CROSSACCENT Vol 24, No 3 | FALL/WINTER 2016 Journal of the Association of Lutheran Church Musicians

CROSSACCENT vol 24, no 3 | FALL/WINTER 2016 journal of the association of lutheran church musicians

CrossAccent is published three times per PRELUDE year by the Association of Lutheran Church Musicians. Subscription is included with 2 Editorial Comment—Jennifer Phelps Ollikainen membership in ALCM. Libraries may subscribe at $60 per year by contacting the Business Office. Copyright © 2016 Association of Lutheran Church Musicians. TAKENOTE The views expressed on the pages of the journal 3 Center for Church Music—Nancy Raabe are those of the authors and do not reflect official positions of the editorial board of the journal or of the Association of Lutheran Church Musicians. COUNTERPOINT This periodical is indexed in the ATLA Religion Database®, a product of the American Formed/Re-formed: Engaging Worship across Cultures Theological Library Association, 300 S. Wacker 5 and Generations—Robert Alan Rimbo and Justin Rimbo Dr., Suite 2100, Chicago, IL 60606, USA. e-mail: [email protected], www.atla.com. ISSN 2151–1772 Partnering with the Spirit: Gathered, Enlightened, Brian Maas Editor: Jennifer Phelps Ollikainen 15 and Transformed— Music Editor: Lara West Book Editor: Paul Grime Copy Editor: Anne-Marie Bogdan For Whose Sake? Kinesthetic Energy Patterns and Graphic Design: Kathryn Hillert Brewer 22 Liturgical Discernment—Sandra Dager Editorial Office Jennifer Phelps Ollikainen, Editor CHORUS 1127 Magazine Road Green Lane, PA 18054 Reflections—Jennifer Baker-Trinity [email protected] 32 Editorial Board Kent Burreson Paul Friesen-Carper Concordia Worship and Music Symposium Hymn Festival— Joseph Herl 34 Kyle Johnson Nancy Raabe Stephen Rosebrock Advertising Office Cheryl Dieter, Advertising Coordinator BOOKREVIEW 810 Freeman St. Valparaiso, IN 46383 Bach’s Major Vocal Works: Music, Drama Liturgy 800.624.2526 35 by Markus Rathey—Kevin Hildebrand 219.548.2526 [email protected] ALCM Business Office Cheryl Dieter, Business Manager SOUNDFEST Association of Lutheran Church Musicians 810 Freeman St. 38 New Music Valparaiso, IN 46383 800.624.2526 219.548.2526 [email protected] POSTLUDE www.ALCM.org 52 From the ALCM Past President—Anne Krentz Organ The Association of Lutheran Church Musicians is a service and professional organization that Cover art: Steeples of churches that hosted ALCM conferences this past summer are works to strengthen the practice of worship and Trinity English, Ft. Wayne, IN; St. Andrew, Franklin, TN (photo by Rion Rizzo, Creative church music of all North American Lutherans. Sources Photography); Fourth Presbyterian, Chicago, IL; and St. John’s, Sacramento, CA. Membership is open to any person or institution whose interests are in harmony with the Associa- tion’s goals. Address all change of address, ALCM OFFICERS subscriptions, and business correspondence to President: Julie Grindle Region 1 (Northeast) President: Jennifer Baker-Trinity the ALCM Business Office. Past President: Anne Krentz Organ Region 2 (Southeast) President: Ryan Hostler Secretary/Treasurer: Kevin Barger Region 3 (Midwest) President: Linda Martin Directors at Large: Jeffrey Blersch, Michael Krentz Region 4 (West) President: William Kuhn

Fall/Winter 2016 CrossAccent 1 s PRELUDE The Rev. Dr. Jennifer Phelps Ollikainen Editor, CrossAccent

ver this past summer, more than 400 God is at work in and through our lives and our worship leaders and musicians gathered worship. O for the regional ALCM conferences. Sandra Dager explores a sensory side of our Each gathering offered up the gifts of the region music in worship in her plenary presentations through workshops, plenary presentations, mu- from the gathering of Region 4 in Sacramen- sic reading sessions, and hymn festivals. While to, CA. Grounded in the community of Christ each regional gathering was unique in its local and sensitive to gracious and mutual hospitality, expression, the camaraderie of colleagues serving Dager explores energy patterns that musicians a common vocation united us across the country. often consider intuitively. Our music in worship Even more, we gathered to praise God in wor- and our preferences for music may have a driv- ship and song, united by the grace of our Lord ing beat, lyrical melody, swinging rhythm, or Jesus Christ. ephemeral quality; Dager explores the balance This issue of CrossAccent includes sever- for which we strive in worship. al regional conference presentations and hymn The Chorus section of this issue provides ex- festivals edited for print. More than for-print- amples of the rich gifts of our ALCM members only articles, though, one can hear the voice offered in hymn festivals at our regional confer- and rhythm of the live events spring from these ences. Jennifer Baker-Trinity’s reflections from pages. the Region 1 festival, “Let All the People Praise ELCA Bishop Robert Rimbo and his son, You: Singing through the Generations: A Cele- Justin Rimbo, presented plenaries as conver- bration of Hymns, Psalms, and Spiritual Songs,” sation interspersed with song in Region 1’s are beautifully poetic. Kyle Johnson gives us his gathering in Fort Wayne, IN. They explore wor- outline of a hymn festival patterned after the ship across the generations, grounded in ancient church year. Perhaps you will find inspiration in worship practice and responsive to our current these gifts for your own local hymn festival. times. This father and son share a common love As we gathered as colleagues and explored for Christian worship that rings true and clear in our worship-centered vocation at regional con- their words and songs. ferences, our voices joined together in song and Another ELCA bishop, Brian Maas, pre- praise for the One who gave us the song to sing. sented the three plenary sessions of Region 3’s gathering in Chicago, IL. His comments explore how the wind of the Holy Spirit moves through worship. Maas reminds us that in the Spirit we are called and gathered, inspired and renewed, transformed and sent. Even as we are sometimes Hymnal Abbreviations: surrounded by chaos in our lives and weighed ELW: Evangelical Lutheran Worship down by waiting for new life to spring forth, LSB: Lutheran Service Book CW: Christian Worship

2 Fall/Winter 2016 CrossAccent www.alcm.org TAKENOTE Center for Church Music by Nancy Raabe

he theme of ALCM’s 2017 biennial gathering (Minneapolis, MN, July 10– T 13, 2017) is “Rise, Remember Well the Future.” The conference brochure tells us that we will “simultaneously celebrate the treasures of the last 500 years and look to the future and God’s covenant of faithfulness in all that is yet to be.” Yet with a dimming awareness of the scope of history in our culture, “remembering” is not a strong suit. ALCM’s revised worship statement, “Called to Be a Living Voice,” tells us that “We simultaneously care for our congregations’ local musical heritage and tradition while being bridge builders to the ever-emerging songs of the church. We delight in the riches from our past, as well as the gems in our new songs.” The gems in our new songs are not hard to manuscript archives, the 541-volume Schalk Steven Wente come by, but the riches from our past often prove American Lutheran Hymnal Collection, shows a manuscript from hard to locate. With the reduction in church and an array of relevant books, journals, and recordings. Original music manuscript ar- the Center’s music degree programs in our educational insti- collection. tutions, we may well ask (paraphrasing Paul in chives now housed there, starting from the most recently added, include those of John Romans 10:14), “How are they to know about Eggert, Paul Bunjes, Donald Busarow, Jaro- something of which they have never heard? And slav Vajda, Walter Pelz, Henry Markworth, how are they to hear without someone to tell Ralph Schultz, Carl Schalk, Paul Manz, and them?” Richard Hillert. The transfer of several oth- This is where the Center for Church Mu- er archives is in various stages of negotiation. sic—a multifaceted initiative based at Concordia University Chicago (CUC)—brings good news 2. A digital initiative that has two major (https://www.cuchicago.edu/about-concordia/ components: center-for-church-music/). Formally launched • the first, undertaken in cooperation with six years ago to house the manuscripts of Rich- hymnary.org, makes it possible to view hun- ard Hillert and Carl Schalk, the Center has dreds of hymnals in the Schalk American expanded under director Barry Bobb to include Lutheran Hymnal Collection in 26 different five dimensions of lively activity: categories (such as Pennsylvania Ministeri- um, Lutheran–Reformed, and Ohio Synod), 1. A resource room located in Klinck Me- meaning that tens of thousands of individual morial Library on the CUC campus that hymns from the vast river of American Lu- includes a growing storehouse of composer theran hymnody are now at one’s fingertips

Fall/Winter 2016 CrossAccent 3 s TAKENOTE (go to “Hymnal Collection Index” on the 4. A series of eight (to date) print publi- Center’s website); and cations in the series Shaping American • the second brings us scans of the Center’s Lutheran Church Music, available through music manuscript archives, so that one may Lutheran University Press and amazon.com. view those online instead of making the trip A Festschrift for Charles Ore was recent- to Chicago. To date, those of Paul Manz and ly released and, with the volume by Carl Richard Hillert are available; many mp3 Schalk released last year, there are now nine recordings are available as well (go to “Com- books published under the Center’s auspices poser Manuscript Indices” on the website). (go to “Publications” on the website). 3. An array of other newly produced re- 5. Two awards given by the Center, designed sources on the website. These include a to encourage the next generation of church complete three-year cycle of devotions on musicians. These are the Hillert Award the hymn of the day, 500-word theological in Student Composition and the Schalk reflections on many of our most treasured Scholars, the latter consisting of stipends hymns; two series of newly written essays, for research and opportunities for publica- one by Paul Westermeyer (“Reflections”) tion and presentation. The Noel D. Schalk and the other by Carl Schalk (“Perspec- Annual Lecture Fund was also recently es- tives”); “Conversations,” featuring a series tablished under the Center’s auspices to of video presentations, dialogues, and panel support scholarly presentations at the an- discussions on various topics relating to the nual CUC conference Lectures in Church music of the church, including a discussion Music. of the legacy of Gerhard Cartford by Paul The Center’s website provides access to more Westermeyer and Luther Seminary archi- information about all aspects of the Center. A vist Paul Daniels, and workshops on hymn quarterly newsletter and a Facebook page, both writing by Stephen Starke and Susan Palo accessible through the website, offer updates on Cherwien; and, under the heading of “Pro- the latest news and events. files in American Lutheran Church Music,” Another feature to watch for will bring an ever-expanding series of video inter- online, in a searchable database, organ impro- views (22 at present) conducted both by visations by Paul Manz from the vast set of his and about leading figures in American Lu- theran church music, which offers revealing hymn festival recordings that are now housed windows into the lives of these exception- at the Center. And what else? Director Barry al individuals and the forces that shaped Bobb won’t quite say it, but the sky’s the limit. them—these warrant special mention as In a recent letter to friends and supporters of the a means both for young musicians of the Center, he wrote, church to become immersed in the craft of the Center for Church Music is a place where the cantor and for seasoned veterans to be you can tap into that great flow of energy, ei- renewed in their commitment to their call- ther on site or online, in order to get new ideas ing. A second component of the “Profiles” for music ministry in its various forms; gain a perspective on the music of the Church; consists of 13 essays on cantors of the church take time for reflection; connect with the by Victor Gebauer. larger endeavor of Lutheran church music; be inspired by some remarkable leaders and thinkers in our midst; be energized for music ministry; [and] satisfy curiosity. Please visit us on site or online and engage the amazing, dynamic mosaic of Lutheran church music which continues to be “the living voice of the Gospel” as it helps to propel church music into the future. Soli Deo gloria!

4 Fall/Winter 2016 CrossAccent www.alcm.org s COUNTERPOINT Formed/Re-formed: Engaging Worship across Cultures and Generations

by Robert Alan Rimbo and Justin Rimbo Worship is the work of the Triune God in and through us. In Plenary 1 our doing, our God prompts us Bob: Worship is a collaborative engagement across cultures and generations in which God to listen more deeply to what and the people of God “listen” to each other and are formed in love around each other for God is calling us to be. the sake of the world. It is an imaginative, risky, and life-giving venture. Here we pray that all the by the Source of all, the eternal Word, the Holy peoples will praise, and we mean all! Spirit. In worship our visions, desires, attitudes, Worship shapes our lives. It may appear that yearnings, wills, and lives are recast, molded, worship is all about what we do: we gather, we and shaped to conform to the dying and rising of sing, we pray, we read, we listen, we raise con- Christ for the life of the world. This conference cerns, we offer ourselves and our resources to invites us to enter more deeply into worship as God, we embrace, we give thanks, we eat and the work of the Holy Spirit through Jesus Christ drink, we scatter. Sometimes we get wet or at to the glory of God. Justin and I and all of us least remember that we got wet. who are leading in these days are inviting you to Sometimes we hallow the days and hours see yourself as part of a great work that is imagi- of life with prayer and praise. We remember the native, risky, and life-giving for all. story of God’s deliverance from slavery, sin, and Worship grows out of the resources of Holy death in Israel and in Jesus, following a set of Scripture, a calendar of celebrations and a lec- days and seasons. Worship seems to be what we tionary, a treasury of hymns and songs both do, something we form. ancient and new, prayers, rites centered on Holy But there is another way to look at worship. Baptism and Holy Coommunion, and daily pat- Though on the surface it may appear to be our terns of prayer linked to times of the day. doing—especially for people like us who are pro- Now, I suspect that some of you have your fessional worshippers—at a deeper level and in own ideas of what worship really is. I have, my- the long view it is the work of the Triune God in self, been known to think that no good music and through us. In our doing, our God prompts was written after 1750, and I have a few thou- us to listen more deeply to what God is calling sand other opinions, some of which are godly. us to be. We are being formed and re-formed That kind of thinking, I confess, is only a few degrees of separation from the entertainment evangelist folks. Liturgy is more than personal Editor’s note: These are the plenary preference or even personal piety. Worship is not addresses given at the ALCM Region 1 our answer to the all-pervading American ques- conference, Ft. Wayne, IN, July 2016. tion, “What’s in it for me?”

Fall/Winter 2016 CrossAccent 5 s COUNTERPOINT Such self-indulgence and self-orientation In it we recognize God’s action in converting threatens and undermines the fullness of the us from self-occupation of any kind to God- Christian life and the fullness of the Christian occupied living. Here are several ways in which Church when it focuses on “come to church and participation in worship forms us. we will give you what you need to live successful- • Worship carries us into the presence of Jesus. ly.” That sounds like an invitation to go shopping Just as the paralyzed man’s friends in the at the mall to buy something advertisers tell gospel carried him to Jesus (Luke 5:17–26), us we want or need, but it’s not evangelism or worship brings us to Jesus. It breaks through worship. the crowdedness of our preoccupations and The gospel names us and calls us to give up the false self that keeps our true self from our false selves and to be united with our true him. It is a means of grace—which is to selves in Jesus Christ. To be formed and re- say, it is not something we do but a means formed. “Then Jesus told his disciples, ‘If any through which the community called to- want to become my followers, let them deny gether by Christ acts in concern to bring us themselves and take up their cross and follow into the presence of Christ. We carry one me. For those who want to save their life will another into that presence, especially we lose it, and those who lose their life for my sake who are musicians. will find it’” (Mt. 16:24–25; NRSV). The “self” • The liturgy in its repetition is cumulative yet Jesus asks us to deny is false in that it is devoted always new. Many suspect that liturgy as a to futile ends by destructive means. The cross Je- pattern of action and words is mere repe- sus asks us to take up is participation in his dying tition and therefore boring, deadly, and and rising—an incredibly threatening and risky irrelevant. I can understand this viewpoint. business, to say the least. The prospect horrifies I’ve experienced it even in some Lutheran our false selves. To give ourselves up is impossi- churches where it is done by the book. In- ble except by the grace of God. deed, you may feel this way, too. But I trust And that’s why we are talking about being that God will offer you—at least over these born and reborn, formed and re-formed across days when you are not necessarily having to worry about the cherub choir or that shut-in generations and cultures. call—a more dynamic appreciation of God’s mighty and gracious action in worship. Justin: I wrote the song “Born/Reborn”1 for a Worship requires a discernment of what is synod assembly; I was asked to compose an • “good” and what is “bad.” In a parable Jesus original song that worked as both a baptismal re- speaks of casting a net. When the net is full membrance and a song of praise. I was inspired and pulled to shore, people put the good fish by my friend Nate, who had recently written a into baskets and throw away the bad ones. baptism-themed song after reading a book about After telling this story, Jesus asks his fol- pirates. In that song he brings up the relationship lowers, “Have you understood all this?” and between drowning and finding treasure, and the they answer, “Sure. Yes. Of course.” And he kind of death that sets you free. And I thought, says to them, “Therefore every scribe who “why aren’t there many songs of praise about dy- has been trained for the kingdom of heaven ing?” And in asking that, I had my answer. The is like the master of a household who brings only way it would make sense is in light of bap- out of his treasure what is new and what is tism—being ushered into a life of carrying the old” (Mt. 13:47–52). That’s a question for all cross, through no power of our own. of us: “Have you understood all this?” And we take care not to answer too quickly as we, Bob: Worship is not an end in itself. It is a portal too, bring treasures old and new. into the heart, mind, and work of Jesus Christ by • Worship makes us part of a web of relation- the power of the Holy Spirit to the glory of God. ships with fellow worshippers from all times The liturgy is formative and re-formative. and places. When we profess the Apostles’

6 Fall/Winter 2016 CrossAccent www.alcm.org They call us into the deeper

s COUNTERPOINT water where we splash in the waves of God’s new creation.

Creed, we affirm our belief in the communion of saints. We are already in a glorious eschatological relationship with all who have been made holy by God’s grace, all God’s people in every time and place. Worship acts as a lens, allowing us to perceive gifts and relationships that are invisible in ordi- nary seeing. Even if we worship with a small group, the house is packed! Martin Luther, Julian of Norwich, Harriet Tubman, Albert Schweitzer, Fanny Crosby, Mother Teresa, and a host of others are there. They call us into the deeper water where we splash in the waves of God’s new creation.

