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The Musical Heritage of the Church The Musical Heritage of the Church Volume VII Edited by Theodore Hoelty-Nickel Valparaiso, Indiana The Musical Heritage of the Lutheran Church Volume VII Table of Contents Publisher’s Foreword O. A. Dorn Editor’s Preface Theo. Hoelty-Nickel Foreword Elmer E. Foelber The Authors Church Music and Theology Theo. Hoelty-Nickel, Valparaiso University Worship from Luther to Lutheranism Helge Nyman, Abo, Finland The Hymnody of the Reformation, Then and Now Mandus Egge, Minneapolis, Minnesota Church Music and the Ecumenical Scene Charles Anders, Northfield, Minnesota Luther and the Composers of His Time Charles Anders, Northfield, Minnesota New Concepts of Hymnody and Polyphony Heinz Werner Zimmermann, Berlin, Germany “Word” and “Tone” in Three Different Musicae Novae M. Geerink Bakker, Hilversum, Holland The Place of Religious Music in Broadcasting M. Geerink Bakker, Hilversum, Holland Christian Culture and the Cultured Christian Leader Walter E. Buszin, Omaha, Nebraska Has the Lutheran Hymn Run Its Course? Friedrich Hofmann, Neumarkt/Obf., Germany Luther and the New Song Martin J. Naumann, Springfield, Illinois What Makes It Lutheran? E. Theo. DeLaney, St. Louis, Missouri From The Musical Heritage of the Lutheran Church, Volume VII (Valparaiso, Ind.: Valparaiso University, 1970). Reprinted by permission of Valparaiso University. For personal use only. The Musical Heritage of the Lutheran Church Volume VII Aesthetics of Music Joachim Widman, Munich, Germany International Cooperation in Church Music Willem Mudde, Den Haag, Holland The Problem of Expression in Music Donald Ferguson, Minneapolis, Minnesota Heinrich Schütz and Johann Sebastian Bach in the Protestant Liturgy Leo Schrade †, University of Basel, Switzerland From The Musical Heritage of the Lutheran Church, Volume VII (Valparaiso, Ind.: Valparaiso University, 1970). Reprinted by permission of Valparaiso University. For personal use only. The Musical Heritage of the Lutheran Church Volume VII Publisher’s Foreword Once again Concordia Publishing House is pleased to make available a volume in The Musical Heritage of the Church series, containing essays delivered at the Valparaiso University Church Music Seminars. The present volume is the seventh in the series. Since 1944 these seminars, under the able leadership of Dr. Theodore Hoelty-Nickel, have been held regularly to discuss church music, Christian worship—especially in its Lutheran understanding—and related problems. The papers presented at the meetings have had wide influence in church music circles both within the Lutheran church and also in other denominations. Previous volumes in the series have been eagerly sought after both by church music scholars and also by practical church musicians in this country and abroad. The present volume contains essays on a variety of topics. Several strike at the very heart of church music and its relation to Christian worship. Others are of a technical, practical, or historical nature. All will be of value to the conscientious church musician. O. A. Dorn Editor’s Preface The essays contained in this volume were for the most part presented at the Valparaiso University Church Music Seminars. They are being published as Volume VII of The Musical Heritage of the Church series. It has been our policy to publish this material as it was presented at our conferences. The opinions expressed are those of the writers and do not necessarily reflect our point of view. The editor wishes to express his appreciation to Dr. O. A. Dorn of Concordia Publishing House for making possible the publication of this volume. He would also like to thank Professor Elmer Foelber and the Editorial Department of Concordia Publishing House for many editorial suggestions. The editor also wishes to express his heartfelt appreciation to the Aid Association for Lutherans, Appleton, Wis., for their continuous interest in our program of studies in the field of church music and their generous financial support of our Church Music Seminars. Theo. Hoelty-Nickel August 31, 1969 Foreword No other group, I am certain, has contributed more to the welfare of the Lutheran Church for the past 25 years than the Valparaiso University Church Music Seminar. Founded by Dr. Theodore Hoelty-Nickel and led by him, it has quietly but effectively roused the Lutherans of the U.S.A. to serious study of their marvelous musical heritage. In addition, this group has successfully urged that the Lutheran Church become more creative and strive to increase the treasure that it has. Evidence of the work carried on by this group is before you in the anthology of 16 essays prepared for and read at the annual conferences. As the table of contents indicates, we find here breadth and depth dwelling together under one roof. This collection will, no doubt, be the finest and most lasting offering for the anniversary celebration to take place 2–5 April 1970 at Valparaiso University. The tone for The Musical Heritage of the Church is set by editor Hoelty-Nickel in his introductory essay. He