CROSSACCENT Vol 23, No 1 | SPRING 2015 Journal of the Association of Lutheran Church Musicians

CROSSACCENT vol 23, no 1 | SPRING 2015 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 Ollikainen membership in ALCM. Libraries may subscribe at $60 per year by contacting the Business Office. Copyright © 2015 Association of TAKENOTE Lutheran Church Musicians. 3 A New Life and New Hope: The Center for Church Music— The views expressed on the pages of the journal 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 COUNTERPOINT Church Musicians. “Seek the welfare of the city where I have sent you”: This periodical is indexed in the ATLA Religion 5 Database®, a product of the American Worship and Civic Festivals—Mark Oldenburg Theological Library Association, 300 S. Wacker Dr., Suite 2100, Chicago, IL 60606, USA. e-mail: [email protected], www.atla.com. 11 Horn, Heart, Music, Word: Hannah’s Song and Venice ISSN 2151–1772 after the Interdict of 1606—Paul Friesen-Carper Editor: Jennifer Phelps Ollikainen Music Editor: Lara West Faithful Christians, Conscientious Citizens: Book Editor: Paul Grime 21 Copy Editor: Anne-Marie Bogdan Independence Day and Assembly Song—Chad Fothergill Graphic Design: Kathryn Hillert Brewer Editorial Office THANKYOU Jennifer Phelps Ollikainen, Editor 1127 Magazine Road 26 Thank you to our donors! Green Lane, PA 18054 [email protected] CHORUS Editorial Board Kent Burreson 28 The Reason Why We (Should) Sing!—Lamont Anthony Wells Paul Friesen-Carper Joseph Herl Nancy Raabe BOOKREVIEWS Stephen Rosebrock 31 The Answering Voice: The Beginnings of Counterpointand Advertising Office Cheryl Dieter, Advertising Coordinator Melodious Accord: Good Singing in Church, by Alice Parker— 810 Freeman St. Matthew Machemer Valparaiso, IN 46383 800.624.2526 219.548.2526 33 Innovative Warm-Ups for the Volunteer Choir: Concepts to Improve [email protected] Choral Sound, by Michael Kemp—Jonathan Busarow ALCM Business Office Cheryl Dieter, Business Manager Association of Lutheran Church Musicians 34 Managing Music Ministry: Beyond Notes and Chords, by Stephen 810 Freeman St. Valparaiso, IN 46383 Petrunak and Randall R. Phillips—Nicole Busarow 800.624.2526 219.548.2526 UND SO FEST [email protected] New Music www.ALCM.org 35 The Association of Lutheran Church Musicians POSTLUDE is a service and professional organization that works to strengthen the practice of worship and 52 From the ALCM President-Elect—Julie Potts Grindle church music of all North American Lutherans. Membership is open to any person or institution Cover art: Childe Hassam, Just Off the Avenue, 1916 whose interests are in harmony with the Associa- tion’s goals. Address all change of address, ALCM OFFICERS subscriptions, and business correspondence to President: Anne Krentz Organ Region 2 (Southeast) President: Sarah Hawbecker the ALCM Business Office. President-Elect: Julie Potts Grindle Region 3 (Midwest) President: Linda Martin Secretary/Treasurer: Kevin Barger Region 4 (West) President: Kim Cramer Region 1 (Northeast) President: John Weit Directors at Large: Scott Hyslop, Thomas Schmidt

Spring 2015 | CrossAccent 1 s PRELUDE The Rev. Dr. Jennifer Phelps Ollikainen Editor, CrossAccent

