven. Doherty captures the mood of the poem, in all its hurt and adoration, perfectlythis is choral writing of the highest order. Scintillating!

Epiphany

SSAA Octavo

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Bliss in musical form! Soothing note clusters in the upper voices begin the piece while the Tenor part depicts a shore-lark soaring high. The lower voices enter one by one, scarcely noticed, subtly adding to the already lush sonorities. The pacing of the piece and use of the musical elements within is judged perfectly. Time seems to melt away and allows one to pause and luxuriate in the sound  to feel ecstasy.

Ecstasy

SSATBB Octavo

This melody sits effortlessly within the 6/8 meter and the music flows in polyphonic lines and countermelodies weaving sinuously in and out of the tune. The inclusion of the French song "L'homme arme", which warns of an approaching army, is a reference to the Massacre of the Innocents by Herod, but also a reference to conflicts in that same region today.

This Endris Night

In this setting of the communion antiphon O Sacrum Convivium Eoghan Desmond draws on traditional techniques such as imitation, sequence and pedal points  a link with choral music of the past. While these techniques bring a comforting sense of familiarity this is also music of today, the piece full of deft touches of contemporary harmony. A more reflective middle section, referencing Christ's Passion, is sensitively portrayed with undulating lines before the music strengthens as the message of the prayer features the words futurae gloriae'. The choir becomes awash with sound and colour; resplendent melodies ascending to a height, then cascading down. Sublime!

O Sacrum Convivium

Word painting par excellence! Composer Greg Scanlon manages to convey the emotions of adoration and apprehension, love and vulnerability in this wonderful setting of the famous W.B. Yeats poem. Graceful melodies, exquisite harmonic inflections, delightful textural changes and more besides make this a must-have piece for mixed-voice choirs. Includes an optional piano accompaniment enabling the work to be sung a cappella or accompanied.

Heavenly Cloths

This music has a delicacy and sensitivity enhanced by long choral phrases and gently flowing accompaniment in mixed meter. Harmony and form are also well balanced with phrases and sections having clear definition and momentum.

Agnus Dei

Based on a 12th century Irish text, this allegorical poem describes the sorrow and suffering felt after the evictions of many of the Irish people from their homes at that time. The music is profound and poignant, stirring emotions with vivid harmonies and beautiful melodic phrases. Two soprano soli gradually join in providing extra musical and emotional content over the choral parts. The mood changes at the end of this special work, with a show of strength and hope from the tutti ensemble.

The Blackbird

This is one of Ireland's most cherished poems and beloved airs and here Eoin Conway lets both lyrics and melody shine in this stunning arrangement. Simple for the main part with expressive harmonic touches sprinkled here and there, this version includes a beautiful piano accompaniment and is perfect for small and large ensembles of all standards and ages. A choral gem!

Down by the Salley Gardens

Christina Rosetti's text and Gustav Holst's iconic tune is reimagined through soothing piano accompaniment well supported the choral lines throughout. Both vocal parts present the tune during the first verse, with the last two verses featuring a harmony line in the lower part, which compliments the tune. Where a woodwind instrument in C is available to the ensemble there is scope for even more timbre, melodic interest and harmonic color. A special piece suitable for all Christmas services and concerts.

In the Bleak Midwinter

Composer Eric Sweeney cleverly fuses elements of Irish traditional music with the repetitious qualities of American minimalism in this thrilling piece. At the beginning, fragments of the text are whispered to great effect, setting the scene of the rustling wind. This is soon followed by melodic lines in close counterpoint  seemingly chasing each other  amplifying the wild atmosphere. The canonic nature of the piece means there is very little of the Irish text to master; just eight short lines in fact! Furthermore the imitative texture makes for efficient teaching of the melodic material whilst still creating an amazing overall effect. A dazzling piece!

Amhran na Gaoithe

This is music that is extremely satisfying to sing and be a part of. Singers will love the vocal lines and the wonderful harmonic inflections that Scanlon creates. Subtle nods to plainchant and polyphony are combined with sumptuous contemporary harmony to great effect. Suitable for female and treble voice choirs, this piece warrants becoming a staple in the library of all upper-voice ensembles.

Salve Regina

SSA Octavo

Beautiful Irish poetry paired with a quintessentially Irish tune are taken into the choral world with wonderful effect by composer and arranger Mark Keane. The tenors and basses have a key role throughout the piece, initially establishing a sumptuous harmonic motif above which the tune is performed by a Soprano solo. Keane uses the choir to great effect, passing the tune around the parts and exploring different combinations of voices and textures, all of which provide the different sections with new harmonies and tonal colours. At the close of the piece the lyrics reference a choir of angels' and pipes and harps' at which point the energy lifts. Voices climb in beautiful arching phrases and the subtle introduction of polyphony and increased sense of rhythmic activity makes for a wholly satisfying finale.

Bethlehem

It is difficult not to be affected by the sheer power of this work each time you hear it. Composer Sean Doherty uses just a fragment of Lola Ridge's harrowing poem about the horrors inflicted upon so many during the Russian Civil War (1918-22).  The symbolic snow is depicted with gentle descending melodic lines, its dignified and delicate persona interrupted by the sound of gunfire. Doherty includes various physical gestures, some cutting, some poignant, which further add to an already over-powering atmosphere. A once in a generation piece!

Snow Dance for the Dead

SATB Octavo divisi

Choral voices emerge from the rustling sounds of nature, first highlighting upper and then the lower voices of the choir. The power and emotion of the piece reaches its peak only to be interrupted by a solo alto voice which heralds the return of the hushed strains of the opening, the bright choral timbres featured earlier now receding into nature. A challenging piece that is appropriate for competitions.

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