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in tempo 0-25-100-0 100-22-22-0 0-80-100-0

a practical resource for Lutheran church musicians

Association of Lutheran 2019, No. 1 Church Musicians l alcm.org

In this issue of In Tempo:

Toward a Sacramental Understanding of Beauty 1

Love Your People Connecting the Bench and the Pew 5

Budgeting for a Well- Appointed Church Music 9

Light Dawns on a Hymn Festival Near You 11

Keeping it Fresh with a Small Choir 13

Organ Maintenance Your Pipe Organ and Insurance 15

LCMS Online Worship Resources 16 Toward a Sacramental 0-25-100-0 100-22-22-0 0-80-100-0 Pew Perspective WELS Hymnal Update 17 Understanding of Beauty

On Volunteer Management North rose window, Notre-Dame Cathedral, Paris. Guiding Volunteers 18 by Omaldo Perez Integrating or “re-membering” this Letter to the Editor 19 uch ink has been spilled expounding on the number sea of knowledge and skills into a unified whole in the service of the Interview with the Daughter mof disciplines informing of a Church Musician the broad office of cantor. A brief church—and one’s local congrega- Kathryn Hillert Brewer 21 survey of this publication’s archives tion—can be challenging and may alone paints an engrossing picture of cause, from time to time, no small the many areas from which a church amount of apprehension. It is only musician must draw: music, history, through persistence, diligence, and theology, psychology, and pedagogy, prayer that one can hope to suc- not to mention organizational and cessfully navigate the waters of our administrative skills—all gathered chosen vocation. under the ample tent of ministry. It is only through persistence, diligence, and prayer that one can hope to successfully navigate the waters of our chosen vocation.

Covenant Society Please consider joining our Covenant Society—those who have included the Association of Lutheran Church Musicians in

their will or other estate plans. stock Julie and David Grindle /EH tock S Linda and Robert E. Kempke i Pauline and John Kiltinen It would not come as a surprise, Beautiful, which is beyond the cognitive and above the senses: Gregory Peterson and given this context, if we were to Ann Sponberg Peterson feel pressured by the demands it is a window into the transcen- and expectations of our calling. dent. As Roger Scruton says in Jim and Stephanie his superb book Beauty: A Very Rindelaub After all, assimilating these diverse fields of knowledge— Short Introduction, “Beauty can David S. Thoresen their lingos, techniques, and be consoling … exhilarating, modalities—into our craft appealing, inspiring, chilling. can be the daunting work of a It can affect us in an unlimited lifetime. Having said as much, variety of ways. Yet it is never let us reassure our readers viewed with indifference.”1 by interjecting a short and In its capacity to reorganize In Tempo is published three times a salutary disclaimer. It is not our priorities, the Beautiful is year by the Association of Lutheran our goal to stir anxieties but to transformational. This short Church Musicians, 810 Freeman St., pique curiosity and arouse the article is interested in sketching Valparaiso, IN 46383. imagination. We would merely the sacramental dimension of Copyright © 2019 Association of Lutheran like to scratch the surface of beauty and the useful paradigm Church Musicians yet another field to which the for ministry that emerges in its 800-624-2526 l www.alcm.org usually enthusiastic—if occa- wake. [email protected] sionally overextended—mettle Subscription is included with of our protean church musician membership in ALCM. must be brought to bear: the Editor: Allison Schweitzer realm of beauty. Editorial Support: Anne-Marie Bogdan Notice we did not say “the realm Designer: Kathryn Hillert Brewer of aesthetics,” that last word ALCM Business Manager: Cheryl Dieter first coined by the German Contributors to this issue: Emily philosopher Alexander Gottlieb Bruflat, Michael Krentz, Nicole Moritz, Baumgarten in 1735, derived John Paradowski, Omaldo Perez, from a Greek term referring Allison Schweitzer, Luke Tegtmeier, to what is perceptible to the William Weedon, Jennifer Wolf senses. Aesthetics is a branch of Featured Interview: Kathryn Hillert Brewer philosophy that deals with the Hymnal Abbreviations: theory and interpretation of bens ELW: Evangelical Lutheran Worship

the beautiful in every sphere of ark Ru

LSB: Lutheran Service Book /M CW: Christian Worship life, which is not the same as the tock S i 2 ALCM in tempo 2019, No. 1 Actions and objects can be sacramental as well to the extent in which “invisible things

themselves are as well to the extent in which honored in them.” “invisible things themselves are honored in them.”

Let us backtrack a bit and take a This symbolic substitution look at the definition of a sacra- brings us to the definition of ment. “An outward and visible “sign.” A sign can be either “an sign of an inward and invisible object, a quality, or an event, grace” is the elegant reworking whose presence or occurrence of St. Augustine’s words made indicates the probable presence by the Council of Trent in the or occurrence of something mid-1600s in the Tridentine else” (as defined in theOxford Creed. The Bishop of Hippo, English Dictionary). Perhaps this several centuries prior, had is the sense in which the Fourth used a more casual tone: “the Evangelist recounts Jesus’ mira- signs of divine things are, it is cles in his Book of Signs (John true, visible, … but invisible 1:19—12:50): as intimations of things themselves are honored the New Creation fulfilled in in them.” 2 As any first-year the resurrection of Jesus Christ. Divinity student will remind One may suspect Martin Luther us, the Christian sacraments used the same analogical strat- have their particular meaning egy when he said the Scriptures and efficacy because of the are the “cradle wherein Christ is life, death, and resurrection of laid.”3 Scriptures, creation, and Jesus Christ. As it stands, the even the life of Jesus become definition cited above is not pointers, symbols, and icons specific enough, since it can of the Alpha and Omega, the accommodate signs outside Author and Source of beauty the metaphorical and literal itself. walls of the church: the phrase “instituted by Jesus Christ” is As creatures made in the missing from this formulation. likeness and image of God and Those words came about as as co-participants in God’s part of the Wittenberg Concord creative nature, is it not incum- in 1536. Translated from the bent upon us to discern what Latin, this document tells us, happens to our signs when they “Nothing has the character fail to point to the immaterial of a sacrament apart from the and transcendent? As the 2006 use instituted by Christ.” God’s Pontifical Council for Culture self-communication comes to states with grand rhetorical flair us in the Scriptures and also in in its concluding document, the form of water and bread, when a “person risks falling into the baptism and eucharist, font and trap of beauty taken for itself— the altar—but not exclusively. While icon becomes the idol, the means doctrine can precisely define that swallow the end, truth that

imprisons, trap into which peo- asmina 007 what a sacrament is, actions /J ple fall, due to an inadequate and objects can be sacramental tock S i 3 The second Buddha (left) and the other side of the painting, as seen through 0-25-100-0 100-22-22-0 0-80-100-0 a tablet, Rubin Museum

rovits of Art, New York City. G sya photographed by A

In other words, in the icon we I am not sure how to explain are hurled into what lies beyond what I felt, but for a few minutes it. It is in this “beyond” that I experienced an overwhelming we may become aware of the surge of gratitude: this painting transcendent. The opposite provided a sense of openness of the icon is the idol, which and connection that took me points to itself and says, “look out of myself—an epiphany. at me!” In the idol, we are The experience allowed me to confronted with a truncated understand that once beauty

