Luke.15

"Venite ad me; Come to me, all you who labor." Latin and English texts comingle in this almost chant-like anthem that opens with a cappella "alleluias." Occasional dissonances are quickly resolved in the

This contemporary setting is a musical reimagining of the 19th-century hymn of the same title. The music with the words creates a strong sense of urgency using lilting rhythms and a suspended harmonic

Ring in the sounds of this 13th-century Christmas hymn with a dazzling new arrangement from Nick Palmer. This piece features two solo voices, with the choir (and assembly, if desired) singing the refrain

This dual-texted congregational hymn is set for SATB voices, brass, organ and congregation. One text is appropriate for the dedication of a church or anniversary while the alternate text is great for

From the Revival collection, this piece uses the traditional tune ST. GEORGE'S WINDSOR and adds a modern accompaniment. Scored for SAB choir, assembly, keyboard, and guitar with optional C

John Donne's sonnet Death, Be Not Proud is paraphrased and set as a concertato on the original tune SUSAN BETH with organ accompaniment. The middle verse is a cappella, and a descant crowns the

Combining an early American hymn from Columbian Harmony (1825) and a text for Epiphany from the 5th century, Hal Hopson has fashioned a sturdy a cappella setting for mixed voices. Accessible vocal

A familiar text is given new life with this lyric, choral setting. Each section of the choir has the opportunity to sing the flowing melodic line and the combination of the old and new is sure to make this

This haunting setting of the Canticle of Simeon shifts from a unison opening, to two and then three parts, finally concluding in a rich SATB texture. Equally at home in concert hall or quiet prayer

"A grateful heart is what I bring, a song of praise, my offering." Composed for the small choir with accompaniment, this piece opens in unison with a memorable melody that can be sung by choir and

For liturgical use on Trinity Sunday, or in general worship throughout the year. Part of the larger Revival collection which takes traditional hymns and creates arrangements for contemporary ensembles to

From the Revival collection, this piece uses the traditional tune NICEA with the Hebert text. Scored for SAB choir, assembly, keyboard, and guitar with optional C instruments. For added texture,

Combining verses from a modern Eucharistic text by Delores Dufner with the unchanging refrain taken from Ubi Caritas, this work is appropriate and usable in many ways: as a processional,

Based upon a 17th-century George Herbert text, this thoughtful anthem opens quietly with several wide-ranging unison statements from both upper and lower voices. As the emotion rises, the tonalities ascend

The beauty of this arrangement is in the two ancient texts included for vespers or evening prayer and one to be sung as a hymn to the Trinity. This anthem is doubly useful for many occasions throughout the

This very chant-like setting has venerable roots, with a fourth-century text by St. Ambrose and music from the early 16th-century Sarum Antiphoner. Employing mixed meter, the arranger has carefully

Centering on the flowing refrain, "Gloria in excelsis," this Christmas reflection builds from a single voice or section to full choir with interweaving melodies before drawing to a gentle close. The simple