< World Premiere > THIERRY PÉCOU : Le Visage, le Cœur (Concerto for Piano & Mixed Choir) Sunday 28 July, 2013 – La Roque d'Anthéron, France (Festival de La Roque d'Anthéron) Chœur de Chambre Les Éléments, cond. Joël Suhubiète Alexandre Tharaud, Piano solo Schott Music, 2012 “This concerto for piano and choir without orchestra takes its inspiration from Mexican seals made in the pre-Hispanic era. The song celebrates friendship, and a mix of joy and trepidation arising from contemplation of the beauty and transience of life. The corresponding Nahuan expression ’Le visage, le cœur’ ('The face, the heart') describes the external and internal form of an individual. Stanzas are alternated with commentary, creating a universe characterised by the ‘ontological pessimism’ of the Aztecs, their propensity for heightened emotion, and their intense experiences of particular moments in time.” — Thierry Pécou

ERNST PEPPING : Bei Tag und Nacht (for unaccompanied SATB choir) Sunday 28 July, 1946 (Gesamtwerk) - Leipzig Leipziger Universitätschor, Dir. Friedrich Rabenschlag Schott Music, 1942 (Ed3910)

< World Premiere > ELLIOTT CARTER : Mad Regales (for unaccompanied SMATBarB soli) Tuesday 22 July, 2008 Tanglewood Music Center, Lennox, MA Texts : John Ashbery Hendon Music - Boosey & Hawkes, 2008

< World Premiere > ERNST PEPPING : Heut und Ewig. Liederkreis für Chor nach Gedichten von Goethe (for unaccompanied SSAATTBB choir) Saturday 16 July, 1949 – Berlin Spandauer Kantorei, cond. Gottfried Grote Texts : Johann Wolfgang von Goethe (1749–1832) Bärenreiter Verlag, 1949 (BA2269)

< World Premiere > NICHOLAS MAW : Life Studies Monday 9 July, 1973 – Cheltenham Town Hall, England Academy of St. Martin-in-the-Fields, cond. Neville Marriner Boosey & Hawkes, Ltd. 1977 (BH-6084)

... “At a time like this, scorching irony, not convincing argument, is needed. O! had I the ability, and could I reach the nation’s ear, I would, to-day, pour out a fiery stream of biting ridicule, blasting reproach, withering sarcasm, and stern rebuke. For it is not light that is needed, but fire; it is not the gentle shower, but thunder. We need the storm, the whirlwind, and the earthquake. The feeling of the nation must be quickened; the conscience of the nation must be roused; the propriety of the nation must be startled; the hypocrisy of the nation must be exposed; and its crimes against God and man must be proclaimed and denounced. What, to the American slave, is your 4th of July? I answer: a day that reveals to him, more than all other days in the year, the gross injustice and cruelty to which he is the constant victim. To him, your celebration is a sham; your boasted liberty, an unholy license; your national greatness, swelling vanity; your sounds of rejoicing are empty and heartless; your denunciations of tyrants, brass fronted impudence; your shouts of liberty and equality, hollow mockery; your prayers and hymns, your sermons and thanksgivings, with all your religious parade, and solemnity, are, to him, mere bombast, fraud, deception, impiety, and hypocrisy — a thin veil to cover up crimes which would disgrace a nation of savages. There is not a nation on the earth guilty of practices, more shocking and bloody, than are the people of these United States, at this very hour. Go where you may, search where you will, roam through all the monarchies and despotisms of the old world, travel through South America, search out every abuse, and when you have found the last, lay your facts by the side of the everyday practices of this nation, and you will say with me, that, for revolting barbarity and shameless hypocrisy, America reigns without a rival.” "What to the Slave is the Fourth of July" Frederick Douglass, Monday 5 July, 1852 Rochester Ladies’ Anti-Slavery Association, Rochester, NY

< World Premiere > FRANCIS GRIER : Missa Trinitatis Sanctae (for unaccompanied SSAATTBB choir) Sunday 30 June, 1991 – Westminster Abbey, London Choir of Westminster Abbey, cond. Martin Neary

< World Premiere > JAMES MacMILLAN : Mass of St. Edward the Confessor (for unaccompanied SSAATTBB choir) Wednesday 29 June, 2022 – Westminster Abbey, London Choir of Westminster Abbey, cond. James O'Donnell Boosey & Hawkes Music Publishers Ltd., 2021 (BH20137)

< World Premiere > JULIAN ANDERSON : Nunc Dimittis (for unaccompanied SSAATTBB choir) Sunday 25 June, 2017 St. James Church Sussex Gardens, London, England Choir of Gonville and Caius College, cond. Geoffrey Webber Schott Music Ltd., London, 2017 (ED 13986)

