'Nunc dimittis' - Tarik O'Regan
From the album ‘Voices’

Composer Tarik O'Regan
Conductor Timothy Brown
Cello Rafal Jeziersk
Solo quartet Philippa Boyle, Sarah Shorter, Ben Breakwell & Christopher Elcombe
Choir The Choir of Clare College, Cambridge

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LYRICS:
Nunc dimittis servum tuum,
Domine, secundum verbum tuum
in pace.
Quia viderunt oculi mei salutare
tuum.
Quod parasti ante faciem omnium
populorum:
Lumen ad revelationem gentium,
et gloriam plebis tuae Israel.
Gloria Patri, et Filio, et Spiritui
Sancto.
Sicut erat in principio, et nunc, et
semper, et in saecula saeculorum.
Amen.

Lord, now lettest thou thy servant depart
in peace, according to thy word.
For mine eyes have seen thy salvation,
which thou hast prepared before the face
of all people:
To be a light to lighten the Gentiles and
to be the glory of thy people Israel.
Glory be to the Father, and to the Son,
and to the Holy Ghost.
As it was in the beginning, is now, and
ever shall be, world without end.
Amen.

Luke 2, vv. 29–32

Voices
Voices, a collection of 14 première recordings of the music of Tarik O’Regan, one of the most exciting choral composers to emerge in the 21st century. His music is tonal, although edgy and definably contemporary. The recording was produced and engineered by John Rutter.

The Magnificat and Nunc Dimittis were both commissioned, separately, by Timothy Brown for the Choir of Clare College, Cambridge. The former was premièred at the 2000 Spitalfields Winter Festival in London, while the latter was composed for a BBC broadcast in 2001. Both are large-scale settings, designed to stand as concert works in their own right or to be paired together for liturgical purposes.

Tarik O'Regan writes: The work is scored for double choir with soprano, alto, tenor and bass soloists and a solo cello. The dedicatee, Christopher Rutter, who sang in the first performance of the Magnificat, had his life tragically cut short in a road accident three months later, shortly before the Nunc Dimittis was due to have been premièred. In each movement I have tried to recreate the Renaissance practice of alternating chant and polyphony, the latter developing texturally, rather than harmonically (herein lying the ‘variations’ of the subtitle). The cello uses material from both choirs, accompanying, rising above and playing against the ongoing variations, but always reverting to fragments, if not entire quotations, of the chant melody.

John Rutter, English composer and conductor, is associated with choral music throughout the world. His recordings with the Cambridge Singers (the professional chamber choir he set up in 1981) have reached a wide global audience, many of them featuring his own music in definitive versions. Among John’s best-known choral works are Gloria, Requiem, Magnificat, Mass of the Children, and Visions, together with many church anthems, choral songs and Christmas carols.

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