Christmas in July: Piano/Organ Repertoire for Advent/Christmas

I love the holiday season—even though it can be a stressful time—and I love the music that accompanies Advent and Christmas. Every year, I look forward to taking out my collection of seasonal music and playing through it again, and it always feels like spending time with good friends I haven’t seen for a while. It’s July, so you may (or may not!) be in planning mode for the upcoming year—I hope you’ll consider programming some of the following piano and organ repertoire. These are some of my favorite resources, and I find myself turning to them over and over again. Most of these titles are available through Prelude Music Planner. Some are in the public domain and are available (for free!) through the International Music Score Library Project (www.imslp.org).*

PIANO selections

  • Piano Reflections on Advent Tunes, by Anne Krentz Organ (Augsburg Fortress). This lovely collection of eight Advent tunes includes some not commonly arranged for piano, like Star of County Down (“Canticle of the Turning”) and Lucent (“As the Dark Awaits the Dawn”).
  • Advent Piano Variations, by Lee Dengler (Concordia). In this collection, each tune is given three settings, which can be played individually or together. I find that kind of versatility to be extremely useful in “real life” situations where music may need to be extended or abbreviated. Tunes include: Veni Emmanuel, Bereden väg för Herran, and Freu dich sehr.
  • Hymn Settings for the Year: 55 Piano Gems, by Timothy Shaw (Augsburg Fortress). The pieces in this collection span the liturgical calendar, and all of them are relatively short. They make good interludes and hymn introductions. Eight Advent/Christmas tunes are in this book: Besançon, Greensleeves, Il est né, Mendelssohn (hymn accompaniment), Picardy, Sussex Carol, Veni Emmanuel, and W żłobie leży.
  • Christmas Jazz: Suite for Piano, by John Carter (Augsburg Fortress). There are ten tunes in this delightful collection that has a jazzy flare. Chord voicings and subtle syncopations make these settings really sparkle. My two favorites are Veni Emmanuel and Es ist ein Ros.
  • Christmas Piano Variations, by Lee Dengler (Concordia). Like the Advent collection above, this book includes three settings on three tunes: W żłobie leży, Personent hodie, and Es ist ein Ros. Each one features excellent, idiomatic writing for the piano.
  • Miscellaneous titles
    • Franz Liszt wrote a suite of twelve pieces titled Weihenachtsbaum (“Christmas Tree”). There are two that I often play, and neither is difficult to learn: no. 3, The Shepherds at the Manger (In dulci jubilo) and no. 4, Adeste fidelis (March of the Three Holy Kings).
    • The ninth movement of Max Reger’s Aus der Jugendzeit (op. 17) is titled Weihnachtstraum, and it is a fantasy on Stille Nacht. While Reger is better known for his organ compositions, this delicate piano piece is a beautiful choice for Christmas Eve services.

ORGAN selections

  • For Manuals Only: Advent and Christmas, by Edwin T. Childs (Augsburg Fortress). These eleven settings are well-written yet easy to play. This is a great choice for organists who are unable to invest a lot of time in rehearsal.
  • Partita on Savoir of the Nations, Come, by Timothy Shaw (Concordia). This partita is quite effective on modest instruments with limited tonal colors. The movements include: I. Chorale, II. Aria, III. Duo, IV. Variation, V. Canon, and VI. Major.
  • Simply Christmas, by John Leavitt (Concordia). You can use this volume in its entirety in one Christmas worship service or separately throughout the season. The pieces are designed as prelude, offertory, communion meditation, and postlude (there are two postludes). With minimal pedal, you won’t need to invest a lot of time learning these settings: Fum Fum Fum, Puer Natus in Bethlehem, Divinum mysterium, Gloria, and The First Nowell.
  • A Quiet Christmas, by Douglas Wagner (Hope). The six settings in this collection are perfect for reflective moments in Christmas services. My favorites from this book are Il est né and Noël nouvelet.
  • The Oxford Book of Christmas Organ Music, compiled by Robert Gower (Oxford). This anthology should be on every church organist’s bookshelf. Ranging from easy to difficult, the pieces in this collection span the centuries—Buxtehude and Bach are well-represented, alongside David Willcocks and John Rutter. While not suggested by the title, there are a couple Advent tunes included, too.
  • Miscellaneous titles
    • Johann Pachelbel wrote some fascinating chorale preludes. One of my favorites to use during Advent, and one that is not too difficult to learn, is Nun komm’ der Heiden Heiland (P. 386).
    • Near the end of his life, Johannes Brahms (uncharacteristically) wrote Eleven Chorale Preludes (op. 122) for organ.The eighth is a tender, manuals-only setting of Es ist ein Ros. Sometimes, I play this on piano, which works equally well.

*Please obey the copyright laws of your country. IMSLP does not assume any sort of legal responsibility or liability for the consequences of downloading files that are not in the public domain in your country.

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Tim Shaw

Timothy Shaw studied theology and music as an undergraduate and graduate student, and he has enjoyed a multi-faceted career as composer, college professor, music engraver, and church musician. He has presented workshops, academic papers, hymn festivals, and reading sessions at numerous conferences, churches, and universities throughout the United States. His publishers include Augsburg Fortress, Beckenhorst, Choristers Guild, Concordia, Hope, Kjos, MorningStar, and Shawnee.