Song: “Come, Holy Ghost”2 Come Holy Ghost. Come God and Lord with all your grace on us outpoured. Come Holy Light. Come Guide Divine now cause the Word of Life to shine. Come Holy Fire and Comfort True; grant us the will your work to do. Lord by your pow’r prepare our hearts. Where we are weak, Lord strength impart that bravely here we may afford our life and death to you our Lord. (x 2) Alleluia.

Bob: Worship always reflects the catholic, univer- sal dimensions of living tradition at the same time that we make it local and particular. If we believe in the communion of saints, then they all have a voice in what we do around book, table, font, pew. In Gordon Lathrop’s truly remarkable book, Holy Things (Minneapolis: Fortress Press, 1998), he reminds us that the ordering of Christian worship is best understood as a process and experience of mutual gift giving. The long and large cumulative tradition of the church univer- er sal gives us rich and splendid gifts. When loved w and treasured, this legacy is also what Lathrop describes as the “remedial norm.” But this norm Kathryn Bre

Fall/Winter 2016 CrossAccent 7 s COUNTERPOINT invites us to broaden what we tend to make ex- Song: “When It Seems the Day Will End”3 clusive, narrow, and impoverished when we limit When it seems the day will end our practices and imagination to our own taste And all light give way to fear or experience (174–6). We will speak your name again The liturgy must be particular to the time and To remind us you are here place where it happens. Thus, accepting the gifts that come from the larger tradition, we bring our New life rising own gifts to the table so that the legacy is always Ashes falling Joy and weeping here and now. Let’s try it this way: in worship we In your calling receive and give gifts in ways that are venerably ancient and faithfully current. When it seems the day will end Sinking low under our sin Justin: Of course, as many people here would We are dead and born again know, there’s no formula for creating an original And with you now enter in worship song (or prayers, or sermon) that will be a perfect fit for every possible situation. That is When it seems the day will end And a coldness fills our bones due to the need for generative worship material We will walk the way you’ve been to be peculiar to its context. For every detail that And our hearts will be your home is the same between our churches, or that strives to be the same (“one Lord, one faith, one bap- Worship is ordered and outrageous, scheduled tism”), there are other details emphasizing the and uncontrollable. This is because the body of reality that our communities are increasingly Christ is supremely human, even when it is en- different and diverse. I had a seminary professor gaged in liturgy. There is both grandeur and who called this relationship “reconciled diversi- an “oh, wow” dimension to the experience of a ty.” At the rate at which cultural change happens flesh-and-blood gathering around holy things. in the postmodern era, which is exponentially Whatever our age, gender, status, culture, eth- growing, the church—your church—is never nicity, we can only gather and participate in our going to get less diverse. And that’s good news— full humanity. because it’s also never going to be less reconciled. With the great addition of a track for chil- So when writing songs for a congregation, the dren at this conference, it is good to remember first thing I make sure of is that it is true to God’s that children participating in worship can only character as revealed in Scripture, but second, be themselves, sometimes to the dismay of us that it’s true to the character and identity of my overly socialized adults! Would we want them congregation. My end goal is to write (or choose) to stay away? No. We are diminished by their songs that sing with the voice of my congregation, absence. whatever that group may be. When I sing songs at a synod assembly, they are going to be differ- Bob: Before Justin speaks a bit more about that, ent from the ones I sing in a prison visit. Past I would like to tell a Justin story. He was four that, I try to create songs that are simply singable years old and very attracted to television. On and have some sort of beauty. Sometimes I find all Palm/Passion Sunday that year, at the conclu- three. Sometimes I don’t. sion of the Passion reading after Jesus had been taken from the cross and there was, disappoint- ingly, no mention of an empty tomb, Justin turned to Lois and excitedly whispered, “Mom, Mom, this is to be continued, right?”

8 Fall/Winter 2016 CrossAccent www.alcm.org In order to pick up a child who

s COUNTERPOINT needs attention, you often have to put something else down.

Justin: Kids and adults, together. At Sobremesa (the church I’m a part of in South Carolina), we have a glorious problem, which is that nearly 60 percent of our regular attendees are under 4 feet tall. That means it gets loud, and we as adults have to slow down to care for the smallest and youngest among us. It reminds me of a compari- son that was made at my home church, Humble Walk in St. Paul, Minn. We had an awakening when we heard visiting preacher Susan Tjornehoj remind us that Jacob, on his way to reconciling himself to his brother, was dragging his whole family with him, with the children in front of the entourage, setting the pace. For a long time, and lately especially, I’ve been considering her assertion that in order to pick up a child who needs attention, you often have to put something else down. Like groceries. Or a computer. Or sense of control. Or a neat/orderly/contemplative worship service. So at Dinner Church events we move at the pace of children. I talk more loudly. I beg people to sit and lead kid dinner-talks. If you’re sacrificing the youngest among you for the sake of a prettier, quieter, predictable worship service, you’re doing it wrong. This is the kind of noise we want in worship. If the Israelites raised children in the desert, we can sit with a noisy toddler for 65 minutes, and furthermore, allow all of the most vulnerable among us to dictate our pace. In worship we are always spirits and bodies, from infancy to death, being who and what we are. And just as there is no perfect or correct liturgy, there are no perfect or ideal assemblies. Liturgy is not about dressing up and pretending we are other than who we are. Even when our youngest members dress like shepherds and angels (a holy and devastating spiritual practice) there is no pretending. They are embodying and incarnating the nativity, being who they are in the fullest sense. Our quest—remember the ref- EN erence to Lathrop’s Holy Things—our quest is to give ourselves to God. K OC CHRIS

Fall/Winter 2016 CrossAccent 9 s COUNTERPOINT Plenary 2 faith with them throughout the other seven days of the week, you also have work to do. Justin: Liturgical churches use lots of words, particularly printed words. So I want to invite • Word next to table, leading to the poor. Meet you to lay aside that connection in order to em- the risen Lord as guest and host, priest and brace a broader and more dynamic appreciation sacrifice, body and blood in order to live of liturgy, which is exactly what Lathrop asks us with and in us for the sake of others. The to do in Holy Things. liturgy after the liturgy is a moral and ethical sense of being the body of Christ for the There are several dynamic pairings—or, world, particularly those in need. Sobremesa if you prefer to remain faithful to Lathrop, gathers in thin spaces: those public encoun- juxtapositions: ters where heaven and earth meet and there • Word next to word. I’m pro-simplicity in are no walls—anything that draws us closer worship. I think God can work in the spaces to those people who will never enter a tradi- we leave open, but I also think they have to tional church building. be intentional. In an effort to simplify wor- • Praise next to lament. Worship must be hon- ship, some of us have reduced our worship to est. The greatest crime of the contemporary a single gospel reading. This saves time and worship movement over the past 30-odd energy, but it also has an adverse effect. By years is that it’s 99 percent happy praise combining a gospel reading with a Hebrew songs. I get it. Those songs are fun to sing. Scripture text (at the very least), we’re illu- But we can’t be happy, happy, happy—even minating both readings and breaking open on Easter. Worship must be truthful. We what the gospel is saying to us. I would rath- weep with those who weep. As someone who er have a complex scriptural narrative than a pays attention to independent worship re- single, simple Bible story. sources, I’m encouraged to see an increase in • Assembly next to individual. In worship, we songs and liturgies of lament. After all, we’re enter as individuals and become communi- called to weep with those who weep. With- ty. Worship breaks open our self-centered out this honesty, worship becomes myopic orientation. This runs counter to the world’s and dishonest. Look at the psalms: praise consumerist claim that everything can and and lament are in proximity. ELW contains should be tailor-made for the individual. a seldom-used section on lament, and ar- I think contemporary worship, even more tistic groups like Bifrost Arts have released than other styles of worship, has to work collections of contemporary lament songs. hard at remembering that the preferences and opinions of the individual exist as a part 4 of a whole. That includes you, musicians! If Song: “In Labor All Creation Groans” a certain song doesn’t fit your tastes, then In labor all creation groans till fear and stop and ask whether it’s beneficial for the hatred cease, faith of the people gathered: faith is made Till human hearts come to believe: In Christ whole in community. alone is peace. • Seven days next to meeting on the eighth day. In labor all creation groans till prejudice The day we worship is the eighth day: a day shall cease, outside of time and space, where everything Till every race and tribe and tongue in is made new. But it also exists in juxtaposi- Christ will live in peace. tion to the other seven days when we have lives to muddle through, rejoice in, and so In labor all creation groans till rape and on. Some contemporary content comes un- murder cease, Till women walk by night unharmed and der fire for being exaggerated self-help TED Christ is this world’s peace. talks without divine mystery or spiritual depth, but if your high-church liturgy isn’t equipping the people of God to carry their

10 Fall/Winter 2016 CrossAccent www.alcm.org s COUNTERPOINT In labor all creation groans till false divisions cease, Till enemies are reconciled in Christ who is our peace.

Formation relating to baptism, both before and after the washing. As good Lutherans, we know that we’re reborn, transformed in our baptisms, but if we’re going to be a people of the calendar, a Paschal people, that means we need to hold the “event” of holy baptism in tension with our re- alities before and after the washing. It would be good for us to adopt those ancient practices that hold a time for preparation and education before the rite, or in the case of infant baptisms, a robust catechesis that lasts an entire life long. If we make baptism a one-time event, we’re further compartmentalizing that single hour out of the week and saying that worship is a one-hour weekly check-in rather than it being a time that transcends mundane time. The church year next to the Easter Mystery. Speaking of calendars, we remember that Easter is the hinge for the Christian sense of time. As Michael Bridges from the band Lost and Found says, the story of Jesus didn’t start with, “In those days Caesar Augustus declared . . . .” It started with, “Have you heard? Jesus is alive!” The Easter Mystery is the center of our worship. From there it spreads to the waiting of the Easter Vigil, the grief of Good Friday, all the way back to the Na- tivity, all the way back to the first Passover. All time and events are changed, both their signifi- cance and their power to determine our actions and thinking. The tensions inherent in the structure of our worship shape us. No Christian worship, whether it’s organ-led or band-led, exists in a vacuum that sucks us up away from the world, chews us up, and spits us out to “be nicer.” Worship is an eighth-day zenith into which we’re gathered and from which we’re sent out to live transformed lives. If it has nothing to do with the world around us, or with God’s praise being sung by creation, then it is empty. Only in the juxtaposed tensions that create opportunities for worship /dimatit633

can we find a God who is always with us, always k

at work. toc S ©i

Fall/Winter 2016 CrossAccent 11 s COUNTERPOINT Consider: have there been experiences when, Song: “Now All the Vault of Heaven with Jacob, you could say, “Surely the Lord is in Resounds” [ELW 367, LSB 465] this place—and I did not know it!” (Gen 28:16). How has your experience of worship shaped In our worship, Christ is not past. He is our your life and your identity as a Christian? contemporary. We are delivered, healed, restored to sight. We are forgiven, find our true voices, Song: “O Love, How Deep, How Broad, and are freed to joyful service. We experience 5 How High” [ELW 322, LSB 544] Christ eating with us sinners. Worship all flows from the deep, broad, and Justin: In worship we explore the depth, height, high love of the Paschal Mystery. The history of and breadth of God’s love. In this hymn we have the calendar’s development is a bit messy because the whole story of Christ Jesus, a story the calen- we have been trying—and still are trying; you’ve dar takes a whole year to tell. heard rumors about trying to set a fixed date for Worship reveals our identity, gives us our Easter in both the Western and Eastern church- vocation, and sustains us in it, binds us into a es, right?—we keep trying to come to terms with community gathered around the risen Christ, Christ and who he is; and because worship is places us in time and space, holds us accountable contextual, worship developed in and sought to for living responsibly, and guides us through ag- be faithful to its own context. onizing ethical choices, sickness, or death. The valuable insight and formative power We keep time with the risen Christ. We of the church year can only be realized in ex- keep a calendar and a related table of Scripture periencing it. It provides moments of encounter, readings—a lectionary. And we glory in telling truth-telling, and abounding grace. The Chris- the story of Jesus. tian year is the communal setting where we are Why do people come up to you just before blessed with a shared memory. Imaginations are you enter the chancel or the gallery to lead wor- charged by fire, water, bread, wine, ashes, foot ship and urgently tell you about some detail in basins and towels, oil. their lives or someone else’s? The head of the As you reflect on your lived experience of property committee tells you the church’s lawn the church year, what moments in worship stand mower isn’t working, or Mildred reports that out? How have these moments shaped and an- you will miss her warbling soprano because she’s chored you? going on a vacation to Borneo for a month. Why do they do that, when it seems totally out of con- Bob: You know, dear friends, how worship text just as you are about to process down the forms and re-forms us. For me that is seen and aisle? experienced in a great many ways in our wor- Maybe it’s because somehow they know that ship, including singing, remembering baptism, we all could go into worship and be changed for- hearing the word of God proclaimed. But now ever! God’s presence and power just might make I briefly want to talk about how the eucharistic us forget all the silly, mundane facts of our lives prayer forms and re-forms us. and take us out into the deep, where God’s mis- The eucharistic prayer begins with what sion and love sweep us into God’s own passion God has done in the past. It looks to the fu- for the world. Maybe it’s because we continue to ture, to the consummation and unification of be re-formed and reborn. all things in Christ, when all divisions will be Worship is momentous and dangerous. It overcome and all sorrow ended and every tear can form and re-form us. And that’s because it wiped away. And it situates the present moment is all related to the amazing story of what we call in that context: this Sunday in July, this time the Paschal Mystery: Christ crucified and risen of bereavement, this marriage, this conflict, this for the life of the world. hour of suffering, this time of gladness. We pray

12 Fall/Winter 2016 CrossAccent www.alcm.org s COUNTERPOINT for the Holy Spirit to enter anew into our histo- in our total devotion to God and to God’s work ry and into our lives through this celebration, so in the world, no matter what the cost. that God’s work of salvation may be experienced now and, through our lives, be brought closer to Conclusion its completion. We pray that God will make us When I think about forms of worship I automat- signs of God’s gracious love. ically think about print, which shows that I’m The eucharistic prayer makes clear the pas- rushing headlong into the 1970s when it comes chal character of the whole celebration. It is to high-tech stuff and paperless liturgy. A wise about Christ’s sacrifice, about he who—in sub- pastor once shared with me his three laws of li- mission to God and for love of us all—did not turgics: “If it’s old, it’s good; if it’s in print, it’s try to evade death but let himself be crucified true; if they give you options, use them all.” and killed rather than be unfaithful. Remem- My spouse and Justin’s mother, Lois, should bering the death of Jesus is not something that actually be talking about this. I was the pastor, can be done simply by thinking about it. To re- up front, leading worship. Lois was the cate- member Jesus is to live as he lived, to think as chist who modeled for our children, Debbie and he thought, to act as he acted. To remember the Justin, both the shape and the behavior of wor- death of Jesus is not just to be moved by tears at ship. From Lois I have learned that children are the old rugged cross but to heed the words of St. formed as Christians through the experience of Paul: “let the same mind be in you that was in assembling faithfully. Our children knew the Christ Jesus” (Phil. 2:5). texts and tunes of the liturgy (and even some The purpose of the liturgy is not to give hymns) well before they were in kindergarten. lip service to God but to glorify God as Jesus They sang because we sang at home and in the glorified God. This is done when our lives are car. We carried a hymnal with us on trips. They transformed under the influence of the Holy learned the sign of the cross by participating Spirit so that we become increasingly Christ-like with their parents in that signing. They turned

Fall/Winter 2016 CrossAccent 13 s COUNTERPOINT to face the cross in procession because the as- Notes sembly turned. In some ways it’s like patterning, a technique used by physical therapists to restore 1. Words and music by Justin Rimbo. the use of limbs following disasters like strokes: Born, reborn — Born, reborn the therapists move the limbs for the victims un- Formed, reformed til such a time as the victims are able to do so Souls with gladness now adorned themselves. This form of our worship forms us, Born, reborn — Born, reborn takes us from the font and shows us what bap- Formed, reformed tism means, brings us to the table and feeds us Praise our God forevermore what we need. Worship invites us to pilgrimage and offers Drown us Raise us us the grace suited to the stages of the journey. Mark us When we first discover the rich dimensions of Claim us communal prayer and praise, we may be especially conscious, even fascinated, with the outward Name us Heal us aspects of worship. We like the music, the art, Wash us the architecture. We like the shape, the histo- Seal us ry, the sense of tradition. As time passes and this The song may be heard at http://justinrimbo way of being together before God becomes more music.bandcamp.com. Justin’s music is under a ingrained, we recognize that the Holy Spirit is Creative Commons Share-and-share-alike license— making connections between what we perceive people are welcome to use it as long as they don’t in worship and what we are called to discern in claim authorship, they attribute Justin, and they our daily living. don’t sell it. 2. Words by Martin Luther; music by Tara Ward and Paula Best. The lead sheets are available for Justin Rimbo download at http://belovedschurch.org/hope/get is a musician, album.php. songwriter, worship leader, and writer. A deacon in the ELCA, he 3. Words and music by Justin Rimbo. The song may works with the South Carolina be heard at http://justinrimbomusic.bandcamp.com/ track/when-it-seems-the-day-will-end. Synod exploring the future of Sobremesa, a pilot community for those in the 4. Words by Dolores Dufner; tune traditional; Vista neighborhood of Columbia, SC. featured on the digital album Lamentations by Bifrost Arts Music. See https://bifrostartsmusic. bandcamp.com/track/in-labor-all-creation-groans Robert Alan Rimbo is bishop of for a lead sheet. the Metropolitan New York Synod (ELCA). A graduate of 5. A version by Jonathan Rundman from his Concordia Senior College, Fort digital album Lost Songs may be heard at https:// Wayne, IN, and Christ Semi- jonathanrundman.bandcamp.com/track/ oh-love-how-deep-2000. nary–Seminex, St. Louis, MO, he also holds an honorary doctor of divinity degree from The General Theological Seminary of the Episcopal Church, New York, NY. He has published essays, sermons, and numerous other articles relating to worship and is the author of Why Worship Matters (Minneapolis: Augsburg Fortress, 2004). He was a member of the resource proposal group for the ELCA Renewing Worship project, which led to Evangelical Lutheran Worship (2006).

