Up Through Endless Ranks of Angels

Michael Burkhardt's arrangement of this tune (Henry Gerike) and text (Jaroslav Vajda) makes the perfect festival anthem for Ascension. The use of the congregation is optional, as is the brass quartet. Either way, the organ part is exciting enough to carry things along beautifully. Instrumental Parts include: Trumpets I and II in B-flat and C, Horn in F (substitute for Trombone I), Trombone I and II, Timpani

The Lord Is a Mighty God: The Lord Will Raise Up

Oh, Come, Little Children

Written for the 2018 National Lutheran Choir Christmas Festival, this setting of IHR KINDERLEIN KOMMET is moderately easy for the choir but can be brightened up even more by use of optional harp, oboe, and cello. A light and playful ritornello introduces the piece and each subsequent verse, and concludes as well. Playful and charming. Part of the National Lutheran Choir Series. Written for the 2018 National Lutheran Choir Christmas Festival, this setting of IHR KINDERLEIN KOMMET is moderately easy for the choir but can be brightened up even more by use of optional harp, oboe, and cello. A light and playful ritornello introduces the piece and each subsequent verse, and concludes as well. Playful and charming. Part of the National Lutheran Choir Series.

To Follow the Star

This Epiphany carol by Julian Revie for 3-part treble voices and organ was written for a children's choral festival. The inventive organ accompaniment occasionally mimics shimmering starlight. The melodic phrases rise and fall very naturally, sung in unison or 2 parts until the final section of the piece where 3 parts sing canonically. The original text is both poetic and immediate- "To follow the star is our joy, our delight" sums up the radiant and mystical nature of this piece. Duration 5:00This Epiphany carol by Julian Revie for 3-part treble voices and organ was written for a children's choral festival. The inventive organ accompaniment occasionally mimics shimmering starlight. The melodic phrases rise and fall very naturally, sung in unison or 2 parts until the final section of the piece where 3 parts sing canonically. The original text is both poetic and immediate- "To follow the star is our joy, our delight" sums up the radiant and mystical nature of this piece. Duration 5:00

The Five Graces Gloria

This flexible setting of the Glory to God can be performed simply with cantor, assembly, and organ or dressed up with choir harmonies and handbells. The refrain is exuberant and memorable, and the verses, sung by either cantor or choir, are paced to move along steadily without feeling rushed. The return of the descending fifth in the melody ties the piece together, and the chromaticism adds a bit of excitement but never undermines the melody. Choirs and assemblies alike will delight in singing this exultant Gloria!

The Love of God

The poetic early 20th-century text explores the vast reach of God's love by contrasting it to human experiences. The first half of Benjamin Kornelis's tune is sturdy and pentatonic—lending an early American feel, and the second half softens, introducing the 7th of the scale. Additional contrasts—between unison and divisi voices, accompanied and a cappella sections, and the build-up and release of tension—act in service to the text throughout. The piece ends, after a climax in the last stanza, with a gentle restatement of the opening phrase: "The love of God is greater far than tongue or pen can ever tell." Duration 3:00The poetic early 20th-century text explores the vast reach of God's love by contrasting it to human experiences. The first half of Benjamin Kornelis's tune is sturdy and pentatonic—lending an early American feel, and the second half softens, introducing the 7th of the scale. Additional contrasts—between unison and divisi voices, accompanied and a cappella sections, and the build-up and release of tension—act in service to the text throughout. The piece ends, after a climax in the last stanza, with a gentle restatement of the opening phrase: "The love of God is greater far than tongue or pen can ever tell." Duration 3:00

Come Before the Table

The music is constructed with a duet or semi-chorus singing above a choir ostinato with hand drum, creating a multicultural, polyrhythmic effect. As with all such constructions, what looks a little complex on the page ends up feeling completely natural when sung. Especially appropriate for World Communion Sunday.   Video Credits:Music Recorded by The Singers, under the direction of Matthew Culloton, Minneapolis, MN. Recording Engineer: David Trembley, Soundmaster Productions. Copyright ©℗ 2019 MorningStar Music Publishers, Inc. Stock footage provided by Videvo, downloaded from https://www.videvo.net. Stock photos provided by Pixabay,downloaded from https://www.pixabay.com.

Day by Day

This well-known text, attributed to Richard of Chichester and adeptly amended by Alan Hommerding, is set for unison voices with the option of a second part. It is simple but still affords room for a small choir (or children's choir) to improve: some large intervals, meter changes, and the necessity of watching the conductor carefully. Following the dynamic and tempo markings will insure a perfomance that lives up to the "dolce" nature of the anthem. Accompaniment is organ (preferred) or piano: the flexibility required for a sensitive presentation would be a good task for a student. Duration 2:30

Requiem aeternam

J. Christopher Pardini's Requiem aeternam is a solemn and harmonically engaging composition for STB voices with viola or cello and organ. It begins with an ethereal statement of the E minor theme with words from the Requiem Mass, first by TB voices and then repeated with treble voices. (One might consider using children's voices.) A viola interlude leads into the middle section in E major, where voices gently but insistently entreat God to shine perpetual light on the dead. The original theme, this time with voices at pianissimo, returns after another viola interlude. The viola takes up the prayer [theme] in the end, sparingly underscored by voices, and harmonies gently move backto E major to accompany the choir's final, hopeful "Amen." A substitute part for cello is also available. J. Christopher Pardini's Requiem aeternam is a solemn and harmonically engaging composition for STB voices with viola or cello and organ. It begins with an ethereal statement of the E minor theme with words from the Requiem Mass, first by TB voices and then repeated with treble voices. (One might consider using children's voices.) A viola interlude leads into the middle section in E major, where voices gently but insistently entreat God to shine perpetual light on the dead. The original theme, this time with voices at pianissimo, returns after another viola interlude. The viola takes up the prayer [theme] in the end, sparingly underscored by voices, and harmonies gently move backto E major to accompany the choir's final, hopeful "Amen." A substitute part for cello is also available.