Choral Music for Holy Week: Sunday of the Passion and the Three Days

It goes without saying that Holy Week is one of the busiest times of the church year for choirs and their directors. But along with the high demands of singing for multiple services within the span of six or seven days (let alone the “eighth day” of Easter!) come the great rewards of proclaiming the Gospel through a wide variety of music in the most dramatic liturgies of the church year.

What follows is a listing of some of my favorite choral music for the liturgies of Holy Week, focusing on some of the choral elements unique to those liturgies. In other words, you’ll have to look elsewhere to find recommendations for more typical anthems, psalms, gospel acclamations, and hymns settings. For many of my recommendations, I’m relying on my go-to general choral collections:

Sunday of the Passion

The most common task of the choir unique to the Sunday of the Passion is the singing of a processional anthem—a festive way to conclude the procession with palms—based on some version of the text “Hosanna to the Son of David.” The popularity of this function of the choir is evidenced by the abundance of such anthems. The following are some of my favorites:

    • “Sing Hosanna to the Son of David,” Bartholomew Gesius (CCB, FMB)
    • “Hosanna to the Son of David,” Orlando Gibbons (SSAATB or SSATTB) (cpdl.org)
    • “Hosanna to the Son of David,” David Morgan (NCAB)
    • “Hosanna to the Son of David,” Ronald Nelson (SAB) (AFP 11-1258, out of print)
    • “Hosanna! Blessed Is He,” Knut Nystedt (SAB or 2-part) (ACB)
    • Hosanna to the Son of David,” Tomas Luis de Victoria (GIA G-4575)

Maundy Thursday

There are two elements unique to the Maundy Thursday liturgy in which the choir can participate. The first is the foot washing. The text most commonly associated with this action is some version of “Where Charity and Love” (or the original Latin, Ubi caritas et amor). Even if the foot washing is not practiced in your church, this text is still worth singing. I’m limiting myself to settings of the text in English since the Latin settings (including the most famous, by Maurice Durufle) tend to be more difficult.

The second element unique to Maundy Thursday is the stripping of the altar. Various psalms have been appointed for this action, perhaps the most common being Psalm 22. Almost any setting of this or any other appointed psalm would be appropriate. There are too many available for it to be worth winnowing, except to draw your attention to those in the resources mentioned above, not to mention the simple but effective practice of using a psalm tone—Gregorian, Anglican, hymnal, or other. But there is one setting of Psalm 22 that I think is particularly appropriate for this action, a responsorial setting with stunning text-painting:

    • My God, My God,” David Clark Isele, from Psalms for the Church Year (GIA G-2262).

Good Friday

If your church follows a Tenebrae service, you may be interested in some settings of either the Passion according to John or the Solemn Reproaches (two elements unique to the Good Friday liturgy). The following may be of some help:

Passion according to John. In these settings the choir takes the role of the turba (or crowd) and cantors takes the roles of the evangelist, Jesus, and other characters:

Solemn Reproaches

 

Vigil of Easter

Most of the music for the Vigil of Easter is readily handled by cantor or cantors, which is a relief to members of your choir who may need to be back at church early the next morning. The music that can be taken by the choir includes the responses to the readings of the Vigil—traditionally, psalms and canticles from the Old Testament. For these, please check the season-specific collections above or other lists of recommendations like the one found on sundaysandseasons.com. The pieces on these lists tend to be taken from the general choral repertoire instead of pieces based on the actual appointed psalmodic texts, but there are a number of choral pieces that are:

I hope you will find something of use in these suggestions, whether it is for this fast-approaching Holy Week or for the many to come in your service to the risen Christ and his Church.

A “Choral Ecology” in Worship Music Planning

Within our congregations and personal lives, we have increasingly clear understanding of the ways our personal decisions around our use of resources matter. How can we carry this sense of stewardship into the planning and care we exhibit for resources of wisdom, people, talent, time, and connection in our worship services? Over recent years I have grown to plan anthems, service music, and other choir roles with a much clearer view of the “ecosystem” volunteer church choirs exist in. Intentional planning with this awareness has helped to provide increased comfort and musical consistency in the growth and leadership of my choirs, it has broadened our choral and congregational repertoire without (much) resistance, and it has helped to deepen theological and liturgical connections in an era of widely varied attendance patterns. Others have articulated well the introduction of new hymns into a congregation’s repertoire, so I will not repeat that process here but focus directly on choral leadership.

Planning with a “Choir Ecology” in mind includes carefully planned repetition of works to build a repertoire and increase the familiarity so the choir can grow in musicianship and focus on more nuanced and artistic goals. It includes opportunities to use hymn-based settings as true choral anthems, but once learned to pull individual introductions, verses, transitions, or descants from them with congregational singing. Finally, and the hardest for me, it means that I must confess and let go of my desire for the “perfect” anthem for a service when the “perfect” anthems for three weeks in one month would stretch my singers to (or beyond) their limits. Instead, I find an excellent or good fit for text and music that will give time to the stretch anthems of nearby weeks and have singers feeling good about their abilities and their leadership in rehearsal and worship. Meaningful worship leadership is more than getting most of the notes right!

An example of these tensions in practice this year will show some of these priorities in action. This winter, our adult choir is in transition with an interim organist through Lent and Easter. Long-range planning (completed before personnel and start dates could be confirmed) required a more reserved plan for coordination in some weeks, and a sermon series departing from the RCL encouraged reflection on new connections between Lenten, Holy Week, and Easter Liturgies.

