I have used it before. It's decent.

The verses were changed significantly from the original octavo when it appeared in W4, and I much prefer the original text. That said, it's an excellent use of a traditional text with a very singable melody.

I like it. Among the more contemporary stuff, it's toward the top, IMO

If you search for it on WLP's website, you can see a preview PDF of the whole piece.

I only know of the new worship IV verses text. How are the two texts different? I find the hymn text lovely. For contemporary music, it's on the top list of being good and not like most junky not true theology OCP music! It's a text with substance, in my opinion.

The text is a durable 19th century Neale translation of a Roman hymn, and has been set to a number of 10.10.10. melodies, as well as adapted (Peloquin used it for "In Kindness and In Truth", you may recall).

Of course, it was a hymn without a refrain, and Janco has converted the first verse into a refrain, presumably to allow congregants in the Communion procession to sing just that. So the refrain would tend to be simple by design.

Yes, folks in the pews don't generally pay attention to key signatures. Except for the folks with perfect pitch who read music. For them, transpose a tritone from the written key.

If I recall, I think it's an older text to a newer melody. I've always seen it done with a cantor on the verses. It's my understanding the text is a translation of Sancti, venite, Christi corpus sumite.

As irishtenor said, among modern things, it's on the upper end.

Except for the folks with perfect pitch who read music.

True dat, KLS. I have two organists with perfect pitch, and are also magnificent improvisers, so guess what relieves any possible cognitive explosion? Not the transpose key, not me pounding out key sig. changes on Finale, nor the infamous, elusive organ capo.
Nope, square notes and four lines is just the right tonic, pun intended.

On the topic of5-flats, I bow to the obviously superior knowledge and experience of my fellow posters.

Melo: were you a wind player in your past life? (In my experience from a past life, wind players tend to prefer flats, and string players tend to prefer sharps.)

I trained on horn, then moved to a more portable instrument (my voice) midway through college. I took theory in HS and college (my college theory homework was much more difficult - and interesting - than anything in law school....), but my lack of keyboard skills was a hindrance to more advanced work, and I didn't have resources to move farther/further. But it long taught me to prefer the work of composers who conceived of their works with the voice in their minds' eye/ear, rather than the keyboard. (My enduring complaint about much contemporary work (but it's also an afflication of certain composers of a more traditional era) is how much of it is obviously written from the keyboard, by the keyboard and for the keyboard, with voices as an accompaniment. Hence my longstanding guidance to cultivate a repertoire of sacred music where accompaniment is lovely but not essentia; if that's you're starting point, you will sift out much crap.)

If you can remember three flats you can remember two naturals.