Rookwood House Publishing

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Recalling Christ's transfiguration before Peter, James, and John, this heartfelt anthem expresses a longing to ascend the "mountain of the Lord" and encounter God's presence, glory, and grace. Through vivid imagery and prayerful petition, it invites worshipers to behold God's splendor, receive divine light and forgiveness, and be transformed. The anthem culminates in a renewed commitment to reflect Christ's love and guidance in the world.

Transfiguration

Two-Part Mixed Octavo

Unison Octavo

Reflecting on the biblical account of Christ's Transfiguration, this spirited SAB setting of the 19th-century hymn by Joseph Armitage Robinson is paired with the familiar tune Swabia, composed in the late 18th c. by Johann Spiess. The result is an accessible and uplifting choral experience for Transfiguration or general use. Optional soprano divisi adds flexibility and richness to this easy-to-learn yet meaningful piece.

'Tis Good, Lord, to Be Here

SAB Octavo

SS Octavo

A careful adaptation of the original SATB chorus from Handel's Messiah, this score gives smaller choirs or limited-range groups the opportunity to perform the masterwork chorus from the Easter portion of the oratorio. This edition has an accessible keyboard accompaniment and is available in two keys: the original (Gm) and low (Fm).

Behold the Lamb of God

<p>Extolling the triumph of the Cross, this piece alternates a prayerful Romantic refrain with a simple chant melody for the many verses of the hymn. Bohemian composer Reinhold Wilhelm Kuehnel (b. 1856) set the traditional text Pange Lingua by Venantius Fortunatus (c. 530-609) in the late 19th century. Suitable for Good Friday during the Adoration of the Cross, as well as for the Liturgy of the Hours during Holy Week and feasts of the Holy Cross, this adaptation includes both Latin and English texts and optional accompaniment.</p>

Crux Fidelis

SATB Octavo

SAB Octavo High Key

Why should large choirs get to have all the fun? Michel Richard Delalande (16571726), director of the Chapelle Royale at Versailles under King Louis XIV, was widely known for grand productions full of the pomp and splendor of the French High Baroque. Though his sacred motet Cantate Domino was originally written for SATBB choir and organon a relatively smaller scaleit still poses challenges for many choirs. This SAB arrangement preserves the texture and delightful vitality of the original while making it accessible to a wider range of ensembles.

Cantate Domino

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