14 Fall/Winter 2016 CrossAccent www.alcm.org s COUNTERPOINT

Partnering with the Spirit: Gathered, Enlightened, nds SA

AMY and Transformed by Brian Maas

Called and Gathered: from which we all learned and remember the most frequently repeated sentence, “What does The Spirit Draws Us In this mean?” Luther’s greatest legacy may have his year’s [ALCM] event and these com- been this encouragement to ask questions. ments use the theme “Blowin’ in the Jesus himself was a question asker, not an T Wind.” But why? Even Bob Dylan didn’t answer giver. Martin Copenhaver, in his book know what it meant! The wind of the Spirit nev- Jesus Is the Question (Nashville: Abingdon Press, er ceases to move. Worship is to be inspired and 2014), tells us that in the four gospels Jesus was inspiring. Because, at the end of the day, there is asked 183 questions. He only gave eight direct no single answer to what makes for worship that answers. Jesus asked 307 questions of others! inspires—it’s forever blowin’ in the wind. Statements end in periods, which are like closed Some of you recognize in this section’s title doors. Questions end in question marks, which the reference to Martin Luther’s Small Cate- are open doors. These open doors invite us in. chism’s explanation of the Third Article of the The Holy Spirit is the question mark of the Trin- Creed. More importantly, you may have noticed ity. Are you curious about what that means? That that my three little spiels are sequential, follow- curiosity is the Holy Spirit. See how it draws us ing the flow of worship itself. I ask you, how in. We are partners in the Spirit’s work. many Lutheran confirmation survivors are here? Remember Genesis 1:1: “In the beginning, How many of you remember this little book when God created.…” What did God create out of? Most people respond, “out of nothing,” but Editor’s note: This is a plenary presentation that’s not quite what Genesis says. Genesis uses from the July 2016 gathering of ALCM the Hebrew phrase, tohu wa vohu. The Hebrew Region 3 in Chicago, IL. does not translate literally. We say, the earth was

Fall/Winter 2016 CrossAccent 15 s COUNTERPOINT a “formless void,” a seething mass of potential in Acts looks like this: the disciples gather to- (think of a teenager’s bedroom), and that’s about gether, the Spirit blows and burns. And then the as close as we can get in English. What was it Spirit sends them out. A week later, they’re back that moved over that tohu wa vohu? A wind—in again. Hebrew, ruach; in Greek, pneuma—from God. In both tellings of the Spirit, the process un- Borne on that wind were God’s words, “Let there folds like the familiar three-arrow triangle of the be light.” recycle symbol. The disciples are sent out, they This story of the beginning is normative for tell others, they gather for renewal, and then all of the word. While the universe waited as they repeat. This is the formative cycle of life in mere tohu wa vohu, God was up to something. the church—or at least it’s intended to be. It’s When the Israelites wandered in the wilderness, easy to fall short on one or more segments of the God was up to something. When they were in cycle, to the detriment of the congregation and exile, God was up to something. When Jesus its surrounding community. fasted after his baptism, God was up to some- Long ago someone told the story of a young thing. When he lay in the tomb, God was up to student whose science paper confused inhalation something. While the disciples sat behind locked and exhalation with inspiration and expiration. doors, God was up to something. While you’re One sentence read, “if you’re not inspiring, staring at hymnals and calendars wondering if you’re expiring.” That’s a pretty accurate sum- you’ll ever complete your worship planning, mary of life in the church. God is up to something! So how do we, those charged with planning In my own ministry in the parish and in and leading worship and arts in the church, part- the bishop’s office, I have experienced how little ner in the calling and gathering, the inviting and most of our members are aware of the treasures drawing in? I should confess as I ask this ques- of the Spirit’s work in these times of waiting, in tion that I’m not a fan of “worship evangelism”! our understanding of the word, and in the Small Worship as evangelism doesn’t work—it’s and, Catechism’s question-driving wisdom. It’s this not as. Great worship can’t fail to inspire evange- lack of knowing, and the mystery and power that lism; but worship is not, nor is it intended to be, are thereby missed, that led to the titles of these evangelism itself. keynotes. We are partners in the Spirit’s work. People still seek God and good news. From What does this mean? If the Spirit’s work is my perspective, saying “I’m spiritual but not to “call, gather, enlighten, and sanctify,” what is religious” is a little like saying “I play football our role? How do we partner with this work? alone.” Sooner or later, life is going to come rush- Think of the story of Pentecost’s wind and ing at you like a bunch of furious linemen and flame. These are phenomena we plains-dwellers defensive backs. With whom have you huddled understand well. Wind and fire, each powerful in order to be prepared? Who is helping you fend in their own right, are downright terrifying in off those threats and challenges? How do we combination. Yet even a prairie fire leaves in its help people locate God and good news, not just wake vast potential for new life. The fire gets rid church? of accumulated undergrowth and makes new As a lifelong Nebraska Cornhusker, I have life possible. Isn’t this sometimes the role of the for years been hearing people tell me that the N Holy Spirit? on the helmets of our football players stands for In John’s gospel, the gift of the Spirit looks “Nowledge.” I suggest that there are three sim- like this: the disciples gather in fear on the eve- ilar N’s to our weekly cycle of worship. And I ning of the resurrection. Jesus appears, breathes want to ask you again as worship planners and the Spirit on them, and sends them out. A week leaders, what is our role in the iNspire–eNgage– later, they come back. They gather again in com- iNvite cycle? Put another way, how does your munity—and the Spiriting, the inspiring and congregation’s worship partner with the Holy sending, happen once more. The Pentecost Spirit Spirit to call and gather?

16 Fall/Winter 2016 CrossAccent www.alcm.org s COUNTERPOINT Consider: • What happens before Sunday? Before worship? • What’s the prelude about? What’s it for? • What does worship say to your community? What does the community say to you? • How are you helping those who gather to prepare for worship? • What about announcements? Greetings? Hospitality among members and guests? These are all important questions to bear in mind in all the planning and leading we do. Likewise, it’s important to remember this critical truth: we are part of a story that reaches back beyond time and is based on the promise that always, God is busy in our chaos and waiting. The Spirit moves within and beyond to call and gather—to draw all in to the life expressed in the good news we proclaim.

Enlightened: The Spirit nds SA

Inspires and Renews AMY In this section, I move to the next verb, “enlight- What if Moses and this ened,” in the Small Catechism’s explanation of the Third Article of the Apostles’ Creed. holy encounter at the If you travel across Nebraska on Interstate burning bush became 80, you will encounter a sign near one of the overpasses that reads, “Watch for wind.” That our aspirational model probably makes some people scratch their heads. for worship? You can’t watch for wind, you can only watch for evidence of wind: what’s moving, and how and in what direction? Still, you do have to watch for the newspaper: to be assured that nothing much it, to be ready for it, or disaster could strike— has changed? hence the sign. More than one tractor trailer has I want to turn again to the word and invite been blown completely off a prairie overpass. By you to consider the story of Moses encountering the same token, you want to watch for evidence the burning bush as a model for worship and for of the wind because opportunity could strike! encountering the holy. How might our worship Windmills used to dot the plains. aspire to this sequence: Moses sees a sight. He My question to you is, how do we watch for hears his name. He’s told to put off his sandals. the wind of the Spirit in our planning and lead- Pause here and imagine for a moment that ing worship, and how do we help others to do the a modern crime scene lab got hold of those san- same in their experience of worship? When peo- dals. Imagine that their thorough, microscopic ple arrive in our congregations for worship, do examination leads them to conclude that be- they arrive expecting to be met by God? Do they cause of their style and quality of construction, expect to be transformed and to leave inspired they were made for someone wealthy or power- and enthused? Or do they, as one cynic noted, ful—perhaps a prince; that a stain reveals a trace come to worship for the same reason they read of human blood, perhaps shed by a murderer;

Fall/Winter 2016 CrossAccent 17 s COUNTERPOINT that different particles of soil in the seams suggests the wearer has been to Egypt, trekked through the wilderness, and lived near the bush where the sandals were found; and that, based on what’s found on the soles, the wearer has been following sheep. Those sandals are, metaphorically, the sum of his identity—prince, murderer, fugitive, shepherd. They are the roles Moses plays, the labels the world would put on him. But before God, he’s barefoot! Before God, he has no roles to play,

no labels to endure—he is just Moses, only Mo- nds SA

ses, the chosen and gifted child of God. AMY What if Moses and this holy encounter at How might we now the burning bush became our aspirational model for worship? How would we: think about retelling • garner attention? the story of the liturgy • let God speak? • invite into holiness? instead of just letting it • get people to “take off their sandals,” their be a rote experience? roles, their labels? • remind and renew them with God’s incar- us from the limits we too often impose on our nate presence? preparations for worship and open us to more • remind them of their God-given names? lavish experiences of Christ’s living presence in their God-given gifts? our worship? How do we get them to put their shoes back Imagination is critical to partnering with on and fulfill God’s mission for their lives? the Spirit. Imagine a simple exercise in which Consider another story that can inform our you partner with one other person. One of you worship, that familiar story of Mary anointing tells the other a story, weaving in four images Jesus’ feet in John 12. Judas, the keeper of the given to you. After a few minutes, you reverse purse, gets upset, suggesting that the money roles with four new images. This practice of story- lavished on Jesus could be better spent in oth- telling with images from outside your own imag- er ministry. (How many of us haven’t heard ination, artificial though it is, actually helps us this rationalization any time a worship-related become more imaginative in the minutes that expense is proposed?) Think, again with imagi- follow. It’s as though we’ve moved out of some of nation, about Jesus’ response: “the poor you will the ruts in which our thoughts run. always have with you, but you will not always How might we now think about retelling have me.” What if, instead of the way that phrase the story of the liturgy instead of just letting it has been used to justify our tolerance of pover- be a rote experience? How might we use music or ty, we heard Jesus’ words instead as “the poor images or words differently in service to our wor- in imagination and inspiration you will always ship? How might we apply imagination in ways have among you—those who see only budget beyond hymn and anthem selection? lines and dollar signs and pragmatism and pro- Imagination already abounds in congrega- grams—but those who sense my presence, who tions. Which ideas have you encountered? Used? seek to encounter me, and who offer worship in Here are only a few examples of how congrega- response—those people and moments will be tions have exercised imagination in worship and harder to find”? How might such a reading free worship planning:

18 Fall/Winter 2016 CrossAccent www.alcm.org s COUNTERPOINT • explored the fullness of the Revised Com- How might this be true not only of our mon Lectionary; for example, using the reading of stories but also of our living in com- semicontinuous readings instead of the munity? Consider: complementary readings; • what is the cultural context of your worship- • used the narrative lectionary, which seeks to ping community? tell a larger story than the Revised Common • what are the marks of the cultural context to Lectionary; which you’ve adapted your worship? • created a worship or preaching series; • how does your worship prepare missionaries • offered the assembly the opportunity to read for that context? the Scripture, instead of or in addition to in- • how does your worship invite or welcome (or dividual readers; both) those from that context? • set up “creation stations,” which give access Always, the Holy Spirit inspires and renews. to art supplies right in the sanctuary during With imagination, sensitivity, and awareness the sermon, so that children or others can we are invited, like those drivers along I-80, to explore the day’s Scripture or the season’s watch for evidence that the wind of the Spirit is meanings in different ways; blowing. • held silence, in different places and of great length; and Sanctified: The Spirit • utilized congregational interactivity in Transforms and Sends preaching, prayers, choral offerings, and hymns. The Holy Spirit “calls, gathers, enlightens, and sanctifies the whole Christian Church on earth,” In addition to imagination, awareness is criti- according to Martin Luther’s Small Catechism. cal to planning and leading worship—awareness Worship is a cycle. It is the respiratory cycle, the of the culture and context in which we worship. breathing of the body of Christ. Remember the Generally speaking, our congregations don’t inhalation/exhalation parallel: if there’s no in- look like the communities around them. Whole spiration, there’s expiration! segments of our communities are separate from Sanctification is an under-utilized word for our congregations, because their race, ethnici- Lutherans. We focus more on justification, per- ty, or socioeconomic status is different from the haps an over-utilized word for us. In a time and dominant ones in our congregations. religious system in which sanctification was key Once again, the word is instructive in how to salvation, and almost no one qualified, Lu- this element can impact our work, through the ther’s insight into justification was critical. If lens of the story of the Prodigal Son. Mark Al- God has the justification piece taken care of, lan Powell, in his essay “The Forgotten Famine” we’re free to be made holy—not the other way (in Literary Encounters with the Reign of God, ed. around! Getting justification ”right” makes Sharon H. Ringe and H. C. Paul Kim [New sanctification possible—and celebratory. York: T & T Clark International, 2004]), tells of Looking to sanctification as the means for his experience of how differently seminarians in achieving our justification is a fool’s game; hence North America, Russia, and Tanzania read this Luther’s strong emphasis on justification (see the familiar story. Depending on context, students’ Augsburg Confession, Article XII, “Of Repen- emphases shifted from the son’s personal choices tance”). But Luther did not intend justification to the role of the famine in the story and even to to be a focus to the exclusion of sanctification. In the awareness that no one from the surrounding truth, one cannot experience justification with- community helped the son when he was living out sanctification, just as one cannot do half a with the pigs and longing to eat their food. Em- somersault. To be aware of one’s being made phases and meanings that seem simply obvious right (justified) before God leads to a response in and unchanging to us are not always shared by holy living (sanctification). others.

Fall/Winter 2016 CrossAccent 19 s COUNTERPOINT In Luther’s On the Freedom of a Christian (1520), he expresses these critical truths: “A Christian is a perfectly free lord of all, subject to none. A Christian is a perfectly dutiful servant of all, subject to all.”1 This statement, wholly paradoxical and quintessentially Lutheran, expresses the natural relationship of justification and sanctification.Justified by the life, death, and resurrection of Jesus Christ, we are free from any bondage the world may try to throw at us. Thus freed to live beyond limits and expectations, we can dedicate our whole lives to serving others and are thereby sanctified simply in our living.

To be sanctified is literally “to be made nds SA

holy.” And to be made holy is to be made differ- AMY ent. Or as Flannery O’Connor is said to have put How might we do our work it, “You shall know the truth and the truth shall make you odd.” Saint Paul put it this way in Ro- differently to partner with mans 12:2 (NRSV): “Do not be conformed to the Spirit in making room to this world, but be transformed by the renewing of your minds, so that you may discern what is the celebrate the freedom of our will of God—what is good and acceptable and perfect” (emphasis mine). justification by the living out This is part of what worship does for us and of our sanctification? to us. Worship makes us different—it transforms us. We become holy; and yes, by the world’s standards, we become odd. We are not the same. • how would you rate race relations in our na- Consequently, if I leave worship the same as I ar- tion? in your community? rived, I have not been encountered by the living • how does your race impact your life? God. Or I’m really, really stubborn! • how do you live differently—for better or To revisit an earlier theme: worship, as dis- worse—than someone of another race? cipleship, does not happen in a vacuum. We are • how do you feel you’re called to live as a dis- all swimming in a cultural context. Given the vi- ciple of Jesus and a member of your race? olent events of the past several months, it’s time • how are you being sanctified, changed, with to ask how we can live out our sanctification by regard to the matter of race? becoming different ourselves. More than simply • how are your congregation and your com- asking how our worship can more effective- munity being sanctified? ly mirror our community, it’s time to ask how we, our congregations and, yes, even our wor- • or is the matter even being discussed (or ship, can inhabit, inspire, impact, and sanctify acknowledged)? our communities. But we have to be willing to If we believe that the Holy Spirit is doing be sanctified—changed—ourselves. what we confess, we need to be attuned to how Questions need to be asked of our worship- sanctification is happening—or whether it is ping communities not only because of recent happening—and how we might do our work events sparked by racial tensions but also be- differently to partner with the Spirit in making cause of systemic challenges that we continue to room to celebrate the freedom of our justifica- endure: tion by the living out of our sanctification.

