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"Joyful music leads us sunward in the triumph song of life!"

Penned by Henry Van Dyke, a hundred years ago, and paired with the tune from the final movement of Beethoven's "Ninth," this one phrase sums up the power of music. Whether it is instrumental or choral, classical or modern, music from within the walls of a Gothic cathedral or the walls of a recording studio, enjoyment of sacred music continues to thrive.

In this debut of a new quarterly review of the best in new sacred music, we've chosen from a variety of writers, performers, and styles from albums released in the first half of 2010. (Future editions will focus on three months at a time.)

Hilary Hahn Bach: Violin and Voice (Deutsche Grammophon)

The timeless appeal of J.S. Bach's counterpoint continues to captivate, and perhaps that's what acclaimed American violinist Hilary Hahn had in mind when she began her collaboration with the seasoned voices of Matthias Goerne (baritone) and Christine Schäfer (soprano). These artists succeed with the intricate demands required in the contrapuntal repertoire, performing 12 chestnuts from the cantatas, the B Minor Mass and the St. Matthew Passion, all delightfully rendered. The interplay between violin and voice is exquisite. From the buoyant "Laudamus Te" with its harmonious exaltation of praise to the contrasting anguish and sorrow heard in "Erbarme Dich" from the Passion, the two women work compatibly in tandem. Adding to the coloratura is Goerne's light and effortless singing in the bass solo "Der Friede sei mit dir," BWV 158. Throughout, the dialog between voice and violin is marked with a steady yet fluid approach to these inspirational texts. These interpretations showcase this prodigy (Hahn is just 31) as a performer with a keen sense of self and perfection in her art.

Mark Hayes All Is Well: Songs that Soothe and Inspire (Mark Hayes Music)

Hayes expands his traditional roots well beyond the realm of sacred solo piano and choral music here, with a portfolio of songs in an array of styles. This worshipful journey is filled with contemplative and personal reflections written and performed by Hayes, and features vocalist Monique Danielle, who together blend their voices for "In the Spirit." Synthesizers and rain sticks set up a global atmosphere in "Namasté," a soothing ballad expressing God's beauty while using a traditional Indian salutation; it's representative of recurrent inclusive language and interfaith themes. Hayes' introspective "Let It Go" ("Let the cares of the days fade away / Breathe in the life of God / Let everything go") provides effective relevancy, followed by the instrumental "Air in F" for piano and solo cello. This compilation will attract an audience looking for devotional materials with relaxing, contemporary sounds.

Bob Jones University Singers Promises (Soundforth)

BJU's new release features sacred choral settings by gifted writer/arrangers who are best known in church music publishing. A small ensemble of 16 student-singers overdubbed each selection multiple times, creating a full effect. What stands out are the orchestral accompaniments featuring the first-rate university orchestra, as in Patti Drennan's dynamic "Sing Praise." The music weaves its way through biblical promises, as in the 19th-century text "In Heavenly Love Abiding," paired with a tasteful new melody by Richard Nichols. The use of "Londonderry Air" with Kristyn Getty's "What Grace Is Mine," is another poignant selection by their newest writer, Molly Ijames. The project closes with Alice Parker's monumental "Hark, I Hear the Harps Eternal," featuring marked accents in a delightful rendition of early American shape-note singing.

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