points out that truly Lutheran music is consistently anchored to the three great solas: sola gratia, From The Musical Heritage of the Lutheran Church, Volume VII (Valparaiso, Ind.: Valparaiso University, 1970). Reprinted by permission of Valparaiso University. For personal use only. The Musical Heritage of the Lutheran Church Volume VII sola Scriptura, sola fide. Or, to put it another way: neither the Scriptures nor the Lutheran Confessions (Book of Concord) have become museum pieces but proclaim authentically and authoritatively the Word of God (Law and Gospel) to every age and every condition of man. For maximum profit, the essays should be read, if possible, at one sitting to get hold of the sweep of the presentations as a whole. They should then be read again one at a time. Whereupon the reader will engage in constructive criticism, self-evaluation, and creative reflections of his own. Both he and the church will be the better for it. Hearty congratulations are in order to Hoelty-Nickel and his fellow protagonists. Blessings from on High on these servants of the Lord Jesus Christ! Elmer E. Foelber House Editor Concordia Publishing House St. Louis, Mo. The Authors Professor Helge Nyman is professor of theology at the University of Abo, Finland. He is chairman of the International Conference on Church Music. The Reverend Mandus A. Egge is executive director of the Commission on Worship and Church Music of the American Lutheran Church, Minneapolis, Minnesota. Professor Charles Anders is professor of church music at St. Olaf College, Northfield, Minnesota. Doctor Heinz Werner Zimmermann is director of the Kirchenmusik Hochschule in Berlin-Spandau, Germany. Drs. M. Geerink Bakker is a director at the Nederlandes Christeluke Radio-Vereniging, Hilversum, Holland. Doctor Walter E. Buszin is professor emeritus of Concordia Seminary, St. Louis, Missouri. He is now residing in Omaha, Nebraska. Dekan Friedrich Hofmann, Neumarkt, Germany, is chairman of the Association of Evangelical Church Choirs in Germany. The Reverend Dr. Martin J. Naumann is professor of Old Testament at Concordia Seminary, Springfield, Illinois. The Reverend E. Theodore DeLaney is executive secretary of the Commission on Worship, The Lutheran Church–Missouri Synod. Doctor Joachim Widman is Landeskirchenmusikdirektor in Munich. Doctor Willem Mudde is Kantor at the Evangelical Lutheran Church, The Hague, Netherlands, and director of the Utrecht Motet Society. From The Musical Heritage of the Lutheran Church, Volume VII (Valparaiso, Ind.: Valparaiso University, 1970). Reprinted by permission of Valparaiso University. For personal use only. The Musical Heritage of the Lutheran Church Volume VII Doctor Donald Ferguson is professor emeritus at the University of Minnesota, Minneapolis, Minnesota. He is the author of The History of Musical Thought. Doctor Leo Schrade†, University of Basel, Basel, Switzerland. From The Musical Heritage of the Lutheran Church, Volume VII (Valparaiso, Ind.: Valparaiso University, 1970). Reprinted by permission of Valparaiso University. For personal use only. The Musical Heritage of the Lutheran Church Volume VII Church Music and Theology Theo. Hoelty-Nickel God’s glorious creation was and still is for man, as presumptuous as that may sound to one who is accustomed to the quantitative view of man so prevalent today. God’s cosmos was placed at the disposal of man on the day God’s creation was complete and perfect. This relation of man to the world, yes, to the whole universe, would have resulted in a development of the powers and a use of the orders of God reaching a perfection that man, now fallen man, cannot even begin to estimate. The glorious God, being the gracious God, still left eyes for man to see the world and ears to hear the praise of God in nature, still left man his senses and his reason, still left the cosmos as man’s domain, but with one great difference and distinction in men, a tremendous alternative: to see it as the area of man’s redemption in the Seed of the woman or forever to see it as a testimony to man’s fall and damnation. So, as Werner Elert points out, Matthias Claudius and Goethe see the same moon and have similar sentiments for its magic presence, but while one feels it lead his thoughts to God, the other thinks of death and hopeless longing. Because Goethe and every man with him is essentially an egoist, he makes the whole cosmos an egocentric one, disturbing thereby every relation to the orders of God’s creation. The man of God, the regenerated man in Christ, knows of the cosmos as God’s cosmos, God’s universe, and knows that God loved the world and sent His Son into the world to restore to man lost sonship and a lost heritage. And as man is renewed by the Spirit, he sees with enlightened eyes and receives with new gratitude the immeasurably rich treasures of God’s gifts and orders. So tremendous is the treasure offered to our senses and powers that even the believer is overwhelmed by the wealth and number of opportunities to serve God and his fellowmen in this creation.
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