Spirit of Mercy, Truth and Love

Within the span of three short verses, Stearns creates an impressive sense of expansive space, partially through a steady increase in textural density. A unison verse is answered by a verse of tenor-bass melody against sopranos and altos in harmony. The final a cappella verse requires divisions in each part with a crescendo through the end. The organ is an equal partner, providing a fairly independent voice rather than doubling the voices, and although disjointed vocal lines provide some difficulties, the stable, sure harmonic progressions provide logical destinations. Whether used at Pentecost or in the long green season following, this piece would be within the reach of most volunteer choirs within the space of a couple of rehearsals.
The Journal of the Association of Anglican Musicians
April 2013