Good volunteer adult choir winter plan

(about 25 singers on a Sunday, about 35 “members”)

1/7 K. Nystedt, This is My Beloved Son, SAB (Concordia): very short

1/14 R. Hobby, God Has Called Us, SATB (MorningStar): repeated from an Installation last summer

1/21 E. Hovland, The Glory of the Father, SSATB a cappella (GIA): hard for us to do well

1/28 Z. Highben, O God of Light, SATB (Augsburg): hymn concertato

2/4 Two selections: 1.) J. Campbell, God Heals the Brokenhearted, SATB (Augsburg): Psalm text setting; 2.) Scripture chanting with percussion guest

2/11 Two selections: 1.) K. Nystedt, This is My Beloved Son: returns to bookend the Sundays after the Epiphany with its parallel text; 2.) Christiansen, My God, How Wonderful Thou Art, SSATB a cappella (Augsburg, 1968): a good challenge

2/18 R. Hillert, God, Whose Giving Knows No Ending, SATB (Hope): familiar hymn concertato repeated from last year (congregation will sing this hymn in March, connecting a Lenten series on the Cross)

2/25 T. Noble, Go To Dark Gethsemane, SATB a cappella (Alfred): not as hard as it looks

3/4 J. Ferguson, Ah, Holy Jesus (from St. John Passion), SATB (Augsburg): hymn concertato, familiar

3/11 J. Ferguson, When We Are Tempted to Deny Your Son (from St. John Passion), SATB (Augsburg): new to us

3/18 Two selections: 1.) J. Ireland, Greater Love Hath No Man, SATB (ECS/MorningStar): big English organ-anthem; 2.) P. Christiansen, Wondrous Love, SATB (Augsburg): used only in part as transition in service (congregation will sing this hymn March 25)

3/25 G. Martin, When I Survey the Wondrous Cross, SATB (Presser): a choir favorite we have not sung in several years

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John Sall

John Sall’s life-long connection to music in the church was nurtured in the rich resources of a strong Lutheran Church, public school, and private music study in Holdrege, Nebraska, and through the Lutheran Summer Music program. A graduate of St. Olaf College, John majored in Church Music and Organ with John Ferguson. Graduate conducting studies with Alan Harler attended the Master of Music at Temple University where John was honored with the Elaine Brown Tribute Award, presented each year for work in “relating music to broader issues of community-building and human expression.” John serves as Director of Music Ministries at Abington Presbyterian Church (Abington, PA), founded in 1714, where he leads youth and adult choirs and the Abington Symphony Orchestra and oversees congregational music programs and the Music at Abington concert series.

With New Voices—The Small Catechism in Song

If you flip to the back of Evangelical Lutheran Worship in search of one of the indices, you might end up taking a quick tour through the Small Catechism first. Nestled between the daily lectionary and the copyright acknowledgments are the words every Lutheran has had to memorize (at least part of!) during confirmation class. Its physical presence in our primary worship book is a reminder that like the heritage of hymns, tunes, and liturgies contained in ELW, we are meant to carry these words with us as we worship, pray, and live faithfully in the world.

In 2016 Bishop Elizabeth Eaton invited the ELCA to read or re-read Martin Luther’s Small Catechism together as part of the commemoration of the 500th anniversary of the Reformation. “The Small Catechism is a treasure too good for just early adolescence,” Eaton explained in her invitational video. To that end, Augsburg Fortress has just published a set of resources called By Heart: Conversations with Martin Luther’s Small Catechism which joyfully and colorfully explores the text in depth. We might add that it’s also a treasure too good not to explore in music. Below are some musical resources that interpret portions the Small Catechism and may be helpful to music directors looking to integrate their congregation’s study of the text with worship. This list is by no means exhaustive, but hopefully, it will be a good catalyst for other pieces in your libraries on the same themes.

General

Ten Commandments

Creed (Choral)

Creed (Organ)

Lord’s Prayer (Choral)

Lord’s Prayer (Organ)

Baptism (Choral)

Baptism (Organ)

Confession (Choral)

Communion (Choral)

Communion (Organ)

Morning/Evening/Table blessings (Choral)

Morning/Evening/Table blessings (Organ / Piano)

If I know any scripture by heart, it’s probably because I have sung it as a hymn or anthem. Singing allows us to embody the Word in a deeper way, and helps us carry that text within us for the rest of our lives. By singing the Small Catechism we can provide an opportunity to discuss those texts during rehearsals or bulletin notes as well as help our choirs and congregations carry those words with them, wherever they go, by heart.

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David Sims

David Sims is the Music Development Manager at Augsburg Fortress, where he will direct development and production of choral, instrumental, and congregational song resources. Since 2014 he has served as Cantor at Holy Trinity Lutheran Church in Minneapolis, and prior to that worked as an organ builder and church musician in Indiana. David grew up in the cornfields of central Illinois and holds degrees in Church Music and Organ Performance from St. Olaf College and Indiana University. His compositions are published by Augsburg Fortress and GIA, and you can usually find him on a search for a new hymn text, recipe, or a source of coffee.

Lightening the Load – A SAB Story

The following post was written as helpful connection between the Association of Lutheran Church Musicians and Prelude. Choral Reading Sessions are a staple feature of ALCM conferences. Adam Hughes offers a helpful review of pieces he encountered this summer with suggestions on how they could be beneficial in your context.