Above and verso at right: Jatson Nyingpo (1585-1656) and diminished reality, one that moves into the realm of the Eastern Tibet; 19th century Pigments on cloth is self-referential and robs us of sacramental, it allows us to shed Rubin Museum of Art Gift of Shelley and Donald Rubin the opportunity to encounter the anesthetic familiarity that C2006.66.556 (HAR 1035) “the Other.” In short, the icon is makes us not see the world for formation in the senses and fertile; the idol, sterile. If we are what it really is: a gift, a miracle, the lack of a proper education not alert, signs can change their and a blessing. regarding beauty.”4 As we can function and go from icon to see, the direction of the signs idol without us realizing it. Our Omaldo Perez is we use or create matters a great invitation today is for us cantors an ALCM board deal. to spend more time observing member and is and discerning the direction of music director and Under this light, the Arts’ very our signs. organist at Zoar nature as an untethered and Lutheran in Perrysburg, OH. autonomous domain of human Epilogue creativity can become a hin- Endnotes Last summer I had a chance drance. It is not too dissimilar 1. (Oxford: Oxford Univ. Press, 2009), xi. to visit the Rubin Museum of to what free radicals are in 2. De Cat. Rud. 26.50. chemistry: highly reactive and Art in New York City. There I 3. Martin Luther, Luther’s Works, American short-lived molecules. Aesthetic saw a painting of the second Buddha, the person responsible edition, Word and Sacrament I, vol. 35, ed. “free radicals” behave the Theodore Bachman (Philadelphia: Fortress same way in worship: all the for bringing Buddhism from Press, 1960), 236. performative aspects of worship India to Tibet. Asked to use 4. Pontifical Council for Culture, “Conclud- ing Document of the Plenary Assembly: The (spoken word, music, visual a tablet to observe—through the technology of enhanced Via Pulchritudinis: Privileged Pathway for arts, liturgical dance, and archi- Evangelisation and Dialogue,” http://www tecture), if they are to function reality—visitors were able to see .vatican.va/roman_curia/pontifical what was on the other side of _councils/cultr/documents/rc_pc_cultr_doc sacramentally, must resemble _20060327_plenary-assembly_final the painting: a short prayer and the icon in its revelatory capac- -document_en.html (emphasis added). the painted and hidden hands ity. If any artistic endeavor or 5. A term popularized in Otto’s book Das object is to be called sacramen- of the artist, suspended in an Heilige (Breslau: Trewendt und Granier, 1917). tal, it needs to transport us to open gesture of benediction the realm of what Rudolf Otto toward the viewer. called “the numinous.”5

4 ALCM in tempo 2019, No. 1 love your people 0-25-100-0Connecting the100-22-22-0 Bench and the Pew0-80-100-0

0-25-100-0by John R. Paradowski100-22-22-0 0-80-100-0Organ hymn playing is a path. But if we allow the Holy not a recital but rather Spirit to work through us, we was 11 years old when I will be able to connect, with started leading worship from a foundation and love, to the people we lead in ithe organ bench. I grew encouragement for worship. up in the Catholic tradition where we sang four hymns every robust and spiritual How can we make that connec- Sunday and only two stanzas of singing. tion between the bench and the each. pew to bring alive the hymns we love to play and share with our strive to make music, to bring There was nothing at this congregations? church that made the music the notes and the text off the special. I scheduled the hymns printed page into the hearts ■■ Establish a tempo and and liturgy because that is what and souls of those who listen tactus. we did, and I played the notes. and sing. ■■ Articulate clearly. When I was 15 years old, I took “What we need now is fewer ■■ Foster synchronicity of a second organist job at a local organists and more musicians leader and congregation Lutheran church (playing Cath- who play the organ.”—Healey (entrainment). olic on Saturdays and Lutheran Willan1 on Sundays). This opened the Tempo and Tactus world of great hymnody to me, Hymn-playing is the church Picture this: you’re playing a a world of new melodies and organist’s bread-and-butter hymn when suddenly something hymn texts that as a teenager task. We do it every week goes off the rails: the congre- I didn’t fully understand. I without thinking much about gation is not singing together. immersed myself in it and loved it. Congregations are inspired Could it be that the choir direc- learning these “new” hymns. to sing more enthusiastically tor is slowing down the choir, A number of them I even took when accompanied or led by or the pastors are singing into back to the Catholic church. confident and unambiguous the microphone at their own organ accompaniments, skill- tempo, or a loud congregation There is a spice company that fully registered and articulated member is singing stanza three touts the motto, “Love People. to match the church service when you are on stanza two? Cook Them Tasty Food.” I love context and acoustics. Organ Been there? Done that? that thought for two reasons. hymn playing is not a recital One, I myself like tasty food, but rather a foundation and As musicians, we know to follow and two, it made me think: encouragement for robust and the phrases and weavings of “Love Your People. Play Them spiritual singing. the musical line in our reper- Tasty Music.” To me this means toire. One would never stand share music that engages them Loving your people is about in front of the choir beating in meaningful ways. making a connection and about four beats in a row while never being the best you can be for engaging word inflections or As organists we sit on our them. Making the connection bigger musical patterns and benches and use the mechanics from notes on a page to the keys then expect the choir to sing and electrical components of a we push down to the sounds musically. Love your people by machine to provide life-filled coming from our instruments allowing them the best chance music to enhance and engage to the ears of those near and to engage in the song. That the congregations we serve. then into the hearts and souls of means, find the natural tempo As musicians we should always our community can take quite for the gathered assembly in the ALCM in tempo 2019, No. 1 5 space. Love them by allowing congregation into a unified Leading Hymns and the congregation to find the choir and not a hundred or so Articulation musical line, letting them individual singers. breathe, and highlighting the Your articulation will always text as needed. Love them by Hymn to Joy (“Joyful, Joyful, We need to be adjusted depending conforming to the space, acous- Adore Thee” [ELW 836, LSB on the space you are in, the tics, and community: don’t force 803]) gathered congregation, and the style and mood of the hymn. the congregation to a place they Figure 1: do you feel four beats don’t want to go. Bend where Remember these key elements per measure? Two? Or one? of articulation: necessary and lead as needed. Sing through each tactus feel- ing and notice how the flow of ■■ melody notes on strong Tactus (Heartbeat) and the hymn changes. beats need more articula- Tempo (Speed) tion; Freu dich sehr (“Comfort, Com- Many hymns do not have time ■■ inner harmonies can be fort Now My People” [ELW 256, signatures. Why? you may ask. tied over notes; and LSB 347, CW 11]) That is so the worship leader ■■ the time between stanzas does not get trapped into the Figure 2: more complicated, but allows your congregation feeling that a hymn must be 3 or the text helps drive this pattern to breathe. Whatever you 4 beats per measure. Depending of bigger strong beats. decide, be musical and on the space, instrumentation, consistent. congregation, and tempo, Ein feste Burg (“A Mighty you may want to feel 4 or 2 or Fortress Is Our God” [ELW 503; Musical Phrases even 1 beat per measure. The LSB 656; CW 200]) There are times when you need to make musical vs. textual com- larger the tactus space, the Figure 3: the relationship of promises. Whatever you decide, more forward motion the hymn 2 and 3 beats is present, you just it is good to have a musical singing will have. Consequently, have to find it. you may start turning your solution to bring forth the text in the best manner. For example; in the second half Figure 1. of the second stanza of “Praise to the Lord” (ELW 858, 859; LSB 790; CW 234), the musical phrase has a break but the text phrase needs to connect. Figure 4: do you break or not? Knowing that the congregation will take a breath at that point, Figure 2. I would not do a full break but instead bridge the gap by playing moving quarter/eighth notes connecting the musical phrases together. Hopefully, even with the congregation taking a breath, they will sense Figure 3. that the two phrases are textu- ally connected. Whatever you decide when balancing music vs. textual phrases, know that striving to do your best and being aware of these situations shows that

