Commissioned by Incarnation Lutheran Church in Shoreview, Minnesota, David Cherwien's arrangement of the Spanish TODA LA TIERRA tune is set in a hymn-like form, yet the music never feels static as each statement is given a variety of textures throughout. From a simple presentation of the melody by an optional children's choir to a verse set with four-voice chorus with solid organ accompaniment, this lovely and accessible work will present no challenges for the choir or organist.

A challenging but beautiful setting of a Paul Gerhardt text. The piece opens with a harp glissando and joyous statements of Noel. Beautiful harp and flute writing. Recorded on The National Lutheran Choir CD Noel.

Part of the National Lutheran Choir Series. A beautiful and energetic arrangement that is appropriate for both worship and concert use. The piece is written in a unique way that incorporates vocal accompaniments that are shared between men's and women's voices. Includes soaring descants throughout.

A new tune (ECCLESIAM) and setting for this well known and deeply meaningful text. It is a slow and comforting piece which primarily is in two-part texture for the choir, splitting into four parts for one spot. Included is an optional congregation page. <

David Cherwien's understanding of writing for both choir and congregation is represented in this new setting of the WESTMINSTER ABBEY tune. Reproducible congregational page found in the Choral Score.

This solid and stately setting has instructions for tracking through both the LSB (7 verses) and ELW (5 verses) version of this hymn, but is useful for any congregation wanting a festive Easter setting for congregation, SATB (with soprano descant), organ, and optional brass quintet and timpani. An extended organ/brass introduction version based on Bach's setting of "Christ Lag in Todesbaden " from the Orgelbuchlein is also available.

Lively organ introduction and accompaniment. Descant for soprano or tenor. JESU, MEINES LEBENS LEBEN

This anthem features an original text by Susan Cherwien that challenges the Church to be Christ's presence in the world.

A light and playful concertato that includes an option for flute. The wonderful Paul Gerhardt text and traditional tune WARUM SOLLTICH are masterfully set here in a way that will breathe new life into the singing of this great hymn. A reproducible page for congregation is included in the choir score.

Majesty, awe, power, and peace are all present in this hymn concertato setting on Diademata. Each stanza stays closely related to the text, and begins with a rousing fanfare. The a cappella choir stanzas are very peaceful, and stanza 5 even leaves the melody of the hymn for a sense of peace. A rousing interlude brings the congregation back to majesty, as the final stanza is set loose, complete with choral fanfare. A reproducible page for congregation is included.

Set in an English style reminiscent of Ralph Vaughan Williams and Herbert Howells, David Cherwien's music merges with an original text by Susan Palo Cherwien to evoke images of the music now made in heaven: the "Eternal Praise". Commissioned in memory of a violinist, mystical winds of "hymning choir" move in and out of a string of sound in the violin.

These settings are intended to be a part of a congregations expression of a hymn in a dialogical fashion. They may well serve as the choirs' anthem for the day, although they are not intended to be used apart from the entire hymn sung by the congregation.

Includes:
Jesus, Still Lead On (SEELENBRAUTIGAM)
O Morning Star, How Fair and Bright (WIE SCHON LEUCHTET)
Oh, for a Thousand Tongues to Sing (AZMON)
Shall We Gather at the River (HANSON PLACE)
The Church's One Foundation (AURELIA)

The second in a series of publications designed to give choirs creative material to aid congregational singing. Based on GROSSER GOTT (MARIA THERESA), the stanzas may be inserted into hymn singing to provide variety and to give added meaning to the text.

Stanzas include:
NEW BRITAIN (AMAZING GRACE)
For All the Saints
God of Grace and God of Glory
Holy God, We Praise Your Name
Rock of Ages

An exciting setting with some interesting surprises: the choir is used in the introduction, and the accompaniment in stanza two utilizes some musical depictions of the text Lo! The hosts of evil round us Scorn the Christ, assail his ways! Stanza three is set for choir, and stanza four has everyone stretching their limits in a full-bodied hymn of praise. Reproducible page for congregation included in choral score. Based on CWM Rhondda.

Unexpected progressions and various textures provide ever-present interest in this anthem of praise. The descant allows the tenors to ascend along with the sopranos. The optional brass and congregation parts give the work added density and loftiness.

