Hymns

1	Ave Vaernum Corpus 2:32
2	Veni Veni Emmanuel 3:20
3	Tantum Erego 3:28
4	O Salutaris HOstia 2:10
5	Adoramus Te 1:51
6	O Sanctissima 3:45
7	Panis Angelicus 2:25
8	Salve Regina 4:01
9	Hymn To Mary 2:58
10	Oh God of Loveliness 3:14
11	Dona Nobis Pachem 1:36
12	Ave Maria 3:34

Barnes & Noble

Beth Nielsen Chapman may be better known for her songwriting (she penned Faith Hill's "This Kiss" among other hits), but fans know she's much more. As a vocalist, Chapman's ethereal, fragile sound have threatened to pigeonhole her as a neo-folkie, but her musicality has always been far more expansive than that. On Hymns, this distinctive vocal styling finds its perfect subject matter. This collection, sung largely in Latin, is richly evocative, full of spiritual resonance and gentle emotion that shows a deep reverence for the traditions from which these Latin hymns sprang. That's no surprise-Chapman was raised a Catholic, and these hymns were a part of her upbringing. Nor is spiritual subject matter foreign to Chapman, who has given lovely voice to ancient Tibetan prayers on Kirby Shelstad's independently available Dewachen: Land of Bliss project. Like Dewachen, Hymns is reflective and deeply personal; it calls to mind the tenderness of the Nativity, not sweeping symphonic statements. And while Hymns has been released in time for the holidays, this material has relevance no matter what the season. Chapman's Hymns is beautifully uplifting. Lisa Zhito

All Music Guide

As a very successful and celebrated songwriter, Beth Nielsen Chapman has never chosen an easy road to that bounty. In fact, she's consistently managed to avoid trite sentimentality in her work. Her voice shines through her songs no matter who's singing them. This project is a departure for Chapman, though it is one she has been at work on in one form or another for nearly a decade. These hymns, mostly sung in Latin, come from a larger project of hymns from the religions of the world. Chapman grew up Catholic, and these songs were part of the pre-Vatican II liturgy. These pieces are scored for multiple voices. Chapman herself sings soprano as a lead vocalist and alto with songwriter Pam Rose, as well as tenor with her son Ernest in chorale. Her father, Robert Nielsen, is one of four bass singers; songwriter Mike Reid is another. While some of these pieces are a cappella, others feature spare accompaniment on stringed instruments from harps to cello to classical guitar. The material comes from the Roman liturgy, whether it be processional hymns such as "Veni Veni Emmanuel" to devotionals such as "Salve Regina" and responsorials such as "Dona Nobis Pacem" and "O Sanctissima." There are two pieces in English, with one of them, "Hymn to Mary," an original. These performances are humble in scope. They do not reflect the awe of the heavens as many classical performances do, but instead a smaller, more human spirituality and grace. They are earthy, humble, and deeply moving for the limit of their scope. These songs portray the response of the human soul speaking to the God who speaks within, rather than the one that echoes thunderously from the margins of the universe. But there is something else here that makes Chapman's recording of these age-old pieces so compelling. The weight of history can make a song, especially a devotional, feel oppressive and constraining -- i.e., it needs to be performed "correctly." Chapman feels no such burden on Hymns. These beautiful antiquities are sung reverently with a simple grace that frees them from their chains and makes them resonate, underscoring their meaning, solace, beauty, and stillness. Thom Jurek