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Ad Te levavi oculos meos
Ad Te levavi oculos meos Ad Te levavi oculos meos (To thee I lift mine eyes)
Giovanni da Palestrina/arr. Alec Harman - Oxford University Press

Evocative and moving polyphony paired with a text meditating on mankind's relationship with God.

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Adoramus Te
Adoramus Te Adoramus Te
Bede Camera - OCP
Editors Choice Selection

A beautiful rendering of this well-known Lenten text, for two-part harmony and optional accompaniment. Occasional dissonances add drama and tension to this traditional composition. Beautiful.

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Adoramus Te Christe
Adoramus Te Christe Adoramus Te Christe
Richard Romiti - Trinitas Publishing

This choral piece lends it's warm beauty to the season of Lent. Scored for SATB, a beautiful piece adoring Christ.... view details
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Adoramus Te, Christe
Adoramus Te, Christe Adoramus Te, Christe
Quirino Gasparini - E.C. Schirmer Music Co.

Originally attributed to W.A. Mozart, this sacred gem is a staple of the choral literature and a fine choice to develop blend, intonation and phrasing with your mixed choirs. Appropriate for Lent, communion

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Ah, Holy Jesus
Ah, Holy Jesus Ah, Holy Jesus
Michael Larkin - MorningStar Music Publishers

Sometimes setting a very familiar text to a new tune causes the words to land on the ear with new meaning. Such is the case for this lyrical, flowing SATB setting by Michael Larkin. Four verses with a

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Ah, Holy Jesus
Ah, Holy Jesus Ah, Holy Jesus
Daniel Ficarri - E.C. Schirmer Music Co.
Editors Choice Selection

Based on the familiar German hymn HERLIEBSER JESU, this unaccompanied motet offers a sublime musical experience for congregations and audiences alike during the season of Lent. Anchored by a homophonic

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As Your Spirit in the Desert
As Your Spirit in the Desert As Your Spirit in the Desert
Michael Costello - Augsburg Publishing

With a fresh new text by Susan Palo Cherwien, As Your Spirit in the Desert is especially perfect for the first Sunday in Lent. Written for SATB choir or soloist, organ, optional oboe, and

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Ashes to Ashes
Ashes to Ashes Ashes to Ashes
Dan Schutte - OCP
Editors Choice Selection

Based in part on Genesis 3:19, this anthem was designed for Ash Wednesday. Written for assembly, SAB choir, keyboard, guitar, oboe, and cello, the music and text combine to create a meaningful piece for the

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At the Cry of the First Bird
At the Cry of the First Bird At the Cry of the First Bird
Daniel Nelson - Paraclete Press

"At the cry of the first bird, they began to crucify Him." This Holy Week anthem has a moving anonymous text with a picturesque piano accompaniment. The unison choral writing expands into four parts, with

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Ave Verum Corpus
Ave Verum Corpus Ave Verum Corpus
arr. William Bausano - OCP
Editors Choice Selection

This is a brief but well-crafted a cappella SATB choral setting in modern musical notation of the well-known Gregorian chant. Sung in Latin, it is ideal for Eucharistic adoration or for any Eucharistic

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But He Was Pierced for Our Transgressions
But He Was Pierced for Our Transgressions But He Was Pierced for Our Transgressions (All We Like Sheep Have Gone Astray)
Kenneth T. Kosche - MorningStar Music Publishers

Constructed almost as a choral recitative and aria, the first section But He Was Pierced is unaccompanied. All We Like Sheep follows, with its jaunty changing meters and a keyboard

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By Our Love
By Our Love By Our Love
Tom Kendzia - OCP

Touching on topics of Christian life - discipleship, love for others, and social concern - this anthemic assembly song, complete with expressive key change for the final refrain, is stirring and

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Christus Factus Est
Christus Factus Est Christus Factus Est
Anton Bruckner/ed. John Rutter - Oxford University Press

For SATB (with divisions) unaccompanied. An impressive setting of the Gradual for Maundy Thursday, dating from 1884, the period of the Seventh Symphony and the Te Deum. A staple for choirs around the world

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Come Back to the Lord
Come Back to the Lord Come Back to the Lord
Leo Nestor - GIA Publications

Based on Joel 2:13, this verse and refrain anthem is a meaningful choice during the Imposition of Ashes on Ash Wednesday. The music is lyrical and asks the listener to "Come back to the Lord."  There

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Create in Me
Create in Me Create in Me
Nick Strimple - Pavane Publishing

From a set of three anthems, this elegant setting of Psalm 51 is for unison choir or solo voice and organ accompaniment.

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The Cross Upon My Brow
The Cross Upon My Brow The Cross Upon My Brow
Jonathan Kohrs - Concordia Publishing House

A new text and tune for Ash Wednesday with unison or two-part choir for children's voices, piano and flute. Don Petering's text explores the meaning of the ashen cross worn on Ash Wednesday.  The

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Dies Irae
Dies Irae Dies Irae (Virtual Learning Bundle)
Michael John Trotta - Hampton Roads Music Group, LLC
Editors Choice Selection

Pulsating rhythmic ostinatos, cluster harmonies, and soaring soprano lines are all present in this exciting a cappella concert work, possessing all the elements you'd expect from the composer of Veni,

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Dies Irae
Dies Irae Dies Irae (from "Requiem")
Michael John Trotta - Hampton Roads Music Group, LLC
Editors Choice Selection

Pulsating rhythmic ostinatos, cluster harmonies, and soaring soprano lines are all present in this exciting a cappella concert work, possessing all the elements you'd expect from the composer of Veni,

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Drop, Drop, Slow Tears
Drop, Drop, Slow Tears Drop, Drop, Slow Tears
arr. Peter Paul Olejar - MorningStar Music Publishers

This easy anthem for SATB and 3-octave handbells or piano uses the melody and harmonization of Orlando Gibbons' hymn tune SONG 46. A fair amount of unison and two-part singing precedes the four-part final

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Instrumental Parts Handbell Part, 3 Octaves
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Drop, Drop Slow Tears
Drop, Drop Slow Tears Drop, Drop Slow Tears
Malcolm Archer - Oxford University Press

This setting of Phineas Fletcher's text is gentle and flowing, with a lilting, descending motif to characterize the 'slow tears'. Archer offers nuanced dynamics and imitative entries in this simple but

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Emendemus in Melius
Emendemus in Melius Emendemus in Melius
William Byrd / Simon Carrington - GIA Publications

Supreme Tudor-era composer William Byrd (ca. 15401623) published his Lenten responsory motet "Emendemus in Melius" in the Cantiones sacrae of 1575. Written in his characteristic five-voice texture, this motet... view details
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Everlasting Life
Everlasting Life Everlasting Life
David Rasbach - Beckenhorst Press
Editors Choice Selection

"God so loved the world that He gave his only Son, that whoever believes in Him shall not perish, but have eternal life." This extraordinary verse from John 3 is so beautifully expressed in music that all

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Five Passion Hymns
Five Passion Hymns Five Passion Hymns
arr. Bob Chilcott - Oxford University Press

This short collection presents the complete set of hymns from Chilcott's stunning setting of the St. John Passion.  The five well-known hymn texts are set to new, original melodies, which are

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