Five Preludes for Easter
Jacob B. Weber
Celebrate Eastertide at the organ with this collection of five joyful Easter settings by Jacob B. Weber. Contents include an exuberant DUKE STREET, a lively GAUDEAMUS PARITER, a pompous JUDAS MACCABEUS, a lilting MFURAHINI HALELUYA, and a grand VICTORY. Use these flexible settings as preludes, postludes, hymn introductions, or interludes to add festive treatment to Eastertide hymnody.
Edwin T. Childs
Edwin T. Childs adds to his series of settings for minimum pedal, providing a collection of thirteen hymns for the season of Lent. Composed as a single stanza, these preludes are suitable as hymn introductions or service music. This collection will appeal to organists that have limited pedal abilities or seasoned organists that need something in a pinch.
Lent and Holy Week
Be prepared for services with preludes and harmonizations for the Hymn of the Day that follow Lutheran Service Book lectionaries. Each edition includes settings from a variety of composers and offers a broad representation of artistry and style. This volume in the Proclaim! series features tunes for Lent and Holy Week.
Lent
Be prepared for services with preludes and harmonizations for the Hymn of the Day that follow Lutheran Service Book lectionaries. Each edition includes settings from a variety of composers and offers a broad representation of artistry and style. This volume in the Proclaim! series features tunes for Lent.
Six Preludes for Lent
Robert J. Powell
Robert J. Powell has composed a well-crafted and accessible collection for Lent. This book offers settings that are appropriate to the season, such as “Go to Dark Gethsemane,” “Jesus, I Will Ponder Now,” and “Cross of Jesus, Cross of Sorrow.” Each setting offers a series of key and tempo changes. The final setting, “Rock of Ages, Cleft for Me,” offers a joyful, majestic ending to an otherwise somber piece.
Six Easter Hymn Settings for Organ
Benjamin Kolodziej
This collection by Benjamin Kolodziej features Easter organ settings of moderate difficulty. Each employs various musical textures to convey the spirit of the hymn texts to the congregation. From meditative and lush treatments of LANCASHIRE and VRUECHTEN, to a sprightly trio arrangement of BESANÇON, to a setting of DUKE STREET suitable for showcasing a solo trumpet, organists will find these settings invigorating and fun to play.
Five Pieces for Easter
Jeffrey Blersch
Jeffrey Blersch’s collection of Easter settings is sure to become a favorite. Festive and joyful, this book includes settings of five beloved Easter hymns, including “Awake, My Heart, with Gladness,” “Come, You Faithful, Raise the Strain,” and “Christ the Lord Is Risen Today; Alleluia.” Each of the five hymns is treated with a different style, including Minuet, Fanfare and Dance, Variations, Trumpet Tune, and Pastorale.
Jacob B. Weber
Good Friday Suite features four hymns—“O Perfect Life of Love”; “Sing, My Tongue, the Glorious Battle”; “The Royal Banners Forward Go”; and “O Darkest Woe.” The suite may be played from start to finish, or each may be played as an individual prelude. Especially useful for Tre Ore services.
A set of Lenten chorale preludes based on themes of repentance, Christopher M. Wicks’s settings are composed in variation style and are inspired by Bach’s partitas and the Orgelbüchlein.
Partita on “O grosser Gott”
Kevin Hildebrand
Written with similar styles as Kevin Hildebrand’s popular partita on NUN FREUT EUCH, this partita explores the hymn tune O GROSSER GOTT with a stately introduction, an accessible two-voice duo, a playful trio with easy melody lines in the pedal, a reflective pastorale, and an energetic finale. An additional movement provides an alternate hymn harmonization for congregational singing. This tune is also commonly associated with the hymn “O God of God, O Light of Light.”
Eight Organ Preludes for the Church Year
Matthew Machemer
This collection from Matthew Machemer features settings ranging from bright and buoyant to reflective and austere. Many of the preludes are based on hymn tunes that are frequently sung but are not often found in other collections. With writing that is both interesting and accessible, this collection has something for every organist to use throughout the Church Year.
