Having a work of music selected as J. W. Pepper Editors’ Choice is no small feat. Concordia Publishing House is honored to have 10 pieces from handbell, choral, and keyboard publications chosen for recognition this year. This selection by an outside organization speaks to the usefulness, appealing nature, and unique perspectives of CPH publications. Our pieces can be chosen with confidence by musicians of any type, as attested to by top music directors in the field.
And the winners are . . .
Psalm 100 implores the people to make a joyful noise! We are to come into God’s presence giving thanks and blessing His name. “Shout for Joy” by Cathy Moklebust is a handbell piece befitting of this theme. This 3–5 octave handbell piece—with optional handchimes and reader—is jubilant in nature. Moklebust does an excellent job of exploring the different tambours of handbells by employing LV, mallets, and shaking. These different characters allow us to imagine all people praising God at His gates. The unique addition of a narrator provides a focus for this piece as listeners take in the message of Psalm 100. This setting is perfect for Easter 7 (A) and Epiphany 1 in the one-year series. It can also be used for celebratory events and Sundays after Pentecost.
John A. Behnke’s setting of “Holy Spirit, Every Dwelling” is a delightful handbell arrangement based on a previous work for organ, which was also selected as Editors’ Choice. The ritornello is sure to stick with listeners. Behnke has set IN BABILONE for both 2–3 octave and 3–5 octave handbell arrangements.
“O Love, How Deep” is a fifteenth century text that has come from the Devotio Moderna movement. It is a mediation on Christ’s incarnation—Christ’s coming in the flesh to live, die, and rise again. This hymn is utterly didactic and helps us understand Christ’s life and death on earth for us. The tune DEO GRACIAS emulates the medieval English sensation of polyphonic writing that adds to the grandeur of the hymn text. Kevin Hildebrand encapsulates this atmosphere, which is enjoyable for both performing and listening.
Hildebrand has masterfully set this magnificent hymn for SATB choir, congregation, organ, brass quartet (2 trumpets and 2 trombones), and timpani. With an introduction by brass, organ, and timpani, listeners feel a sense of triumph and awe. For the first stanza, all are invited to sing and play. Stanzas three and five utilize the choir, and stanza five highlights the final line—Christ’s dying breath—with text painting. The final Trinitarian stanza is accompanied by a descant that adds color to the majestic hymn. The full score includes separate brass and timpani parts. The choral score is available separately. This hymn can be used in a wide variety of settings, and it is particularly fitting for Lent and Easter. It is appointed as the Hymn of the Day for Proper 22 (A).
Matthew Machemer’s setting of “Come, You Faithful, Raise the Strain” is perfect for Easter. Its joyous composition of SATB choir, congregation, brass quintet, organ, and timpani is fitting for an Easter celebration. It is available for both full score and choral score.
Matthew Machemer also brings us a lovely set of pieces that invites an organist and two instrumentalists to collaborate in making music that glorifies God, recalling that our church is built on Christ. Machemer has many fine arrangements and compositions that are season specific as well as for more general use. He writes for instruments like the organ and for the choral tradition, and he was featured with a composer’s highlight in CPH’s 2025 Music Catalog.
“Sure Foundation: Five Instrumental Preludes and Harmonizations” does an excellent job of providing unique settings of well-known hymn tunes like O HEILAND, REISS DIE HIMMEL AUF and AR HYD Y NOS for both C instrumentalists and organ. TREE OF LIFE is set antiphonally between the two instruments while the organ plays a steady accompaniment. Both WARUM SOLLT ICH MICH DENN GRAMEN and WESTMINSTER ABBEY have delightful interplay between instruments and organ. Each setting includes a hymn reharmonization and one prelude that can be used as a long hymn introduction, preservice music, or voluntary. These settings are versatile for a service as well as with instrumentation. Separate parts for B-flat and C instruments can be found on the More Information tab under helpful downloads.
Jeffrey Blersch is beginning a new series, Ten Interpretations: Hymn Introductions and Harmonizations, to continue beyond his original harmonizations series, Introductions, Harmonizations, Accompaniments, Interpretations. Set 1 of Ten Interpretations: Hymn Introductions and Harmonizations provides settings of traditional Lutheran chorales as well as other English and Swedish tunes and even a Spanish hymn. CANTAD AL SEÑOR has a fantastic prelude that captures the tune’s Spanish feel. DIX and HANOVER both provide a stanza harmonization that includes a modulation. ICH SINGE DIR is provided in both G and B-flat in order to go with “O Christ, Our Hope, Our Hearts’ Desire” and “Rejoice, My Heart, Be Glad and Sing.” While LAUDES DOMINI and REPTON are not sung as often as others in this set, these interpretations are a good excuse to learn a new tune and a solid text that supports the congregation. These beautiful interpretations of HERR JESU CHRIST, DICH ZU UNS WEND; LOBT GOTT DEN HERREN, IHR; TRYGGARE KAN INGEN VARA; and WEM IN LEIDENSTAGEN use several different techniques to accompany the congregation in familiar hymns.
Each of these settings has one introduction for the hymn as well as one to three different harmonizations for the tune. Some of these harmonizations are specific to the stanza, while others can be used more generally at the discretion of the organist. Each harmonization varies in terms of harmonic complexity but is straightforward and satisfying for the organist and listener.
The other organ titles selected as Editors’ Choice are:
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