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Hallelujah, Amen!

Sacred Music Choral Reviews

between each verse, calling to mind All Hail the Power congregational texture is punctuat-
the rustic roots of the anonymous of Jesus’ Name ed by a sudden brass fanfare, as if
tune. Tune: Coronation by Oliver Holden the instruments cannot or will not be
The syncopated and spritely (1793) and Diadem by James Ellor contained, enthusiastically joining
opening strongly ushers in the con- (1838) the voices in full-throated harmo-
gregation and choir in unison. The Text by Edward Perronet (1780) ny. Coronation returns a cappella as
second verse features the altos on the Arr. by Michael Burkhardt well on the next stanza in the choir,
hymn melody with a delicate descant SATB, organ, brass quintet, and though the organ joins the famous
in the sopranos. Trenney continues a timpani accented “crown him” fi gures sim-
similar treatment in the tenors and MorningStar Music Publishers, ilarly to the brass on the previous
basses for verse three, though he var- MSM-60-4040 stanza. Burkhardt moves the musical
ies the descant in the tenors to pro- e-address: www.ecspublishing.com/ tension forward through each verse
vide contrast. This hymn’s lengthy composers/b/michael-burkhardt. with subtle rising modulations and
text has a tendency to bog down in html?p=2 piu mosso tempos.
many arrangements—not so in this The final verse returns to Diadem

gem, whose brisk tempo and synco- scrolling performance demonstration: and features a soaring soprano des-
pations drive the musical momen- www.jwpepper.com/sheet-music/ cant and full instrumental ensemble
tum ever forward. media-player.jsp?&type=video&pro to accompany the congregation.
Trenney combines the full chorus ductID=11316669 This arrangement will complement
in a three-part canon over a pulsing any festival occasion, but specifi cally
organ obligato, separated by two could make Christ the King or Trin-
beats. Choirs may choose an SAB ity Sunday memorable.
division, or perhaps divide more
evenly and include the congrega-
tion. The interlude launches out of

the final canonic echoes into the last
verse, featuring the altos and the Michael Burkhardt’s arrange-
basses in unison on the tune with the ment of the beloved hymn All Hail
tenors and sopranos soaring over in the Power of Jesus’ Name eff ectively
energetic descant. He adds excite- combines the two tunes most closely

ment on the final measures in the associated with this text. Burkhardt
thickened organ accompaniment wisely provides the congregation
over simple and celebratory harmo- with the more familiar and accessible
ny in the upper voices. Diadem to open the arrangement.
James Ellor’s only known hymn tune
perfectly captures the majesty of
Perronet’s soaring text. Burkhardt
alternates each congregational stan-
za with a choral treatment of Coro-
nation, a rollicking shape-note tune
revered by choirs for more than two
hundred years for its almost orches-
tral, Handel-like celebratory refrain
on the word “crown.”
In the third verse, the a cappella

18 CHORAL JOURNAL June/July 2021 Volume 61 Number 11