O Praise God in His Holiness (Psalm 150): SATB Choral Octavo

Bednall captures the raw exuberance of Psalm 150 without resorting to bombast; the antiphonal texture between organ and choir voices creates dialogue and energy that feels both contemporary and rooted in church music tradition. The contrasting middle section offers singers a chance to explore intimacy and control before the rhythmic vitality returns, giving your choir distinct interpretive moments rather than sustained fortissimo.

The opening surges with infectious rhythmic energy; you feel the text's invitation to praise God reflected in driving syncopations and bright harmonic movement. The middle section shifts to a space of wonder and contemplation, with sustained singing that feels almost meditative before the rhythmic tide returns with renewed vigor.

This octavo suits choirs with secure sight-reading skills and the ability to hold their own rhythmically against an organist; the piece works well for intermediate-to-advanced community and church choirs, and serves as an excellent choice for skilled secondary school ensembles ready for moderately demanding repertoire. Directors seeking a psalm setting that feels fresh and intentionally crafted rather than conventional will find much to appreciate here.

• Clarify the antiphonal exchange between organ and voices from the start of rehearsal. Since the piece was conceived without a conductor's visual line between the two forces, practice maintaining ensemble integrity through listening rather than always watching the conductor.
• Shape the rhythmic passages in the outer sections with precision and lift; resist the urge to blur rhythms in service of "expression." The exuberance Bednall calls for lives in crisp articulation and clear ensemble attacks.
• Bring out the textural shift in the middle section by reducing dynamic intensity and allowing sustained lines to bloom without the rhythmic drive. This contrast makes both sections more effective.

This works beautifully as a closing anthem in a service of worship, particularly where Psalm 150 already appears in the liturgy; it also pairs well on a concert program with other sacred works, offering strong contrast if preceded by something more austere. The premiere connection to the Jean Langlais Festival suggests a natural pairing with other contemporary sacred music on festival or concert programming.

• Rhythmic precision in syncopated passages
• Antiphonal coordination and listening independence
• Dynamic control and textural contrast within a single piece
• Secure voice leading through chromatic harmonic movement