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LITURGICAL ANTHEMS
O Word of God Incarnate—arr. Brenda
Portman. While the text and tune (MUNICH)
for this familiar hymn remain unaltered, the
harmonic structure diverts from the normal,
and the melody includes gentle elongation
of phrases. A descant is included on the final
verse. The flowing piano accompaniment
supports the singers and enhances the
anthem with moments of effective text painting,
reflecting the challenges and uncertainties of
the world.
11515566 Unison w/ Organ . . . . . . . . . . 2.50
Praise to God, Immortal Praise—Sandra K.
Tucker. A majestic anthem of thanksgiving,
this piece captures the classical spirit of the
18th-century text. Scored for choir, organ,
and C instrument, it opens and closes with
homophonic vocal writing that is nicely
contrasted with the more linear second verse.
11394803 SATB w/organ. . . . . . . . . . . . 2.65
11394804 Instrumental Parts
C Instrument . . . . . . . . . . . . . 5.00
Prayer of St. Patrick—Michael John Trotta.
This beautiful historic Irish blessing is a prayer
that is well known and loved the world over.
Set with a peaceful rhythmic simplicity, this
expressive a cappella setting allows the text to
shine through, bringing comfort and hope to all
who hear. The optional descant soars above
and is an ideal way to add additional shimmer
with solo voice or obbligato instrument. A lovely
way to close a service or concert.
11372333 SATB . . . . . . . . . . . . . . . . . . . 2.90
Psalm 139—Michael Burkhardt. A mysterious
introduction using keyboard, optional handbells,
and oboe gives way to a slow, lyrical 6/8 setting
of the psalm. Almost like a courtly dance, the
tempo fluctuates with the spirit of the text.
After a reprise of the introductory material, the
anthem becomes almost through-composed,
reflecting the emotional arch of the words.
Some a cappella sections provide nice contrast.
11164393 SATB . . . . . . . . . . . . . . . . . . . 2.70
11164394 Organ Part. . . . . . . . . . . . . .10.00
Psalm 150—Paul D. Weber. This jubilant
concertato is based upon a newly composed
hymn and Psalm 150. The call-and-response
texture between choir and congregation
encourages ease of teaching, and the
organ accompaniment and solo trumpet
(optional brass and string quartet) contribute
to the rejoicing.
11512095 SATB w/Organ . . . . . . . . . . . 2.65
11512096 Full Score . . . . . . . . . . . . . .15.00
11512097 Instrumental Parts. . . . . . . .25.00
Requiem—Eliza Gilkyson/arr. Craig Hella
Johnson. Singer/songwriter Eliza Gilkyson
wrote Requiem as a song of grief following
the Asian tsunami in December 2004, and
the song found a renewed audience after
Hurricane Katrina devastated the Gulf Coast
region. This setting by Conspirare conductor
Craig Hella Johnson is powerful in its
emotional impact.
10045096 SATB . . . . . . . . . . . . . . . . . . . 2.10
Sanctus—Michael John Trotta. The final
installment of the Missa Brevis, this peaceful
work features opportunities for unison singing
and the development of independent part
singing. With conservative ranges and
opportunities to focus on pure vowels and text
accentuation, this is an elegant addition to any
concert or service. Combine with Trotta's other
Latin works Kyrie, Gloria and Agnus Dei to
create the full Missa Brevis.
11198034 Three-Part Mixed
opt. Baritone, or SATB . . . . . 2.75
10990284 SA . . . . . . . . . . . . . . . . . . . . . 2.50
Serve in Faith and Charity—James J.
Chepponis. A powerful charge to go forth and
serve, this concertato setting of an original
hymn is composed for choir, congregation, and
organ with optional cantor, brass, percussion,
and handbells. It is appropriate for ordination,
confirmation, of any type of mission or
commissioning service.
11512107 SATB w/Organ . . . . . . . . . . . 2.65
11512108 Full Score . . . . . . . . . . . . . .15.00
11512109 Instrumental Parts. . . . . . . .40.00
Set Me as a Seal—Michael John Trotta.
Elegant simplicity is the hallmark of this
shimmering setting of a favorite text: "Set me
as a seal upon your heart ... for love is as
strong as death." Straightforward rhythms,
careful management of vocal ranges, and a
judicious use of close cluster harmonies put
this work well within the reach of many choirs.
A perfect choice for choirs looking to establish
a more mature sound and musical sensitivity.
Alternate voicings render this piece accessible
as a solo or duet.
11163997 SATB A Cappella . . . . . . . . . 2.90
11344326 SATB with
Piano Accompaniment . . . . . 3.10
11393180 SA with
Piano Accompaniment . . . . . 3.10
11393181 Unison with
Piano Accompaniment . . . . . 2.90
Source of All Healing—Michael John Trotta.
