Commissioned by the American Choral Directors Association as the Raymond Brock commission composition for 2018, here is a lush, neo-Romantic setting of texts compiled from the bible and imploring all of us to make peace and understand that we live in a world where we have all things common. The choral writing is sustained and at the same time rhythmic. There is an urgency in the message that is clearly conveyed by the music.

Commissioned by the British Broadcasting Corporation for the Pro Musica Girls' Choir of Hungary, winner of the 2003 Let the Peoples Sing competition.

Ave Maria was joint winner of the Concours Europ'een pour Choeurs et Ma^itres de Cath'edrales 1999. Its double choir forces belie its sensitive scoring and taut motivic construction, which is well within the grasp of many choirs.

Commissioned by the Genesis Foundation for The Sixteen and Harry Christophers, the text is from The Dark Night by St. John of the Cross (1542-1591).

Based on a poem by Mark Pryce, this version of O'Regan's Christmas setting for the upper voices was completed in January 2005. Suitable for schools and young choirs. Harp part available, item 14023795.

Setting a secular text by the sixteenth-century poet John Fletcher, this rich, sonorous piece bursts with invention and word-painting like a large-scale madrigal. The piece works equally well with or without organ accompaniment.

Many people will be familiar with the beautiful music of Hildegard von Bingen. Here O'Regan has woven a mesmerising and inventive homage to Bingen's twelfth-century sequence. A fantastic showcase for any confident upper-voice group.

Composer: Hildegard von Bingen

Written for Craig Hella Johnson and Conspirare, this setting of an African American spiritual has been adapted for double SATB choir, violin and cello for Robert Istad and the California State University-Fullerton University Singers.

Commissioned by the Genesis Foundation, for The Sixteen and Harry Christophers. Over tranquil, sustained lower voices, intoning the single sound ah, the altos and sopranos add soft, almost whispered interjections. Then a radiant soprano line beams out above, gradually building over close-knit chords to a joyous climax. The opening calm returns, but the upper voices still, the lower voices punctuating. Finally the female voices are left holding on, fading away, till the sopranos edge up to a momentary last D.

The third movement from O'Regan's large-scale work Triptych features texts from Indian and Western sources, including Wordsworth and Hardy. For chorus and string orchestra.

Written in 2000, this piece was joint winner of the New College Oxford Millennium Competition. It is a complex and technically brilliant composition and has been deservedly broadcast several times on BBC Radio 3.

Tarik O'Regan's I Listen to the Stillness of You is taken from his larger work Mass Observation which was commissioned for the University of Michigan Chamber Choir, Jerry Blackstone, conductor, thanks to support from the William K. and Delores S. Brehm Choral Commissioning Fund, and the Barbara Abramoff Levy Fund.

I Saw Him Standing sets a text by Archbishop of Canterbury, Rowan Williams, who was inspired by the poetry of Ann Griffiths. The poem is full of rich imagery, prompting a correspondingly imaginative musical treatment from O'Regan. Challenging but approachable piece.

Adapted from Love Reckons by Itself Alone, this work was originally commissioned by ASHINAGA for the At Home in the World concerts. Scored for unaccompanied SATB Choir, the work is a setting of a poem by Emily Dickinson and lasts around 7 minutes.

Poetry By: Emily Dickinson

For men's voices unaccompanied. Commissioned by Matti Hyökki and the YL Helsinki Male Voice Choir, Lamentation uses extracts from one of six laments by Peter Abelard (1079 - 1142) which were found in a manuscript that was only discovered in 1830 in the Vatican. Helen Waddell, in the accompanying notes to her translation of the text, suggests that in this searing meditation on one of the most controversial and multi-faceted Biblical passages (II Samuel 1:17-27), 'Abelard's passion, that never escaped in his strange, remote letters to Heloise, for once awakes and cries'. Although written with particular reference to David, slayer of Goliath, and Jonathan, son of King Saul, it is the ecumenical sentiment of loss felt by persons of any faith or none that pervades Abelard's beautiful Latin text and, indeed, my rendering of his words.

'Locus iste' has become a popular text for church dedication services. This simple and beautiful linear setting by O'Regan provides a stylish alternative to other, over-familiar settings.

This work composed by Tarik O'Regan for was commissioned by Ashinaga for the At Home in the World concerts to a set of three poems by Richard Ntiru, Tsuboi Shigeji and Emily Dickinson. The piece received its world premiere in 2015 at Jazz at Lincoln Center, New York, USA.

Poetry By: Emily Dickinson

Eight-part chorus (SATB/SATB). This Latin setting of the Nunc Dimittis for eight-part chorus was commission by Southern Cathedrals Festival as a counterpart to Charles Villiers Stanford's 1918 Magnificat (also in Latin and for eight-part chorus). It was premiered under the direction of Andrew Lumsden at the Festival Evensong on 19 July, 2008 in Winchester Cathedral by the combined Choirs of Winchester, Chichester and Salisbury Cathedrals.

O'Regan's setting of the spiritual departs from the traditional approach in a daring, hypnotic treatment that will grip the listener with rich and enveloping sound. It was written for Craig Hella Johnson and Conspirare and is included on their Sing Freedom CD with Harmonia Mundi.

Commissioned with funds from The RVW Trust for the Choir of London's inaugural concert in Christ Church, Spitalfields on the 18th of December 2004. Composed for SATB Chorus and String Orchestra, this version is for SATB Chorus and Piano Accompaniment.

Motet for SATB Choir A Cappella, commissioned by Sam Hayes and the Choir of Queens' College, Cambridge in commemoration of Her Majesty Queen Elizabeth II becoming Patroness of Queens' College, Cambridge.

Motet for SATB Choir A Cappella, commissioned by Edward Higginbottom and the Choir of New College, Oxford.

Turn is a work by Tarik O'Regan for Unaccompanied SATB Divisi Choir. Commissioned by Conspirare, with the first performance given on 11th May 2016 at St Mary's Catholic Church, Fredericksburg, Texas, USA. A setting of a poem by Albert Verwey, a full performance lasts around five minutes.