Jacob B. Weber
Continuing his Mosaics series, Jacob B. Weber provides six new preludes on familiar hymns for the time of Lent. These settings ponder the Passion of our Lord through intricate and serious writing and will help set the tone for worship during this penitential season. The collection features an ornamented AN WASSERFLÜSSEN BABYLON; a flowing HAMBURG; a somber HERZLIEBSTER JESU; a straightforward JESUS KREUZ, LEIDEN UND PEIN; a fugue on JESU, MEINES LEBENS LEBEN; and a pulsing O MEIN JESU, ICH MUSS STERBEN.
Sondra K. Tucker
Powerful and compelling, this striking arrangement combines the tune for “Jesus Christ Is Risen Again” and “Christ Is Arisen” with the tune for “Now the Green Blade Rises.” It also uses themes from Dupré’s celebrated organ solo “Cortège et Litanie.” The triumphant finish makes this a perfect selection for Easter Day or any time during the Easter season.
Contemplative Hymns for Piano
Rachel Chapin
Once again, Rachel Chapin combines old and new hymns with fresh harmonies in a modern style. These engaging settings are easily accessible and are appropriate for any church. This will be a lovely addition to your repertoire.
Patricia Hurlbutt
Patricia Hurlbutt’s arrangement of the tune LLANFAIR is a joyful and bright Easter selection for 3–5 octave handbells. A variety of textures are used, such as the opening fugal presentation of the tune and the mart accompaniment and rung melody in the lower bells. Exuberant and uplifting, the setting finishes with a grand chordal flourish. Level II.
John A. Behnke
John A. Behnke has arranged an Easter medley that weaves together the hymn tunes LLANFAIR, CHRIST IST ERSTANDEN, and DUKE STREET. The middle section uses the singing bell technique and a canon on the ancient CHRIST IST ERSTANDEN melody. In the closing section, DUKE STREET comes alive with rhythmic mallet work. Level II+.
Cathy Moklebust
This arrangement features a happy, bouncy original theme, using thumb-damping, mallets, and echoes with a lyrical, joyful flute melody. A slower section follows, accompanied by mournful and poignant text painting, illustrating the text “Jesus lives! Why do you weep? Why that sad and mournful sigh?” The piece concludes as happy as it begins, with the realization of the risen Christ, with a glorious ending of shakes and martellatos. Level II+.
Mitchell Eithun
Mitchell Eithun provides a plaintive arrangement of the tune GETHSEMANE. Based on the first three stanzas of the hymn, Eithun’s portrayal of the hymn’s narrative includes phrases of the text throughout the score. The piece cleverly ends with an unfinished feel, adding to the anticipation of Easter dawn. Scored for 3–5 octave handbells and handchimes. Level II.
John A. Behnke
John A. Behnke has transcribed his popular organ prelude of the tune WEM IN LEIDENSTAGEN to an accessible arrangement for handbells. Based on three stanzas of the hymn, the first section is musically straightforward, the second has new harmonies, and the third uses descanting notes and grand harmony. Scored for 3–5 octave handbells and optional 3 octave handchimes. Level II.
Set 1
Sandra Eithun
This collection of popular Easter hymns is perfect for the busy Easter season when you are shorthanded for church services or would like to travel with a small group. Each piece uses only twelve bells, spanning F5 to C7. Because not every piece is in the key of F, this collection offers a wide variety of harmonic possibilities while still maintaining a small number of ringers. Scored for 3 octave handbells or handchimes. Level II–II+.
Set 2
Sandra Eithun
This is the second set of popular Easter hymns that is perfect for the busy Easter season when you are shorthanded for church services or would like to travel with a small group. Each piece uses only twelve bells, spanning F5 to C7. Because not every piece is in the key of F, this collection offers a wide variety of harmonic possibilities while still maintaining a small number of ringers. Scored for 3 octave handbells or handchimes. Level II.
