Behold, Now Praise the Lord: SATB Choral Octavo

Matthew Martin's writing for SATB voices cuts through with real dramatic force rather than relying on textural padding. The organ part demands a capable player and rewards that investment with dialogue that feels like a full conversation between instrument and choir, not accompaniment.

Ceremonial and unafraid. The writing soars without apology, pairing bold choral declaration with organ writing that commands the acoustic space. This is music that fills a cathedral with purpose and presence.

Cathedral and collegiate choirs, professional or advanced volunteer ensembles, and church musicians who have a skilled organist on staff. This work suits choirs comfortable with dramatic, angular writing and able to sustain the declamatory style Martin demands.

• Balance the organ part carefully in rehearsal; this is not a background support role. Martin's writing gives the organist essential musical material that drives the architecture of the piece.
• Mark clear phrase breathing points with your choir before tackling declamatory passages. The striking choral writing works best when singers understand exactly where their declarative moments land and release.
• Spend rehearsal time on the organ and choir cues so entrances land precisely. Virtuosic organ writing can pull a choir off rhythm if coordination isn't established early.

Feature this as a centerpiece for a cathedral service focused on St. Cecilia or as a memorial concert work. Its dramatic arc and substantial organ part make it ideal for programs celebrating both choral and organ music equally.

• Reading and executing declamatory, angular choral lines with confidence
• Maintaining ensemble cohesion while balancing with a virtuosic organ part
• Understanding harmonic language in contemporary sacred writing
• Collaborating with organ as an equal musical partner rather than harmonic filler