Leviticus.19

Carl Daw's text speaks of the power of gathering communally in worship for the celebration of word and sacrament. Eleanor Daley sets the words to original, hymnlike music: tune in unison, unaccompanied

This distinctive new collection of organ music for the liturgical year was commissioned for the 2016 National Convention of the American Guild of Organists in Houston. The title refers to J. S. Bach's

This simple and beautiful Christmas carol sets a text by Richard Leach that celebrates the love shown through Christ's coming to earth at Christmas. The music is lush and lyrical, and would make a superb

This hymnlike anthem is set to a familiar text. Daley's new tune has a beautiful arch to it and moves along with energy. Stanza 3 is a cappella. Stanza 4 offers the more familiar tune inviting the

This setting of the evening canticles is for treble voices and organ; it is largely in two vocal parts throughout, with some minor divisi. The dance-like Magnificat makes effective use of

These five unaccompanied pieces by Sarah MacDonald are useful as introits or short anthems throughout the church year. Although several can be attached to certain feasts, seasons, or occasions (Eastertide,

Powell has composed six preludes on early American hymn tunes: LENOX, BABELAOS STREAM, THE SAINT'S DELIGHT, SAMANTHRA, SAVANNAH, and BETHEL. The beautiful and ruggedly modal character of the original tunes

The familiar blessing, "May the road rise up to meet you" is set with great simplicity and grace. Perfect for a choral benediction or any occasion of farewell.

This anthem for TB voices and organ was written for the 108th annual Christmas Carol Services at the Memorial Church, Harvard University. Carl Daw's text uses Joseph's warning and the flight into Egypt as a

A collaboration between poet Mary Louise Bringle and composer Alfred V. Fedak produced this lyrical anthem for choir and organ, with optional parts for flute and congregation. The text celebrates the work

Gold and Spices was written for Reading Phoenix Choir in 2018. The choir sings from memory and this influenced the use of patterns and repetitions within the piece, particularly the opening

This is a rich and glorious anthem in the spirit of Phillips’s popular The Risen Sun. Words from the book of Romans serve as the text, which speaks of "being not conformed to the world." The

Beethoven's HYMN TO JOY receives a congregational hymn setting by Fedak that will prove useful for festal occasions. The music begins with an extended organ toccata as an ebullient introduction. This is

Selah's ongoing series of anthems to texts by the great Welsh poet George Herbert continues with a setting of this beloved text of praise. David Ashley White has written a festive anthem with optional parts

This expansive chorale motet is based on the familiar hymn melody and text. Scored for double choir, the music unfolds gradually, building to intense climaxes and finally to a resplendent conclusion. The

The familiar benediction from the Book of Numbers receives an expressive a cappella treatment with lush and comforting harmonies. Easy and hymnlike, but with interesting parts for all four voices, it is

An unaccompanied motet for SAB voices (with very occasional divisi) that is a worthy addition to the small repertoire of contemporary three-part choral music. The text by James Quinn, S.J. is a prayer

The familiar prayer long attributed to St. Francis of Assisi is set here by Alfred V. Fedak in a manner that at first recalls the dotted rhythms of Purcell and Handel and gradually opens into expansive and

This powerful Latin setting of the Mass Ordinary was commissioned for the 2013 London Festival of Contemporary Church Music. The Tongues of Fire subtitle refers to the Pentecost narrative from the

This exquisite motet by sister and brother duo Elizabeth and Thomas Coxhead has already seen many performances and is sure to become a favorite of many choirs. The music is simple and lyrical, supporting

Cooman's setting of the first verse of Psalm 115 begins with a prayerful, litany-like character. The music builds in intensity, leading to a joyous celebration of God's "love and faithfulness," and a

In this anthem, Ambrose of Milan's grand text is set to a plainsong-like melody and treated in several contrasting ways before a large conclusion.

Craig Phillips's signature organ style is on full display in this colorful partita on the familiar Thanksgiving hymn "Now Thank We All Our God." Structured without break, the music begins with a dramatic