Fantasy on an Easter Hymn
Hart Morris
The arrangement of this ancient Easter hymn begins in a somber, chant-like style with subtle, free-ringing upper bells and low, humming singing bells. From there, the piece grows from a simple and straightforward chordal style through the second and third stanzas. It culminates in a triumphant maestoso fourth stanza played over a moving bass line. The arrangement ends with a final “Alleluia” in D major. Scored for 3–5 octave handbells. Level III.
Sondra K. Tucker
The familiar hymn is paired with a delightful original tune. Each tune is heard separately and then together, creating a quiet yet memorable musical moment. While appropriate for Lent, the song can be used year-round. Scored for 3–6 octave handbells and optional 3 octave handchimes. Level II.
Jeffrey Honoré
This piece is a short setting of the hymn “Crown Him with Many Crowns.” This meditation draws listeners into reflecting on who Jesus is and on the fact that He has been crowned King of kings and Lord of peace. The gentle harmonic and rhythmic pattern emphasizes the blessing of being absorbed in prayer and praise to our Lord. Scored for 3–5 octave handbells. Level III.
Kevin Hildebrand and Stephen P. Starke
Kevin Hildebrand has set a text by Stephen P. Starke to the Welsh tune LLEF. This easy-to-learn composition is useful throughout the Lenten season, especially on Ash Wednesday, such as during the imposition of ashes. Written to be flexible, it may be sung by soloists or two-part choir, with an optional SATB stanza, and may be modified in length. An optional part for treble instrument is included.
Benjamin M. Culli
This majestic concertato is perfect for use on Easter Sunday and throughout Eastertide. The text by Michael Henrichs begins triumphantly at the empty tomb and explores other key events of the Easter season, such as doubting Thomas, the Emmaus disciples, and Christ’s ascension, proclaiming “Alleluia!” again and again.
David von Kampen
An Easter text by Jaroslav J. Vajda is given an a cappella treatment for SATB by David von Kampen. Full of life and energy, this short piece is dynamic and harmonically captivating. Consider using this as a response to a reading or during the Gospel procession throughout Eastertide.
Jonathan Kohrs
Jonathan Kohrs’s tune and setting of the treasured hymn will be loved by all. Delicate writing for SATB and piano complements the text, employing a variety of tempos, harmonies, and textures to emphasize the meaning. Useful for Lent and general use.
Benjamin M. Culli
A classic Easter text is given a substantive, dramatic setting by Benjamin M. Culli. This English cathedral-style anthem features a memorable tune accompanied by dramatic and thrilling organ writing. Utilizing the full dynamic ranges of both the choir and the organ, this majestic piece is perfect for Easter Sunday and throughout Eastertide. An optional trumpet part is available separately for download.
Benjamin M. Culli
This well-loved text is given a poignant new tune and setting by Benjamin M. Culli.
Written for SATB and organ, with an optional part for cello (or other C instrument), the minor-key tune is supported by a variety of lush, chromatic accompaniments.
Jonathan Khors
A rich text by David Rogner paired with a sturdy tune and triumphant setting by Jonathan Kohrs. Useful for Good Friday, Holy Cross Day, Missions and Witness, or Baptisms, this setting is for SATB, organ, and trumpet and includes congregational participation.
Matthew Machemer
Part of the Concordia Children’s Series, this is a fresh take on a strong hymn for Lent and Holy Week. Matthew Machemer recasts the tune in compound meter, giving the setting a vital, dance-like feel without sacrificing the integrity of the tune or text. The motion stops during stanza 3, as the listener ponders the serious nature of Christ’s work on the cross. With vocal writing that is interesting and accessible, this setting will serve choirs well for years to come.
John A. Behnke
John A. Behnke sets the classic Easter hymn in a festive concertato for SATB, organ, optional brass, 3–5 octave handbells, timpani, and cymbals. Stanza three is for the choir alone and departs from the tune, presenting a contrasting variation. A fanfare interlude modulates to a new key and announces stanza four, which has a glorious descant for high voices. The concertato finishes with shouts of alleluias!
