O'Regan Choral Works
Stockhausen, Renaissance and gamelan – all in the mix for this impressive debut
View record and artist detailsRecord and Artist Details
Composer or Director: Tarik O'Regan
Genre:
Vocal
Label: Collegium
Magazine Review Date: 7/2006
Media Format: CD or Download
Media Runtime: 66
Mastering:
Stereo
DDD
Catalogue Number: COLCD130

Tracks:
Composition | Artist Credit |
---|---|
Sequence for St Wulfstan, Movement: Beatus auctor sæculi |
Tarik O'Regan, Composer
Clare College Choir, Cambridge Tarik O'Regan, Composer Timothy Brown, Conductor |
Sequence for St Wulfstan, Movement: O vera digna hostia |
Tarik O'Regan, Composer
Clare College Choir, Cambridge Tarik O'Regan, Composer Timothy Brown, Conductor |
Sequence for St Wulfstan, Movement: Tu claustra stirpe regia |
Tarik O'Regan, Composer
Clare College Choir, Cambridge Tarik O'Regan, Composer Timothy Brown, Conductor |
Magnificat and Nunc Dimittis |
Tarik O'Regan, Composer
Clare College Choir, Cambridge Rafal Jezierski, Cello Tarik O'Regan, Composer Timothy Brown, Conductor |
Bring rest, sweet dreaming child |
Tarik O'Regan, Composer
Clare College Choir, Cambridge Helen Tunstall, Harp Tarik O'Regan, Composer Timothy Brown, Conductor |
Columbia aspexit |
Tarik O'Regan, Composer
Clare College Choir, Cambridge Tarik O'Regan, Composer Timothy Brown, Conductor |
Dorchester Canticles, Movement: Cantate Domino |
Tarik O'Regan, Composer
Clare College Choir, Cambridge Helen Tunstall, Harp James McVinnie, Organ Tarik O'Regan, Composer Timothy Brown, Conductor |
Dorchester Canticles, Movement: Deus Misereatur |
Tarik O'Regan, Composer
Clare College Choir, Cambridge Helen Tunstall, Harp James McVinnie, Organ Tarik O'Regan, Composer Timothy Brown, Conductor |
Gratias tibi |
Tarik O'Regan, Composer
Clare College Choir, Cambridge Tarik O'Regan, Composer Timothy Brown, Conductor |
Ave Maria |
Tarik O'Regan, Composer
Clare College Choir, Cambridge Tarik O'Regan, Composer Timothy Brown, Conductor |
Care Charminge Sleepe |
Tarik O'Regan, Composer
Clare College Choir, Cambridge Tarik O'Regan, Composer Timothy Brown, Conductor |
Locus iste |
Tarik O'Regan, Composer
Clare College Choir, Cambridge James McVinnie, Organ Tarik O'Regan, Composer Timothy Brown, Conductor |
Colimaçon |
Tarik O'Regan, Composer
James McVinnie, Organ Tarik O'Regan, Composer |
Author: bwitherden
Tarik O’Regan was born in London in 1978 but is now based in New York, serving as visiting research affiliate at Yale’s Institute of Sacred Music. His music has been performed by the London Sinfonietta, the BBC SO and the BBC Singers among others, and this recording was produced by John Rutter, who knows a thing or two about what the religious music public likes to hear.
As seems increasingly common with religious choral composers, O’Regan imports structural elements from medieval, Renaissance and Eastern music. One of the most charming instances is the echoes of Balinese gamelan music in O vera digna hostia. There are also 20th-century references: some passages in the Magnificat recall early Kevin Volans and even Stockhausen, while the climax of Deus misereatur, which O’Regan acknowledges was influenced by his move to Manhattan, owes something to Steve Reich. Ancient or modern, these allusions are all woven in with subtlety, always well integrated into a style which is individual and fresh.
O’Regan also writes imaginatively for the organ, used effectively in the Dorchester Canticles and Care Charminge Sleepe, and the programme closes with Colimaçon for solo organ, from which Gratias tibi later evolved as a setting for four-part choir. Nice writing, too, for the cello in the Magnificat and Nunc dimittis. His use of instruments intensifies the mood of the music rather than simply decorating it. Whatever the future course of O’Regan’s career, he will be able to look back on this debut album with well merited satisfaction.
As seems increasingly common with religious choral composers, O’Regan imports structural elements from medieval, Renaissance and Eastern music. One of the most charming instances is the echoes of Balinese gamelan music in O vera digna hostia. There are also 20th-century references: some passages in the Magnificat recall early Kevin Volans and even Stockhausen, while the climax of Deus misereatur, which O’Regan acknowledges was influenced by his move to Manhattan, owes something to Steve Reich. Ancient or modern, these allusions are all woven in with subtlety, always well integrated into a style which is individual and fresh.
O’Regan also writes imaginatively for the organ, used effectively in the Dorchester Canticles and Care Charminge Sleepe, and the programme closes with Colimaçon for solo organ, from which Gratias tibi later evolved as a setting for four-part choir. Nice writing, too, for the cello in the Magnificat and Nunc dimittis. His use of instruments intensifies the mood of the music rather than simply decorating it. Whatever the future course of O’Regan’s career, he will be able to look back on this debut album with well merited satisfaction.
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