20 Fall/Winter 2016 CrossAccent www.alcm.org s COUNTERPOINT Whether it is in this critical area of racism even in the chaos and wondering of our wait- or in another, we are the heirs of a great tradition ing. The Spirit enlightens, blowing as the wind when it comes to being formed in faith (another and breath of God to destroy barriers, eliminate phrase for sanctification). Every Lent, most Lu- undergrowth, make new life possible, and carry therans in most congregations simply know, like aloft our hopes. As we prepare and lead worship salmon returning to spawn, that it’s time to be with imagination, we watch for that wind. The taking part in midweek worship. Look ahead to Spirit sanctifies, transforming and making us our next Lenten season. How will you partner holy, in order to transform and make holy the with the Spirit to enlighten and sanctify your world. worshipping community and the community I believe that the Spirit is always more active beyond? and available than we recognize. Our challenge Lent gives us five Wednesdays between Ash isn’t waiting for the Spirit to show up—it’s get- Wednesday and Holy Week—five opportunities ting out of the way so that the Spirit can do what for new learning, new formation, new worship- the Spirit does. Perhaps nothing expresses that ping experiences. Here are only a few examples desired attitude toward the Spirit more than the of themes for capitalizing on those five Wednes- prayer of Fr. Mychal Judge, the chaplain of the days. One could focus on: New York Fire Department who perished on • preaching/teaching on the five sections of 9/11. His daily prayer was, “Lord, take me where the Small Catechism; you want me to go, let me meet who you want • preaching/teaching on the five blessings of me to meet, tell me what you want me to say, and Affirmation of Baptism; keep me out of your way.” As you offer and live out that attitude and • inviting members to share the story of their prayer, bear this in mind: you have been called faith (not a Lutheran habit—but needs to to and gifted for this holy service, imperfect be); or and sinful though you may be. Your talent and • inviting members to share life experiences, passion, your reason and strength, are insuffi- under such themes as “What I learned from cient alone. But the Holy Spirit has called you suffering,” “When hope was real for me,” “My by the gospel, enlightened you with his gifts, experience of the power of reconciliation.” sanctified and kept you in the true faith. The Lent is also a good time to consider varia- Spirit calls, gathers, enlightens, and sanctifies tions not only in the content of preaching and the whole Christian church on earth and keeps teaching but also in the structure and experi- it with Jesus Christ in the one true faith. You are ence of worship itself. If you haven’t already tried the Spirit’s partner in this holy endeavor. This is them, Lent is a great time to introduce Taizé mu- most certainly true. sic, evening prayer (vespers), compline, dinner church, or thematic interactive worship. Brian Maas is bishop of the Artwork for this Being open to the Spirit makes room for and Nebraska Synod of the ELCA. article is from the inspires sanctification. Resistant as we human He is a graduate of Nebraska “God’s Promise” beings can be to change, we nonetheless strive Wesleyan University and Yale biblical pictoral timeline, a pri- in faith to be changed, to be sanctified—made Divinity School and holds a vate collection of holy—in worship, so that we may become agents certificate of studies from Lutheran Theological First Congrega- of sanctifying—changing, making holy—the Seminary at Gettysburg, tional Church, Riv- world. This is the never-ending work of the Holy er Falls, WI. www. Spirit. Note firstchurchrf.org/ 1. In Martin Luther’s Basic Theological Writings, ed, bibletimeline. Conclusion Timothy F. Lull (Minneapolis: Augsburg Fortress, 1989), 596. In and through us and the worship we serve, the Spirit calls and gathers, busily doing things

Fall/Winter 2016 CrossAccent 21 s COUNTERPOINT

For Whose Sake? Kinesthetic Energy Patterns and Liturgical Discernment by Sandra Dager

hen Father Joseph walked into the Father Joseph was faced with his first pas- sanctuary of his new congregation on toral test. Not surprisingly, it involved worship. W Maundy Thursday morning, he no- Should the congregants be invited to shine one ticed there were no bowls, towels, or ewers at another’s shoes or wash one another’s feet? For the foot-washing stations. Instead, there were whose sake would he make that decision? What shoeshine boxes and polishing cloths. Curious, issues and factors should he consider? Father Jo- the new priest called the head of the altar guild seph decided to banish the shoeshine boxes and and asked for an explanation. He learned that bring back the foot-washing bowls. the ritual Jesus carried out on the night of his be- In less time than it took to cry “Kyrie eleison,” trayal and Jesus’ mandate for his followers to do a small liturgical mutiny erupted. The head of likewise had been deemed a bit too “invasive” for the altar guild let it be known that she would be the parish. Somewhere along the way it had been wearing pantyhose on the first day of the Tridu- decided that the shining of shoes was a perfectly um. No one would be washing her feet! Taking good substitute for the washing of feet. It cap- their cue from their leader, other women showed tured the essence of servanthood and bypassed up on Maundy Thursday wearing that indis- the embarrassment. pensable wonder fabric that minimizes bulges, hides varicose veins, and makes a woman look more polished and put together. For whose sake Editor’s Note: Presented at the ALCM Region 4 conference in Sacramento, CA, July 2016. was their decision made? We may chuckle about

22 Fall/Winter 2016 CrossAccent www.alcm.org s COUNTERPOINT the shoeshine boxes and pantyhose protestors, Without Christ, human but this was no laughing matter for the priest interactions are driven who had to deal with the situation. Whether liturgical decisions have to do with by people’s egos. musical interpretation, the selection of hymns and liturgies, expanding a congregation’s wor- of Christian community informs our liturgical ship repertoire, handling a conflict, or any other discernment. aspect of worship and music, worship leaders Bonhoeffer emphasizes the foundational engage in liturgical discernment over a wide va- role of God’s grace in relation to Christian com- riety of issues on an ongoing basis. At the heart munity. He believes Christian community is a of every decision we make about worship there gift from God: “it is by the grace of God that lies this question: “for whose sake will this deci- a congregation is permitted to gather visibly in sion be made?” this world to share God’s Word and Sacrament” We will consider this question from three (18). As far as Bonhoeffer is concerned, God’s perspectives: Dietrich Bonhoeffer’s insights grace is the bottom line, the sole foundation and about the nature and foundation of Christian rationale for Christian community. Gathered by community, Henri Nouwen’s treatment of the God’s grace, Christians only come to one anoth- two sides of hospitality, and Marcia McFee’s er through Jesus Christ. Without Christ, human dissertation on kinesthetic energy patterns in interactions are driven by people’s egos. If Christ worship. Their ideas generate fresh thinking is not at the center, churches can morph into about the criteria for liturgical discernment and what Bonhoeffer refers to as a “wish dream” or enhance our ability to make decisions for the human creation. According to Bonhoeffer, prob- sake of Christ. lems in Christian community occur whenever a Christian community is guided by the ideas or Christian Community ideals of its members rather than by Christ: During a horrific period in Germany’s histo- innumerable times a whole Christian com- ry, Lutheran pastor Dietrich Bonhoeffer taught munity has broken down because it had sprung from a wish dream. The serious Chris- in an underground seminary for Confessing tian, set down for the first time in a Christian Church pastors. This experience caused him to community, is likely to bring with him a very reflect on the nature, challenges, and demands definite idea of what Christian life together of Christian community.1 His insights about the should be and to try to realize it. But God’s essence and foundation of Christian communi- grace speedily shatters such dreams. (26) ty invite us to consider how our understanding No aspect of a Christian community is im- mune to wish dreams—including worship. Liturgical wish dreams can be just as difficult to Gather visibly ... to share handle as other areas of ministry. Bonhoeffer’s God’s Word and Sacrament. antidote to wish dreams is a willingness to put Christ at the center of a Christian community: the more genuine and the deeper our community becomes, the more will everything else between us recede, the more clearly and purely will Jesus Christ and his work become the one and only thing that is vital between us. (Ibid.) Bonhoeffer’s comments about the nature of Christian community are relevant to liturgical discernment and raise important questions. As we consider our own contexts, we do well to ask

Fall/Winter 2016 CrossAccent 23 s COUNTERPOINT If we tell people, “‘You can be under a condition or for a price” (69). We might add “worship the way we do” to the list. Nou- my guest if you believe what I wen says conditional receptivity is hostes, not hospes—hostility, not hospitality. believe, think the way I think Interestingly, Nouwen suggests that recep- and behave as I do,’ we offer love tivity is only one side of hospitality. As yin is to yang, the flip side to receptivity is confrontation. under a condition or for a price.” The idea that confrontation may be an important aspect of hospitality may come as a surprise. what currently occupies the space between the Nouwen does not view confrontation as aggres- members and the leaders of our community’s sion. He sees confrontation as the offering of an worship. Is it Christ, or is there something else at unambiguous presence, a clarity about one’s own play? Is our worship deeply and truly Christ-cen- positions. Hospitable confrontation is the clear tered, or has it developed into a wish dream—a articulation of limits, boundaries, and identity. reflection of human ideas, ideals, and agendas? For example, is it hospitable to select music for It takes great courage and integrity to ask Lutheran worship from a tradition that stresses questions such as these. If we wish our liturgical human agency or decision-based theology over discernment to be grounded in God’s grace and and above a Lutheran understanding of God’s shaped by Christ, these questions need to be tak- grace? To adopt a worship format that makes the en seriously. assembly’s role more passive and less participato- ry? To base worship decisions on congregational Hospitality politics? To excise large chunks of the liturgy to make it more “appealing” to visitors? A Christ-centered community is a hospitable From Nouwen’s perspective, hospitable con- community. Christian hospitality flows from frontation combines clarity with love: a profound understanding of God’s grace and finds expression in neighbor-love. Drawing in- When we want to be really hospitable we not only have to receive strangers but also to con- spiration from the story of Abram’s extension of front them by an unambiguous presence, not hospitality to his mysterious visitors in Genesis hiding ourselves behind neutrality but show- 18, Henri Nouwen stresses the importance of ing our ideas, opinions and life style clearly hospitality: and distinctly. No real dialogue is possible if there is any concept worth restoring to its between a somebody and a nobody. (Ibid.) original depth and evocative potential, it is Sometimes hospitable confrontation re- the concept of hospitality. It is one of the quires us to walk a rather fine line. Nevertheless, richest biblical terms that can deepen and striking a balance between receptivity and con- broaden our insight in our relationships to our fellow human beings. Old and New Tes- frontation is not only crucial to hospitality, it is tament stories not only show how serious our also crucial to healthy liturgical discernment. obligation is to welcome the stranger in our As Nouwen sees it, “Receptivity without con- home, but they also tell us that guests are car- frontation leads to a bland neutrality that serves rying precious gifts with them, which they nobody. Confrontation without receptivity leads are eager to reveal to a receptive host.2 to an oppressive aggression which hurts every- Nouwen envisions hospitality as the cre- body” (70). ation of a free space where people can come into Offering liturgical hospitality that is bal- our lives and offer their gifts. When we are re- anced between receptivity and confrontation ceptive, we allow people to enter our space on is challenging. But it is not impossible. When their terms, not ours. If we tell people, “‘You can Christ becomes the only thing between us, be my guest if you believe what I believe, think Christ will be central to our liturgical discern- the way I think and behave as I do,’ we offer love ment as well as to our expressions of hospitality.

24 Fall/Winter 2016 CrossAccent www.alcm.org s COUNTERPOINT with which we feel the most at home and do our best work. When we operate out of our primal pattern, we have the greatest access to our alpha brain waves; experience our highest levels of cre- ativity; and feel the most relaxed, centered, and happy (McFee, 159, 209). While we have the ability to access each of the four patterns and may even have a strong secondary pattern, one pattern will be primary. Energy patterns not only influence people’s perceptions and relationships with others; they also influence the way people worship—or would prefer to worship. McFee’s doctoral dissertation on the ways energy patterns impact worship will be our guide as we look at worship through this fascinating somatic lens. (For those joining this excursion as readers, /florintt k the next five paragraphs chronicle the conference toc S participants’ interactive, embodied introduction ©i to the four patterns—thrust, shape, swing, and Kinesthetic Energy Patterns hang [159].5) The world in which we live pulsates like a great Our kinesthetic exploration began with a energetic symphony. Everything in this poly- rousing rendition of “We Are Marching in the rhythmic planet moves in distinct energetic cadences. Lumbering elephants and buzzing bees, raging waters and quiet streams, beating hearts and clapping hands—all move in unique rhythmic patterns. Even rocks have an energetic rhythm. Music, of course, is all about rhythm. We, who have been created in God’s image, are part of this energetic orchestra. Everything we sound INSPIRATION say, think, or do is expressed and negotiated through rhythm—specifically kinesthetic energy patterns.3 Kinesthetic energy patterns are neuromuscular patterns of muscular excitation Riedel enhances the worship experience by inspiring the that determine how people move, think, relate dynamic expression of speech and sound. By blending art, to one another, and behave in their environment. science and skill, we help enrich the fullness, presence and

Kinesiologist Josephine Rathbone discovered clarity of speech and music, as well as silence unwanted noise. the existence of four distinct energetic patterns in her subjects while conducting research on 4 SCOTT R. RIEDEL & ASSOCIATES, LTD. neuromuscular excitation. 819 NORTH CASS STREET • MILWAUKEE, WI 53202 Essentially, every person has a primary (pri- (414) 771-8966 • www.riedelassociates.com email: [email protected] hear the difference. mal) energy pattern. A person’s primal energy pattern is impacted by many factors, including the influence of other people’s primary patterns, Acoustical Design & Testing • Organ Consultation & Inspection • culture, environment, and the expectations oth- Organ Maintenance & Tuning • Sound & Video System Design, ers place upon us. Our primal pattern is the one Evaluation & Training

Fall/Winter 2016 CrossAccent 25 s COUNTERPOINT Light of God” (ELW 866). The pianist burst into get in sync with anyone else’s movements. The the driving rhythm of this hymn, emphasizing spontaneity of this pattern was contagious and the bass notes. With gusto and enthusiasm, ev- connected us to God and to one another in a eryone launched into the forceful rhythm of the completely different way than the previous two thrust energy pattern. Arms pumped back and patterns. forth vigorously; feet stomped to the beat. The Quietly, subtly, the music shifted. The pi- singing was clear, unambiguous, focused, and anist’s fingers caressed the keys to a worshipful loud. We were headed toward the promised land whisper, setting the stage for a collective ascent without deviation, delays, or detours. to the seemingly formless, ephemeral world of Smoothly, the pianist segued to the clear, or- the hang pattern. While the piano gently nudged derly rhythm of the shape pattern, expressed by people into a state of quiet awe, the assembly the steady cadences of “The Church’s One Foun- floated into a quintessential hang hymn: “Eat dation” (ELW 654, LSB 644, CW 538). The first This Bread” (ELW 472, LSB 638). Arms and order of business was to organize the singers for bodies moved slowly, like anemones in the sea. the singing. Following the leader, everyone si- Moving in no particular pattern, people turned lently conducted the hymn in 4/4 time while inward. Many closed their eyes and drifted into the piano played the hymn with quiet precision. the Holy of Holies. There was no formal indi- Without being told, everyone waited for the cation as to when the singing was to stop. The leader’s instruction before breaking into four- group simply sang until it felt “right” to let go, part harmony. Not surprisingly, everyone sang and savored the final strains of the music, which the correct notes for each of the parts. drifted away like a dandelion in the wind. As soon as “The Church’s One Foundation” After everyone had returned to their seats, drew to a stately, dignified conclusion, the pianist people were asked if they noticed how different whisked us away to the free-flowing, improvisa- each of the rhythms sounded and felt. Heads tional world of the swing pattern. Like ice skaters nodded. The contrasts between each of the pat- gliding on a pond, people smiled and swayed as terns had been striking and obvious to all. This they sang “Gather Us In” (ELW 532), happily experiential introduction to kinesthetic energy undulating to 6/8 time. Everyone moved back patterns shifted to a didactic exploration of Mc- and forth smoothly, shifting their weight effort- Fee’s dissertation on the characteristics of each lessly from one foot to the other. Arms swung in pattern—thrust, shape, swing, and hang—focus- a relaxed figure-eight pattern. No one felt coming on the ways each pattern influences speech, pelled to figure out the “right” way to move or music and kinesthetic God-images.6

The Four Kinesthetic Energy HILLERT Patterns in Worship JOHN Thrust The thrust energy pattern is characterized by powerful, focused, and decisive energy. Accord- ing to movement analyst Betsy Wetzig, thrust utilizes the power of the right brain’s capacity for gestalt7—the ability to see that the whole has aspects or qualities that are more than the total of its parts. Individuals whose primal patterm in thrust do not meander. They move with a clear sense of direction. In speech, people with a thrust pattern use various techniques to maintain the intensity and focus of their energy pattern as

26 Fall/Winter 2016 CrossAccent www.alcm.org s CHORUS er w Kathryn Bre

they work to achieve their goal. They may in- wildernesses and keep them on track until they crease the volume, pitch, and intensity of their reach the promised land. speech so as to keep to the point. Speakers with this pattern might also use their bodies in a per- Shape cussive manner—anything to get to the point Contained, well-placed, and correct: these are and make it stick. While an extended period some of the characteristics of the shape pat- of thrust speech can overwhelm the listeners or tern. In contrast to the thrust pattern’s focus on appear abrasive, good use of this pattern can gal- achieving a goal, those for whom shape is the vanize and invigorate the assembly in ways that dominant pattern are concerned about the form are powerful, inspiring, and transformational. that is needed in the moment. They work “from The music of this pattern is characterized by part to whole, thinking and sorting correctly,” clear, assertive attacks and deep, resonant instru- using the left brain’s verbal and auditory abil- mentation (McFee, 164). As a ritual goal draws ities.8 Spoken or sung words in a shape liturgy near, the strong, driving beat often increases seldom achieve the dynamic range or volume in intensity until it accomplishes its transfor- of other patterns because the goal is clarity of mational task. Anyone who has heard a strong thought: an orderly and logical sequence of ideas thrust rendition of “Lift Every Voice and Sing” or and a clear presentation or articulation of con- listened to an organist give a thrust composition cepts and ideas (McFee, 170). its full dynamic due has experienced the invigo- The shape penchant for symmetry and rep- rating power of this pattern’s music. etition carries over into music. Hymns are McFee believes there is a relationship be- typically strophic, sequential, or have some oth- tween energy patterns and imago Dei (“the er predictable, structured form. Other examples image of God”). She contends that each ener- of the shape pattern in worship include psalm gy pattern reflects a particular understanding tones, chanted prayers and creeds, and season- of the nature of God. The kinesthetic image of al liturgies that seldom vary. Wetzig claims that the thrust-God is “a transformational God—a people with a shape orientation have a deep ap- God on the move” (166). It is an image of a God preciation for music that is classical or formal. who has the power to lead people through their They prefer the known boundaries of the music

Fall/Winter 2016 CrossAccent 27 s COUNTERPOINT Swing Swing is characterized by spontaneous movements, songs, and rituals; the use of improvisation; and a more “personal” tone of voice. Leaders with this pattern tend to be highly rela- tional and interactive, and they move easily as they weave the community together in a playful, creative manner. Theswing energy pattern encourages the development and deepening of community by incorporating elements of play, the use of color in the worship space, and an openness to the possibilities engendered in the moment. Of all the patterns, swing is the one that most appreciates and uses the emotions. Move- ment in worship is more spontaneous, varied, and playful. If there is an “order,” then improvisation and variation are the “order of the day.” Swing speech is interactive, geared toward what is happening in the moment. Swing preach- ers may use an array of tools to communicate with the assembly: spontaneity, stories, improvi- sational or extemporaneous prayer, or speaking with a tone of voice that feels “personal,” “natural,” or “conversational.” Swing musicians may be quite intuitive and are often adept at improvisation. Their music-making has a smooth,

er flowing quality. It is not unusual for swing lead- w ers to engage the assembly in a playful, evocative, interactive dance of call and response that may include clapping; spontaneous, creative vocaliza- Kathryn Bre tions; or physical movements that get people out of their seats, into their bodies, and into the wor- and like the sequential progression of thought ship space in a variety of ways. and movement.9 McFee says individuals with a Regardless of tempo or style, swing music shape pattern like to discern and use the “cor- is “contagious.” The music can be repetitious or rect” way of doing things—a preference that syncopated, but the musical strategies will have leads to a “rule” orientation. People of a shape a playful, singsong quality. Tempos may vary, pattern are theoretical and systematic, and they but the rhythm will most likely be sustained at think things through logically in order to devel- length until everyone has been “infected” by a op high-quality processes that endure (171). joyous spirit. The kinesthetic God-image from the per- The image of God engendered by a swing spective of the shape dynamic is a steadfast, energetic pattern is “a God of hope, of possibili- eternal, enduring God (172), exemplified by. ties, of community and of celebration—often in e.g., the hymn “Abide with Me”: “O God, who the face of oppression—a resilient God indeed” changes not, abide with me” (emphasis mine). (178).

