Love's Redeeming Work Is Done

O Love, How Deep

Kathy Gladen Johnson's composition for unaccompanied SATB divisi voices sets the incarnation stanzas of this classic text, adding Lully, lulla, lullay as a tag to each stanza to create a unique Christmas piece. Unexpected harmonies accent the short work, drawing out the richness of the imagery. Ample places to breathe and dynamic variations facilitate a meditative, expressive performance. Kathy Gladen Johnson's composition for unaccompanied SATB divisi voices sets the incarnation stanzas of this classic text, adding Lully, lulla, lullay as a tag to each stanza to create a unique Christmas piece. Unexpected harmonies accent the short work, drawing out the richness of the imagery. Ample places to breathe and dynamic variations facilitate a meditative, expressive performance.

Amendment

Written as a melodic vehicle for the alto saxophone, Amendment offers flowing lines ornamented with grace notes reminiscent of Impressionist days gone by. The piece begins with a songlike adagio theme that mixes both B major and B minor modalities. The center section of the work begins with rapid triplets in the piano before the saxophone enters with a rhythmically charged variation upon the initial theme. Following a climax on F-sharp major, the motion settles into a restatement of the lovely B major/minor theme before ending on a sweet-sounding B major triad.Mayernik’s work is brief but moving, and offers the soloist a wonderful opportunity for melodicexploration. Both appealing to the audience and enjoyable for the saxophonist, Amendment is a picturesque new piece in the repertoire. Duration: 3:00.

The Passion of Our Lord Jesus Christ : According to John

This setting of the St. John Passion for Good Friday pairs the traditional chants for soloists with the Victoria choruses for choir. All parts are included in the full edition, and the choruses with lead-ins are in a separate choral edition. Charles Thatcher has skillfully adapted all to fit the Lectionary translation, including the choruses. Singing the Passion on Good Friday adds great solemnity to this Triduum liturgy. An alternate version is available as a digital download that replaces the chorus parts with a single-line part that may be sung by another soloist. Part of the Cathedral Series.

On Christmas Night

Do many of your singers go out of town on Christmas Eve? This setting of SUSSEX CAROL was transcribed from a live recording at Mount Olive Lutheran Church with Paul Manz playing on Christmas Eve. The melody is sung in unison throughout, with the organ part doing all the work providing sparkle and variety. Worth having in your choral library. Duration 2:30 Part of the National Lutheran Choir Series. Do many of your singers go out of town on Christmas Eve? This setting of SUSSEX CAROL was transcribed from a live recording at Mount Olive Lutheran Church with Paul Manz playing on Christmas Eve. The melody is sung in unison throughout, with the organ part doing all the work providing sparkle and variety. Worth having in your choral library. Duration 2:30 Part of the National Lutheran Choir Series.

Hands of God

Written for the ELCA's 25th Anniversary, the composer himself describes this as a "one-rehearsal wonder." Essentially it's a brand new hymn tune and text arranged for SATB and piano, with optional trumpet and soprano descant. The tune is sweeping and majestic, the choral writing easy and effective. The tag line "God's work. Our hands" has been at the heart of the ELCA church since its inception, and the text reinforces that message. Duration 3:30 Written for the ELCA's 25th Anniversary, the composer himself describes this as a "one-rehearsal wonder." Essentially it's a brand new hymn tune and text arranged for SATB and piano, with optional trumpet and soprano descant. The tune is sweeping and majestic, the choral writing easy and effective. The tag line "God's work. Our hands" has been at the heart of the ELCA church since its inception, and the text reinforces that message. Duration 3:30

Little Innocent Lamb

An original "big choral" take on this classic spiritual, this unaccompanied setting has divisi in all parts, a touch of chromaticism that is totally in character, and plenty of variation in texture, tempo, and mood. While your first thought might be for a large choir, the careful writing makes this completely possible for a small, skillful group as well. Despite being a solid new work, the familiar and fun parts of the text are all there with slight adaptations.

Come By Here

Yes, it's KUM BA YAH! But this sensitive and sweet setting for SATB and Piano is not to be missed. In one spot it is suggested that the piano plays a guided improvisation over the choir singing neutral syllables. In another there is the option to sing unaccompanied. There is a quote of the hymn tune NICAEA (Holy, Holy, Holy) in the accompaniment. An emotional high point occurs when the sections each sing out their situations, "longing, falling, hiding, rising, aching, laughing, praising, finding, breathing, dying." Then answer together, "You are here." This work hits every high mark in terms of vocal writing, a skillful accompaniment, and a beautiful effect.

To First Seek the Kingdom

This is the kind of piece that might sound more difficult than it is. Michael Trotta employs an economy of choral writing: The SATB parts are sometimes unison, move often by steps, are repeated in the outer sections, and have only occasional divisi in the treble voices. The text is an innovative combination of Old and New Testament passages, put in a question-and-answer format with the question sung in a subdued matter and the answer intensifying in range, complexity, and volume. The piano and flute parts flow more quickly than the voices—save for a short, contrasting middle section—and provide an underlying momentum to this expressive work. Duration: 4:30

T. S. Variations

Commissioned by both the Royal College of Canadian Organists and the American Guild of Organists for their joint convention, held in Montreal in 2017. The American premiere was on February 23, 2018, by Duo Majoya, organ duet, Marnie Giesbrecht and Joachim Segger.Written months after the birth the composer's son, Tallis Sebastian, the idea of a series of variations on Tallis’ canon was a "no-brainer.” Composed for two wonderful virtuoso organists, the piece can be effectively realized on large cathedral size organs, or on more modest instruments. The work spans a variety of moods from playful to rather intense, not unlike the young boy who provided theinspiration for its theme. Duration: 11:00.