If you make plans the same way I do, we both know how easy it is to stretch our choirs to the limit. Between psalm settings, choral stanzas, descants, anthems, and any other liturgical pieces, programming a well-balanced season of music can be quite the task.

Enter: the SAB or two-part anthem. By including some lighter fare for your choir, whether in the form of fewer parts, or more accessible arrangements, you may be granting yourself time to work on fundamentals and build their sound. Perhaps equally as important, planning these accessible pieces frees up rehearsal time to work on some of those more complicated pieces.

One of the choral reading sessions at the recent biennial conference of the Association of Lutheran Church Musicians in Minneapolis called this “Music for Smaller Choirs.” However, many of these pieces would be well received by the larger choir looking for quickly learned, yet highly satisfying, music.

First is Anne Krentz Organ’s setting of a beloved text from John, The Truth Will Make You Free, published by Augsburg Fortress. Perfect for Reformation Sunday, this gentle piece will provide a foil for much of the bombast that you may already have planned. As another benefit, the tuneful melodies presented are recombined in interesting ways, almost teaching the choir as the piece unfolds. Use this as a way to develop a core sound among your men and women’s sections.

Next, John 3:16 is set in Kevin Hildebrand’s God So Loved the World, published by Concordia Publishing House. Another light-hearted setting, this two-part piece would be easily adapted for use by adult or children’s choirs, an added benefit for the budget-conscious. Use this to encourage legato singing and to teach breath control.

GIA Publications’ Hope is a Seed, with music by Jane Best and text by Mary Louise Bringle, begins simply and grows to a satisfying three-part SAB setting. With choral techniques such as echoing in the second verse and a cappella singing in the third, this is a chance to build confidence among your singers, particularly with unaccompanied singing.

Finally, William C. Weatherup’s There is a Balm in Gilead offers a contemplative and lightly accompanied setting of this spiritual. In addition to providing opportunities to teach light, beautiful singing, this piece would also allow for a soloist or two to shine. Humming and a melody passed between different sections of the choir all sit on top of a minimal accompaniment that never obstructs the text. Your choir will love this beautiful arrangement.

As you make your choral plans, consider these hidden gems of the choral music landscape. Sometimes less really is more, and in the case of creating a balanced workload for your choir, it’s hard to go wrong with many of these options.

Adam Lefever Hughes has served as the Director of Music at St. Peter’s Evangelical Lutheran Church in Lancaster, Pennsylvania since 2015. There he leads worship and directs vocal and handbell choirs. Adam holds a Bachelor of Arts (Music) from Valparaiso University, a Master of Music (Piano Performance) from the Longy School of Music, and a Doctor of Musical Arts (Piano Performance) from the University of North Carolina at Greensboro.

Choral Music for Fall 2017 (Lectionary Year A)

[Editor’s note: While the summer sun is still high in the sky and Rally Day and the startup of choral seasons seem as though they are months away, you might want to carve out some time to begin to get organized for fall! Thanks to Anne Krentz Organ for writing these seasonal pointers, helpful whether you’re highly organized or running last-minute. Either way, we’re here to help with Prelude’s ever-growing resources. Blessings to you in your music ministries this summer and into the fall.]

If you are in the midst of celebrating the end of another stressful choir season by dropping all thoughts of it until the fall until suddenly it is breathing down your neck, bringing with it—yes, more stress? Then consider what follows to be both encouragement and help in getting a good chunk of your planning done for fall.

September 10 – 14th Sunday after Pentecost/Lectionary 23

Canons are a choir director’s friend! Minimal time and effort in teaching, yet the result is a full sounding anthem. Great way to ease into the choir season. This collection is a treasure trove of truly “flexible” anthems for year-round use.

September 17 – 15th Sunday after Pentecost/Lectionary 24

The gospel reading begins with Peter’s question to Jesus, “How often should I forgive? As many as seven times?” Jesus responds, “Not seven times, but, I tell you, seventy-seven times.”

Raabe’s anthem is primarily for 2-part mixed voices, with only two measures that expand to three or four voice parts. A quick learn at the beginning of the choir season.

September 24  – 16th Sunday after Pentecost/Lectionary 25

Scored for 3 voices, this canon works equally well for children’s choir (treble voices only) or youth choir (mixed voices.) The text is provided in both English and German.

October 1 – 17th Sunday after Pentecost/Lectionary 26

This “black gospel” anthem picks up on themes in both the psalm and the gospel reading. It is available in a variety of choir voicings: SATB, SAB, TTBB, SSA.

October 8 – 18th Sunday after Pentecost/Lectionary 27

An accessible communion anthem for a youth choir. Although scored for SATB, the arrangement makes considerable use of unison singing. The accompaniment includes some juicy jazz chords.

October 15 – 19th Sunday after Pentecost/Lectionary 28

A fun, Caribbean influenced choral setting of the 23rd Psalm (the appointed psalm for the day)

The second reading, Philippians 4:1-9, may be presented by the choir with this anthem. See notes in score regarding the additional speaking parts.

October 22 – 20th Sunday after Pentecost/Lectionary 29

St. Luke’s Lutheran Church, where I serve, celebrates the Lesser Festival of Luke, Evangelist, on a Sunday close to October 18. Since Luke was known as a physician and healer, we include the rite of healing. Hernandez’ canon may be introduced by the choir with the assembly joining in as they are comfortable.

