CHRISTMAS and ADVENT

CHURCH MUSIC INSTITUTE Music from Choral Reading Sessions June 21, 2008 Title ~ Voicing ~ Composer ~ Publisher/Number CHRISTMAS and ADVENT All Is Well SATB Smith & Kirkpatrick/ arr. Huff Word/0 80689 36078 7 This simple text is appropriate for Christmas Eve or the Christmas season. Also found in an orchestral version, the four-part choral writing is not difficult and would work for a small choir. There is a soprano descant, requiring singers with a higher range, that could be omitted. Come Flood This Heart of Mine SATB D. Lantz,III Beckenhorst/BP1788 This anthem is for general worship with an alternate Advent text provided. The choral writing is simple, and the optional parts for violin and bass primarily double the accompaniment. Every Stone Shall Cry SATB W. Todd Boosey & Hawkes/48019573 This Advent anthem uses jazz-like effects, particularly syncopated rhythms. Some of the choral writing is unison but all vocal writing uses the same rhythmic patterns. The piano accompaniment is in the jazz style, and the composition is also available in a version using instruments. Let All Mortal Flesh Keep Silence SATB G. Holst ECS/1.5019 This historic text from the 4th-century Liturgy of St. James is appropriate for Communion but is often used during Advent. The familiar 17th-century French carol, “Picardy”, provides the melody for this classic setting by Holst. This is a very simple, elegant arrangement of the hymn, perfect for use by ensembles of small size, but beware of a few high notes at its conclusion. Lord, Before This Fleeting Season SATB L. Larsen Oxford/9780193864085 This poem has been set to music by Libby Larsen in an informal musical style to be sung unaccompanied on the first Sunday of Advent. The harmonies are simply constructed, and a group with limited resources could easily sing this anthem. Lullay My Baby SATB J. Winn Alliance/AMP0691 This anthem is in a four-stanza strophic hymn design sung unaccompanied for use during the Christmas season. Stanza one uses a soprano soloist, and stanza four uses a solo soprano descant. The tune is very pleasing, but there are occasional two-part divisions in the alto and tenor parts. Marvelous Birth, The SATB B. Chilcott Oxford/9780193358997 This unusual poem is a New Year’s Song that incorporates the birth of Christ with the start of the new year. The choral writing is not difficult, and the piano accompaniment is easy. O Lord, How Shall We Meet You? SATB M. Hill Brookfield/08746996 This famous 17th-century Advent text by Paul Gerhardt expresses the wait of Israel for God to fulfill God’s promises. Hill’s anthem is set for four voices and piano with optional trumpet. The piano accompaniment is quite dominating and technically active, but the choral part is simple with considerable unison writing and hymn-like chordal writing. On This Day Earth Shall Ring SATB H. Hopson MorningStar/MSM-50-1604 Hopson uses the familiar 16th-century text and tune(“Personent Hodie”) from “Piae Cantiones” in this simple and creative choral processional appropriate for Christmas Day. The first and third stanzas use unison voices with flute accompaniment, while the second stanza uses three-part harmony incorporating the use of the parallel fifth interval to simulate an early-music effect. Once, In Bethlehem SATB D. McCullough Hinshaw/HMC2114 This anthem is perfectly suited for use on Christmas Eve and does not require a large ensemble to perform. The musical style is comparable to John Rutter’s Christmas anthems. The piano accompaniment is somewhat demanding and essential to the beauty of the piece. Personent Hodie SATB arr. L. Hoggard Randol Bass Music/rbm005 This is the real thing, a setting of the 16th-century text from “Piae Cantiones” and tune, “Personent Hodie”, with text only in Latin! An English translation is provided but not to be sung. The four stanzas use mostly two and three-part textures, but some four- part chords conclude the piece. This edition uses organ accompaniment, although two other versions using instruments are available. Silent Night, Holy Night SATB arr. H. Hopson H.W. Gray/GCMRM03001 This lovely and accessible setting of the beloved Christmas hymn by Gruber utilizes choir, congregation, and organ. The choral demands are simple, the choir singing in four-part texture only in stanza two with organ. The congregation sings stanzas one and four, and all men sing stanza three. An accompaniment using strings is available. Sing We Now of Christmas SATB arr. F. Prentice Gentry/JG2283 This is an energetic and attractive setting of the medieval French Christmas Carol “Noel Nouvelet” using the familiar English translation beginning Sing We Now of Christmas. The SATB texture has some two-part divisions. The unusual aspect of this work is an accompaniment written for harp, not