6 ALCM in tempo 2019, No. 1 Figure 4.

you care about the people who are proclaiming the message in song. Entrainment with the Congregation Entrainment, in the biomusi- When you love someone you to show us that Love has come cological sense, refers to the trust them, sometimes with your to stay.Our goal is to bring the synchronization of bodies to an life. That deep trust and deep word of God to life in the hearts external perceived rhythm, such love need to exist also between and minds of our congregations as in music. you and your gathered people. through God’s gift of music They always need to trust you and through the talent God has We strive for entrainment with as the servant-leader to be given us. all our musical ensembles in there for them, to support, to rehearsal and in the service. guide, and to uphold them in Your assignment: think about How awesome is it when we, their proclaiming the message how you will share and engage as directors, can fall back and through song. your congregation with your allow the ensembles to make music by first loving them. music as a whole without us If we, as worship leaders, are getting in the way? The ebb and trapped in the mode of just John R. flow of phrases and breathing “playing the notes,” we do a Paradowski is together just naturally happen. disservice to our congregations. minister of music Then we as directors know Our job is not to be the spirit at St. Matthew’s when to engage and when to in the music but to allow the Lutheran Church stay out of the way. When music Holy Spirit to enter through the in Wauwatosa, WI. links and engages us, we realize music. When the Holy Spirit we are not alone in this world. engages us all, we become one Endnote Together we have a common voice proclaiming the great love 1. As quoted in Alec Wyton, “Healey Willan’s Musical London [interview],” Music: The experience at that moment. of the Creator who sent Jesus A.G.O. Magazine 2 (January 1968): 32.

NatioNal associatioN of Pastoral MusiciaNs

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CG Institute full page ad_opt_opt.indd 1 11/30/18 1:02 PM Budgeting for a Well-Appointed Church Music

0-25-100-0by Michael Krentz100-22-22-0 0-80-100-0For a congregation to ■■ Instrument mainte- have a vibrant music nance: every musician usic or money: which needs appropriate instru- would you rather ministry we must ments to make good music. mdiscuss with ministry A pipe organ needs to be discuss music; but we colleagues, worship committee tuned at least two or three are also obligated to members, people on the times a year; a piano used congregation council, or choir talk about money. regularly in worship or members? For a congregation rehearsal two to four times. to have a vibrant music ministry It is also important to recognize Be sure to build in a little we must discuss music; but we that no two congregations are extra for routine repairs, are also obligated to talk about the same, with the same expec- like a cipher in the organ money. Even J. S. Bach found tations for music in worship. or a sticky key on the piano. it necessary in 1730 to submit Thus, every congregation is ■■ Guest musicians: vol- to the Leipzig town council a unique when it comes to how unteer musicians in our Short but Most Necessary Draft for they budget for music in their ensembles deserve the a Well-Appointed Church Music: setting. joy of singing or playing With Certain Modest Reflections on with more than the piano, the Decline of the Same.1 Beyond compensation that is just (with appropriate benefits) organ, or typical worship There are two general princi- for musicians who are paid ensemble. If your parish ples I have used in the course to lead music, congregations does not have such people of my calling as a cantor, in should also budget for items in its membership, a bud- multiple settings. like the following. (Note that get to bring musicians in this list is not exhaustive; a very (especially for festivals) is 1. Since worship is central to helpful budget checklist can be enriching. the church and since music found here: https://www ■■ Copyright fees: all musi- is central to worship, it is the .morningstarmusic.com/pdf cians should be aware of responsibility of a congregation /90-32_BudgetChecklist.pdf).2 issues around copyright. (or college/seminary, district/ But we cannot expect our synod, or other institution that ■■ New music: every musi- members also to be aware. engages in worship) to provide cian needs to learn new ■■ the necessary resources for an music. You may need choral Operating costs: These in- appropriate music ministry. music, worship ensemble clude all the other costs you music, handbell music, solo might have in your music 2. Since there are people with vocal music, instrumental ministry. Examples include the “gift” of special interest in music. In a previous parish music filing boxes, CDs, music together with financial I discerned that the oldest stamps, stationary, thank capability, and since music min- children/youth choir and you notes, and getting the istries typically have expenses the adult choir needed to choir robes cleaned. that are not “regular” or easy to sing about 1/3 new music Beyond these expenses, which budget, opportunity exists for each year; “your results may are routine (yearly) and rela- people with means to support vary.” Costs can be held tively predictable, your music music in the church. down by using free down- ministry might include things The important thing is to iden- loadable music available that fall outside the usual Sun- tify what items belong in which on sites such as cpdl.org or day morning worship pattern or category. imslp.org. that are unpredictable as to ALCM in tempo 2019, No. 1 9 their cost. Items like these ■■ commissioning a new accounting of all gifts and present excellent opportunities anthem or hymn text for a expenses. for people who want to support church anniversary; We all wish for a “well-ap- your music with a special gift. ■■ purchase of a new, large pointed church music” where Such gifts should not replace the choral collection that would congregation’s responsibility to we serve. By engaging about cost too much for any one both music and money, we can support its music. Rather, they year’s budget; should be for things that are help that become a reality in ■■ upgrades to the worship en- “above and beyond” the usual. our places of ministry. semble’s sound system; and Soli Deo Gloria! These could include: ■■ major repairs/rebuilding or replacement of a keyboard, ■■ a concert or concert series: Michael Krentz is piano, set of handbells, or in addition to paying for secretary/trea- organ. In my current call musicians, publicity, and we budget $1000 each year surer for ALCM food for receptions, such a for organ maintenance, and director of series might require more which goes into a special music at Christ frequent organ or piano fund that grows over time. Lutheran Church in Allentown, PA. tunings; This helps us with major Endnotes ■■ choir trips or retreats: repairs when they become singers might pay their 1. Oliver Strunk, ed., Source Readings in necessary. Music History, rev. edition ed. Leo Treitler costs, but the congregation To manage such expenses and (New York: Norton, 1998), 565. should cover the expenses gifts, it is helpful to establish a 2. A helpful book about the “nonmusic” of the director and any dedicated music fund or two. Be parts of a musician’s work is C. Randall chaperones; Bradley, From Postlude to Prelude: Music sure to work with your church Ministry’s Other Six Days, 2nd ed. (St. Louis: ■■ purchase of new choir treasurer as you think about MorningStar, 2015). robes or new pads and cov- such things and keep careful ers for the handbell tables;

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June 16-21, 2019 & June 23-28 2019 Conference Directors: Montreat, North Carolina Kelly Abraham & Mark Kemp For more information, please visit: www.presbymusic.org/montreat10 ALCM in tempo 2019, No. 1 Light Dawns on a Hymn Festival Near You