There are 50 pieces in this collection which was developed in cooperation with Music that Makes Community, a not-for-profit organization dedicated to paperless song leading.

October 29 – 21st Sunday after Pentecost/Lectionary 30; Reformation Sunday

  • God Alone Be Praised – Zebulon Highben SATB, assembly, 2 trumpets, organ, PER CRUCEM; SAB, assembly, C or Bb instrument, piano AD LUCEM

Free download for members of the Association of Lutheran Church Musicians on the ALCM website, www.alcm.org. Join today!

Highben has provided two musical treatments for choir and assembly of Susan Briehl’s poetic interpretation of Psalm 46.

 

November 5 – 22nd Sunday after Pentecost/Lectionary 31; All Saints Sunday

Don’t let the voicing scare you away from this gorgeous piece for All Saints Sunday. Even a modest SATB choir can pull it off with the accompaniment filling in the missing parts. It works well during communion on this day of remembrance.

This quiet, lovely setting of text from Romans 8 includes a descanting third part on the final stanza.

November 12 – 23rd Sunday after Pentecost/Lectionary 32

This anthem relates directly to the gospel reading from Matthew, “Ten bridesmaids took their lamps and went to meet the bridegroom . . .”

November 19 – 24th Sunday after Pentecost/Lectionary 33

The text of this anthem is appropriate for end times and Advent. “And we shall study war no more. Come, O people, and walk in the light of the Lord. The night is far spent, the day is at hand . . .”

November 26 – 25th Sunday after Pentecost/Lectionary 34; Christ the King
Sunday

Use the A section alone as a Gospel Acclamation, replacing the final words, “the mighty Lord” with “Alleluia.”

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Anne Krentz Organ

Anne Krentz Organ serves as the Director of Music Ministries at St. Luke’s Lutheran Church in Park Ridge, Illinois. She is also composer of many works of church music, particularly choral and piano. She has served as president of Region III of the Association of Lutheran Church Musicians.

Piano Music for Wedding Ceremonies

How many weddings have you provided music for over the course of your career? I stopped counting at fifty, but I would estimate I have played for over 200 weddings. Over the years, I have compiled a list of my “go to” repertoire, as, I’m sure, every church musician has done. In this post, I list tried and true piano pieces that I play often for wedding ceremonies. Some are easy, while others are more difficult. Consider adding some of these pieces to your own wedding repertoire, if you do not already include them. All of the sacred pieces are available for download through Prelude Music Planner. Most of the classical pieces are in the public domain and are available for free through the International Music Score Library Project (www.imslp.org). Hyperlinks are included to IMSLP webpages where you can print PDF files of the music.*

Sacred Prelude and Postlude Selections

I always like to include some sacred music in a wedding prelude or at other times during the ceremony (candle lighting, Communion, etc.), and hymn tunes from folk sources are especially nice. Playing directly from the hymnal or playing an arrangement are equally effective. A number of fine settings for each tune listed are available through Prelude Music Planner. Search by tune name and filter your results by instrument (piano) to find available downloads:

  • Beach Spring (ELW 712)
  • Nettleton (ELW 807)
  • Nyland, or Kuortane (ELW 313)
  • O Waly Waly (ELW 644)
  • Schönster Herr Jesu (ELW 838)
  • Sicilian Mariners (ELW 545)
  • Slane (ELW 793)

Sacred Processional and Recessional Selections

Sometimes a couple chooses “traditional” processional and recessional music (e.g., Pachelbel, Wagner, Mendelssohn, or Handel), but often couples prefer something different or unique. When a couple would like to process or recess to a hymn, here are some tunes I recommend:

  • Ellacombe (ELW 521)
  • In dir ist Freude (ELW 867)
  • Lasst uns erfreuen (ELW 835)
  • Lobe den Herren (ELW 858)
  • Nun danket alle Gott (ELW 839, 840)
  • Wie schön lechtet (ELW 308)

Classical Prelude and Postlude Selections 

Bach, Beethoven, and Brahms. These three great German composers wrote so much beautiful piano music, but here are three selections that I find particularly useful as prelude selections:

Debussy, Satie, and Ravel. I love French piano music from the late-nineteenth and early-twentieth centuries. When I play these pieces in a prelude, I feel as though I am adorning the wedding venue with beauty just as the florist does with flowers. The second movement of Ravel’s Sonatine may be a stretch harmonically (and technically), but this Minuet works so well as a joyful postlude selection.

Liszt, MacDowell, and Granados. From German and French composers to a Hungarian, an American, and a Spanish composer, here are three additional prelude pieces. Granados’s charming “Melodioso” is a lovely choice for the seating of the parents or grandparents.

Classical Processional and Recessional Selections

As mentioned above, sometimes a couple prefers an unconventional processional or recessional. In these cases, here are a few classical pieces I like to recommend:

Do you have a favorite piano piece you include often in wedding ceremonies? Share your repertoire suggestions in the comment section below!

*Please obey the copyright laws of your country. IMSLP does not assume any sort of legal responsibility or liability for the consequences of downloading files that are not in the public domain in your country.

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Tim Shaw

Timothy Shaw studied theology and music as an undergraduate and graduate student, and he has enjoyed a multi-faceted career as composer, college professor, music engraver, and church musician. He has presented workshops, academic papers, hymn festivals, and reading sessions at numerous conferences, churches, and universities throughout the United States. His publishers include Augsburg Fortress, Beckenhorst, Choristers Guild, Concordia, Hope, Kjos, MorningStar, and Shawnee.