A complete set of Gospel Acclamations for the Lenten season beginning with Ash Wednesday and ending with the Sunday of the Passion. Acclamations are provided for all of the Sundays in the three-year lectionary cycle.

The Quempas Carol is a delightful, light, dance-like piece that puts a pair of threes together: three carols and three sets of musical ensembles, children's choir (of any size), SATB choir, and congregation. The compilation and choral harmonization of Nunc Angelorum is that of Michael Praetorius. David Cherwien has provided an introduction, interlude, and coda for oboe and organ. Tradition also encourages creative use of the room?four corners responding to each other. Part of the National Lutheran Choir Series.

Oboe plays from score. Reproducible page for congregation included in score.

A favorite Christmas text given a new treatment by David Cherwien. The piece uses the questions posed by the text to set up a dialog between men and women. Very accessible and beautifully written.

A dramatic and powerful work. Dissonant passages reflect pain and loss, while the men's recurring ostinato pattern reinforces the psalm's stalwart message of trusting in God during times of tribulation.

With simple choral parts and a crafty blues piano accompaniment, this anthem is perfect for large and small choirs alike. The work is mostly in two parts, but there are about seven measures where the women divide into alto and soprano. From the director of the National Lutheran Choir, who knows how to make things sound satisfying even if they are not complex.

A unique treatment of this great hymn. The piece opens with a lyrical original countermelody in the flute and cello. The first stanza uses a soloist, and the second stanza follows with unison voices. The third stanza is for a cappella choir, and then culminates with voices in unison, with soprano descant, and countermelody in flute and cello. May be used several places throughout the church year.

The beautiful and mysterious chant tune and text, In Paradisum is set with a continuous mist of sustained harmonies sung by a four-part choir (divisi) or soft string stops on the organ. The small choir may be sung by a soloist, two soloists, a section or separate choir of any age. Written for Small Choir and SATB a cappella or Unison Choir and Organ.

Four Equal Voices sung in canon, with a delightful accompaniment for harp (or keyboard) and oboe. Perfect for All Saints Day services. May also be used with the congregation.

The composer begins this piece in a hymn-like manner. After the opening verse, a simple obbligato line is added by a solo instrument. As the piece progresses the choral writing becomes more involved, but is always accessible. Parts for C and B-flat Instrument included in the choir score.

The innocence yet complexity of this wonderful poem by William Blake is set very simply in four part texture (with some divisi), vacillating between major and minor chords as the narrative fluctuates between query and statement. A fairly wide range of dynamics and vocal ranges are employed, yet the piece is accessible for just about any size choir.
Recorded by National Lutheran Choir

This setting uses the beautiful BEACH SPRING tune, and may be performed by voice and bell choir alone or with the congregation joining for the third stanza (ideal for offering processions). The setting pays close attention to the text, such as depicting the darkness of stanza two's text,"wandering homeless." A reproducible part for congregation is included.
Handbell parts and an optional keyboard part to replace the bell part available separately

A beautiful Paul Gerhardt text that can be used as either a benediction or an evening hymn. Set on the tune O WELT, ICH MUSS DICH LASSEN (INNSBRUCK). A peaceful, reflective piece.

The African-American spiritual Sometimes I feel like a Motherless Child is used as a longing introduction to O Come, O Come, Emmanuel. The combination of these two powerful pieces gives additional understanding to both texts. The piece may be performed in unique ways by using creative spacing of the choir and soloist. A very effective Advent piece.

Part of the National Lutheran Choir Series/NLC Series.

A motet from the late 1500's by the German composer Johannes Eccard. Eccard was noted for his work with the Lutheran chorale and for creating a unique five-part texture, which is reflected in this piece. The edition by Susan Cherwien has several performance options and includes an English translation. National Lutheran Choir Series.

Arranger: Eccard, Johannes

This is a very quiet two-part (mixed voices) setting of this Nineteenth Century prayer by Henry Baker: a plea for peace. Different combinations of vocal texture are used. A reproducible page for congregation is included, as it may also be used as a hymn.

Good Shepherd Psalm with organ introduction and interspersed responsorial refrains between choir and congregation. Children's choirs and congregation. Reproducible page for congregation included.

An effective setting of the popular hymn text by Susan Cherwien matched with Timothy Strand's powerful new tune SURGE ECCLESIA. This new hymn is found in both the Evangelical Lutheran Hymnal and the new Presbyterian hymnal. Reproducible part for congregation included in the choir score.