0-25-100-0 100-22-22-0 0-80-100-0by Emily Bruflat n your community, how often Hymn festivals allow do you go above and beyond for extra creativity in musically? Maybe you work i the execution of for a very large church with multiple choirs and ensembles congregational song. of various ages. Or perhaps you are a part-time organist and/or to the public, so it falls into director for a very small church the community hymn festival and feel grateful to have a hand- category. The church provided ful of folks show up for choir on a choir of around 20 voices and Sunday. Wherever your church a small but mighty Hendrickson falls on the spectra of size and organ with 11 ranks. involvement, a hymn festival is “Bring Peace to Earth Again” possible for your context and was built around the idea of can enhance worship in mean- a crescendo from despair to The hymn festival was struc- ingful ways. hope. To paint this picture, the tured into four subtopics to take At its core, a hymn festival publicity teaser on the church’s the listener on this worshipful takes an idea or a theme—for Facebook page drew from some journey: “we were in darkness,” example, a church holiday or a of the music and Scriptures of “we were sent a savior,” “we community celebration—and the program: were instructed,” and “we were expands on it with music, read- commissioned.” Each subtopic ings, reflections, and anything O God of mercy, hear our included Scripture readings, prayer. Our world is hurting. else that fits the occasion. anthems, hymns, and a lay Our country is divided. Some- Hymn festivals can take many one’s cryin’, Lord. speaker offering a reflection forms, but two main types will based on the texts provided. be discussed in this article: And yet, a light shines in the This particular program began community hymn festivals and darkness. Jesus, the radical with a choir anthem—Uzee hymn festival worship services. teacher, came to lead by exam- ple. We are called to love our Brown’s “Come By Here”—and Union Presbyterian Church in enemies, to care for the sick, to was followed by the congrega- Saint Peter, MN, hosts a hymn extend hospitality to the strang- tion singing a hymn version er, to live together in harmony, of Psalm 9, “Why Stand So Far festival every two or three to overcome evil with good. years; in 2018 they chose justice Away, My God” (Morning Song and peace as the overarching O God, whose heart compas- or Consolation), and then by a themes. The guest artist was sionate bears every human pain, reading from the book of Job. given license to create a pro- redeem this violent, wounded Hymn festivals allow for extra gram, and after much planning world till gentleness shall reign. O God of mercy, hear our creativity in the execution and research a theme of “Bring prayer: Bring peace to earth of congregational song. For Peace to Earth Again: Musical again! example, toward the end of the Reflections for Justice” was - Herman Stuempfle Jr. program, the choir and congre- developed. This festival was gation sang two (abbreviated) scheduled for a Sunday after- You are invited to take the jour- hymns in alternation by stanza. noon and was free and open ney from darkness and lament to light and hope. “What Is the World Like,” a ALCM in tempo 2019, No. 1 11 The purpose of the of high-quality music-making hymn festival was to to the Saint Peter community, with a memorial fund created be a gift of high-quality in memory of a very musically music-making to the involved member. In this author’s context, an afternoon Saint Peter community. program such as this likely would have been a “Music for beautiful text by Adam M. Tice, Missions” event, where freewill was set to the tune Slane, and donations would have been this was paired with the familiar collected for a local or Lutheran Jeffery Rowthorn text “Lord, charity. You Give the Great Commis- structured around most of the sion,” set to Joyous Light. Stanza Conversely, a hymn festival wor- one of the former was followed ship service can be similar in appointed Epiphany readings. by stanza one of the latter and its focus on music as the central To illustrate: the gospel reading so on. The two texts and tunes means of proclamation, but it became its own subsection worked very well in alternation, can be as simple as following and this portion included two and there are likely many such the lectionary texts and adding hymns, a reflection from the pairs yet to be discovered. extra hymns and keeping most pastor (one of three reflections or all other elements of your in the festival, each about one- The 70-minute program context’s worship. third of the length of a typical concluded with Michael Burk- sermon), and a litany with hardt’s arrangement of “Light For example, an Epiphany congregational responses. Dawns on a Weary World,” with program titled “Wondrous organ, choir, and congregation; Star, Lend Thy Light” was A small handbell ensemble, a everyone in the room echoed vocal octet, the Sunday school shalom as a final blessing and A hymn festival worship children, a trumpeter, and a prayer for the world. service can be … as flutist assisted musically with this service, but all “extras” are In the context of Union Pres- simple as following the optional and are based on your byterian, the purpose of the lectionary texts and specific context. The order of hymn festival was to be a gift worship was creatively altered adding extra hymns. to suit the occasion, and this Epiphany hymn festival was cele- ALCM Spring 2019 brated with about a month of planning (as opposed to about Thursday To manage Series such a year for the community hymn Webinarexpenses and gifts, festival described above). All live webinars begin at 2 pm eastern (1 pm central) it is helpful to establish Whether you have a single a dedicated music fund organist and a few willing vol- unteers or scores of lay people February 7, 2019 Tipsor for two. Leading a Worship assisting each Sunday, you can (Praise) Band – Kip Fox use hymn festivals to creatively enhance worship. May your hymn festivals inspire others to May 16, 2019 Basic Principles of Worship put faith into action in service and Music in the Lutheran to God and neighbor!.

Tradition – Carl Schalk Elmily Bruflat is cantor of First Visit alcm.org for more information. Lutheran Church in Saint Peter, MN. 12 ALCM in tempo 2019, No. 1 Keeping It Fresh with a Small Choir

0-25-100-0by Nicole Moritz100-22-22-0 0-80-100-0 or the last 12 years I’ve been fdirecting a small choir in an LCMS church. I have varying numbers of sopranos and altos. Sometimes I only have one or two men. Often that necessitates finding music written in two or three parts and sometimes adapting an SATB anthem to fit our needs. Fear not: a small choir can still sound great, and you can still perform Pilgrim Lutheran Choir is small an impressive variety of choral You can perform an in size but mighty in song. pieces. It only requires some impressive variety of imagination and open-mind- choral pieces. It only Repurpose Your SATBs edness on the part of both Sometimes you can still use an director and choir. requires some imagination and SATB setting if it’s adaptable Recently we restructured the to the choir. When reviewing choir schedule to meet our open-mindedness. pieces to adapt, be sure that current needs. With several the ranges fit the voice parts retirees and a few pressed- turnover in the choir. You you have in mind. Some SATB for-time young parents, the may acquire some members pieces can be adapted by rehearsal time has been moved whose music-reading skills are picking out the melody as a solo to Saturday mornings, which minimal or who haven’t had or unison, using only soprano/ seems to be a better time of day much experience singing in an tenor or alto/bass and using for learning than late in the ensemble. Even long-term choir the accompanying instrument evening. The choir also sings members tend to revert to past to fill in the harmonies. Some less often than previously, which habits if you don’t remind them: SATB gems are written very ensures that choirs members “tall” vowels make a noticeable simply and only go to four parts are eager to sing on the “big” difference in the sound! Make in limited sections or ending festival dates such as Easter or sure each choir member sings Christmas. the same vowel: different vowels Continually teaching and can bend the pitch, causing Vocal Technique the choir to be out of tune. reteaching basic vocal Keep in mind that continually Blend is important with a small production techniques teaching and reteaching basic ensemble since the voices are is a must, especially with vocal production techniques more exposed—especially when is a must, especially with singing in unison. turnover in the choir. ALCM in tempo 2019, No. 1 13 and choir chimes are another Just because you have possibility: one or two bells on fewer folks in the choir the downbeat or offbeat can give a dramatic finish. doesn’t mean you can’t sing pieces in Foreign Languages languages besides Just because you have fewer folks in the choir doesn’t English. mean you can’t sing pieces in languages besides English— familiar words and music, giv- famous Latin texts such as ing you the instant gratification O Magnum Mysterium also of a full, rich sound. The inclu- come in two- and three-part sivity of this approach is warm settings; you really can “travel and welcoming, appreciated by the world” from the choir loft. musicians and nonmusicians Don’t forget about those great alike. Don’t forget that you can Spanish-language hymns in LSB achieve even more variety by and ELW ! Get the choir to sing separating out high and low mkehrer /u a stanza or two in Spanish. It’s voices, using different sections tock S i a great way to experiment with of the congregation for an sound, mouth shapes, and vocal antiphonal effect (e.g., pulpit cadences—these are wonderful production in pursuit of the side vs. lectern side), assigning for learning quickly. Keep an “holy grail” of a uniform choral a soprano descant on a final eye out for those in your read- sound. Even if you feel slightly stanza, or even attempting ing sessions. intimidated by non-English singing in rounds. texts, there is likely a sound file Instrumental Descants readily available via the internet Suggestion Box