Two- and Three-Part Choir Music

Choosing repertoire for church choirs is one of the most difficult, time-consuming tasks of all choir directors, whether they direct larger or smaller choirs. There are some unique challenges facing those who direct smaller choirs, though. To support you in your work, this blog has many helpful posts on the subject. Find some time to read any one (or all!) of the following posts for inspiration and ideas:

To assist you even further, in this post I provide a list of 25 anthems for 2-part or 3-part mixed voices, arranged according to the liturgical calendar. I focus on mixed voices, since repertoire for SSA and TTBB are substantial topics in themselves. Not all of the pieces on my list are easy, so approach them as you would SATB anthems. Also, in my estimation, these anthems sound “complete”—you, your choir, and your assembly will not miss those other one or two vocal parts. Follow the links to the publishers’ websites, where you can listen to demo recordings and view sample pages. When you find something you like, most of these titles are available for download through Prelude Music Planner!

Advent

Comfort, Comfort Now My People,” arr. Richard Proulx. SAB, finger cymbals, and tambourine. MorningStar, AE-110.

Lo! He Comes with Clouds Descending,” arr. Sam Batt Owens. SAB, keyboard. MorningStar, 50-0203.

Rejoice, Rejoice, Believers,” arr. John Ferguson. SAB, organ. Augsburg Fortress, 9781451401684.

Stir Up Your Power, O Lord, and Come,” Carl Schalk. SAB, organ. MorningStar, 50-0205.

Christmas and Epiphany

A Christmas Roundelay,” Austin Lovelace. 2-part, keyboard. ECS, 7316.

O Lord of Light, Who Made the Stars,” Daniel Schwandt. 2-part, organ. MorningStar, 50-9932.

On Christmas Night,” arr. Hal Hopson. 2-part, keyboard, optional handbells. MorningStar, 50-1204.

We Praise You, Jesus, at Your Birth,” Timothy Shaw. SAB, piano. Concordia, 98-4170.

Lent and Holy Week

At the Cross,” arr. Patricia Hurlbutt. 2-part, solo. Augsburg Fortress, 9781451479317.

Create in Me a Clean Heart, O God,” C. F. Mueller. SAB, organ. G. Schirmer, 50303010.

Deep Were His Wounds,” Timothy Shaw. SAB, piano. MorningStar, 50-3125.

Out of the Depths,” Carl Schalk. SAB, organ. MorningStar, 50-3410.

Easter

Christ Is Risen,” Ronald Arnatt. SAB, organ. ECS, 7050.

Now Is Christ Risen from the Dead,” Frederick Frahm. 2-part, keyboard. Augsburg Fortress, 9780800678920.

The Day of Resurrection!” arr. Brian Wentzel. SAB, keyboard. Augsburg Fortress, 9781451451665.

Ascension and Pentecost

Gracious Spirit, Dwell with Me,” arr. K. Lee Scott. 2-part, organ. Augsburg Fortress, 9780800646134.

Jesus, My All, to Heaven Is Gone,” arr. Howard Helvey. 2-part, piano, oboe. Beckenhorst, 1562.

Spirit of God, Descend upon My Heart,” Robert Buckley Farlee. 2-part, keyboard. MorningStar, 50-5555.

General

Come, Thou Fount of Every Blessing,” Timothy Shaw. SAB, keyboard. MorningStar, 50-5310.

O How Amiable Are Thy Dwellings,” Carl Schalk. SAB, organ. MorningStar, 50-6204.

Praise the Lord, God’s Glories Show,” David Schelat. SAB, conga drum. Oxford, 9780193865518.

Psalm 150,” John Harper. 2-part, organ. Oxford, 9780193511200.

Put on Love,” Lee Dengler. SAB, keyboard. Augsburg Fortress, 9781451420784.

The Beautiful Land,” Scott Perkins. SAB, piano. Augsburg Fortress, 9781451485752.

The Lord Bless You and Keep You,” John Rutter. SAB, piano. Oxford, 9780193416598.

Do you have a favorite 2-part or 3-part anthem? Share your repertoire suggestions in the comment section below!

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Tim Shaw

Timothy Shaw studied theology and music as an undergraduate and graduate student, and he has enjoyed a multi-faceted career as composer, college professor, music engraver, and church musician. He has presented workshops, academic papers, hymn festivals, and reading sessions at numerous conferences, churches, and universities throughout the United States. His publishers include Augsburg Fortress, Beckenhorst, Choristers Guild, Concordia, Hope, Kjos, MorningStar, and Shawnee.

Free Downloads? You Bet! — Maximizing Your Prelude Membership

It’s Wednesday at 5 p.m., two hours before choir rehearsal. You’ve just found out that an excellent soprano will be joining the choir for the following Sunday. Descants, something not often possible with a limited choir, would be a wonderful enhancement to the day’s hymnody, and with Prelude Music Planner, you have access to rich, soaring descants from Vocal Descants for the Church Year. Your Prelude membership to the rescue! Simply search by hymn name or tune in the title/theme/keywords search area, and filter “hymn/song” and “descant.” You can view and download the descants you need without using any of your Prelude points! Two possibilities for Christ the King are “Beautiful Savior” (ELW 838) and “Jesus Shall Reign” (ELW 434).