This outstanding original anthem quietly
brings the listener into a prayerful time
seeking wholeness. Recalling miracles of
healing, the response is to ask for healing in
body and soul. Slightly discordant harmonies
recall sin and pain before a beautiful
harmonic refrain responds, "Come, Holy
Jesus, abide with me now." A wide dynamic
range brings the inspired words to life, and
the ministry of the message speaks to any
worship gathering with firm assurance.
11347590 SATB . . . . . . . . . . . . . . . . . . . 2.10
Splendor (from "Illuminare")—Elaine
Hagenberg. The opening movement from the
larger work "Illuminare" set on Saint Ambrose's
Latin text radiates majestic energy that heralds
the arrival of Light and a joyful "Gloriae" section.
A brief contrasting section of legato singing
brings a peaceful release before returning to
the vibrant momentum present in the opening.
A wonderful work that stands on its own as a
strong statement for mixed choirs.
11397312 SATB divisi . . . . . . . . . . . . . . 2.95
11411183 Chamber Orchestra
Score & Parts . . . . . . . . . . .45.00
Still (A Hymn for Peace)—Heather Soren-
son. This sacred tone poem is a prayer for
peace and a plea for healing of the heart.
The anthem rises from a single tone, ebbing
and flowing into harmony, then back into
simplicity with just a touch of dissonance.
As the words become more impassioned,
flowing piano interludes match their intensity.
This petition for calm begins to quiet as the
anthem winds down, allowing the prayer to
end in hushed chords of assurance.
11347591 SATB divisi . . . . . . . . . . . . . . 2.10
Ubi Caritas—Michael John Trotta. The beloved
Latin text is set in an elegantly simple texture
with conservative ranges. Straightforward
rhythms and moments of release create a
tapestry of sound that surrounds the chant
line. In a variety of voicings with or without
piano accompaniment, the beautiful modern
harmonies and cluster chords create an artistic
setting that is equally appropriate for service
use or the concert stage.
10949727 SATB A Cappella . . . . . . . . . 2.90
11317924 SATB with
Piano Accompaniment . . . . . 2.90
11192846 SAB opt. A Cappella. . . . . . . 2.90
11192850 Three-Part Mixed
opt. A Cappella . . . . . . . . . . . 2.90
11344332 Unison/Two-Part with
Piano Accompaniment . . . . . 2.90
11315436 Two-Part or SA with
Piano Accompaniment . . . . . 2.90
11372329 SSAA A Cappella . . . . . . . . . 2.90
11393184 TTBB A Cappella . . . . . . . . . 2.90
11415262 TB opt. divisi or TTBB with
Piano Accompaniment . . . . . 2.90
When Memory Fades—arr. Eric Nelson.
With the well-crafted and comforting text about
dementia by Mary Louise Bringle and the flowing
and tender melody by Jayne Southwick Cool,
Eric Nelson has created something deep, rich
and thoughtful. The piano accompaniment is
supportive yet simple and light, allowing the text
and elegant choral writing to be always at the
fore. Men and women are each given moments
to shine, and the ensemble writing is solid and
nuanced. A much-needed ministry tool.
10735114 SATB . . . . . . . . . . . . . . . . . . . 2.65
When the Morning Stars Together—arr.
Jeremy J. Bankson. This festive concertato
setting of the hymn tune
WEISSE FLAGGEN
may be used with or without brass and
timpani. A brilliant and joyous opening to any
service, the text celebrates the glory of God. A
descant soars over the final verse with optional
congregational participation.
11416068 SATB . . . . . . . . . . . . . . . . . . . 2.65
11416069 Full Score . . . . . . . . . . . . . .20.00
11416070 Instrumental Parts. . . . . . . .35.00
The Wings of God—Wayne L. Wold. Building
on the theme of sanctuary, the text calls for
holy space that welcomes and embraces all
humankind. Text and tune (WALTON)
work well
together. The anthem uses organ and flute, with
optional assembly joining on the last stanza.
11416586 SAB w/organ. . . . . . . . . . . . . 2.75
Words from the Cross—Joanna Forbes
L'Estrange. A quiet urgency flows through
this stunning offering for Holy Week. Jesus'
statements from the cross are framed
by plainspoken commentary that is insightful
and direct. Use the organ part as written
- the moments when it drops out or comes
in make a dramatic difference. The final
refrain unexpectedly blossoms into a
triumphant statement of the core meaning of
our Lord's sacrifice.
11416744 SATB . . . . . . . . . . . . . . . . . . . 2.80
You Loved Me First (Time of the Church,
Series A, Vol. 1)—Jonathan Kohrs. This
anthem has a familiar text paired to a fresh,
modern tune. The repeated notes throughout
the melody are inspired by our undeservedness
at the thought of being graciously chosen and
thoroughly loved by the Lord.
11515011 SATB . . . . . . . . . . . . . . . . . . . 2.90
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