MorningStar Music has published my anthem, “Lord Jesus Christ, Life-Giving Bread” (SATB, piano). Set to a graceful original melody, this 19th-century text is reminiscent of Psalm 23. The supportive piano accompaniment complements a nicely varied choral texture. Truly lovely, this anthem is perfect for World Communion Sunday or any time you want a personal response to the Eucharist. The piece also received an Editors’ Choice designation from JW Pepper.
MorningStar Music will publish my newest Communion anthem, “Lord Jesus Christ, Life-Giving Bread,” on a poignant text by seventeenth-century pastor Johann Rist. Elegant vocal lines that remain within narrow ranges combine with a simple, supportive accompaniment to make this an excellent choice for choirs of any size. This is scheduled to be published as part of MorningStar’s Spring 2020 release.
Looking for some new additions to your Christmas choir repertoire? Consider these pieces:
My new anthem for Lent/Holy Week/Communion, “Deep Were His Wounds,” has received an Editors’ Choice award from J.W.Pepper. The piece is scored for SAB with piano, on a William Johnson text that alludes to Isaiah 53 and 1 Peter 2:22-25.
“But they, whom sin has wounded sore, find healing in the wounds he bore.” William Johnson’s penetrating hymn was written in 1953 and is deeply expressed with new music by composer Tim Shaw. Rich scoring, expressive melodies and a supportive piano accompaniment allow for the best results with your SAB choir. Appropriate for Holy Week, communion, confession or any reflective moment during your worship service.
MorningStar Music has released my new anthem for Lent/Holy Week/Communion, “Deep Were His Wounds.” The piece is scored for SAB with piano, on a William Johnson text that alludes to Isaiah 53 and 1 Peter 2:22-25. You can view sample pages and listen to a demo recording here. Publisher’s description: “This sorrowful text reminds the listener of the pain and suffering of the crucifixion. The choral writing captures this emotion in a way that allows the text to develop effectively.”
MorningStar Music has released Within the Seasons of Our Lives, a new collection of hymns and songs drawn from previously published choral settings, and my “Come, Thou Fount of Every Blessing” is among those included. For a hymn tune name, I chose “Monadnock.” Growing up in Keene, NH, I used to see Mount Monadnock every day, and every time my grandmother visited she would say, “There’s my mountain.” I’ve also climbed the mountain at least five times (along with the many others who’ve made it one of the most frequently climbed mountains in the world).
The January 2011 edition of The Hymn (published quarterly by The Hymn Society – US and Canada) includes a favorable review of my anthem , “Come, Thou Fount of Every Blessing” (published by MorningStar Music): “New tunes often help us hear and sing familiar texts with heightened awareness; this anthem certainly evokes such an awareness. The composer brings fresh new meaning to the text in this well-crafted three-part anthem. The key throughout is D major. The accompaniment is pianistic but could be adapted to the organ. The anthem is well suited for voices and would work for small churches as well as large churches. It would be a strong selection for a summer anthem during Ordinary time, or Lent.”
Vol. 19, no. 1 of the Association of Lutheran Church Musicians’ journal, “CrossAccent,” contains the following review of my anthem, “Come, Thou Fount of Every Blessing” (published by MorningStar Music): “Shaw has written a newly composed work to Robert Robinson’s 18th-century text that should prove useful for many choirs with limited numbers of men’s voices. With its mostly unison or homophonic texture, the anthem is within the abilities of most small church choirs and would be appropriate for general services. Within the limitations of writing for three parts, Shaw maintains interest through sensitive text setting. The first and third stanza use one melody for the first half, while the second stanza (‘Here I raise mine Ebenezer’) provides a contrasting melody. Each stanza begins with unison voices, ending with the full three-part texture. Although the work calls for ‘keyboard,’ the writing is more suitable for piano than for organ.”