You just found out that a talented flute player in the congregation is home from college and able to play for Advent or Christmas. You could adapt vocal descants for use by a flute or other C instrument. Two suggestions for the Nativity of Our Lord are “Angels We Have Heard on High” (ELW 289) and “On Christmas Night” (ELW 274).

Another excellent way to get the most out of Prelude’s resources is by downloading choral stanzas from the two volumes of Choral Stanzas for Hymns. These work best when a choir can augment the singing of a hymn by singing a particular stanza in an alternate harmonization. For Advent, consider “Awake! Awake, and Greet the New Morn” (ELW 242) in a setting by Thomas Pavlechko and “Savior of the Nations, Come” (ELW 263) in a setting by Michael Burkhardt.

Psalm settings abound on Prelude. Use your membership to download psalm tones and refrains, including responses to the readings at the Easter Vigil. If you don’t regularly use the Psalter for Worship collections and don’t own a copy, as a Prelude member you have access to these varied, reproducible settings for choir, cantor, and congregation.

You can also use Prelude for practical purposes, such as downloading harmony parts for a choir. Say you’d like to use a hymn from This Far By Faith. You own one or two copies of the hymnal, but not enough for the whole choir or a small group of singers. Prelude allows you to download hymns in various formats: harmony, melody only, or words only. When you enter the title of the hymn or song, limit your search to “hymn/song” and you will go straight to these versions rather than an anthem or prelude based on that tune. You can download a hymn in the version that best suits your particular need. Be aware that while some hymns are available in all formats, some have copyrighted harmonizations not available on Prelude.

LifeSongs is a fine children’s songbook published as part of an Augsburg Fortress Sunday school curriculum series. Perhaps you own the LifeSongs Leader Book but not enough copies of the songbook. A number of these songs can be downloaded from Prelude and used with music readers. An excellent example of a piece from this resource is “In the Bulb, There Is a Flower” or “Go Now in Peace,” both by Natalie Sleeth. If you reproduce or project copies of a copyrighted hymn, whether for the choir or for the assembly, be sure to report the usage under your church’s copyright license (OneLicense, LicenSing Online, CCLI) covering that hymn.

Get the most out of your Prelude membership with points-free access to hundreds of worship music items—including descants, stanzas, psalmody, and hymnody—to enrich your music ministry!

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Jennifer Baker-Trinity

Jennifer Baker-Trinity is a church musician and Associate in Ministry who has served congregations in Illinois, Minnesota, and Pennsylvania. She has been a regular contributor to Sundays and Seasons (Prayers of Intercession, Hymns for Worship) and has authored Soli Deo Gloria: Choir Devotions for Year B (Augsburg Fortress, 2011). She leads assembly song at Beaver Lutheran Church (Beaver Springs, PA) and lives with her spouse and three children in Middleburg, Pennsylvania.

Heinrich Schütz and Reformation 500

Each year on July 28, the church commemorates a trio of important musicians—Bach, Schütz, and Handel—and prays for those who nurture and equip the church’s song. While Schütz (baptized October 9, 1585; died November 6, 1672) is probably the least known among the three, his music was influential in setting the stage for the mixture of national styles seen in the music of later composers such as Buxtehude, Böhm, and Bach. Today, Schütz’s works continue to appear in new editions and creative arrangements, some of which are listed below as suggestions for the 2017 anniversary year.

Schütz’s Life

Heinrich Schütz grew up in the town of Weißenfels where his parents were innkeepers and respected citizens. Despite their son’s musical gifts, they persuaded him to “choose a secure profession” and it was not until 1609 when the regional Landgrave—akin to a count or prince—convinced Schütz to pursue his calling as a musician. In a delightful example of musical ecumenism, Schütz (a Lutheran) received funding from the Landgrave (a Calvinist) to visit Giovanni Gabrieli (a Catholic) at St. Mark’s Basilica, Venice, where he studied organ, composition, improvisation, and probably substituted for Gabrieli at mass.

After Gabrieli’s death in 1612, Schütz returned to Germany where, during a visit to Dresden, his gifts impressed the Elector of Saxony who resided there. By 1615, Schütz was directing the day-to-day musical activities of the court chapel, including the preparation of several new works for the centenary commemoration of the Reformation in 1617. Surviving court documents indicated that his musicians were expected to win the “praise and admiration of visitors,” and Schütz traveled throughout Saxony as an advisor on matters of music education. He returned to Italy during 1628–1630 where he encountered the influence of Monteverdi, observed “fresh devices” used by Italian composers, purchased instruments for the Dresden court, and completed a set of SATB harmonizations we know today as the “Becker” Psalter.

But upon his return to Dresden in 1630, Schütz discovered that the combined effects of plague and the Thirty Years’ War had exacted a significant toll on the personal, economic, and material resources which had sustained his work in previous years. Throughout the next two decades, he composed many works for small performing forces and sparse accompaniment, though these pieces in no way lacked the quality and craft of his larger works for multiple choirs and instruments. Even after peace was declared in 1648, conditions were slow to recover and Schütz’s many requests to retire were ignored until the Elector’s death in 1657. The new Elector was more sympathetic, granting Schütz quasi-retirement status and a pension that allowed him to continue composing and revising until only a few years before his death at age 87, twice the average lifespan of the time! At his request, the funeral sermon given on November 17, 1672, focused less on his life and more on the use of music in service to God.

