Beatus Vir

Beatus Vir is the recording of a Live concert given as part of the Cork Choral Festival in 2007.

Cois Cladaigh’s long and beneficial association with the Cork International Choral Festival stretches back to the choir’s foundation in 1982.

In 2007, Cois Cladaigh was invited by John Fitzpatrick, Director of the Cork International Choral Festival, to present a gala concert outside the competition/non-competitive sections of the Festival. This was a great honour and gave the choir the opportunity to perform its extended repertoire. This CD is a recording of some of the music from that concert performed in the wonderful setting and acoustic of St. Fin Barre’s Cathedral on Friday 4th May. The concert was entitled “Cross Overs” and was devised to demonstrate many different styles of choral music.

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Lux Aeterna - Cover



Soundfiles about 10 seconds long
Komm süßer Tod

Bach/Nystedt arr. Gunnar Eriksson

Track 1
O Bone Jesu Marc’Antonio Ingegneri Track 2
Ab Oriente venerunt Magi

Jan Pieterszoon Sweelinck

Track 3
Sleep Eric Whitacre Track 4
I'm still here Eamonn Murray Track 5
Who built the Ark? Moses Hogan Track 6
In Paradisum Ben Hanlon Track 7
Szeroka Woda Henryck Gorecki Track 8
O vos omnes Jacquet of Mantua Track 9
Water Night Eric Whitacre Track 10
Ecce quomodo Albert Alcaraz Track 11
S’andasse amor a caccia Claudio Monteverdi Track 12
Beatus Vir Oliver Kentish Track 13
Lamento Karl E. Welin Track 14
The Battle of Jericho Moses Hogan Track 15


Komm süßer Tod - Bach/Knut Nystedt arr. Gunnar Eriksson

Cois Cladaigh invited the composer to Galway to lead a workshop on his innovative approaches to performance of choral music. In this piece, he used an arrangement of a Bach chorale by Knut Nystedt as a template for the arrangement.

O Bone Jesu - Marc'Antonio Ingegneri

When the Hilliard Ensemble joined forces with Jan Garbareck to record Renaissance homophony, the result was so effective that Cois Cladaigh copied the idea to blend old and new. The choir is joined by Bertrand Huvé on saxophone.

Ab Oriente venerunt Magi - Jan Pieterszoon Sweelinck

This piece evolves over its three sections, from initial simplicity to final complexity. The opening section is written in a steady, traditional polyphonic style; the writing then moves on to more complex contrapuntal writing and closes with an energetic, ebullient Alleluia. Thanks to Tim Thurston for sending us this piece.

Sleep - Eric Whitacre

Whitacre explains in the introduction to this piece that he wanted to set Frost’s text “Stopping by Woods on a Snowy Evening” and wrote the music with this poem in mind. However, when he was not given permission to use the text by Frost’s estate, he had to find a new text and asked his friend Charles Silvestri to write words for the music.

I'm still here - Eamonn Murray

Ex-Cois Cladaigh singer, but full time sub and repetiteur supreme, Eamonn Murray wrote this short, tight harmony piece using text by the American poet Langston Hughes. Eamonn has set four other of Hughes’s texts for Cois Cladaigh.

Who built the Ark? - Moses Hogan

The story of Noah building the Ark is set for choir and a mini female and male chorus which alternately tell the tale. It opens with a section of the Book of Genesis spoken by one of the choir. Hogan specifically notes that he wants “Noah” pronounced as “Norah”. This is typical gutsy Hogan writing.

In Paradisum - Ben Hanlon

Br. Ben’s Della Salle boys choir has performed many times over the years at the Cork International Choral Festival and they frequently performed works written by him. Cois Cladaigh commissioned Br. Ben in 2007 and this performance of “In Paradisum” (in Irish) was its premiere.

Szeroka Woda - Henryck Gorecki

The emigrant poet cries out to see the broad waters of his beloved Vistula once more.

O vos omnes - Jacquet of Mantua

Cois Cladaigh recorded some of Jacquet of Mantua’s music on its first CD “Lux Aeterna” and incorrectly attributed a setting of Jacquet de Berchem’s “O Jesu Christe” to him. This “O vos omnes” however, is typical, lyrical Jacquet of Mantua with the addition of Bertrand’s sensitive saxophone.

Water Night - Eric Whitacre

Here Whitacre shows off his trade mark stacked chord writing; he starts from only a few notes that subsequently develop into shimmering clusters of 10 and more notes; these arch from the lower bass register right up to the higher levels of the soprano voice. They produce a very complex sounding effect but he writes so well that singers do not find making such chords difficult.

Ecce quomodo - Albert Alcaraz

For such a young composer, Albert writes with a deftness and depth that belies his age.


S'andasse amor a caccia - Claudio Monteverdi

This setting captures the rhythm of the hunt – not the hunt for game but the hunt for love.

Beatus Vir - Oliver Kentish

This lyrical setting is always appreciated by audiences.

Lamento - Karl E. Welin

This is a lovely, simple, yet poignant setting of the Shakespeare text.

The Battle of Jericho - Moses Hogan

This setting starts with a threatening “tattoo” effect of the men’s voices that is re-used throughout the piece. The glissandi of the soprano and alto lines introduce a blues like effect to the piece. The writing is hostile, bellicose and triumphal throughout. Super ending to this piece.