There is a lot of similar motion, which occasionally leads to parallel 4ths and 5ths between the Tenor and Bass, both direct (see mm.22-23) and implied (suspension at mm.2-3 is a bit close for comfort). One thing I had hammered in me in theory classes is that supspentions are a lot like big words that make people's writing look better than it actually is. For example, the Baritone and Bass at mm.8 are lying to you; that is a parallel 5th.

The cadence also felt rather awkward. The upper voices are trying to achieve a plagal cadence, but the Bass is trying to achieve a perfect cadence. If you're going for a plagal cadence, I would instead write the Bass's last three notes as D-Bb-F (with a passing-tone E on the beat before the D for movement). If you want a perfect cadence, though, you need the leading tone, E, which will help create extra pull to the final F-Major chord and make it sound much more satisfying. One other thing I would suggest for the cadence (and the over-all piece) would be the use of contrary motion. At the end especially, it will help the music "come together" as the spacing of the chords condense, like an embrace from the heavenly hosts, if you will.

Other than that, it's a very tasteful setting of the text. I love the Palestrinian "arches", and the care to keep most of the lines moving in a step-wise pattern. What I love the most, though, is that you prioritize artistry over strict imitative counterpoint. This makes a piece sound much more organic as opposed to dry and acidemic, which has it's place, but not in Church (or even secular performance). To you, sir, I say: Wunderbar!