28 Fall/Winter 2016 CrossAccent www.alcm.org s COUNTERPOINT Hang The fourth pattern—hang— flows freely, seemingly without structure or design. Hang energy has the sense of quiet depth, timelessness, serenity, and profundity. Listening to meandering Gregorian chants, singing repetitive Taizé refrains, or enjoying long periods of silence allow worshippers to “center” themselves, to be fully present in the moment, and to descend to a place of deep thought. There is a great economy of the spoken word and a notable absence of superfluity in hang speech—much like Japanese Haiku. Words are simple, evoc- er ative, and free-flowing. Of all w the patterns, hang is most comfortable with silence. Words are spoken in lower vocal registers. Kathryn Bre Pauses are well spaced to allow time for the images that have been evoked A common challenge for Christian communities to settle in the minds and imaginations of the and their worship is the presence of kinesthetic assembly. imbalances. McFee calls the unhealthy domi- The music in a hang-inspired ritual may nance of one pattern over others an “override” suggest timelessness. It supports the meditative (193–210). Pattern overrides are no small matter. flux and flow of the ritual by seamlessly wend- Not only do they rob worship of richness, they ing its way through cyclical songs, chants, or “colonize” the bodies of kinesthetic minorities. refrains to create a contemplative, awe-inducing atmosphere. Kinesthetic Overrides The kinesthetic image of God in a hang At the conference, our exploration of an override pattern suggests a Being characterized and ex- began with a short clip of South Korean pianist perienced by words such as “immanence,” Ji-Yong Kim playing Beethoven.10 The pianist “awe,” or “omnipresence”—a God who eternally plays a portion of the music on a typically tuned moves “into the core of the community’s being” grand piano. He then pivots to play the portion (182–3). of music on a piano where all of the keys are tuned to the same pitch. The effect of this pianis- Liturgical and Kinesthetic tic “override” was rather stunning. Who would Hospitality want to listen to a Beethoven sonata consisting of a single note? It is a rather sobering thought This brief sketch of energy patterns and how they that this is how kinesthetic minorities may ex- are at play in Christian worship raises a variety of perience worship that is dominated by another questions, among them the connection between pattern—even if their ritual “disconnect” occurs kinesthetic hospitality and liturgical hospitality. at the unconscious level.

Fall/Winter 2016 CrossAccent 29 s COUNTERPOINT The consequences of an energy-pattern over- and lead worship for the sake of the whole peo- ride run the gamut from mild expressions of ple of God. ritual irritation or boredom to the more serious McFee suggests that worship leaders devel- issue of hindering others’ access to a life-giving, op various “polyrhythmic strategies” in order to energetically synchronous experience of God. meet the needs of a diverse liturgical assembly. The sheer power of a thrust dynamic to herd par- She does not view “blending” the four rhythmic ticipants into a given direction can result in “us patterns into a liturgical melting pot as the only versus them” thinking and euthanize alternative or preferred way to create kinesthetic diversity. perspectives, leaving no room for full partici- Rather, McFee encourages the development of pation or collaboration. A shape preference for a rhythmic “mosaic”: a “polyrhythmic” church order, “correctness,” and uniformity can morph that cultivates hospitality, delight, and trust in into an allergy to ritual diversity, improvisation, ways that respect the rhythmic diversity that is spontaneity, or metanoia—thus producing a the church (221–3). “status-quo-at-all-costs” mentality. Swing over- A liturgical “mosaic” could be created in a rides can give way to a lack of focus and energy variety of ways. drains. The swing pattern’s desire for personal in- • Offer services with different energy patterns teraction and emotional bonding may narrow or “kinesthetic sensibilities.” This might the community’s focus to itself, reduce worship include a reciprocal relationship with a con- to an exercise in coziness, or make its “emotion- gregation whose dominant energy pattern al climate” the primary factor in determining is different than yours. If your congrega- whether or not “God has been experienced and tion offers diverse styles of worship, create praised.” A hang override can resemble the pro- opportunities for liturgical sharing, such as verbial sheep in the Bible who wander off due to singing the same hymn or song at the “con- a lack of direction or insufficient ritual organiza- temporary” and “traditional” services using tion. Spiritual passivity can also develop from an a style, arrangement, or tempo best suited to override of this pattern (McFee, 89). Whether the genre of each service. consciously chosen or unconsciously employed, • Diversify the use of dominant patterns energy pattern overrides in worship are signs throughout the liturgical year. Use generous that wish-dream thinking is at play in the com- periods of silence in Advent or Lent (hang). munity of faith. Create bold liturgical spaces and use strong, driving music on the Day of Pentecost, Kinesthetic Hospitality and Passion Sunday, or Reformation Sunday (thrust). Select hymns, psalm refrains, sung Polyrhythmic Praise prayer responses, or liturgical music in 3/4 The diverse members who gather for worship need or 6/8 time during Easter (swing). Repeat to know they are part of the body of Christ—not a shape hymn for a short season or portion just conceptually but holistically: in body, mind, thereof. Make a new hymn the “hymn of the and spirit. Worshippers need to see how their month” (shape). own rhythms are part of “the holiness of God.” • Choose hymns and liturgical music from all They want to enjoy “ritual resonance”—the ex- four patterns. Perform them according to perience of their primal or home energy pattern each pattern’s characteristics. Vary the en- being matched at some point in worship. This is ergetic interpretations of stanzas in hymns what makes people “feel at home” during wor- where appropriate. This can be especially ship (207). This is the kind of hospitality they helpful in high-shape assemblies. Get to- yearn for—and deserve. How can worship lead- gether with kinesthetically diverse musical ers increase rhythmic hospitality in ways that are colleagues. Share and learn ways to expand life-giving? This is an important aspect of litur- one another’s kinesthetic repertoire. gical discernment for those who wish to create • Read a sacred text in the pattern that best

30 Fall/Winter 2016 CrossAccent www.alcm.org s COUNTERPOINT expresses its meaning. Presiding minis- McFee, Marcia. Think Like a Filmmaker: Sensory-Rich ters, assisting ministers, and lectors in any Worship Design for Unforgettable Messages (Truckee, time or season could: read pithy words or CA: Trokay Press, 2016). passages in a thrust dynamic instead of a shape oration; speak with swing’s relation- Notes al cadence during communal prayer; or use 1. Dietrich Bonhoeffer, Life Together, trans. by John hang’s well-timed verbal pauses to give the W. Doberstein (New York: Harper & Row, 1954), is assembly time to absorb images and ideas. a probing exploration of Christian community. • Conduct a liturgical “energy audit.” Educate 2. Henri J. M. Nouwen, Reaching Out: The Three your congregation about energy patterns in Movements of Spiritual Life (Garden City, NY: Dou- bleday, 1975), 47. worship. Help them understand the importance of kinesthetic hospitality and provide 3. The word “kinesthetic” (from the Greek words ki- nein—“to move”—and aiesthesis—“perception”) opportunities for them to practice it. refers to the “sense by which motion [or the force/ • Explore the patterns with children. A energy of that motion] is perceived” as well as the cross-generational process will prepare the “sensory experience of this sense,” according to Mer- next generation of church leaders to be kin- riam-Webster’s Medical Desk Dictionary (Springfield, MA: Merriam-Webster, 2002). Cited in Marcia Mc- esthetically hospitable. It could also increase Fee, “Primal Patterns: Ritual Dynamics, Ritual Res- adults’ willingness to explore energy pat- onance, Polyrhythmic Strategies and the Formation terns in worship. of Christian Disciples” (PhD diss., Graduate Theo- logical Union, 2005), 15. For the Sake of … 4. Josephine Rathbone. “Residual Neuromuscular Hy- Soli Deo gloria: to God alone be glory. “S.D.G.” pertension: Implications for Education” (PhD diss., Columbia University, 1936). Kinesiologist Valerie appeared at the end of Bach’s cantatas and oth- Hunt, movement specialist Betsy Wetzig, leader- er compositions. The same appreciation of and ship coach Ginny Whitelaw, and others have also respect for God’s primacy is evident in Bon- studied the patterns and applied them in a variety of hoeffer’s treatment of Christian community, contexts. Nouwen’s parsing of Christian hospitality, and 5. Betsy Wetzig was the originator of these terms for McFee’s exploration of kinesthetic diversity and the four primal patterns. inclusivity in worship. May the insights of these 6. McFee’s dissertation also considers each pattern’s spiritual guides inspire us and enhance our abili- influence on worship spaces. ty to make liturgical decisions to God’s glory for 7. Betsy Wetzig, “Moves 4 Greatness: Coordination Patterns: Thrust,” http://www.moves4greatness.com/ the sake of … Christ. patterns_thrust.htm. Sandra Dager, an ELCA 8. Ibid. pastor, has a doctor of ministry 9. Wetzig, as summarized from unpublished handouts, degree in liturgical studies from cited in McFee, 170–1. the Graduate Theological Union 10. This 58-second clip may be viewed at and a master of divinity degree https://m.youtube.com/watch?v=xLhJIFC8xkY). from Yale Divinity School. She is a certified kinesthetic energy pattern coach through Focus Leadership and a certified Alexander Technique teacher.

Additional Bibliography Dager, Sandra. “The Embodied Liturgist: Contributions of the Alexander Technique and the Primal Patterns Theory to the Development of a Holistic, Embodied Pedagogy for Liturgical Presiding” (D.Min. thesis, Graduate Theological Union, 2012).

Fall/Winter 2016 CrossAccent 31 s CHORUS

Reflections

by Jennifer Baker-Trinity

Reflection One (Invitation) Reflection 2 (Story) How many times do we say, “Look here,” but Poets notice. we, ourselves, do not see? Storytellers surprise us. Do we say, “Listen up,” yet never hear? Minnesota poet and storyteller Kevin Kling “Look here!” “Listen up!” was recently interviewed by Krista Tippet in her These are imperious commands, often program, On Being. She reminded Kevin of this, spoken in urgency, tinged with bossiness. As noting he once penned, “As children we are clos- musicians and pastors, you know tone makes er in time to the creator.” all the difference in communication. Consid- In his interview response, Kling explained er saying, “Look, here. Did you notice the color further: “I realized who I connected with. It was of moon this evening?” Or, “Can you hear the with my grandparents. I think it was because we harmonic shift in the second measure?” “Listen. were in the same light. I was in dawn, they were Can you hear the birds singing?” Or, “Did you in twilight, but we were in the same light. They notice the addition of the 2-foot flute?” are heading to the creator, I’m coming from the Wake, awake! The days, the nights, are creator, and because of that, we spoke a similar flying, and do we notice all we can, not out language.”3 From generation to generation, from of command, but because we stand in awe, in dawn to twilight, we praise. The child spies a wonder? dandelion. It is a gift to be tucked behind the What transforms command into invitation? hair or placed in a glass of water. Without love, we are noisy gongs, hearing noth- The older adults sit and tell stories, enriching ing, gaining nothing. Without awe, without our lives through theirs. gratitude, the alleluias fall flat. Those of us neither in the dawn nor in the Oh, Spirit of Love: can we see, hear, and twilight might be quicker to root out the weeds, touch by your stirring, your invitation to us, to easily tempted to clip short the story session. all creation? “We hear your invitation, and heed, The generations are telling and showing the O Lord, your call,” we sing in one communion story, proclaiming God’s salvation day to day. song.1 “Now the Spirit’s invitation” in another.2 They sing it over and over and over again. Divine Love abounds, mercy for the world. The song is new each and every time. Do we Can we hear the invitation and join the perceive it? song?

Editor’s Note: ALCM Region 1’s conference included a hymn festival (July 6, 2016). This festival was structured under the headings “Let All the Peoples Praise Thee”; “Praise with All Creation”; “From One Generation to Another”; “Through the Church the Song Goes On”; and “Adding Our Voices to the Heavenly Chorus.” Starting with the second section, each began with an invitation to reflection by Jennifer Baker-Trinity. These reflections are offered here as an invitation for personal reflection or for use or adaptation. Note that these reflections are part prose, part poetry and are intended for the ear to hear rather than the eye to read.

32 Fall/Winter 2016 CrossAccent www.alcm.org s CHORUS Reflection 4 (Promise) Have you noticed how hard it is to see the words of a hymn when your eyes are brimming with tears? Perhaps it was the hymn your grand- mother sang to you before you could read. Or a hymn you sang at the funeral of a spouse, par- ent, or friend. A song that, for one reason or another, possesses the power to open the floodgates. Sometimes you cannot even explain why “There /vhsrt-just k in God’s Garden” or “Lord, Thee I Love” or a

S toc host of others brings you to tears. ©i Is it the angels? Angels bring tidings of great Reflection 3 (By the Spirit) joy. They also meet us at the tomb. “Why are you Church. We speak of it as a noun. Merriam-Web- weeping?” they ask. “My loved one has died,” we ster’s confirms it, so it must be true. “I am going say. “And that was their song.” to church.” “To what church do you belong?” We cannot hold onto a song, any more than But you know what Webster’s misses: ec- we can hold onto Jesus or onto our loved ones. clesia. A people, yes, but a people doing, God’s And yet, perhaps this is more good news from people called forth: gathering, praying, healing, the angels. The song holds us, carries us when we singing, feeding, clothing, serving. If we are a cannot go on as we were. body, Christ’s body, we cannot be a noun, but a We have seen the Lord, dimly, through verb. Living bodies act. tear-clouded eyes. And we have the promise that, Music. Also a noun by definition. “Give me in time, God will wipe away every tear. We will the music.” “I bought some new music.” “I don’t be fully known. Then we will need no hymnals, like that kind of music.” or eyes at all, for the Holy One will be our song. But you know music cannot just be down- loaded, bought, or thrown away. Theologian and Jennifer Baker-Trinity is a musician Jeremy Begbie proposes, “that music is deacon in the ELCA and leads best construed first of all not as an object or ob- assembly song at Beaver jects but as something done.”4 Lutheran Church, Beaver In our attempts to preserve, mold, and Springs, PA. She writes make, music has its way with us, working on us devotional and liturgical material for the not as passive recipients, but as doers of the song. church’s worship, reflection, and study. Through the church, the song goes on. By the Spirit’s breath it is sent forth. Notes And how is it that we hear in the language of each? Spiritual, ballad, folk song, brass, bell, 1. “Around You, O Lord Jesus,” ELW 468, stanza 2. drum, reggae, jazz, Gospel. And on and on. 2. “Now the Silence” (ELW 460, LSB 910, CW 231). We find our rhythm, the song carrying us 3. For the full interview, see https://www.onbeing.org/ to worlds known and unknown. We find our program/kevin-kling-the-losses-and-laughter- rhythm, being church for the sake of God’s we-grow-into/1863/audio?embed=1. creation. 4. Jeremy S. Begbie, Resounding Truth: Christian And even when we stumble around for the Wisdom in the World of Music (Grand Rapids: Baker right beat, unsure of where to enter the song, we Academic, 2007), 39 (emphasis mine). are found by the God who acts: creating, saving, sending.

Fall/Winter 2016 CrossAccent 33 s CHORUS Editor’s Note: Below is the outline of the hymn festival at the ALCM Region 4 summer gathering in Edmonton, Alberta, following the church year. Region 4 joined the 2016 Concordia Worship and Music Symposium, which was titled, “The Church Year as Missional.”