< World Premiere > ERNST PEPPING : Johannes der Täufer. Ecce mitto angelum meum (for unaccompanied SATB div. choir) Sunday 24 June, 1962 Loccum Abbey, Rehburg-Loccum, Germany Göttinger Stadtkantorei, dir. Ludwig Doormann Bärenreiter Verlag, 1962 (BA 4357)

< World Premiere > ROBIN HOLLOWAY : He-She-Together, Op. 38 No. 2 (for unaccompanied SSAATTBB choir) Saturday 21 June, 1980 – Queen Elizabeth Hall, London Oriana Choir, cond. Leon Lovett Texts: James Joyce – 'Alone', 'On the Beach at Fontana', and 'A Prayer' Boosey & Hawkes Music Publishers Ltd., 1980

< World Premiere > ERNST PEPPING : Der Wagen (for unaccompanied SATB choir) Tuesday 16 June, 1942 – Dresden, Germany Dresdner Kreuzchor, dir. Rudolf Mauersberger Texts : Josef Weinheber (1892–1945) B. Schott's Söhne, Mainz, 1942 (BSS 3902-7)

< World Premiere > FRANCIS GRIER : lit by holy fire: a celebration of Vespers (for unaccompanied SSAATTBB choir & soli) Sunday 15 June, 2014 King's College Chapel, Cambridge, England Choir of King's College, Cambridge, cond. Stephen Cleobury Cathedral Music, 2011 (CM1096) Texts: Poems by Elizabeth Cook, Antiphons from Cloverdale's translation of the Psalms “The music is set for unaccompanied choir. The scoring and musical atmosphere follows the emotional sequence of the poems, leading essentially from darkness to light, from music often of brooding intensity and simplicity towards more complex and more animated forms and tonal pictures. The full resources of the choir are utilised, from unison and homophony to fully contrapuntal configurations. Solo voices from all the different sections of the choir sing in contrast to the tutti; the dynamic range is extreme; and the tessitura in all parts ranges from the lowest to the highest vocal ranges. The musical style overall is intended to show some indebtedness to Rachmaninov’s soaring setting.” – Francis Grier & Elizabeth Cook

UNIX Time 1750000000 : Sunday 15 June, 2025 — 15:06:40 UTC+0000 11:06:40 UTC-0400 [EDT] New York 10:06:40 UTC-0500 [CDT] Chicago 09:06:40 UTC-0600 [MDT] Denver 08:06:40 UTC-0700 [PDT] Los Angeles 07:06:40 UTC-0800 [AKDT] Alaska 05:06:40 UTC-1000 [HAST] Hawaii

<World Premiere > CHRISTOPHER BROWN : Three Shakespeare Songs, Op. 7 (for unaccompanied SATB div. choir) Monday 14 June, 1965 – King's College, Cambridge, England Choir of King's College, Cambridge, cond. Sir. David Willcocks

< World Premiere > SVEN DAVID SANDSTRÖM : Etyd nr 4, som i e-moll (for unaccompanied SSAATTBB choir & solo Baritone) Saturday 11 June, 1988 Cathedral of St. John the Divine, New York City Hägerstens Motettkör, dir. Ingemar Månsson Text: Tobias Berggren AB Nordiska Musikförlaget, 1987 (NMS 10589)

< World Premiere > MATTHEW MARTIN : A Rose Magnificat (for unaccompanied double SATB choir) Thursday 8 June, 2017 – St. John's Smith Square, London The Gabrieli Consort, cond. Paul McCreesh Novello & Company, Ltd., 2017 (NOV 296978)

< World Premiere > KAIKHOSRU SORABJI : Rosario d’Arabeschi, KSS79 Wednesday 6 June, 1979 – Wigmore Hall, London, England Yonty Solomon, Piano solo

< World Premiere > ALISSA FIRSOVA : Stabat Mater, Op. 30 (for unaccompanied SATB div. choir) Wednesday 4 June, 2014 LSO St. Luke's, London, England The Sixteen, cond. Harry Christophers

< World Premiere > GILES SWAYNE : Stabat Mater (for unaccompanied SSAATTBB & SATB soli) Thursday 3 June, 2004 – Priory Park Chapel, Bath, England Bath Camerata, cond. Nigel Perrin Gonzaga Music, London, 2004 (GZ019) “Men, women and children still die violent deaths in Palestine and Israel, and their mothers, sisters, wives and daughters still mourn and bury them – it is always the women who are left behind. That is the burden of this piece. It is not sacred music : it celebrates our common humanity. My setting incorporates into the Latin poem the Aramaic & Hebrew text of 'Kaddish', the blessing 'Barukh uvarukh' from the 'Talmud Babli', and the Arabic of the 'Salaat al-Jinàaza' – inserting them between the stanzas of the Latin poem to create a communal ritual of grief.” – Giles Swayne