and Embellishments from any current publisher that If you’re still coming up dry, ask If you have instrumentalists in you may play for your choir. for ideas from others including your congregation, don’t hesi- If you haven’t already, try your pastor, choir members, and tate to invite them to join you. programming a “German congregants. Many choral settings already Christmas” or a “Spanish include a C- or B-instrument Nicole Moritz is Carols” special. Most of the part or percussion. If they don’t, material might be sung in music director for you may have the option of English, but singing one or two Pilgrim Lutheran writing your own or letting an in another language lends a Church in Wauwa- instrumentalist improvise. Per- dash of authenticity. When I tosa, WI. haps you have a C-instrument throw in a non-English anthem, part that you’d like transposed I always include a translation for a B-flat instrument: in the bulletin so that all can music-notation software such as Create your own appreciate the meaning. Finale or Sibelius allows you to “arrangement” by transpose a part effortlessly. Just Add Congregation! printing stanzas in Improvisational This approach invites everyone the bulletin for the Embellishment to be part of the choir. Large congregation to sing concertato settings may require Percussion is likely the easiest to adaptation, but you can create along with the choir, improvise. A tambourine used your own “arrangement” by giving you the instant on a piece with a Renaissance printing stanzas in the bulletin gratification of a full, or Middle Eastern flavor adds for the congregation to sing instant panache: all you need is along with the choir, using rich sound. an ostinato rhythm. Handbells 14 ALCM in tempo 2019, No. 1 organ maintenance by Luke Tegtmeier 0-25-100-0Your Pipe Organ and100-22-22-0 Insurance 0-80-100-0

0-25-100-0 100-22-22-0 0-80-100-0 s your church’s pipe organ adequately insured? It’s ian important question. In the past few years, several of the organs Muller Pipe Organ Company maintains have suf- fered damage from roof leaks. As is often the case, the leather in the organ mechanism was damaged by the water, which in turn caused dead notes and ciphers. It is a frustrating discovery to be sure—especially if the offending thunderstorm happened on a Saturday night. Surprise! You can’t use the Swell division today!

When the unexpected hap- pens, repair costs can vary If the offending widely. Minor damage might thunderstorm require only an hour or so for repairs. Major damage might happened on a necessitate the removal of an Saturday night … entire division for cleaning surprise! and replacement of damaged components. You can’t use the Swell division We always recommend that the organ be insured at full today! rasilja replacement cost, not depreci-

ated value. Ideally, the coverage / istock should carry a cost-of-living building or as contents, so that insurance companies may be rider so that the value is auto- the value can be added to the less knowledgeable in this area. matically increased each year. appropriate coverage. Prior to contacting your insur- Luke Tegtmeier ance agent, check with your Whether the damage is from holds degrees in rain, lightning, fire, or van- organ technician to determine church music from the estimated replacement dalism, repairs can be quite Valparaiso Univer- cost of the instrument. The extensive. I encourage you to sity and Luther insurance company may ask reach out to your insurance Seminary. For 10 years he was a for a description of the organ. company to confirm that you church musician in Minnesota. This might include the year the are ready for the worst. If Since 2015 he has worked for organ was installed, the builder, possible, it may be advisable and the number of manuals and to work with a church-related Muller Pipe Organ Company near ranks. You should also confirm insurance company that will Columbus, OH. He welcomes your whether the insurance policy better understand the issues questions or comments: treats the organ as part of the concerning pipe organs; other [email protected]. ALCM in tempo 2019, No. 1 15 LCMS Online Worship Resources