Concordia Worship and Music Symposium Hymn Festival: From Darkness To Light

LENT “Return,” Cherwien 158–9 Prelude and Fugue in D Minor—J. S. Bach

er “Lamb of God,” arr. Kyle Johnson w

EASTER Kathryn Bre

Moonrise over “We Sing the Story,” Cherwien 192–3 by Kyle Johnson Lake Michigan. “The Day of Resurrection!” [ELW 361, LSB 478, ADVENT CW 166] “Wachet auf, ruft uns die Stimme,” BWV 645— J. S. Bach PENTECOST “God with Us,” Cherwien 66-671 “Fire,” Cherwien 350–1 “Savior of the Nations, Come” [ELW 263, “Come, Thou Fount of Every Blessing” LSB 332, CW 2] [ELW 807, LSB 686] “Jesus Is a Rock in a Weary Land,” arr. Kyle 3 CHRISTMAS Johnson “Glory,” Cherwien 92 Kyle Johnson is coordinator of “In dulci jubilo,” BuxWV 197—Dietrich chapel music, university organist, Buxtehude and lecturer of music at California Lutheran University, “Jesus Christ the Apple Tree,” arr. Kyle Johnson Thousand Oaks, CA. “Lo, How a Rose E’er Blooming” [ELW 272, Notes LSB 359] 1. Susan Palo Cherwien, From Glory into Glory: Reflections for Worship (Fenton, MO: MorningStar, 1989). All subsequent page number references above EPIPHANY are to this work. “Seeing Face to Face,” Cherwien 156 2. https://www.augsburgfortress.org/store/product/ 18113/Lamb-of-God “Brightest and Best of the Stars of the Morning” 3. http://www.canticledistributing.com/jesus-is-a-rock- [ELW 303, LSB 400, CW 92] in-a-weary-land.html

34 Fall/Winter 2016 CrossAccent www.alcm.org BOOKREVIEW

Markus Rathey. Bach’s Major Vocal Works: Music, Drama Liturgy. New Haven: Yale University Press, 2016. x, 234 pp. ISBN-13: 978-0-300-21720-9. $35.00, hardcover.

eaders of this journal already should be music? what is the con- Rfamiliar with the writing of Markus Rathey, text of how and where the having seen his fine essay, “Reinterpreting Lu- music is performed? ther: Lutheran Chorales in Bach’s Chorale Many of the book’s Cantatas and Organ Works,” in the most recent chapters had their gene- issue of CrossAccent (24, no. 2 [Summer 2016]). sis as pre-concert lectures Rathey’s essay can serve as a prelude for his entire or essays by the author book, Bach’s Major Vocal Works: Music, Drama, to prepare audiences for Liturgy. the music they were It is reported that upon a visit to Leipzig about to hear. The works where he studied manuscripts of Bach’s compo- described include one sitions, Wolfgang Amadeus Mozart remarked cantata, BWV 10 (Meine about Bach’s music, “Now here is some- Seele erhebt den Herrn), thing we can learn from!” Likewise, Rathey’s as well as several large book provides something that we all can learn works: Magnificat (BWV Above all, the unique from—whether one is a Bach scholar or a Bach 243), Christmas Oratorio strength of this book is the aficionado. Above all, the unique strength of this (BWV 248, itself real- book is the author’s ability to explain wonderful ly a cycle of six cantatas), author’s ability to explain and complex musical works in quite a relatable St. John Passion (BWV and understandable manner. There are already 245), St. Matthew Pas- wonderful and complex many books about the life of Johann Sebas- sion (BWV 244), Easter tian Bach and many other books that analyze Oratorio (BWV 249), As- musical works in quite and dissect his music. In contrast, there are rel- cension Oratorio (BWV atively few books that focus on how to listen to 11), and B-Minor Mass a relatable and Bach’s music. This book does just that, helping (BWV 232). those who enjoy Bach’s music, whether listeners Frankly, it is refresh- understandable manner. or performers, to know even better how to listen ing to have a well-crafted and to understand these gems of musical reper- and thoughtful book on these great pieces of toire and theological depth. choral literature written with the interested, When it comes to music listening in our but average, listener in mind. There is no con- playlist-driven society, most people will only lis- descension or “dumbing down” of the writing ten to what they like. Or if one attends a concert or subject matter here. It simply acknowledges or recital, a particular piece may stand out as a the fact that, of those who are favorably inclined favorite. But if pressed to elaborate “what do you to Bach’s music, relatively few are musicologists, like about it?” few will be able to explain why. performers, or researchers. The novice will ap- Rathey’s book helps answer certain questions: preciate a minimum of technical jargon (there what is it that you like about Bach’s music? what are no such phrases as “notice the retrograde de- is significant musically and theologically in the misemiquaver motives”), and those already well

Fall/Winter 2016 CrossAccent 35 s BOOKREVIEW versed in Bach’s music will continue to find new in the church’s liturgy. However, Rathey does ideas freshly explained. (The book’s appeal to a comment frequently on particular movements wide audience is affirmed in the fact that this re- in Bach’s works that sing of love—God’s love for viewer has made it required reading for a course the believer and the believer’s love for the Savior. on J. S. Bach at Concordia Theological Semi- Rathey often uses the term “love duet” (20) nary, Fort Wayne, IN.) for such pieces, alluding to similar music in op- A taste of how Rathey accomplishes this is era and other large-scale vocal works. One’s first exemplified in the first chapter on Bach’s Magni- reaction may be to chafe at these semantics: the ficat. Some background information concerning choice of the term “love duet” is fraught with the history and revisions of this work is includ- different definitions of the word “love.” On the ed, but it is not an exhaustive (or exhausting!) other hand, it also provides an opportunity to excursus. Instead, Rathey judiciously unpacks unpack that very term in order to describe the each movement by describing the variations in love of God for his church shown through his textures (five-part chorus, solo, duet, or trio), in- Son. Rathey acknowledges this in his commen- strumentation, tempi, and theological content. tary on the St. Matthew Passion aria Aus Liebe The author points out specific details in the score will mein Heiland sterben (“Out of love my Sav- and gives suggestions on how to listen to a per- ior dies”). “This is a different kind of love,” he formance in a way that writes. “[This love] is only possible because Jesus The author points out will make the music not has suffered and died” (129). only more enjoyable This example demonstrates that how the way specific details in the score but also more under- one reads this book is very much informed by standable. For example, one’s worldview or, more importantly, by one’s and gives suggestions the boisterous opening theological perspective. Throughout the book, chorus of Magnificat especially in discussions about the love of God on how to listen to a features festive trum- and its musical and theological contexts, the au- performance in a way that pet motives in triads thor includes such comments as, “The image of and sixteenth-note love is central to the theology of Christ’s passion will make the music not flourishes. Those same in Bach’s time. The suffering and death of Christ motives are continued were seen as an expression of God’s mercy” (21). only more enjoyable but in the second move- Depending on one’s worldview and theological ment, where the soloist confession, these phrases can seem almost ri- also more understandable. mimics the same ideas. diculously obvious: “Well, of course, what else It would be informative would Christ’s suffering and death be if not ex- and enlightening to pressing—and exemplifying—God’s mercy?” take this volume along to a live performance of Another of Rathey’s comments is, “Christmas, the Magnificat or to read each chapter while lis- in Bach’s time, was understood as a demonstra- tening, movement by movement, to a recording. tion of divine love” (46, emphasis added). An The book is subtitled Music, Drama, Lit- issue is how Rathey frequently uses the caveat urgy. Obviously, a great deal of the volume is “in Bach’s time” when describing orthodox Lu- dedicated to commentary on the music itself. theran theology of Bach’s Leipzig, giving the But what about the “drama” and “liturgy” sub- impression that such belief and confession no titles? The author demonstrates how these vocal longer exist in the church. Lutherans well know, works tell the story of God and his salvific work of course, that Christmas is still an expression of for the world shown in the life, death, and res- divine love in 2016, not just in Bach’s time. urrection of Christ. Any good story will have On the other hand, for far too many people, dramatic moments, and to tell these stories mu- Bach’s music has been neutered of its theological sically only underscores those aspects. However, confession and has become merely an expression the author makes it clear that this divine drama of undefined beauty or vague other-world- is not merely literary, and the eternal signifi- liness. For far too many in our world, Christ- cance of this divine story needs to be taught and mas is nothing more than parties or decorations told by Bach and reflected upon by his hearers. or even depression. For others, Christmas be- Rathey makes it clear that Bach never wrote an comes merely a vehicle for wishing peace on opera, and although Bach wrote some secular earth, although that peace remains undefined cantatas, the bulk of his vocal works is at home and unsatisfactory if devoid of Christ and his

36 Fall/Winter 2016 CrossAccent www.alcm.org For far too many people, Bach’s

s BOOKREVIEW music has been neutered of its take issue with some of the author’s conclusions. However, there are other places where Rathey theological confession and has really makes some tremendously profound theological analyses, particularly in his description become merely an expression of the theology of the cross. For example, in of undefined beauty or vague his description of the opening chorus of the St. John Passion, he sets up the irony of using the other-worldliness. … This book text of Psalm 8 to begin the Passion narrative: “Lord, our ruler, whose praise is glorious in all may help them see that lands!” The swirling musical accompaniment and driving pedal point, not to mention that this Bach’s work is intrinsically is performed on Good Friday, all seem contra- dictory to the text. And on one hand, it is. The connected to Holy Scripture, author continues, “The glory of God is present from measure 1 of the opening movement. But the holy Christian church, the this glory is, in a truly Johannine sense, directly Divine Service, and the church’s linked to Jesus’ suffering” (81). Lutherans, rejoice in this statement! The essay continues, “In the lectionary and hymns. Gospel according to John, Christ’s suffering and glorification are intrinsically intertwined. One is not thinkable without the other” (82). Brilliant! And finally, at the end of the St. John Passion, incarnation, suffering, death, resurrection, and with its strikingly simple conclusion with the sacraments. For those lovers of Bach’s music, chorale “Lord, let at last Thine angels come,” this book may help them see that Bach’s work the author states, “We are back at the beginning is intrinsically connected to Holy Scripture, the of the passion: the glorification of Christ in his holy Christian church, the Divine Service, and suffering” (84). Ultimately, Rathey debunks the the church’s lectionary and hymns, all of which “Passions are depressing” myth by helping the proclaim Christ, the ultimate “manifestation reader and listener see and hear the theology of of divine love” (131) And such truth and love the cross proclaimed in Bach’s music. is indeed timeless, not merely a relic of 1720s So, like Mozart, we continue to learn from Leipzig. Bach’s music, especially when such volumes as Regarding the Passion of Christ, the au- this help us to listen to Bach’s major vocal works thor alludes to a faulty association of the Passion and to consider the musical and theological sig- that already was being perpetuated in the late nificance of them. As the church prepares for the 19th century. Rathey quotes an 1877 English 500th anniversary of the Reformation, we are journal’s critique of Handel’s Messiah in jux- constantly reminded that it is tempting to sup- taposition to Bach’s St. Matthew Passion. The plant a clear gospel proclamation of “we preach bottom line of this 19th-century review is that Christ crucified” (1 Cor. 1:23) with trivial and Handel’s Messiah would never be overtaken worldly matters. Perhaps a renaissance of learn- in popularity and performance because Bach’s ing from Bach the theologian, assisted by writing music was just too depressing. It goes so far as such as Rathey’s book, is precisely in order. to say it is frankly impossible to perform the entire St. Matthew Passion because the content is Kevin Hildebrand too sad. Victorian hyperbole, perhaps? Yet this Kantor, Concordia Theological Seminary is still how Christ’s Passion is considered, and Fort Wayne, IN performances of Bach’s Passion settings can focus primarily on the sadness, injustice, or social commentary, while missing the gospel. This is the beauty and the hidden bonus of unpacking Bach’s works: ultimately, they have to proclaim the gospel. In this musical treatise, the author includes considerable theological commentary. Discerning theologians will rightly

Fall/Winter 2016 CrossAccent 37 SOUNDFEST Benjamin Culli. Hymn Tune Innovations, set 2: Seven Settings for the Church Year. INSTRUMENTAL | Concordia ORGAN (97-7731), $24.

Franklin D. Ashdown. Culli tastefully em- Adagios of Hope and Peace: ploys a variety of Ten Settings for Organ. compositional styles Augsburg Fortress (978-1-5064-1358-7), in this collection $20. which includes Auf meinen lieben Gott; Darwall’s 148th; Ein feste Burg; Italian This collection of music would be useful Hymn; Song 1; Was mein Gott will; and to convey a peaceful and tranquil mood Wer Gott vertraut, hat wohl gebaut. The in a service. The book contains eight setting of Ein feste Burg includes a festive in- compositions based on hymn tunes and trada, a well-crafted fughetta, and concludes with a maestoso chorale setting with a tenor solo two free-style works. The hymn tunes represented are Assurance; Balm in for left hand. In his setting of Darwall’s 148th, Gilead; Eventide; Finlandia; St. Colum- Culli artfully uses arpeggiated motives to em- ba; Tallis’ Canon; Toplady; and Wer nur bellish the tune played on a solo trumpet. In den lieben Gott. Ashdown’s arrangements addition to familiar chorales, Culli also includes also would be useful as preludes and offertories several lesser-known chorale tunes as the church during a worship service and for music at a fu- celebrates the chorales of our Lutheran heritage. neral service. The arrangements are of medium JRB difficulty with a quite playable pedal part. MS Emma Lou Diemer. Stars: Eight Jeffrey Blersch. Organ Settings How Shall I Meet You: Seven Organ Augsburg Fortress Preludes for Advent. (978-1-5064-1364-8), Concordia (97-7728), $24. $17.

Blersch manifests the moods of Advent in This fine collection of his settings of beloved hymns of the sea- hymn tune settings— son. There are sprightly dances on “Hark many related to the the Glad Sound” and “Comfort, Com- theme of stars—pro- fort Ye My People.” “Lo! He Comes with vides a wide range of Clouds Descending” foretells the maj- expressive music, from the simple, mysterious esty of the second coming, borrowing “Creator of the Stars of Night” to the festive material from “La Majeste” from Telemann’s “On This Day Earth Shall Ring” with its syn- Heldenmusik. A wistful 6/8 version of “Savior of copated, chromatic chords. Longer settings such the Nations, Come” is filled with fervent longing as “O Morning Star, How Fair and Bright” and for the Messiah. The second setting of “O Lord, “On Jordan’s Bank the Baptist’s Cry” offer a va- How Shall I Meet You” (Wie soll ich dich riety of contrasting textures. Diemer’s harmonic empfangen) is also notable for its lovely, lyrical, language is often pungent and dissonant with ornamented treatment of the chorale. Blersch’s unexpected changes of key. Her unique setting music has a melodic appeal that will sit well of “Wake, Awake, for Night Is Flying” is stun- with the congregation. It is also quite playable, ningly beautiful with its quiet contemplation of an important factor during the busy Advent– the long-expected arrival of Christ, the Blessed Christmas season. KO One. Throughout these settings the cantus firmus is clearly and audibly presented. JB

38 Fall/Winter 2016 CrossAccent www.alcm.org s SOUNDFEST

Kristina Langlois. John Eggert. Postludes for Partita on From Organ on Heaven Above to Festive Tunes. Earth I Come. Augsburg Fortress Concordia (978-1-5064-1363-1), (97-7729), $12. $16.

Eggert’s partita includes eight variations on this Three of the four works presented in this col- enduring Christmas hymn proclaiming Christ’s lection are extended, ranging in length from birth through the eyes of an angel. Inspired by five to eight pages. The initial work, a Fanta- the text of Martin Luther, Eggert has composed sy on “Come, Holy Ghost, God and Lord,” specific variations to coordinate with various features a contrapuntal treatment of this mag- hymn stanzas. The joyful 12/8 variation written nificent chorale with the cantus firmus in the for manuals alone delightfully proclaims “My top voice, followed by a brilliant toccata with heart for very joy must leap.” The lovely lullaby the cantus firmus in the pedal. The texture is for strings prayerfully sings, “Ah, dearest Je- full, and the solid counterpoint is enriched by sus, holy Child.” Eggert’s well-crafted partita is the presence of subtle motives from the chorale’s equally suited to be used with individual organ opening phrase. A broad maestoso section frames stanzas during the singing of the hymn or played the composition. The setting of “Noel! Tid- as an entire suite. JRB ings of Comfort and Joy!” ingeniously presents both God Rest You Merry, Gentlemen and Noël nouvelet simultaneously. The setting of “Oh, Praise the Gracious Power” opens with a syncopated motive in quarters taken from the Kevin Hildebrand. refrain of the hymn tune that leads nicely into Salvation unto Us: figuration in the right hand on the same mo- Twelve Easy Organ tive, now heard in sixteenths. The cantus firmus Preludes for is set in left-hand chords against the continuing Reformation. right-hand figuration. Later the opening section Concordia returns with chordal dialogue between right and (97-7738), $26. left hands with the opening motive now invert- ed. The piece builds in intensity to the stirring Hildebrand includes a conclusion. Throughout the work, harmonies variety of tunes in this are colorful and effectively move us to experience collection, such standard Lutheran chorales as the “Gracious Power.” This collection is highly Wir glauben all, Gott sei gelobet, and recommended for the variety of its settings and Nun freut euch. Also included are hymn texts their attractive musical presentation. JB with strong Reformation themes, such as “The Tree of Life” and “Thy Strong Word.” The bi- cinium on Nun freut euch is delightful; the recurring rhythmic triads in Gott sei gelobet provide a memorable compositional motive. This collection, while technically easy, is solidly composed and will be useful not only in this anniversary year, but also in the years to come. JRB