Edward Caswell's familiar Christmas text is set to the hymn tune HUMILITY by John Goss. David Cherwien has crafted a mysterious, evocative piece for SATB voices, flute, and harp. Though written for the National Lutheran Choir, this piece is accessible for church choirs, with only a few measures of divisi and/or a cappella singing.

This is a revision of the well-known setting of Psalm 43:3, 6 by M. A. Balakireff. The text has been updated to that of the Book of Common Prayer. It is wonderfully accessible and a tremendously effective example of the great choral music tradition in Russia around the turn of the 20th century.

Arranger: Balakireff, M. A.

Simple, yet not simplistic describes this stark but effective setting of this beloved song. Set on tune THOMPSON. The soloist could be any voice or a small group.

A joyous version of this wonderful African American Spiritual. The part writing is very accessible and may be divided among the singers in a variety of ways. The accompaniment incorporates a great deal of flair and rhythmic vitality. Meaningful for both singers and listeners. Appropriate for both school and church.

As prayer of the day for the Second Sunday of Advent, this setting takes the word"stir" and turns it into"stirring." It's rhythmic vitality and Mathias-like organ chords bring out the excitement in this prayer to prepare the way of the Lord!

This haunting, driving setting of Isaiah 12:2-6 was composed for an Easter Vigil service in 2005. The choir begins soft and low, then climbs and builds, touching a number of keys along the way and illustrating the text God is my strength and my might; God has become my salvation. A simple refrain is provided for the congregation if used liturgically. Reproducible page for congregation included.

An effective African-American Spiritual TO THE WATER that celebrates Baptism. This arrangement incorporates vocal percussion to create a unique effect.

In remembering those who have passed away, this anthem reminds us that"they are at peace." Using two choirs, the first choir sings a moving text found on the gravestone of Mark Twain's daughter, which instructs nature to show kindness and gentleness to the one who has passed. The second choir sings the angelic message that"the souls of the righteous are in the hands of God" from the Wisdom of Solomon 3. Appropriate for memorial services, funerals, Lent, All Saints, General and Fall Festivals. Two Choirs.

A triumphant anthem of praise featuring fresh harmonic language typical of Cherwien's style. The steady rhythmic drive, varied motivic figures, and differing choral textures propel the music from beginning to end, while the organ is also given its own spotlights throughout. Commissioned by the American Guild of Organists for the 2016 National Convention.

Originally scored for two organs and two choirs, this thrilling French Romantic setting of "You are Peter" is arranged for one choir and one organ. In this text, Jesus affirms Peter's confession of faith in Matthew 16:18,10a, and would be usable with themes of the church, faith, God's faithfulness and dedication. The baritone part may be omitted, but may provide an occasion to form a special men's choir to sing with the regular adult choir. A welcomed edition.

Arranger: Widor, Charles Marie

For unison voices and organ. Much variety is possible in these settings. Designed for the choir to sing the Propers of the Service. Optional SATB or solo in"Verse for the Day of Pentecost." ST/AB divisi in"Verse for the Holy Trinity." Each begins and ends with an Alleluia surrounding the liturgical text from the Lutheran Book of Worship (Ministers' Desk Edition.)

Part of a series of verses, including Fall Festivals (80-880), Advent (80-001), Epiphany (80-200), Lent (80-300), Easter (80-400), Season of Pentecost (80-541, 80-542, 80-543)

Publication consists of two groupings. Epiphany, Baptism of Our Lord, Transfiguration Verses; remaining Sundays after Epiphany. Different Alleluia for each group. Opt. handbell part included (3 octaves--25 bells or 4 octaves--28 bells).

Includes Verses for St. Michael and All Angels; Reformation Day; All Saints' Day; Day of Thanksgiving; Christ the King; Variety of presentation options.

Contains Verses for Pentecost 2-9. Flexible.

Contains Verses for Pentecost 17-27. These 11 Sundays divided into 2 groups with separate Alleluia for each group. Great variety of vocal textures and musical styles. Avoids the pitfall of "sameness."

Unison Voices of all ages or any combination. Also Solo voice. Part of series of Verse settings for Unison Voices. Handbells (3 octaves)

This particular set may be most effective with adult voices.