Nathan Grime

Composer James Biery presents eight stunning settings to adorn the Sacrament of Holy Baptism with grace and gusto with In the Water, In the Word. A thrilling toccata on ES IST DAS HEIL sounds difficult but falls under the fingers with relative ease. Several tunes that have come into popularity more recently are treated, including BACHOFEN, DENBY, FATHER WELCOMES, and FILTER. Every tune also includes a fresh harmonization to be used with congregational singing, often tailored for use with the final stanza.

Three SAB Anthems of Adoration is a little collection of satisfying SAB praise anthems written by David von Kampen. Each piece is two pages with multiple stanzas. It includes a joyous, metrical setting of the Gloria in Excelsis, a rich and tender “Fair Are the Meadows,” and a winsome “Praise the Lord! Ye Heavens Adore Him” that begins in canon before holding forth to laud and magnify the Creator.

This collection, Five Chorale Preludes on Joyful Themes, represents the CPH debut of organ recitalist and composer Dr. Tom Mueller. These stunning pieces are based on hymns linked by the common theme of joyfulness and vary in mood and spirit. Featuring complex rhythms and harmonies, they are of moderate difficulty and are appropriate for both liturgical and performance settings.

These are the hymns that are sung again and again, beloved by all, sung with gusto on Sunday morning and hummed throughout the week. Beautiful Savior and Other Beloved Hymns by Kevin Hildebrand, has set these twelve preludes in interesting and varied ways. These include “O Come, O Come, Emmanuel” featuring an accompaniment with a strings stop that is drenched with longing emotion, and a toccatina on “Holy, Holy, Holy” that is fun to play and would function as a great introduction to the hymn. 

 Come Now with Praises: Introductions and Final Stanzas includes seven sets on a wide variety of hymns. This collection features dynamic and practical introductions and final stanzas to invigorate your hymn playing. Several sets are loud and rousing, such as “For All the Saints” and “The Day of Resurrection,” while others are graceful and light, such as “The Day Thou Gavest.” Some of the tunes are ones that are not treated as often, such as LLANGLOFFAN and REPTON. The final stanzas are exciting, with just the right balance between independent writing and congregational support. 

Let your whole being rejoice to God together with the congregation using this grand and triumphant setting of Psalm 16, “Therefore My Heart Is Glad”. Here the entire psalm is through-composed, interspersed with a congregational antiphon, set for organ with brass quartet and timpani. The text is carefully treated throughout as the piece propels to a breathtaking end. This psalm is appointed for Easter Day, Holy Saturday, and several Sundays after Pentecost. 

You would never guess that the source of this tune was not chant after hearing this piece. The pushing and pulling tension of chant complements this text in a way never before heard, making for passionate and moving song. This arrangement of “Stricken, Smitten, and Afflicted: A Lenten Plainsong” is flexible for unison, SA choirs, or solo use and would be appropriate for Lent and especially Good Friday. 

Ornament your Christmas worship with delightful fughettas using Christmastide Fughettas! This large collection of fourteen hymn-based fugal settings by Donald Rotermund is creative and inventive. Having optional repeats throughout and designed for flexibility, these pieces could be used as solo organ stanzas; as preludes, voluntaries, or postludes; and as introductions or interludes using excerpts.

John A. Behnke’s concertato setting of the beloved Christmas carol “Angels We Have Heard on High” is written for SATB choir, congregation, and organ, and the setting also includes optional parts for handbells and orchestra. If handbells and/or an orchestra are unavailable, the concertato remains a fine setting for the congregation and choir this Christmas. Perform it with everything or incorporate just the subset of instruments you have available.

Jeffrey Blersch’s organ collection Christ Is Made the Sure Foundation features four variations on the tune WESTMINSTER ABBEY. The first masterfully incorporates a Purcell sonata for a regal feel, with the tune in the pedal. The next variation is a light tricinium, with a slow-moving cantus firmus in the left hand, continuous movement with ornamentation in the right hand, and a walking bass in the pedal. This is followed by a movement of lush harmonies utilizing strings with a flute solo in the pedal. The collection finishes with a gripping variation that shifts back and forth between a big, grand, almost menacing maestoso section and an energetic, dancing 6/8 that keeps shifting keys—full of surprises and fun to play.