Nathan Grime

Treating sixteen tunes commonly associated with the Lord’s Supper, Grace Unbounded is a book you will always want handy for Communion distribution. When you’re not sure how much music will be needed, these brief pieces of two or three pages in length are an ideal choice. A wide variety of techniques keep the settings interesting and fun while being easy to play.

Following the successful Hymn Prelude Library series for organ comes a comprehensive set of piano preludes for all the hymn tunes in Lutheran Service Book. Not an adaptation of the organ series, this collection features newly composed pieces by dozens of composers who write in a variety of styles and harmonizations. The pieces are useful as preludes and postludes, as music at the offering, for introductions, and during distribution, as well as for those who play hymns at home.

Eight recently discovered organ works of distinguished composer, teacher, and parish musician Dr. Richard Hillert (1923-2010) are being newly released in Richard Hillert: The Unpublished Organ Works. These settings have never been published before and are all settings of commonly used hymn tunes. They should be a welcome addition to the church organist’s repertoire, especially for those who have studied with Hillert; for those who have played, sung, and admired his work; and for those in the future who have yet to encounter the music of this remarkable man.

Classic Concordia Chorale Preludes is a large collection of miniature chorale prelude gems mined from the Concordia Publishing House (CPH) catalog of the 1950s through 1980s. These pieces represent some of the best titles previously found in the Concordia Hymn Prelude Series, The Parish Organist, Preludes for Hymns in the Worship Supplement, and several other individual collections. Prefacing every piece is a page giving background information about the tune (its source, form, and melodic characteristics) and the organ setting (its composer, publication source, compositional aspects, and suggested registration). This collection is of great use for both worship and academic situations, encouraging organists to learn and share a broad, balanced repertoire that includes music of the recent past.

The Eight Organ Preludes for the Church Year series continues with “Alleluia! Amen!” and features the accessible and versatile writing that characterizes previous releases in the series. Organists of varied ability levels will find these pieces useful throughout the Church Year as well as musically edifying. This edition is wonderful for any church organist’s library!

Edwin T. Childs adds to his series of settings for minimal pedal, providing a collection of hymn tunes for the Easter season. Composed as a single stanza, these preludes are suitable as hymn introductions or service music. Easter with Minimum Pedal will appeal to organists who have limited pedal abilities or seasoned organists who need something in a pinch.

This collection of five preludes for Lent is another stunning addition to the Hymn Tune Innovations series. Benjamin M. Culli has composed five accessible preludes for use during the Lenten season. These preludes are appropriate for use from Ash Wednesday through Good Friday, showcasing familiar tunes and those that might be new to your congregation. 

Five Lenten Hymns for Two-Part Choir is a collection of five two-part choir settings highlighting new hymn texts for Lent by hymn writers such as Lisa M. Clark and Stephen P. Starke. The music includes optional congregation stanzas and features settings by Benjamin M. Culli, Jonathan Kohrs, Matthew Machemer, and Jacob B. Weber. Choirs and congregations will find these pieces to be well-crafted while remaining approachable during the busy season of Lent.

Enhance your Christmas worship services with these five preludes by William H. Bates. Driving rhythmic passages, harmonic sequences, and imaginative counterpoints shore up the distinctive character of each tune.

Ralph C. Schultz offers us this Appalachian folk song that proclaims the birth of Jesus. The beauty of the song is placed in an accessible setting for SAB choir with a descant for C or B-flat instruments. The music supports the events leading back to the memorable refrain.