by William C. Weedon 0-25-100-0 100-22-22-0 0-80-100-0 Chant Aid Hildebrand has some outstand- he Lutheran Church ing help to explore and use the Admit it: you’ve cringed on the Missouri Synod (LCMS) organ when coming from basic organ bench a time or two when offers a variety of resources keyboard: https://www.lcms t you’ve heard a pastor butcher a to aid Lutheran musicians and .org/worship/church-music preface or other chant. We have congregations in appropriating /organ-instruction. the riches of our liturgical and just what you need to share with them; they’ll thank you! hymnological inheritance in an Suggested Propers for a ever-deeper and more joyous ■■ learn to chant the preface Service of Prayer for the way. Naturally, much is keyed for Advent and Christmas Persecuted Church to Lutheran Service Book (LSB). from LSB: https://blogs Here are complete resources Below is a brief description .lcms.org/2013/pastors for observing a Divine Service (with URLs) to some of what is -learn-to-chant-the in prayer for our sisters and available. -prefaces-for-advent-and brothers in Christ who face -christmas/ LetUsPray persecution for the sake of ■■ learn to chant the Good This resource provides a sug- their confession of Christ Jesus: Friday Reproaches from https://www.lcms.org gested prayer of the church for LSB: https://blogs.lcms each Sunday and major festival, /Documentfdoc?src .org/2017/audio =lcm&id=3293. with the petitions arising out of -reproaches-from-good the language used in that Sun- -friday-liturgy-in-lutheran LSB Church Year day’s lectionary readings (using -service-book/ the three-year or one-year lec- Calendars ■■ learn to chant the Easter tionary option). The prayers are When is Easter this year? Or Vigil Service of Light from available in Microsoft Word for Pentecost? Or Christmas? Ha, LSB: https://blogs.lcms easy editing and shaping to the that last one’s easy. But for the .org/2014/exsultet-and-the needs of the local eucharistic rest, check out this handy little -preface-for-the-great-vigil assembly: calendar with the church year -of-easter-audio/ and its readings: https://www ■■ three-year lectionary LSB Liturgy Audio Files .lcms.org/worship/church-year. option: https://www.lcms When teaching an unfamiliar .org/worship/three-year Kids in the Divine -series-prayers setting of the Divine Service or the Daily Office, nothing Service (English or ■■ one-year lectionary option: helps like being able to send the Spanish) https://www.lcms.org congregation to a place to hear /worship/one-year-series This resource is a beautifully and learn it through repetition. -prayers updated version of the classic Check out the recordings intro to life in the liturgy by Pr. Lectionary Summaries offered here: ht t p s ://m .b ox Christopher Thoma. It’s offered These summaries provide brief .com/shared_item here in either color or black introductions to the mystery /https%3A%2F%2Fwww.box and white and in either English of Christ that is proclaimed .com%2Fs%2Fofosx8q3s3. or Spanish. What a great way on a given Lord’s Day, feast, or to introduce the younger set to festival based on the assigned Organ Instruction the riches of the way we pray lectionary. These little para- “But I don’t know how to play together and gather around graphs are designed to be the organ!” How many pianists pulpit, font, and altar: ht t p s :// included in the Sunday bulletin: have protested thus when being www.lcms.org/worship https://www.lcms.org/worship pressed into service on the /youth-in-worship. /lectionary-summaries. organ bench. Musician Kevin 16 ALCM in tempo 2019, No. 1 pew perspective by Jennifer Wolf 0-25-100-0 100-22-22-0 0-80-100-0 WELS Hymnal Project Update 0-80-100-0 The Word in Song: Hymn 0-25-100-0 100-22-22-0 of the Day Studies was sitting at my desk think- Technology Committee: ing about how much hymns These are ideal for unpacking ■■ continuation of its main meant to me and my family. the theological and biblical rich- i three objectives: ness of the chief hymn of each They are accessible. They are a ■■ a service builder appli- Divine Service. These reproduc- comfort. They can be unique or cation for pastors and ible sheets can be used in Bible quite traditional. You can hum worship planners; classes or simply as musician them to babies as you rock them ■■ preparation at home: ht t p s :// to sleep. You can sing them a resource for musi- blogs.lcms.org/tag with elderly shut-ins who may cians and directors; /unwrapping-the-gifts/. have lost their sight but haven’t ■■ a mobile application for lost their desire to praise God laypeople; in song. Or, if you were my late Thanksgiving Table ■■ oversight of the visual de- great-uncle, you’d sing “Onward Grace sign of the new hymnal as Christian Soldiers” as you This is a beautiful addition to well as the business model showered and got ready in the your Thanksgiving meal, bring- for software development. morning. ing the prayer and song of the Psalmody Committee: church to our earthly tables and The WELS Hymnal Project ■■ to the First Article gifts that God Committee has recently all psalm settings select- richly blesses us with each day: provided updates from the ed and being prepared https://files.lcms.org subcommittees. Here are some for publication; psalm /wl/?id=7eAzDyqwPnukhfR1a highlights. (If you’d like further settings include responso- JcjuXvfFZEdHX1x. information or would like to rial single-tone (current read the updates in depth, settings) and double-tone Brief Advent Table you can find more at www arrangements or metrical Devotions .welshymnal.com/blog.) paraphrases; Here’s a way to observe the light- ■■ a new WELS psalter that ing of the Advent candles and Rites Committee: will include at least two allow the light of the promises ■■ three musical settings for settings for all 150 psalms. in God’s Word to shine at our the main communion Executive Committee: family tables: https://files service; ■■ over 8,000 responses re- .lcms.org/wl/?id=nh94JvqgUQ ■■ new daily devotion options; 57JZEIkhFdgma0jWlcOWR7. ceived as feedback on which ■■ expanded set of personal hymns to cut or save (feed- Unwrapping the Gifts prayers; back ended in May 2018); All of this and even more is ■■ revised versions of the ■■ twenty hymns were “saved.” readily accessible and, best of all, wedding rite and funeral (For the full list, please visit free to all, at this URL. Explore service; the blog.) a bit. You’ll find lots of goodies: ■■ proposed new service Jennifer Wolf is a https://blogs.lcms for midweek Lenten and PR specialist who .org/tag/unwrapping-the-gifts/. Advent services or other has taught at midweek services without William C. Weedon Wisconsin communion; serves two roles at Lutheran College ■■ revised rites for confession the LCMS Interna- in Milwaukee, WI. She is a lay- and absolution. tional Center (IC): as person in the pew at St. John’s in the synod’s director Wauwatosa, WI. of worship and as the IC chaplain. ALCM in tempo 2019, No. 1 17 on volunteer management by Allison M. Schweitzer 0-25-100-0Guiding Volunteers 100-22-22-0 0-80-100-0 0-25-100-0 100-22-22-0 0-80-100-0 aw, gospel. Law, gospel. Perhaps some readers have lglommed on to my writing strategy on this volunteer man- agement topic.

The last piece I wrote was titled “Firing Volunteers.” That term—to fire someone—is rarely even used in common work- orgio place culture anymore because u G r u

of how strong and emotionally hris damaging it can be. /C tock casarsa g S / i ©

So … did you get the message? rt A istock Telling (or even inferring to) Before You Make ■■ Does your church have volunteers that they are no lon- Any Moves standards regarding how ger welcome in a particular role volunteers treat or interact The first article I wrote forin within the church is emotionally with other volunteers? damaging, if not susceptible to tempo was on setting expecta- ■■ Do you offer opportunities leaving a lifelong scar. tions for volunteers. Should you find yourself in the situation for feedback from ensemble At the close of my article in the where you’ve got a problematic members, in case there are fall 2018 edition of in tempo I volunteer or two, I personally issues within the ensem- asked for feedback on the topic believe it is crucial to go back to ble that you might not be of firing volunteers. Fran Mor- your own messaging and ensure aware of? (Sometimes choir ton of New Jersey took me up you have done everything members can be driven on this; her letter to the editor possible to make extremely crazy and eventually out of is included following this piece. clear what is expected of your the group because of the I encourage you all to read it musicians/volunteers. actions of another mem- carefully, as it is well written and ber, unbeknownst to the well thought-out. Thank you, ■■ Do you have an attendance director.) Fran! policy in place or is it just Some of these expectations may assumed that you don’t miss be completely unnecessary for “too much” when it comes your ensemble (and, admittedly, to rehearsals or services? the majority of choirs that I Telling (or even How much is “too much”? direct are youth, so yes, I have inferring to) volunteers ■■ Do you have a rule about rules about phones and exces- that they are no longer the use of phones in re- sive talking). However, should hearsals? new members join who don’t welcome in a particular ■■ Do you offer opportunities have much experience in a role within the church for extra help if a choir church choir environment, they is emotionally member is not feeling may not know what is acceptable secure on a part, even after versus not. Put it all out there in damaging, if not rehearsing it? advance—you will be glad you did so, in the long run. susceptible to leaving ■■ Do you have expectations a lifelong scar. about excessive talking in rehearsals? 18 ALCM in tempo 2019, No. 1 letter to the editor 0-25-100-0 100-22-22-0 0-25-100-00-80-100-0100-22-22-0 0-80-100-0 What If One of Your not there. This is a much more Up until the latest issue Volunteers Is Not delicate situation that requires a of in tempo, the topics and different level of guidance. Meeting Expectations? approaches espoused in ALCM publications have been what ■■ Are you doing everything ■■ Remind them of what the I’m accustomed to seeing from possible to get music out expectations are. It is possi- other denominations. However, in advance, so that proper ble he or she has just plain my eye as well as my experience practice and preparation forgotten. and convictions stumbled can take place on their ■■ I like to gauge the reaction over two articles in the last part? of other choir members to 2018 issue. Neither of these, I said problematic volunteer. ■■ Is the volunteer musician believe, help us develop and If you work with a small aware of the inaccuracy? foster healthy, inclusive music ensemble, this person may ■■ Have you had a chance to programs in our churches. really be bringing down go over parts one-on-one, “Incorporating Professional morale. Or the others may so that you can discover Musicians into Your Church say, “oh, that’s just how Bob why the inaccuracies may Ensembles”—in my experience, is,” and laugh it off. Can be happening? this article starts from a false you also laugh it off? ■■ Is the volunteer musician premise: that the professional ■■ Is he or she causing a lot causing a lot of extra musician is a novice in areas of extra stress and/or work stress and/or work for of music not directly related to for you? Talk with your you? Again, talk with your their profession. Rather, I have pastor about steps on how pastor about steps on how found any number of brass play- to proceed. It’s possible ad- to proceed. It’s possible ad- ers who were also fine singers ditional guidance, beyond ditional guidance, beyond and singers who were fine pia- what we as church musi- what we as church musi- nists (as an example). Speaking cians are trained to do, is cians are trained to do, is from the perspective of music warranted. warranted. director (the person in charge Define “Church Music We church musicians … are of creating, fostering, manag- Volunteer” so much more than just that! ing, and nurturing as robust a Thank you and God bless all music program as the individual Within the field of church of you not only for the music church can accommodate), I’ve music, as we all know, there are you bring to our beloved more often found that the true many different hats one could Lutheran worship but also for management and integration wear: choir director, organist, the relationships you cultivate problems lie with the long-ser- handbell choir director, brass and manage. It is truly a calling vice amateurs and with assuring choir director, praise band that only certain people can that the hybrid amateur/ leader, cantor, composer, understand! professional music force does arranger, and so on and so not leave the amateurs feeling forth. There are just as many, if Allison Schweitzer left behind or disadvantaged. not more, volunteer musician is assistant positions! director of church My eye as well as my and school music Depending on what the volun- experience and convictions at Mt. Olive teer musician is doing, varying stumbled over two articles in levels of musicianship may be Lutheran Church and School the last 2018 issue. Neither required. It is quite possible that in Milwaukee, WI. you have a musician meeting of these, I believe, help us every expectation you’ve made develop and foster healthy, from the volunteer perspec- inclusive music programs in tive—but musically, they are just our churches. ALCM in tempo 2019, No. 1 19 letter to the editor, continued