Fall/Winter 2016 CrossAccent 39 s SOUNDFEST Karl Osterland. offers an unexpected bourée-style treatment of A Wittenberg Collection: Erhalt uns, Herr, leading into the darker mi- Lutheran Chorales for Organ. nor key of the hymn by way of a bright C major Augsburg Fortress (978-1-5064-1357-0), introduction. In three organ stanzas, the piece $22. modulates from C major/A minor through E-flat major/C minor and finally ends up in G major/ Osterland’s settings of these nine Lutheran E minor, by which point the congregation will chorales were published in commemora- have had time to consider the hymn in a new tion of the upcoming 500th anniversary light and be ready to sing. The remaining set- of the posting of Luther’s 95 theses at Wit- tings also provide enjoyable options, with good tenberg, Germany. In 2005 Osterland work by Donald Rotermund, Sam Eatherton, and fellow members of Trinity Lutheran Jeffrey Blersch, J. Wayne Kerr, Walter L. Pelz, Church in Detroit made a pilgrimage to the Lu- and John Eggert. DR ther sites in Germany; this trip was the original inspiration for setting the three chorales written by Luther. The most ambitious work in the col- A Reformation lection is a Grand Partita on Ein feste Burg; Christmas: Organ four separate movements comprise the Partita. Preludes on The “Fanfare” and “Trio” evoke the spirit of the Sixteenth-Century Renaissance with their dancelike rhythms and Hymns. transparent textures. The Totentanz, inspired Concordia (97-7732), by the woodcuts of Albrecht Dürer, reflects $25. Luther’s terrifying encounters with the devil (“though devils all the world should fill”) by Advent and Epiph- means of obsessive rhythms and sharp disso- any are included in nances. The concluding “Final” (“the word they this Christmas vol- still shall let remain”) provides relief in a great ume. Several familiar dance of joy featuring polyrhythms, repeated composer are represented: Charles Ore’s vari- note figures, and the intermittent cantus fir- ations on “Savior of the Nations, Come” and mus in the left hand. An effective setting of “O Carl Schalk’s “To Jordan Came the Christ, Our Christ, Thou Lamb of God” begins in a subdued Lord.” Some less-familiar composers are includ- manner, gradually increasing to fortissimo before ed as well, such as Bernard Wayne Sanders’ “All returning again to the original pianissimo. This Glory Be to God Alone” and “The Only Son collection is recommended for those desiring to from Heaven” by Mark Knickelbein. A wide revisit the Lutheran chorale tradition creatively variety of compositional styles are represented. interpreted by Osterland. JB Charles Ore’s first variation on “Savior of the Nations” evokes the spirit of the Renaissance, calling for a detached style, while Charles Cal- A Reformation Celebration: lahan’s lush, romantic treatment of “Once He Organ Preludes on Came in Blessing” exudes an Advent quiet that Sixteenth-Century Hymns. will surely be a hit with the congregation. The Concordia (97-7734), $25. volume would be a great way to lead into the Ref- ormation anniversary. KO As we approach the 500th anniversary of the Reformation, Lutheran publishers are increasing their selection of new settings on old tunes. This collection features eight newly composed arrangements by well- known contemporary musicians, with a variety of compositional techniques inspired by musical styles of the 16th century. It begins with a trumpet tune “carillon” rendition of Ein feste Burg by James Biery based on the rhythmic version of the hymn. Benjamin Culli

40 Fall/Winter 2016 CrossAccent www.alcm.org s SOUNDFEST A Reformation Easter: Organ Jacob B. Weber. Preludes on Joy to the World: Three Sixteenth-Century Settings on Antioch. Hymns. Concordia (97-7724), $12. Concordia (97-7733), $25. Everyone sings this tune every year (originally written as The eight hymn-tune an Advent hymn), so why not arrangements in this freshen it up with a sprightly volume are presented by eight different com- new introduction (I) or per- posers. Hymns represented are from the seasons haps prelude (II). Both use of Lent, Holy Week, Easter, and Pentecost. The a trumpet or other reed stop effectively and settings are useable as hymn introductions or aren’t difficult. The “Prelude” throws some pre-service preludes and are all of medium dif- charming curves at the organist—watch out for ficulty level. Pedal parts, when present, are not those A-sharps. The most practice time will be difficult. The tunes represented are Aus tiefer required for the “Festival Flourish” (III), an ex- Not; Christ ist erstanden; Christ lag in tremely joyful toccata-like movement. Feet will Todesbanden; Gott sei gelobet und geb- fly, hands will be all over the keys, and eyes will enedeiet; Jesus Christus, unser Heiland; be watching for some dramatic key changes, Komm, Heiliger Geist, Herre Gott; Nun even six sharps. Although this is music that begs bitten wir; and O Lamm Gottes, unschuld- for a large instrument, those with an organ of ig. MS a modest specification should be able to pull it off. Adequate early practice will be required, but you’ll be proud of your accomplishment when Jacob B. Weber. you master it, and your congregation will appre- Epiphany Mosaics. ciate it. Highly recommended. JG Concordia (97-7723), $20. Wayne L. Wold. This volume contains Light on Your Feet, hymn tunes often vol 4: A Collection used in the Epiphany for Organ with season, some of which Minimal Pedal are also wed with lyr- Augsburg Fortress ics from another (978-1-5064-1362-4), season of the church year, making this volume $20. useable throughout the year. The majority of the settings are of medium difficulty with an easy Vol. 4 of this series contains several arrange- pedal part. The form of the settings varies from ments as well as two original works by Wold. fanfare to simple variation to a toccata. The ar- The style of his arrangements makes some famil- rangements could be used as hymn preludes, iar works attainable for the organist with little introductions, and even postludes. Weber does pedal experience, without changing the flavor an excellent job of bringing out the meaning of of the original compositions. This series does a the hymn text in the style of his compositions. good job of introducing developing organists The tunes and compositional styles included to a wide variety of compositions and compos- make this a good collection to have. Tunes repre- ers. All of the selections are freely composed and sented are Christ, unser Herr; Dejlig er den are not based on hymn tunes. The book is wire himmel blå; Deus tuorum militum; Dix; bound. MS Mississippi; and Wie schön leuchtet. MS

Fall/Winter 2016 CrossAccent 41 s SOUNDFEST

Philip M. Young. Carols of the British Isles Patricia Zindler. for Organ. Hymn Settings for Augsburg Fortress the Piano. (978-1-5064-1361-7), $18. Northwestern (2700064), $22. In polls of church musicians, British Christmas carols often Most church musi- top the list of favorites. Young cians are occasionally has set many of these tunes in called upon to pro- gentle fashion, and he provides vide music that is a key phrase from the text as the source of his in- “churchy” but not necessarily for a worship terpretation. The settings make use of frequent setting. This book would be perfect to fill that changes in registration, which might be better requirement. Zindler has taken 23 well-known suited to an instrument with three manuals rath- chorales and hymns and arranged each in a cre- er than two. There is a suite of short variations ative way, many with a jazzy feel to them. One on the Sussex Carol that could be presented as of my favorite Christmas chorales, “Oh, Rejoice, an extended musical offering or used intermit- All Christians, Loudly” (Freuet euch, ihr tently in worship. The other tunes in this lovely Christen alle), has very few arrangements, let little collection are Coventry Carol; Forest alone one that sounds like jazz! These settings Green; God Rest You Merry, Gentlemen; will be welcomed by piano teachers and by par- Irby; Sans Day Carol; Somerset Carol; and ish musicians who utilize piano and keyboard Wexford Carol. Have a jolly good time with at worship. Tunes for children, for the liturgical them. DR year, and for many other occasions are included. A cross-reference to Christian Worship, the WELS hymnal, is included, but nearly all the tunes are common to other Lutheran hymnals and worship books, as well as most Christian de- PIANO nominations. Highly recommended. JG Nancy M. Raabe. Grace & Peace, vol. 8: Songs of Lament and Longing. Augsburg Fortress KEYBOARD AND (978-1-5064-1367-9), $19. INSTRUMENT This volume in the series fo- Benjamin M. Culli. cuses on songs of lament and Duo Baroque: contains pieces useful for a Classic Chorale variety of occasions, includ- Preludes Arranged ing the Lenten season and for Keyboard funerals. The arrangements do an excellent job and Any Solo emphasizing the sorrow and longing of the fa- Instrument, vol. 3. miliar hymn texts. The tunes included in vol. 8 Keyboard, are Aus tiefer Not; Bradbury; Deep Blue; solo instrument. Herzliebster Jesu; Kaz dziedāja; Land of Concordia (97-7722), Rest; On Eagle’s Wings; Pace mio Dio; Pān $34. Bůh; Ryburn; Schmücke dich; and That Priceless Grace. All are of medium difficulty Culli has taken some well-known chorale pre- and would make nice piano solo material for spe- lude settings by early Lutheran masters and cial music in worship. MS extracted the melody for an instrumentalist to play. Nineteen preludes are included in vol. 3;

42 Fall/Winter 2016 CrossAccent www.alcm.org s SOUNDFEST Bach, Böhm, Buxtehude, Doles, Kauffmann, familiar Lutheran chorale preludes as the Krebs Kellner, Kneller, Krebs, Pachelbel, Scheidt, Te- Wachet auf and the Walther Christus, der lemann, and Walther are represented. Although ist mein Leben, as well as new arrangements originally written for organ, Culli has carefully of such traditional chorales as Vater unser im arranged each piece to be playable without ped- Himmelreich and Jesu, meine Zuversicht. als, making them suitable also for harpsichord Familiar classical pieces are also arranged, in- or piano as well as for organ. Most are in their cluding works by J. S. Bach, Erik Satie, Théodore original key. There is much opportunity for cre- Dubois, and César Franck. All feature an in- ative uses for these settings. Tunes in vols. 1 strumental solo part which may take one of the and 2 are listed. Instrumental parts in a variety pre-existing musical lines or play a separate ob- of transpositions are available for download at bligato or countermelody against the organ part. www.cph.org. JG The instrumental writing is not difficult (designed for amateur musicians) and is available in several keys. Since the organ music is largely fa- Organ Plus miliar, practice and prep time should also be less Anthology, vol. 2: demanding. This would make a good investment Advent/Christmas. for times when a little extra touch is desired. DR Ed. by Norma Aamodt-Nelson. Organ, treble Organ Plus One: Gottes- instrument. dienst Divine Service. Augsburg Fortress Ed. by Carsten Klomp. (978-1-5064-1376-1l), Organ, solo instrument. $35. Bärenreiter (BA 8506), $21.50. This collection of 22 Advent and Christmas tunes will be especially useful if you have a flute This is the third volume in or oboe player. The difficulty level for the instru- the Organ Plus One series. mentalist varies. Jacob Weber’s setting of “Away It contains pieces based on in a Manger” would be lovely for a beginning hymn tunes as well as some flute player, yet his setting of “On Christmas freely composed works. The edition includes in- Night” highlights the virtuosic flautist with its strumental solo parts in C, B-flat, E-flat, and scale runs and trills. This collection will enrich F, making this quite a versatile collection. The worship services as well as Christmas programs instrument parts are of medium or medium-dif- as instruments of the parish join in celebrating ficult level and will require a confident soloist. Christ’s birth. JRB All of the hymn-tune arrangements feature the instrumental solo playing a part other than the melody. This is a fine series to have on hand for Organ Plus One: service music as well as recital pieces. MS Death and Eternity/ Funeral Service. Ed. by Carsten Organ Plus One: Passion, Klomp. Ostern/Easter. Organ, solo Ed. by Carsten Klomp. instrument. Organ, solo instrument. Bärenreiter (BA Bärenreiter (BA 8503), 8504), $23.50. $21.25.

This is the fifth in a This volume in the Organ Plus series designed for practical use by church mu- One series consists of 21 prac- sicians in worship or in concert. This particular tical adaptations of historical set will find applicability as a resource for special literature that add one instru- music at funerals, memorials, or other celebra- ment to the organ. Sometimes the additional tions of life. It includes arrangements of such instrument plays the cantus firmus of a chorale.

Fall/Winter 2016 CrossAccent 43 s SOUNDFEST Other times the instrument plays one of the other parts. A wide range of composers is repre- HANDBELLS sented including J. S. Bach, Karg-Elert, Vierne, Satie, Brahms, and Krebs. Parts are provided in Christmas Bells. C, B-flat, F, and E-flat, so a wide variety of -in Arr. by Sondra K. struments can be used. Several free movements Tucker. are included, although most of the pieces are 3–5 octaves hand- based on Lutheran chorales for Lent and Easter. bells, with optional 3 The chorale-based works are transposed into the octaves handchimes. keys that correspond to the Evangelisches Gesang- Concordia (97-7714), buch, although these may or may not correspond $4.50. to the keys in American hymnals. Klomp’s edit- ing and adaptation is sensitive and well crafted, This medley of well- making the Organ Plus One series a must-have known Christmas for the Lutheran church musician who is serious tunes (Personent about including instruments in worship. KO hodie, Waltham [Calkin], Branle de l’of- ficiel) will keep your ringers quite busy. There are three key changes and various techniques, Wayne L. Wold. including mallets, marts, mart-lifts, thumb- Credo for Organ and Trumpet. damps, echo rings, shakes, and tempo changes. Organ, trumpet. Handchimes are used for the melody in “I Heard Augsburg Fortress the Bells on Christmas Day,” and there are many (978-1-5064-1375-4), $22. opportunities to practice the LV (let vibrate) technique in that section. This is a challenging Subtitled Settings for Festive Occasions, piece; allow plenty of time to rehearse the transi- Wold has provided a unique work with tions. This piece would work nicely as a prelude capacity for both worship and concert. on Christmas morning. Level 3. ML Three movements are dedicated to the Holy Trinity, based on Martin Luther’s Latin Credo (chorale sung as the Nicene Dan R. Edwards. Creed). There are also five pieces based on well- Chapel Chimings. known chorales and hymns: Grosser Gott; 3 octaves handbells Lobe den Herren; Noël nouvelet; Puer or handchimes. nobis; and Solid Rock; in addition to Wir Concordia (97-7712), glauben all, the Credo. These settings could $4.25. be played as festive extended introductions to the singing of the hymns, or as individual pieces. This lovely original Noël nouvelet is sung both at Christmastide piece for beginning and Eastertide; Puer nobis is often sung during bell choir would be Advent, Eastertide, and Pentecost. Both B-flat quite effective as an and C parts are provided for the trumpeter in the introit or a prelude in any worship service book. A skilled trumpeter is needed for many of throughout the year. The use of the singing bell the movements, while others require only a mod- technique could only be used with handbells, but est technique. JG the echo technique could easily be transferred to hand chimes. Due to the level 1 nature of this piece, there are no key or meter changes, and it is in the key of C major without any accidentals. There is no note denomination smaller than the quarter note. The composer ends the piece with the option to “chime the hour,” as well as a gyro ring to fade. Level 1. ML

44 Fall/Winter 2016 CrossAccent www.alcm.org s SOUNDFEST Felix Mendelssohn. From Heaven Above Peace in Our Time. to Earth I Come. Arr. by John A. Behnke. Arr. by Lauran 3–5 octaves handbells or Delancy. handchimes. 3–5 octaves Concordia (97-7719), $4.50. handbells, with optional 3 or 5 The hymn tune Mendels- octaves handchimes. sohn da pacem is beautifully Concordia (97-7721), arranged for a beginning bell $4.50. choir with many opportunities to practice the LV technique Using Martin Luther’s hymn tune Vom Himmel (let vibrate) and to achieve a legato sound. There hoch, the arranger has added a lovely counter- are few tempo changes and one seamless key melody on the highest bells to bookend this change from C major to E-flat major. The piece piece. The melody is straightforward on both ends quite effectively on a single pitch, as if we handbells and handchimes, using only quarter have all come together as one. Level 2. ML notes and eighth notes. There are two brief meter changes when the melody enters. The tower swing technique is quite effective in the bass. As This Joyful Eastertide. an added bonus, there are two quick measures Arr. by Cathy Moklebust. of “Joy to the World” during the final interlude. 3–6 octaves handbells. Level 3. ML Concordia (97-7713), $4.50.

