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Tarik O'Regan: Acallam na Senórach

COMPOSER: Tarik O'Regan
PUBLISHER: Novello and Co
PRODUCT TYPE: Book [Softcover]
INSTRUMENT GROUP: Mixed Choir
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 atMontclair State University, Montclair, New Jersey. First performed on 25 November 2010, at St
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Specifications
Composer Tarik O'Regan
Publisher Novello and Co
Instrumentation SATB, Guitar, Bodhran
Product Type Book [Softcover]
Instrument Group Mixed Choir
Style Period Post 1901
Year of Publication 2014
Style Irish
ISBN 9781780380711
Style Period Post 1901
Voicing SATB
No. Pages 99
No. MUSNOV200772
Release Date 5/22/2014
Description

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 atMontclair 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.

TheGuitar 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 Patricksimplyconverting 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. Bythe 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.

Inpreparing 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 theoverall 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 changingcombination 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 notethnographically 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

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