For SATB unaccompanied chorus edited by Patrick Russill.'This seventeen-bar miniature was according to the owner of the autograph ‘written by Dr Howells in some spare minutes before the end of a theory lesson at the Royal College of Music in June 1966’. We shall never know whether the composer himself would have wanted to see it in print but now that it is many choirs will surely rejoice and welcome it into their repertoires. Though it looks on paper barely more taxing to sing than a hymn-tune the harmonies require singers who can pitch dissonant notes with confidence and who have fairly wide ranges. The irregular metre gives the music an expressiveflexibility but this too presents challenges. It is in the final phrase that the hand of a master is revealed with an exquisite darkening of the harmony at ‘God be at mine end . . .’ and a final cadence that is quintessential Howells.'     - RSCM Reviews

In taking a scholarly approach to the question that still can't seem to be answered with confidence after thousands of years the venerable Dr. Isaacson shows his playful side with a setting of a lyric by Marcia Hain Engle. A cute little ditty with a formidable accompaniment for a smile at any holiday concert. Listen for subtle quotes of your favorite Chanukah (Hannuka? Chanukka?) tunes throughout.

How Great Is Our God is the #1 praise and worship song from singer/songwriter Chris Tomlin's album, Arriving. Incorporating the favorite hymn, How Great Thou Art, Mark Hayes creates an energy-charged, worship experience ideal for blended/contemporary services throughout the year. / Choeur Mixte (SATB)

St Peter In Westminster-Herbert Howells is a giant of 20th century Anglican church music the remainder of whose oeuvre is in the process of gaining new appreciation. Over the course of his compositional life he created many settings for the Magnificat and the Nunc Dimittis. Howells made a practice of writing his settings for these texts and completed twenty services generally specifically for the church buildings or cathedrals in which they were to be performed. In this way he wrote works for the cathedrals of St Paul’s Worcester and Gloucester as well as York Minster King’s College Cambridge New College Oxford and St John’s College Cambridge among others. This setting was written forWestminster Abbey in 1957.

The poetry set by Howells was written by Scottish poet Andrew Young a prolific writer of hymns who is perhaps best known for ‘There Is A Happy Land’. This major/modal hymn is particularly appropriate for Harvest Festival and has been used effectively as an introit and collection hymn.Herbert Howells is a giant of 20th century Anglican church music the remainder of whose oeuvre is in the process of gaining new appreciation. He wrote this hymn as a commission for The Cambridge Hymnal published in 1967 a collection that combine the novel forms of sung worship with traditional tunes.

POD-How Are My Foes Increased Lord! is a work by composer John Joubert for SATB Choir and Organ Accompaniment. This anthem sets text from Psalm 3 paraphrased by poet George Herbert.

How good is our God by Alan Bullard for SATB unaccompanied.Alan Bullard's simple uplifting setting of words by eighteenth-century writer and Calvinist minister Joseph Hart is perfectly suited to the Every Voice Rejoice series. The anthem is characterized by flexible rhythms that sensitively complement the metre of the text and a beautifully reflective set of Amens at its close.

A suite of choral arrangements adapted from the ever-popular Showboat for SATB chorus and Piano by Frances Shaw.

John Rutter's O How Amiable Are Thy Dwellings for SATB choir and Organ/Piano. A gentle setting of Psalm 84 taken from John Rutter's larger work Psalmfest.

for SATB unaccompanied The wonderful choral music of Howard Skempton has a unique voice that is instantly recognizable. Four by the Clock which sets words by Longfellow is a rich and brooding piece that although quiet and slow throughout fizzes with a barely contained energy and excitement for the 'dawn that is to be'.

Mack Wilberg's How Can I Keep From Singing? for SATB choir and Piano. Wilberg's arrangement of Robert Lowry's text and melody is a beautifully reflective take on the well-known hymn. Simple vocal lines are enhanced by a gently flowing accompaniment rich in suspensions and harmonic interest. This part can be played on the Piano or by the unusual combination of Flutes Cors Anglais Harp and Strings.

Henry Leslie's How Sweet The Moonlight Sleeps for SATB choir unaccompanied. This work is a setting of text from The Merchant Of Venice Act 5 Scene 1 by William Shakespeare.Duration: approx. 2 1/2 minutes. A Piano accompaniment is included for rehearsal purposes only.