0-25-100-0I’ve addressed this successfully100-22-22-0 I do take it as a key part of a useful discipline0-80-100-0 in planning rehearsals! in two main ways: (1) I consider my job to determine what everyone who works with me in individual musical gifts I have been blessed not to have the music program to be col- destructive conflict or antago- leagues who can learn from us people in my church possess nistic volunteers in my music and from whom all of the rest of and to do my best to create programs. However, I have seen us can learn; and (2) I am very situations and environments up close the damage such con- careful in the professionals that where they can use them flict and such individuals can do I invite or encourage to work and, at the same time, within churches I’ve served. If with me. Those who are looking ever you find yourself faced with primarily to demonstrate their further the overall goals of such a situation, my recommen- own skill and knowledge, rather the music program. dation is: go to amazon.com, get than to help us all further the a copy of Kenneth C. Haugk’s goal of a collaborative musical further the overall goals of the Antagonists in the Church: How to contribution to worship, are music program. An example: I Identify and Deal with Destructive unlikely to help us nurture a have a firm rule against using Conflict (Minneapolis: Augs- harmonious program. prerecorded accompaniment burg, 1988), read it carefully, tracks in Sunday worship. In “Firing Volunteers”—this and follow his advice! my view, worship needs a “con- title and the content of the gregation” not an “audience.” There are any number of other article run at cross-purposes to If we can figure out how to do examples and situations I could everything I have experienced, that music together live on our detail where a flexible and built, fostered, and believe own, let’s go for it. If not, then creative approach to carrying about church music programs. Sunday worship is not the right out a well-conceived music pro- No church I have ever served place for it to be offered. I will gram plan can result in a tent has enough volunteers that they work with individuals to create big enough to accommodate can afford to “fire” ones that an event, an opportunity, or a a wide variety of musical skills don’t properly conform to a performance where that music and experiences. The key to it narrowly defined “right” way of along with its accompaniment all is the music director’s view doing things. Does this means track fits. My role becomes of the job. In my view, the music I have no standards and allow coach when I encounter director is there to enable the anyone to do anything they someone who has a completely congregation to discover, foster, want of any musical quality? different starting point for and nurture its music. My role No! But I do take it as a key part music. An example: a few choir then becomes educator, coach, of my job to determine what men were having trouble match- enabler of the best music, and individual musical gifts people ing pitch (because while all the explorer/guide to help the con- in my church possess and to do high school girls were in chorus, gregation discover music they my best to create situations and the guys were on the football didn’t know they’d love. environments where they can field). We met each week for 30 use them and, at the same time, minutes before choir to drill Oh, and I play the organ and their parts and introduce basic direct the choirs, too. choral singing skills. Another No church I have ever served Cheers, Fran Morton example: a seven-year-old girl Music Director, Lutheran Church of has enough volunteers that had fallen in love with our hand the Redeemer, Ramsey, NJ they can afford to “fire” ones chimes and wanted to play in that don’t properly conform the bell choir. Could she? You In Tempo welcomes letters to the to a narrowly defined “right” bet! I recruited her mother as editor. We reserve the right to edit well, and they became two of way of doing things. for space and clarity. Please send our best ringers. Note to bell to [email protected]. choir directors: the attention span of a seven-year-old is quite 20 ALCM in tempo 2019, No. 1 interview with the daughter of a church musician 0-25-100-0Kathryn Hillert 100-22-22-0Brewer 0-80-100-0 Interviewed by Allison Schweitzer, December 2018

Richard Hillert (1923–2010) was a all dedicated to them. He often noted Lutheran composer. He was wrote the words as well, in distinguished professor of music beautiful lettering, reminiscent emeritus at Concordia University of popular music of his day. Chicago, River Forest, IL. He was Some of the better ones— best known for his work as a com- especially the piano pieces—he poser and teacher of composition. later reworked. There was one In this interview with his eldest in particular called “Tapestry: daughter Kathryn, she shares Ragtime for Piano.” I loved that various memories about her father piece, and I really pushed him

from throughout his career. to play it more. It’s probably one illert of my favorite pieces of his.