This piece is perfectly suited Go Tell It on the for any joyous occasion, not Mountain. just Easter. The arranger has Arr. by John A. added some quite musical and Behnke. lilting melodies that act as an 3–5 octaves hand- interlude between the stan- bells, 3–5 octaves zas of the hymn. The Dutch handchimes. hymn tune Vruechten, from Davids Psalmen, Concordia is handled with strong quarter notes, so that the (97-7720), $4.50. meter change in the middle of the first phrase should not prove challenging. The higher bells This upbeat arrange- introduce a more percussive sound with mallets ment of a favorite African American spiritual on suspended bells, followed by pluck, thumb is rated level 3, but is quite accessible to most damp, or mallets on the bass bells. Ringers and church handbell choirs. It has an easy syncopa- congregation alike will enjoy this offering. Lev- tion in the melody, accompanied by echo rings el 2+. ML and marts. The middle section is in the parallel minor key of G minor and rung on handchimes. The vibration technique is used exclusively in those eight measures quite effectively. The return to G major brings the original techniques with the added bonus of the upper 4th and 5th octaves of bells. The bass ringers even have the melody for one stanza. This piece is a wonderful way to bring some light jazz into the worship service on Christmas morning. Level 3. ML

Fall/Winter 2016 CrossAccent 45 s SOUNDFEST

VOCAL | CHILDREN’S Johann Sebastian CHOIR Bach. From Heaven Above James Marriott. to Earth I Come. Mary’s Song. Arr. by John Leavitt. SA, piano. SAB, piano. Concordia (98-4241), $1.90. Concordia (98-4239), $1.90. Marriott has adapted the text of Luke 1:46–53 (the Magnifi- If you would like your cat) in a fresh, melodically rich choir to be able to sing this familiar Bach chorale setting. The first page is an op- (#9) from the Christmas Oratorio but have no portunity for a soloist to chant tenors, this simplified SAB arrangement works the canticle in Latin, or the so- quite well. Leavitt has retained as much of the prano section may sing. This original voice leading as possible without creat- would be hauntingly beautiful ing awkward lines or suddenly thin textures. The if the opening page was sung from another loca- bass part is almost identical to Bach’s, and the tion in the nave. The full choir starts the text in alto line weaves effectively between the original English, first in unison, then in two parts. Eight alto and tenor parts. Leavitt’s piano reduction is measures of lovely, three-part texture follow, and both musically satisfying and comfortable un- the harmonies will delight both singer and lis- der the fingers. There are two stanzas in English tener. Highly recommended for treble choirs, (stanzas 1–2 of the Luther text as translated by both youth and adults. JG Catherine Winkworth), with stanza 2 using the exact same musical setting as stanza 1. This piece could be used as a Christmas anthem, in a service of lessons and carols, or as a choral variation ADULT CHOIR for the complete hymn. DR

Jay Althouse. David Blackwell. Glory to God A Scottish Blessing. in the Highest. SATB, keyboard, SATB, piano. with optional treble Hope (C 6042), $2.20. instrument. MorningStar (MSM- This energetic anthem starts in 50-6320), $1.85. F major with a driving, rhythmic motive in the piano that Blackwell’s gentle, continues through much of flowing anthem is the work. After original mate- based on a tradition- rial, the composer includes an al Scottish blessing, a a cappella stanza of the Doxol- text that uses imagery ogy, set to Old Hundredth. of creation, both in its use of light—“Be a light After this stanza the choir repeats the opening before to lead me; be a guiding star above”— material, then modulates to G major and ends and in its visions of different creatures singing with a big finish. The texture is homophonic God’s praises. The use of the Scotch snap (16th throughout for the choir. It is suitable for large or note followed by a dotted 8th note) in both the small choirs and for a variety of seasons through voices and keyboard lends a Scottish feel to the the church year. AW piece. The melody is first introduced in all voices before moving to a lush SATB texture. The final stanza includes an optional obbligato treble instrumental part that is within the ability of a good high school student. A reproducible

46 Fall/Winter 2016 CrossAccent www.alcm.org s SOUNDFEST part for B-flat or C treble instrument is available modulation in one of the choir stanzas, showing separately in print (MSM-50-6320A; $3) or for a change in the flavor of the text. A reproducible download (MSM-50-6320A-E; $3). Suitable for congregation page is included on the octavo with any service with themes of guidance or creation all of the text printed. MS or for general use as a choral benediction, this is a beautiful addition to the SATB church choir repertoire. Medium-easy. AE William Braun. By Grace I’m Saved; Baptized Into Your Name Jeffrey Blersch. Most Holy; Oh, That I Had A Mighty Fortress a Thousand Voices. Is Our God. SATB, brass quartet, SATB, congregation, cymbals, timpani, organ, organ, brass quartet, congregation. timpani. Northwestern (2806136E), Concordia $29.99. (98-4246), $3.25. Northwestern is offering this “package” as a As the Lutheran PDF file, and the purchaser may make as many church celebrates the copies as needed for rehearsal and performance. 500th anniversary of Based on O dass ich tausend Zungen hätte the Reformation, Blersch’s concertato on Ein (Dretzel), it includes the full score for both feste Burg will add a note of musical dignity to conductor and organist, choir score, trumpets in a Reformation celebration. The festive 64-mea- B flat, trombones, and percussion. Braun’s set- sure introduction for brass quartet and organ ting will get triple use, as texts for three hymns is followed by the first two stanzas using the are included. The brass adds a festive touch, as rhythmic setting of Ein feste Burg for unison does the descant for the final stanza. Available congregation, organ, brass, and timpani. The from www.nph.net. JG third stanza, set for SATB and organ, is in triple meter, giving a dance-like feel, celebrating the victory that, indeed, “the devil will not overpow- William Braun. er us.” The final stanza, with its soaring descant, Salvation Unto Us utilizes all instrumental and vocal resources. The Has Come. full score (97-7746; $55.00) includes all instru- SATB, trumpet, organ, mental parts. JRB congregation. Northwestern (2806137E), $24.99. Jeffrey Blersch. O Sing to the Lord. This is also offered as a PDF SAB, organ, with file. With the 500th Reforma- optional tion anniversary in 2017, new, congregation. fresh settings of beloved cho- Concordia rales are welcome additions to the repertoire. (98-4231), $2.80. This arrangement uses five stanzas, with the assembly singing 1, 3, and 5, the choir singing 2 This is a nice setting and 4, and a descant on 5 (tenors could join the of Psalm 98 for con- sopranos if desired). The choir has a four-mea- gregation and choir. sure “postlude” and they are invited to break into The choir introduces eight parts for the final chord. The trumpet part the refrain, which is is in C only and could be played by a better high followed immediately by the congregation join- school trumpeter. Available from www.nph.net. ing in. The verses of the Psalm are arranged for JG the choir. The music for the verses does a good job of reflecting the text. There is a short-lived

Fall/Winter 2016 CrossAccent 47 s SOUNDFEST an exciting and grand choice for a festive occa- Wes Cameron. sion or concert by a choir with large resources. Be the Light of Christ. Written before Handel’s better-known oratorios, SATB, piano. this work already has the musical hallmarks of Hope (C 6043), $2.10. his well-known choruses from The Messiah and Israel in Egypt. The King Shall Rejoice consists of Composed in D major, this four choruses, which could also be performed lyrical anthem is set to a text separately. The final “Alleluia” would be espe- focused on service and mis- cially appropriate for Easter. Three movements sion. Much of this accessible call for divisi altos, and two movements call for anthem contains sections in brief bass divisi. This is an urtext edition by Han- unison or in two parts, perfect del scholar Stephan Blaut, and the absence of for developing solid expres- editorial markings, including dynamics, means sion from the various sections that the director will need to take extra time and in the choir. The piece ends with a full four-part care to establish dynamics and other expressive stanza. It is suitable for large or small choirs and markings. In addition to the vocal score with pi- for any service where stewardship, service, or ano reduction, a conductor’s score (BA-10259, mission is the focus. AW $27.99) and string, wind, and organ parts are available separately. Medium difficult. AE

Henry V. Gerike. Shepherds, Mark Hayes. Come A-Running. Shepherd Me, Two-part mixed, organ or O God. piano. SAB, piano, with Concordia (98-4229), $1.90. optional cello, violin. Hope (C 6054), Gerike gives us a sweet, easy $2.25. setting of a Polish carol that choir and congregation alike This anthem is an ar- will find charming. Textur- rangement of a hymn al changes add variety. The by Marty Haugen voices trade off phrases in the with the same name first stanza and begin the second in canon before as the anthem. Based moving to two-part harmony, while the final on Psalm 23, this accessible and lyrical anthem stanza is mostly in unison. The keyboard part, starts in F minor with a short piano introduction. while fairly simple, contributes textural and har- The choral parts start in unison, then proceed to monic interest. This would be a good addition two-part or three-part writing. There is also an to the repertoire of the small church choir or a SATB arrangement (C 5832; $2.25). Conduc- choir looking for an easier piece for a Christmas tor’s score, violin, and cello parts are available service. AE separately (C 5832P; $7.50). The piece is suitable for large or small choirs and for a variety of seasons where comfort, hope, or God as the Good Georg Friedrich Handel. Shepherd is the focus of the service. AW The King Shall Rejoice (HWV 260). SATB, orchestra. Bärenreiter (BA 10259-90), $12.99.

One of two coronation anthems written for the coronation of George II in 1727 (the other being Zadok the Priest), this would be

48 Fall/Winter 2016 CrossAccent www.alcm.org s SOUNDFEST giving obbligato material from the introduction Kevin Hildebrand. to the choir (a nice change of pace for the sing- The Gifts Christ ers). The congregation joins in again on stanza 3. Freely Gives. At least one trumpet player is required; howev- SATB, congregation, er, parts are also available for a brass quintet of organ, oboe. 2 trumpets (in B-flat or C), F horn, trombone, Concordia and tuba. The B-flat trumpet part is printed with (98-4223), $2.80. the choral score, but full brass parts must be ordered separately from Concordia (97-7758 print This is a wonderful [$16.00] or download [$14.00]). DR setting by Hildebrand of the Richard C. Resch text. The lyrics are set to the tune Denby. The 49-measure introduction David Meece. is arranged for organ and oboe and clearly pres- One Small Child. ents the tune to the congregation. Stanza one is Arr. by Lloyd Larson. sung in unison with a standard organ accompa- SSA, piano. niment. Stanza two includes an oboe part over Hope (C 6044), $2.25. the women’s voices. There is a short interlude connecting this stanza to the third stanza, which This well-known song has is written for SATB choir and is intended to be been around since 1971. Al- sung a cappella. It contains voice leading that though not a deep, theological makes the choral entrances easy to learn. Stan- piece, it has a sweet essence za 4 is written for unison male voices with oboe, and might have multiple uses. leading into another choral stanza using the Since there is an emphasis on same arrangement as the previous choral stan- the three kings, it might be za. The concluding doxological stanza is written possible to use it for Epiphany services, which in unison, with the oboe presenting a descant. often catch choirs and directors off guard if The organ supports the congregation quite well the choir takes a brief break right after Christ- throughout. This hymn is an excellent text for mas services. This piece is also available in other a Sunday that focuses on the means of grace. voicings: SATB (C 5303; $2.25), SAB (C 5467; There is also a TTBB arrangement (included in $2.25), two-part mixed (C 5655; $2.25), and Hildebrand’s Reformation Hymns for Men’s Voices vocal solo (8587; $5.95); and with various ac- [Concordia, 97-7754; $10.00]). MS companiments: orchestration (C 56550; $69.95) and 3–5 octaves handbells (2403; $5.50). A performance/accompaniment CD is also available Kevin Hildebrand. (C 5655C; $5.50). Directors will enjoy planning Now Thank We All ahead which arrangements to use, which accom- Our God. paniments will be most effective, and how to SATB, congregation, utilize all resources available. JG organ, trumpet, with optional brass quintet. David W. Music. Concordia The Angels Descending. (98-4224), $2.80. Two-part or SATB, piano. Northwestern (2806134E), Hildebrand provides $1.80. a fresh arrangement of an old favorite The story of the angels that can add a festive touch to a Thanksgiving announcing the birth of the service or other celebratory occasion without Christ Child to the shepherds requiring huge forces or lengthy rehearsal. Af- is the basis for Music’s new ter a brass and organ introduction and stanza 1 easy Christmas anthem for in unison with congregation, the middle stan- two-part mixed or SATB za gives the cantus firmus to the trumpet while choir. The lilting 6/8 melody and use of grace

Fall/Winter 2016 CrossAccent 49 s SOUNDFEST notes and open fifths in the accompaniment Reviewers: give this anthem a Celtic feel. The composer notes that the unison men’s part could be sung John Bernthal (JB) up an octave to create a two-part equal voice Associate Professor of Music Emeritus setting. Available in PDF format only, from Valparaiso University, Valparaiso, IN www.nph.net. Easy. AE Jean R. Boehler (JRB) Cantor Carl F. Schalk. Redeemer Evangelical Lutheran Church, Lullaby for Christmas. The Bronx, NY SATB, organ, flute, oboe (or optional string quartet). Ann Edahl (AE) Concordia (98-4226), $2.30. Choir Director Our Saviour’s Lutheran Church, Fresno, CA Entirely in E major, this lyrical anthem is set to a Christmas James Gladstone (JG) text by Schalk, Martin Luther, Retired Cantor, Saginaw, MI and Coelius Sedulius. The an- Music Assistant, Ev. Lutheran Church them starts with a flute, oboe, of St. Lorenz, Frankenmuth, MI and organ introduction. Af- ter a unison soprano/alto stanza, the a cappella Marilyn Lake (ML) second stanza contains some dissonances for the Handbell Director entire choir. Much of the third stanza is in two Southminster Presbyterian Church, parts, except for an SATB ending. The anthem Prairie Village, KS ends with a coda for organ, flute, and oboe. It is Music Educator, Shawnee Mission School suitable for large or small choirs and for Christ- District, KS mas or a lessons and carols service. Quartet parts are available in print ($11.00) or downloadable Karl A. Osterland (KO) ($9.00) formats (www.cph.org). AW Music Director Historic Trinity Lutheran Church, Detroit, MI

Carl F. Schalk. Deborah Reiss (DR) Where’er I Go. Minister of Music SATB a cappella. Village Lutheran Church, Bronxville, NY Concordia (98-4225), $1.90. Mark A. Schultz (MS) This unaccompanied mo- Minister of Music tet provides another example Trinity Lutheran Church and School, of Schalk’s ability to set a Wausau, WI meaningful text with musical sensitivity. The text, written Austen Wilson (AW ) by the 17th-century poet Paul Director of Music Fleming and translated by Lutheran Church of Our Savior, Catherine Winkworth, is a prayer for the coun- Haddonfield, NJ sel of God: “Then let Him order all for me / As He in wisdom shall decree; / On Him I cast my care.” The same music is used to set each stanza. The texture changes throughout, moving between fully polyphonic, independent voices and a more homophonic texture. An optional ending, “So shall it be, amen,” could also find life separately as a prayer response. This anthem would be good for a celebration of ministry or for general use. Medium difficulty. AE

50 Fall/Winter 2016 CrossAccent www.alcm.org Fall/Winter 2016 CrossAccent 51 s POSTLUDE Anne Krentz Organ Past President, ALCM

any thanks to the contributing Your ALCM board of directors is hard at writers for their thought-provoking, in- work, looking into the future with excitement. M spirational articles that began as spoken We realize that what our organization has to offer presentations at our 2016 regional conferences is of utmost importance to the life of the church across the country. ALCM conferences are ex- and to the life of the world. We have hopes and cellent opportunities to gather together for dreams of reaching out to still more musicians continuing education, fellowship, worship, sup- who lead the church’s song and of finding addi- port, and encouragement. Heartfelt thanks to all tional avenues to nurture and equip them to lead who worked so diligently to plan and implement with confidence and clarity. each one of these gatherings. In order to more fully embrace the work set As we begin a new church year, what ex- before us, we have embarked upon a search for cites you? What hopes and dreams do you have an executive director. The job description for this for your congregation? How might you help to full-time position is posted on ALCM’s website draw people more deeply into prayer and wor- (www.alcm.org). If you or someone you know is ship? How might you more clearly and strongly interested in applying, please let the office know! proclaim the gospel through music? Applications will be received through January 6, 2017. As we continue with our 30th anniversary year-long celebration, please keep ALCM in your prayers. What might God be calling us to in these next 30 years? “O God, you have called your servants to ventures of which we cannot see the ending, by paths as yet untrodden, through perils unknown. Give us faith to go out with good courage, not knowing where we go but only that your hand is leading us and your love supporting us; through Jesus Christ our Lord. Amen.” (ELW, evening prayer, 317; LSB 311). T ony 1_ EE / k toc S ©i

52 Fall/Winter 2016 CrossAccent www.alcm.org This page does not print. It preserves the flow of left-right pages in the cover pages that follow. CROSSACCENT Association of Lutheran Church Musicians 810 Freeman St. Valparaiso, IN 46383

REGISTRATION 2017 INSTITUTE OF LITURGICAL STUDIES NOW OPEN Theology, Music, Practice April 24–26, 2017 See our website for details and LITURGY SERVING THE LIFE OF THE CHURCH: for a printable registration form: HOW WORSHIP RE-FORMS US valpo.edu/ils th (500 Year of the Reformation) Online registration available: valpo.edu/ils-conference For more information, email [email protected] or call the Institute of Liturgical Studies at 219.464.6514. PLENARY SPEAKERS • Father John F. Baldovin, S.J. • Lorraine Brugh • Edward Foley, Capuchin • Timothy Wengert • Timo-Matti Haapiainen • I-toh Loh

@valpoILS on Facebook 54 Fall/Winter 2016 CrossAccent www.alcm.org journal of the association of lutheran church musicians vol 24, no 3 | FALL/WINTER 2016 CROSSACCENT

ALCM Regional Conferences s SOUNDFEST Music to Enliven Worship

The year 2016 marks 10 years since the publication of Evangelical Lutheran Worship, the family of resources that helps congregations support and provide engaging worship focused on God’s mission. Discover the treasures within these four resources and how they can help enrich your church’s music ministry. Now through January 31, 2017, enjoy 10% off and free shipping when you order through augsburgfortress.org. Enter promo code CROSSACCENT16 at checkout.

Hymn Descants Vocal Descants for Choral Stanzas for Choral Stanzas for for Trumpet the Church Year Hymns, Vol. 1 Hymns, Vol. 2

NEW!

Evangelical Lutheran Worship • The Pew Edition is only the beginning • augsburgfortress.org/elw

Worship Symposium

This three-day conference brings together pastors, worship leaders and planners, artists, musicians, scholars, students and other interested worshipers from around the world.

Over 12 seminars, 75 workshops, 90 presenters, and 50 themes, including preaching, visual arts, culture care, pastoral care, prophetic lament, Psalms, January 26–28, 2017 faith formation, the Lord’s Supper, outreach, worship.calvin.edu congregational song, leadership, and more.

CALVIN INSTITUTE OF CHRISTIAN WORSHIP Plenary addresses by N.T. (Tom) Wright AND THE CENTER FOR EXCELLENCE IN PREACHING GRAND RAPIDS, MICHIGAN, USA and Sandra Maria Van Opstal

56 Fall/Winter 2016 CrossAccent www.alcm.org s SOUNDFEST

VALPARAISO UNIVERSITY

CHURCH MUSIC STUDIES Bachelor of Music in Church Music Bachelor of Music in Performance (Organ or Voice) Bachelor of Arts CURRICULUM Performance, Church Music, Theology, Liturgical Organ Playing, Conducting, History, Theory ENSEMBLES Chorale, Kantorei, handbells, and worship leadership opportunities FACULTY Lorraine S. Brugh, Ph.D., University Organist/Frederick J. Kruse Organ Fellow; Director, Institute of Liturgical Studies Christopher M. Cock, DMA, Director of Choral and Vocal Activities; Director, Bach Institute at Valparaiso University Joseph Bognar, DMA, Chair, Music Department; Associate University Organist Stephen Schnurr, DMA, Adjunct Instructor in Organ

COMPETITIVE SCHOLARSHIPS ARE AVAILABLE 103 Rank Schlicker/Dobson Organ in the Chapel of the Resurrection For more information, please contact the Music Department 219.464.5454 or email: [email protected] Department of Music valpo.edu/music Fall/Winter 2016 CrossAccent 57