1 Corinthians 10

This arrangement of the tune MARTYRDOM for organ and choir weaves the hymn, Amazing Grace in and out of the last two verses. 

Based on selected verses from Psalm 42, the music paints a vivid picture of our longing for God. Its long lines and divisi texture provide a rich support for the text. The modal quality of the music gives

A large anthem that can be done with additional brass, this is based on a text of Charles Wesley. White has also written a rich organ part that gives various color options. There is unison writing as well

A festive Easter anthem with trumpet and tympani, this text uses the Victimae paschali translation of Jane E. Leeson. The 19th century (Katholisches Gesangbuch) hymn melody is used and developed throughout.

Composed in a chant-like style, with no time signature, for SATB choir, flute and organ. The middle section includes original material that gives variety to the chant. Excellent for a more liturgical

Despite the Latin title, the text is in English taken from Psalm 67, 'God be merciful unto us and bless us.' A series of metric shifts add challenge and interest. 

Any new hymn tune from Bruce Neswick is always welcome and here is a fine arrangement by Chris Biemesderfer. Each verse is a different voicing with a soaring soprano "descant" for verse 3. All 4 voices

This festive setting of Psalm 100 includes choir, brass and organ. Weidner marks this piece "ardito" or "bold" and the rhythmic writing for choir and brass supply this element. Using a rising theme, Weidner

A jubilant setting of Psalm 100 for choir and organ. Choral writing ranges from unison passages to soprano divisi with the ending calling for full divisi on a penultimate chord. 

With an optional flute part and organ accompaniment, this piece has a pastoral quality that effortlessly moves through different keys and recalls the Englishness of other composers. A number of different

This ebullient anthem is based on a text of Irish hymn writer Thomas Kelly. Phillips has set the text to dance rhythms (9/8, 12/8 etc.) and this rhythmic interest is in both voices and organ, with an