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This setting of Psalm 51 was submitted by David Kai, with words by Flora Litt and music by David Kai. It is a modern setting of this psalm of repentance in language, melody, and harmony.
This setting of Psalm 18 was submitted by Emily R. Brink and Eric Sarwar, who prepared an English translation of the most loved psalm from the Punjabi Zaboor - Punjabi Psalter - of 1908 [Punjab is an area encompassing both eastern Pakistan and northern India]. The responsorial structure includes a refrain [v. 1] and 3 stanzas [vs. 16–19] in both the original Punjabi and in English translation.
This expression of Psalm 22 was submitted by Ed Willmington, with lyrics by Brianna Wyatt and music by Edwin M. Willmington. The psalm begins in subdued sadness but ends in glorious worship.
This setting of Psalm 25 was submitted by Yellowhammer Hymns, a musical collaboration based out of Christ Church Presbyterian in Jacksonville, FL. The lyrics were written by Andy Zipf and Chuck Colson; Zipf composed the tune. The interpretation of the psalm considers the Christian’s dependence upon God for deliverance, help, and guidance from a joyous and celebratory perspective. The focus of the interpretation centers on the faithfulness and reliability of our God on whom we call in various forms of trouble, especially the personal and corporate predicament of sin.
This setting of Psalm 19 was submitted by composer Delvyn Case and performed by baritone Andrew White. It presents the first half of the psalm in a way that emphasizes a humble response to the glory of God’s creation.
This setting of Psalm 51 was written and submitted by Allison Dean. It focuses on the psalmist’s plea for mercy.
Psalm 37 is an acrostic psalm with twenty-two sections built on each letter of the Hebrew alphabet. This musical setting follows that pattern, with twenty-two “songlets.” The last four measures of each songlet can be sung in counterpoint to the first four measures of the next, creating a twenty-two-link musical chain.
This setting of Psalm 150 was submitted by composer Delvyn Case and performed by Elizabeth Ostling. It explores the mystical connection between breath, life, music, and praise as described in the psalm.
This expression of Psalm 148 was submitted by Ed Willmington, who wrote it with Clayton J. Schmit. The nature of Psalm 148 is total exuberance as all of nature offers praise to God.
This setting of Psalm 148 was written and submitted by Armenian American composer Tatev Amiryan. It represents a musical interpretation of Psalm 148, “Praise the LORD.”
This setting of Psalm 146 was submitted by Larry Visser, who also composed this organ setting.
This setting of Psalm 145 was submitted by Paul Neeley, and was composed by Paul Neeley and Josh Davis. The chorus text includes a New Testament prayer to help us live out the psalm text.