Benjamin M. Culli
An enduring text of comfort by David Rogner set for unison or two-part choir, congregation, and organ or piano by Benjamin M. Culli, this piece is useful anytime, especially for Easter, All Saints’ Day, and funerals. A reproducible congregational page allows everyone to join on the refrain.
John A. Behnke
A perfect selection for the Easter season comes in this SATB anthem based on Romans 6:9. Beginning with joyous alleluias, the music rises in sequence portraying the text “raised from the dead.” The melodic sequences and voice leading make the music easy to learn while still sounding dramatic and powerful.
Jonathan Khors
Part of the Concordia Children’s Series, this setting by Jonathan Kohrs of the favorite Easter hymn is for unison or two-part choir and piano. From the very start, engaging rhythms and harmonies in the accompaniment provide interest and reflect the meaning of the text. The choral parts are easily learned, and options for two-part singing are provided.
Mitch Harrell
Mitch Harrell offers a fun, polyphonic Hallelujah for a cappella SAB choir. This meditation is perfect for smaller choirs as they sing for joy to the Lord. This piece is useful for any time of praise, including Easter, and can be used as the Alleluia.
Barbara Klinge
This arrangement for two-part choir combines a newly composed tune with the Easter hymn tune DUKE STREET. The first stanza features the traditional tune and the second stanza features the new tune, with the third and final stanza combining them. Featuring a tender and swelling piano accompaniment, this piece is accessible and enjoyable for choirs of all sizes and ages.
David von Kampen
Portions of Psalm 31 are set for SATB and piano by David von Kampen: “Be gracious to me, O LORD, for I am in distress . . . but I trust in You, O LORD.” The piece starts pensively, then builds while singing of trust, rescue, and hope. It ends in resolution: “Make Your face shine on Your servant; save me in Your steadfast love!” Use this piece when hope and comfort are needed, including at funerals and on Good Friday.
Carl F. Schalk
David W. Rogner’s text is a warm telling of Jesus’ travels to Bethany—visiting Mary and Martha, His anointing, and His ascension—set for SATB and organ by Carl F. Schalk. This piece has themes of hope and comfort, vocation, and Christian life and service, and it may be particularly useful for Ascension, Proper 11C, and Holy Week.
Brian L. Hanson
Brian L. Hanson shares a moving presentation set to SALLEY GARDENS with an optional, gorgeous violin obbligato for the familiar text. Spell-binding harmonizations and well-conceived unisons draw the listeners into a serene, powerful response of the Passion story. This setting masterfully expresses both the darkness and hope of the Lenten season.
Carl F. Schalk
“This Is the Day” is a motet for SATB based on Psalm 118:24: “This is the day which the LORD has made! Alleluia! Let us rejoice and be glad in it! Alleluia!” The writing exudes joy and hope, making it perfect for any Sunday or festival.
Matthew Machemer
Celebrate the Easter season with this wonderful hymn concertato from Matthew Machemer. The setting opens joyfully with a buoyant introduction for organ and trumpet and features enjoyable contrapuntal writing for the choir on stanza two. The setting truly captures the spirit of the beautiful text and will be a welcome addition to any church’s hymn concertato repertoire!
Jacob B. Weber
Featuring an Icelandic text and Danish tune, this unique Good Friday anthem by Jacob B. Weber focuses on the cross of Christ. Set for two-part choir and organ, this flexible setting may be sung with equal or mixed voices or unison, making it a perfect choice for children’s or adult choirs.
Walker Williams and Stephen P. Starke
This arrangement of Stephen P. Starke’s “The Tree of Life” is paired with the tune THE WEXFORD CAROL. The text depicts the fall of Adam and redemption through Christ, framing both in imagery drawn from the Garden of Eden. This arrangement matches the changing tone of the text through the four stanzas—from innocence through shame to redemption and triumph, finally ending with quiet assurance. An optional C instrument part is included.
Benjamin M. Culli
“God Loved the World So That He Gave” features the beloved hymn text in a gorgeous new tune and setting. The good news of God’s love for us is expressively proclaimed through the full dynamic ranges of the choir and organ. Careful use of unison, two-part, and four-part writing makes this piece easy to learn.