keyboard. A skilled pianist could create an accompaniment from the harp part if no harp is available, or the piece could be sung without accompaniment. What Child IS This? SATB P. Lohman Boosey & Hawkes/48004768 Paul Lohman sets the familiar Dix poem to an original melody in this SATB arrangement with keyboard accompaniment. The three stanzas of the text are set strophically with considerable use of unison singing. LENT and EASTER Ah, Holy Jesus SATB arr. H. Hopson GIA/G-5791 This very simple anthem is a well-crafted setting of the Holy Week hymn that utilizes two stanzas set in four-part traditional harmony. Between the stanzas is a unison melody to the words “Miserere nobis” (Have mercy upon us) that is repeated in three-part canon to conclude the work. The second stanza of the hymn utilizes a treble solo descant. The only accompaniment is a repeated rhythmic pattern in the low range of the piano that suggests the cruelty laid on Jesus while dying on the cross. Alleluia SATB R. Manuel Hinshaw/HMC927 This moderately difficult anthem is an alternate to the one-word setting by Randall Thompson. Composed in 1987, this work is to be sung unaccompanied and contains division of parts in the soprano and bass voices. Beneath the Cross of Jesus SATB H. Hopson MorningStar/MSM-50-3200 This lovely anthem is part of the publisher’s accessible anthems for choirs series and would be comfortable for most choirs. Hopson uses the Holy Week text by Clephane set to the familiar tune “St. Christopher”. The first stanza of the text is sung in unison, alternating women and men’s voices. Stanza two has the soprano voices singing the melody and hymn text while the lower three voices sing “Adoramus te” in a chordal setting. The serene, continuously moving accompaniment is for organ and solo instrument (oboe, flute or violin), although the solo part is included in the score and could be played by the organist. Bless, O Lord, Us Thy Servants U/2pt/3pt M. How GIA/G-4182 The text is a prayer for the dedication of church musicians and is short in length. The music is written for any number of voices, unison to two- and three-part harmony. The musical setting uses organ accompaniment and the traditional style is very stately and prayerful and could be used effectively with a small number of voices. Concertato on SATB, Children, Cong. arr. R. Powell Choristers Guild/CGA457 “Thine Is the Glory” This Easter Sunday concertato uses all the musical forces available including choir, children’s choir, congregation, organ, two trumpets, and handbells. Any combination of all these forces could be utilized, and the piece works very well with organ and trumpets only. The hymn tune “Judas Maccabeus” is familiar to most congregations, and this strophic setting anthem version is very easy and exciting. There aren’t many “no fail” anthems, but this one qualifies and works very well in any format chosen. Cor Mundum Crea in Me Deus SATB H. Helvey Oxford/9780193869776 This short anthem uses Psalm 51 as its text and is given in both Latin and English (O God, Create in Me a Clean Heart). The anthem should be considered for use as a general anthem. Helvey’s setting is in a traditional four-part, chordal style to be sung unaccompanied. The vocal range is limited and an average choir could sing the anthem. Easter Days SATB A. Parker GIA/G-6266 This anthem is an arrangement of an Easter hymn whose tune was composed by the composer of the anthem, Alice Parker. Included in the appendix to the anthem is a unison version of the original hymn as well as a harmonized version, both of which could be reproduced and used during the season as congregational hymns. The anthem quotes the five stanzas of the hymn in an interesting strophic arrangement that uses choir, congregation, children’s choir, trumpet, and organ. Although the layout of the varied musical parts on the page looks intimidating, the work is much easier to perform than at first glance. Although the hymn may be unfamiliar to most congregations, this piece could provide a very positive option for moderate-sized ensembles during the Easter season. Father’s Love, The 2-part trebles S. Lole GIA/G-4179 The text for this anthem comes from John 15:9-12 and is designated for the 6th Sunday of Easter in Lectionary Year B. The musical setting is for two treble voices and organ accompaniment. This work comes from the Royal School of Church Music, England, and maintains a lyrical and sustained mood throughout. The anthem would be excellent for two solo singers or for use by a woman’s chorus, and it is not difficult. “Ellacombe” SATB D. Lantz III Beckenhorst/BP1806 This creative arrangement of the hymn tune “Ellacombe” provides three alternate texts commonly associated with this tune for use on Palm Sunday, Easter, or General use.

Load more