Schütz’s Music

Schütz’s surviving vocal music amounts to about 500 individual pieces that he organized into some fourteen collections published between ca. 1612–1666, sets for which he usually supplied the paper and oversaw the printing process. His text sources were almost exclusively biblical and utilized both Latin and German translations, thus allowing for their inclusion in Protestant and Catholic services alike. His approach to composition shows a special reverence for the text—individual words, phrases, dialogue, meanings, interpretations—that guided his choices of rhythm, melody, harmony, and texture.

From the outset, Schütz made equal use of the prevailing styles including the stile antico (old-style Renaissance counterpoint), the stile moderno (contrasting forces, instruments), as well as recitative and choral exclamations reminiscent of the stile teatrale (theater and stage). His written introductions to printed collections discuss the theory and practice of continuo playing, or the improvisation of a keyboard accompaniment from a bass line. He understood the importance of adaptation and flexibility for performance, an approach that remains useful for church musicians today. This flexibility can be heard alongside his rhetorical prowess in recordings of his music by ensembles such as the Cappella Augustana and Dresdner Kammerchor.

Schütz and Lectionary Year A 2017

As you plan your musical selections for the Reformation anniversary year, consider some of the following lectionary-based works of Schütz available in Evangelical Lutheran Worship and Prelude Music Planner. If you have access to back issues of CrossAccent, the journal of the Association of Lutheran Church Musicians, consult the Winter 2004 issue for an extensive list of Schütz’s lectionary-related works compiled by David Mennicke.

Third Sunday of Advent: December 11, 2016

If your assembly will sing the Magnificat as the psalm this day, consider using the setting by Schütz (ELW 573) along with keyboard settings by Wolfgang Rübsam (Introductions and Alternate Accompaniments for Organ, Vol. 5) and Keith Kolander (Introductions and Alternate Accompaniments for Piano, Vol. 5).

Nativity of Our Lord: December 24–25, 2016

“A Child to Us Is Born” (Ein Kind ist uns geboren) for SSATTB originally appeared in Schütz’s Geistliche Chormusik of 1648. An edition in Chantry Choirbook: Sacred Music for All Seasons includes both English and German texts as well as a separately printed continuo part. One may also choose to “color” the texture with a retinue of C instruments such as flutes, recorders, strings for upper voices and trombones, cello, or bassoon for lower voices. You may also consider asking instrumentalists to add Baroque-style embellishments such as trills and mordents.

Transfiguration of Our Lord: February 26, 2017

“Lift Up Your Voice” (Lobt Gott mit Schall) comes to us from the “Becker” Psalter of 1628 and is included in the Chantry Choirbook. Scored for SATB and continuo with English and German versions, the text ends with a shower of “alleluias”—a chance to get them all out before the “alleluia” is buried at the end of this service!

Second Sunday of Lent: March 12, 2017

“God So Loved the World” (Also hat Gott die Welt geliebt) also contains English and German versions of John 3:16, a passage heard in the gospel reading for this day. This composition for SATTB was also included in the Geistliche Chormusik of 1648. Some performances vary the textures of the repeated sections—for example, a soloist singing the uppermost line with “light” continuo the first time followed by full ensemble and “fuller” continuo group. Again, voice parts may be doubled with “transparent” C instruments so long as they do not interfere with diction.

Holy Week

“Praise to You, Lord Jesus” (Ehre sei dir Christe) is taken from Schütz’s St. Matthew Passion, SWV 479, and praises Christ, “who in deepest need on the cross did suffer.” Passion settings in Dresden were usually rendered without instrumental accompaniment, hence the “for rehearsal only” indication in the Chantry Choirbook edition. This work is appropriate for the Sunday of the Passion or Good Friday.

Twentieth Sunday After Pentecost (Lectionary 29A): October 22, 2017

“Sing to the Lord a New Song” (Singet dem Herrn ein neues Lied) is also from the “Becker” Psalter and is presented in the Augsburg Motet Book for SATB and continuo. The text is founded upon the appointed psalm for the day (Psalm 96).

Day of Thanksgiving: November 23, 2017

“We Offer Our Thanks” (Dank sagen wir alle Gott) is scored for SATB and continuo and is included in the Chantry Choirbook. While “thanks” and “thanksgiving” are prominent themes, the original text was actually used during the Christmas season. Consider adding “bright” and “light” percussion such as tambourine, triangle, hand drum, or finger cymbals to enliven this dance.

General

“Rejoice in God,” a paraphrase of Psalm 150, is arranged by Nancy Grundahl for SATB, keyboard, flute, finger cymbals, and tambourine. A sprightly and energetic recording is available at the Prelude site.

Sources and Further Reading

  1. Leaver, Robin A. Music in the Service of the Church: The Funeral Sermon for Heinrich Schütz. St. Louis: Concordia Publishing House, 1984.
  2. Ramshaw, Gail. More Days for Praise: Festivals and Commemorations in Evangelical Lutheran Worship. Minneapolis: Augsburg Fortress, 2016.
  3. Schalk, Carl F. Music in Early Lutheranism: Shaping the Tradition (1524–1672). St. Louis: Concordia Academic Press, 2001.
  4. Varwig, Bettina. Histories of Heinrich Schütz. Cambridge: Cambridge University Press, 2011.