In Tempo: You have a couple ichard H of siblings; where are you in the IT: When did he finally go to

college? of R state birth order? E Richard Hillert, 1962. Kathryn Hillert Brewer: I’m KHB: Since my father was not able to go to college during the the oldest; my father was 40 He was always more interested when I was born. Then came war, he began college in 1947 at my sister Virginia, then a couple the age of 24, graduating from in the arts and music of the years later my brother Jonathan. Concordia, River Forest, in 20th century than in the grand 1951. In his same class or “era” masters that came before then. IT: Tell us about your father’s were such people as Carl Schalk background. and Carlos Messerli—the latter was his roommate for a number After he received his master’s KHB: During World War II, he of years. degree from Northwestern Uni- was too young to serve in the versity, my father was offered army. His older brother was These friendships lasted a position at Concordia, River serving, which meant that my throughout his life. My father Forest. That was in 1959, the father needed to stay home to taught at Bethlehem in St. same year that my mother, who work the dairy farm his family Louis for a year and then went had a master’s in biology from owned in central Wisconsin. to Trinity in Wausau, WI. Carl the University of Michigan in Schalk and his wife Noël were Ann Arbor, became the first I remember him telling us that then at Zion in Wausau; for the female academic professor at in his farming days he loved next five or six years they were Concordia, River Forest. So she when it rained outside because close friends and colleagues was a bit of a groundbreaker— it meant he didn’t have to do in Wausau. Later Carl joined and in a very different field than farm work. He was free to play the Concordia faculty in 1965, my father. In our family, she was the piano and write music so the two of them worked the logical, technical one, and instead. (Although he grew up together for most of their my father was the creative one. on a farm, he wasn’t exactly a professional careers. Carlos natural at farming). As a result, Messerli went on to teach at Their first date was in March I think all of us kids like it when Concordia in Seward, NE, but 1960. A piece my father had it rains. they were close friends and written was being performed confidants throughout their at Valparaiso University (IN), He wrote piano music and many lives. and he needed a ride there. So love songs for all his girlfriends, ALCM in tempo 2019, No. 1 21 While he is well known for his liturgical and he asked my mother to go, but hymn works, these the deal was he needed her car. They were married in August creative and fun pieces 1960. are the ones I wish

They both taught for a few people knew better. years at Concordia before I was born and continued teaching illert in a baby/car trade-off dance while I was a baby. They joked various concerts of his music ichard H that I would become damaged were performed in connection in some way from listening to with the Concordia Lectures in of R state © E © too much Stockhausen in their Church Music, and then CDs Original manuscript cover for tiny apartment. By the time my were published. My favorite “Tapestry.” The neon-green sister was born they had bought CD is “Eclectic Hillert,” which sticker has his catalog number. a house in Melrose Park and my features some of his secular mother stopped teaching for music. The music is a little more the catalog that lists over 1,000 awhile. accessible to a wider audience pieces. The cataloging process beyond a worship service, was extended when he donated IT: At what point did you start but these pieces aren’t as well his manuscripts to the Center realizing that your father was known. This CD includes for Church Music at Concordia, a big deal? a “Suite for Strings” (very and currently all of his manu- beautiful), a Stravinsky-esque KHB: Well, he wasn’t really that scripts can be accessed online “Fanfare for Chamber Orches- big a deal for a long time. He (https://www.cuchicago.edu tra,” a “Sonata for Baroque wrote music commissioned by /about-concordia/center-for Flute” (which sounds very publishers, including pieces for -church-music/composer un-baroque), and several voice/ the Concordia Music Series. -manuscript-indices piano pieces. One of those, Being on staff at Concordia, he /richard-hillert/). “The Open Road,” is taken from was often asked to write music an advertisement that he saw at for events and concerts. He the Streets of Yesteryear exhibit IT: Do you know what his was asked to work on Worship at the Museum of Science and creative process was like when Supplement in 1965—a project to Industry in Chicago. The ad was he was writing music? explore ideas that could become for a very fast car that could go part of a hymnal to replace The KHB: He had a room on the “15 or even 25 miles per hour”! Lutheran Hymnal. In the 1970s lower level of the house that was He tries his hand at some jazz he was part of the liturgical all his, and he sat at the piano on this CD, and it also has my music committee on the devel- with a pencil in his mouth, favorite “Tapestry” piano piece. opment of a new hymnal that and he’d play and write out While he is well known for his would serve all North American the music on paper. If we were liturgical and hymn works, Lutheran church bodies (which downstairs watching TV, we got these creative and fun pieces became LBW ). It was after LBW shooed out of there. He’d put are the ones I wish people knew was published that he really the news on, and then he’d go better. came into his own. For the rest back to work. of his professional life, his music IT: Has anyone ever counted He made the switch to com- was frequently published and he how many pieces he’s written? posing using a computer in received many commissions. the ’70s, when he was already KHB: He became very careful 50-something. We had an Apple IT: He wrote non-sacred music with ordering and numbering IIe and a little Casio keyboard, as well, correct? his compositions. He created and he learned Finale. He a catalog in 1983, and then KHB: Yes, in a sense I think it composed everything on his there was an update in 2003. I was his first love. In 2003 in computer after that. created a spreadsheet based on honor of his 80th birthday, 22 ALCM in tempo 2019, No. 1 Richard Hillert with daughter Kathryn at the Marienplatz, Munich, in 1983.

three-week driving trip across the country. We managed to visit 49 states along the way! (I’m still working on Alaska.) After we all moved out, my parents traveled all over the globe, mostly on their own but sometimes as part of a group. brewer They spent a week at a liturgical retreat in St. Petersburg, took a kathryn cruise around South America including Antarctica, visited IT: He dedicated love songs to IT: Did you share interests Australia and the Fiji Islands, girlfriends—how fun! Did he outside of music? rode camels in Egypt and rick- dedicate anything else? KHB: Yes, we were both inter- shaws in India, and took many KHB: He dedicated many piano ested in our family genealogy driving trips through Europe. pieces, concertatos, songs, and and took trips to various Wis- Carl and Noël Schalk traveled even waltzes to his friends for consin courthouses to sleuth with my parents frequently, their birthdays and anniver- out names, dates, places, and including a cruise to Costa Rica saries. I remember a piece he other records. He also loved through the Panama Canal. wrote for my sister’s 3rd grade modern art, especially Picasso, Among their trips together class for Valentine’s Day. I can where I gravitated more toward was a visit to French Lick, IN, still sing it in my head, but it’s a Kandinsky. We would have to a hotel where Gershwin had little sappy for 8-year-olds! endless discussions about their stayed. art and lives, and how various But no matter where my father Some of my personal favorites art forms—music, painting, traveled, somehow the beautiful are the baptismal psalms he theater, literature—are inter- vistas always looked “just like wrote and dedicated to each related. He was always more Wisconsin”! of his six grandchildren. My interested in the arts and music oldest nephew, Tyler, was born of the 20th century than in IT: at 29 gestational weeks, so he the grand masters that came Any other special memories was baptized in the NICU. His before then. His CD collection of your father that you’d like to psalm is “He Shall Give His reflected that: the Bach, Beeth- share? Angels Charge over You” from oven, and Brahms CDs—still KHB: We as kids saw him in Psalm 91. It remains a very in cellophane—sat on the top such a different way. He was moving piece for those of us shelf. The rest was filled with dad. We had fun with him. He who remember how vulnerable the likes of Virgil Thompson, liked ice cream. He liked to go that baby was. Tyler is 27 now. Stravinsky, Hoagy Carmichael, for drives in the forest preserves My second daughter was born Scott Joplin, Arvo Pärt, Charles around Chicago and on the seemingly healthy but died Ives, Mahler. And Gershwin. A roads in Wisconsin. He was not when she was only 10 months lot of Gershwin. exactly the disciplinarian. I old. Her psalm, fittingly, is remember in the ’70s, when he “The Lord Is My Light and My IT: What did you do as a was writing liturgy for LBW, I Salvation” from Psalm 27. It was family? often fell asleep to the develop- just so appropriate, considering ment of “This Is the Feast” as he My mother especially loved what all happened with her in worked late into the night. By to travel, so each summer we the next year. the time it was published in the would take off on a two- to hymnal, we knew it well! ALCM in tempo 2019, No. 1 23  abc efghijklmnopqrstuvwxyz

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24 ALCM in tempo 2019, No. 1