Robert J. Powell has composed a well-crafted and accessible organ collection for Lent, Cross of Jesus: Six Preludes 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.

“The Angel Gabriel from Heaven Came” is a brand-new choral setting composed by the late Philip Gehring (1925–2020). Using the text and tune of Lutheran Service Book 356, this two-part treble choral setting is ideal for church choirs working with limited numbers this Advent and Christmas.

Johann Crüger (1598–1662) was a seventeenth-century German Lutheran composer whose influence dwells richly in Lutheran Church music even today. He studied music across Europe as a teenager and eventually settled back in Germany, where he studied theology in Wittenberg and became cantor at St. Nicholas Church (Nikolaikirche) in Berlin. He served there for forty years until his death.

During his life as a church musician, Crüger produced dozens of Lutheran chorale tunes. Among his most famous work in today’s Church is his collaboration with German-Luther hymnwriter Paul Gerhardt in the final twenty years of Crüger’s life.

Sandra Eithun has composed dozens of handbell and piano compositions for CPH Music, most recently “Four Communion Hymns for Twelve Bells.” This collection continues a series of handbell music written for twelve bells, joining books with Advent, Christmas, and Easter themes. She also serves as the Director of Music Ministry at First Congregational United Church of Christ in New London, Wisconsin, a position she’s held since 1992. She is the organist for the congregation, accompanies the vocal choir, and directs three handbell ensembles. 

“Let All Things Now Living” gets a lively calypso setting in this arrangement, which expresses the excitement of the text. A more tranquil, hymn-like second stanza leads back to a dance-like ending. The tune THE ASH GROVE is used with many texts, including “Sent Forth by God’s Blessing,” making this a useful arrangement throughout the Church Year. Level II.

Not unlike many American Lutherans in the upper Midwest, Martin Franzmann (1907–76) was the son of a Lutheran pastor. Born and raised in Minnesota, Franzmann continued his undergraduate and seminary education in Wisconsin and ultimately taught at Concordia Seminary in St. Louis, Missouri.

Are you in need of some fresh and innovative music for Sunday morning worship? Bring creative variety to your hymn playing with these artistic hymn introductions for organ. Some of these introductions explore the hymn tune in full, while others use only a portion of the tune. All of them set the tone for the hymn and prepare the congregation to sing.

Dr. Kenneth T. Kosche, born in 1947, holds a DMA in choral music and served on the faculty in the music department at Concordia University Wisconsin from 1978 to 2009. In those 31 years, Kosche conducted the school’s two choirs and taught classes in composition, conducting, and choral literature.

CPH is pleased to introduce this new collection of thirty-five hymns for men’s voices, following the classic first volume published in 1961. Featuring all new settings for the Church Year by Kevin Hildebrand, these hymn arrangements include predictable, pleasing harmonies with the melody almost always in the top voice (Tenor 1). These will be useful as stand-alone choral anthems or choral stanzas in alternation with congregational singing.

 Have you ever wondered why some hymns in Lutheran Service Book have more than one setting? To the untrained ear, the spacing and notes may seem almost identical, but to a seasoned musician, one tweak can make all the difference. Fridrich Layriz (pronounced LIE-ritz) supported the use of traditional rhythmic settings for hymns, and his work was influential, especially for The Lutheran Church—Missouri Synod and its music.