The String Quintet Parts for Tarik O'Regan's Blessed Are They. Commissioned in honour of Raymond and Elizabeth Chenault for their 38 years of service as Organists and Choirmasters of All Saints' Episcopal Church in Atlanta where it was first performed on All Saints’ Sunday November 3 2013. Parts for two Violins Viola Cello and Double Bass.

for String Quartet op. 35a-Josef Suk played second Violin in the Bohemian String Quartet. Since 1914 the ensemble was obliged to perform the Austrian national anthem at the opening of every concert. Suk decided to supplement this obligatory piece with a work inspired by the ancient sacred Bohemian St. Wenceslas hymn. The hymn?s message a plea for the well-being of the Czech people directed at their patron saint was immediately understood by the audience.The Bohemian String Quartet performed this single-movement Meditation for the first time on 27 September 1914; the premiere of the version for string orchestra followed on 22 November 1914 played by the CzechPhilharmonic. That same year the piece was published by Fr. A. Urbánek together with arrangements for Piano and Organ.This first Urtext edition prepared by the Sukscholar Zdenek Nouza is published in two scorings one for string quartet and another for String Orchestra (BA9584). The orchestral version differs in some details and has an added part for Double Bass.First Urtext editionInformative trilingual Foreword (Cz/Eng/Ger) and Critical Commentary (Eng) by the editorTwo versions published in two separate editions

Josef Suk played second violin in the Bohemian String Quartet. Since 1914 the ensemble was obliged to perform the Austrian national anthem at the opening of every concert.Suk decided to supplement this obligatory piece with a work inspired by the ancient sacred Bohemian 'St. Wenceslas? hymn. The hymn's message - a plea for the well-being of the Czech people, directed at their patron saint - was immediately understood by the audience.The Bohemian String Quartet performed this single-movement Meditation for the first time on 27 September 1914 - the premiere of the version for string orchestra followed on 22 November 1914, played by the Czech Philharmonic. That same year the piece was published by Fr. A. Urbánek together with arrangements for piano and organ.This first Urtext edition, prepared by the Suk scholar Zdenek Nouza, is published in two scorings, one for string quartet (BA 9583 - study score TP 583) and another for string orchestra (BA 9584).The orchestral version differs in some details and has an added part for double bass. - First Urtext edition / Quatuor A Cordes

Uses: General Lent Ash Wednesday Holy WeekScripture: I John 1:9; Psalm 51:10-12; Hebrews 8:12From the pages of concert music repertoire comes an adaptation that incorporates the power of theoriginal masterwork with the impact of a new sacred text. Contemplative in nature the cry for forgiveness and mercy rises like a prayer from the luxurious textures of the choral sonority. Linear voice leading gives thisthrough-composed anthem an organic quality flowing with emotion and religious devotion. A noble orchestration crowns the whole with dignity and nobility. Available separately: SATB Orchestration StudioTrax CD. (Orchestrationinstrumentation: Score & parts for flute 1&2 oboe clarinet 1&2 bassoon horn 1&2 trumpets 1-3 trombone 1-3 tuba timpani percussion 1&2 harp piano violin 1&2 viola cello double bass). Duration: ca. 4:47.

Asbjørn Schaathun TRIPLIS+ (1996-98). For mezzo-soprano percussion electric organ alto flute coranglais clarinet violin viola cello double-bass and piano.Programme noteTriplis+ consists of seven songs based on computer-manipulated text fragments from Wilhelm Müller’s ’Die schöne Müllerin’. The seven songs should be played without interruption:I) Warum nicht?II)Nicht so...III)AngstIV) Wohin?V) HeimatVI) StilleVII)Ruhig. The score of TRIPLIS+ has a long history. The whole project began as a piece for piano and mezzo DUALIS (1987) to which I added percussion instruments to the vocal and piano parts which was deeply unsatisfying. (I also suggested certain ways of making different versions of the piece a so-called ’open score’ but this was even worse...) From the ruins of this piece I carved out a new DUALIS (1991) using the same material but with no percussion instruments added and in the form of a traditional ’frozen’ score.In 1993 I was asked to include a separate percussion part for a trio-version of my first undertakings of DUALIS. In close collaboration with the Cikada Trio I created a new version TRIPLIS (1993) which then in turn was taken as a point of departure for an extended version of the piece called TRIPLIS+ (1996-99). In this ’version integrale’ I - due to the requirements of the commission - added an ensemble of 8 instruments sometimes elaborating material from the mezzo-line sometimes contradicting or commenting upon it. The piano has a special role in both TRIPLIS+ and TRIPLIS; functioning as a kind of ’libro’ the piano textures which have the feel of an accompanying part are played ad lib throughout the work. In this way the pianist can change the actual dramatical flow of the piece.The first performance of TRIPLIS+ took place in the Bjergsted Music Centre in Stavanger Norway in April 1999 with

Full Score Only. Instrumentation Available (Hmb145b):Picc 2Fl 2Ob 2CL 2Bsn Contra Bsn 4Hn 2Tpt 3Tbn Tuba Violin I-II Viola Cello Contra Bass 2Hp 3Timp Organ String Count (12 12 8 6 4) Included In Instrumentation.Regarding The Harp Brahms Specifically Stated: 'At Least Doubled'This Set Of Orchestra Parts Includes Two For The Harp.Although The Standard String Set Of Parts Is (12 10 8 6 4) BrahmsScoring For Violin II Indicates It Should Be Of Equal StrengthWith Violin I. Therefore Two Additional Violin II Parts AreIncluded.