e hold two realities in tension. Chris- than our own in an effort to include the breadth tian worship exists in a particular of musical gifts in the church while struggling W time and place, situated within hu- with the cultural realities of the oppression that man culture. And Christian worship transcends undergirds these styles and in which we often time and place, proclaiming the grace of God participate. in Jesus Christ beyond human limitations. We This issue of CrossAccent explores the struggle stretch this tension whenever our cultural and of preparing Christian worship in the messiness civic holidays or commemorations coincide with of human culture. Mark Oldenburg suggests worship or when the community is struggling five categories of civic observances and examines through political issues that have an impact on how each category may or may not be present the members of our community and, therefore, within the worship of the Christian community. the assembly gathered for worship. Paul Friesen-Carper observes how the Song of In the midst of these tensions we must make Hannah was used in the 17th-century Venetian choices about the content of worship. These are church as a partner in the dance of authority be- not easy choices because of the reality of our hu- tween the government and the church. Lamont man brokenness and struggle. What do you sing Anthony Wells illustrates a practice that holds in Sunday worship the weekend your communi- the tensions when African American spirituals ty celebrates American Independence Day? Will and songs born out of oppression are utilized you sing African American spirituals born out of cross-culturally in congregations that have not a history of and the ongoing reality of cultural experienced that oppression. Chad Fothergill oppression in a community that has not strug- offers a practical guide for choosing hymnody gled under the weight of that oppression? Has across three lectionary years for the first week our music for worship been co-opted by political of July, a time when most American congrega- disagreements or church politics? tions grapple with the tension between gospel We do best to hold the tensions and to and patriotism. practice intentional reflection lest we proclaim As Oldenburg points out, the incarnational the brokenness of humanity louder than we reality of Jesus Christ calls us to live redeemed proclaim the grace and wisdom of God that in a broken world being transformed by God’s transforms our worship with salvation grace. We grace. Our songs of worship often both proclaim sing the hymn with patriotic images while recog- gospel and reveal cultural biases and struggles. nizing that God does not show preference to one Together we are called to intentional reflec- country. We celebrate the vocation of parents tion, conversation, and careful practice so that while resisting the cultural tendency to idolize in the end the grace of God in Jesus Christ may the unattainable ideals of sentimental greet- transform our world, breaking it open with for- ing cards. We sing the music of cultures other giveness, reconciliation, justice, and life.

2 Spring 2015 | CrossAccent | www.alcm.org TAKE s NOTE A New Life and a New Hope: The Center for Church Music by Nancy Raabe

ll it takes to change the world, or a small corner of it, is someone with a vision and A the conviction to follow it through. In 2010 the Center for Church Music (CCM) was established at Concordia Universi- ty Chicago (CUC) by two major gifts: Richard o

Hillert’s entire library of manuscripts and pub- g ca lished compositions and Carl Schalk’s extensive hi C collection of American Lutheran hymnals. Both were housed in the university’s rare book and versity versity ni manuscript room. Although the room was open U to the public during library hours, relatively few took advantage of the opportunity to view and ncordia ncordia o study these collections. C This puzzled Barry L. Bobb (a CUC graduate with additional degrees in church music and systematic theology), who began dreaming mi about what the Center could become. Step by E Barrett, ly step, his vision of a wide array of electronic and Facets of the Center currently include: Center for Church Music Director Barry print resources uniting all American Lutheran • an expanding collection of manuscripts Bobb and compos- church bodies has come to life. With support for and papers that now includes those of er Carl Schalk at the the Center from the university and from donors ceremony in June, Carl Schalk, Jaroslav Vajda, Paul Manz, 2014, marking the across the country, Bobb assumed the role of vol- Walter Pelz, and Ralph Schultz, along permanent loan of untary (unpaid) executive director in May 2013. with Paul Manz’s entire collection of tapes Schalk’s manuscripts Soon after, an advisory group was estab- documenting his hymn festivals through to the Center. lished and a new website launched. Today the the years; Center has taken wing as a remarkable resource • a series of monographs (published in part- through which the general public can become nership with Lutheran University Press engaged with the vibrant legacy of Lutheran [LUP]) on people and subjects of great sig- church music in America and with the forces nificance that long have been overlooked or and personalities that continue to shape it. never before properly represented in print; larger books are being released as well in col- o g laboration with LUP and MorningStar; ca hi C • an expanding array of important books and reference works devoted to church music;

versity versity and ni U • the digitization (in partnership with Hymnary.org) of the vast Schalk hymnal ncordia ncordia

o collection; phase I is now complete (see the C CCM website’s “Publications” section for ly Barrett, Barrett, ly mi

E Spring 2015 | CrossAccent 3 s TAKENOTE From all this one can see that “growing” is a key word. “Things are constantly being added to all components of the Center,” Bobb said, “and more exciting plans are on the drawing board.” Representative of this dynamic expansion is the idea currently being explored for an open source digital initiative to scan and upload composers’ manuscripts so they can be viewed and studied online from any location. o

g To learn more about the Center for Church ca

hi Music, investigate its website, subscribe to its C electronic newsletter, and follow its Facebook page (www.facebook.com/centerforchurchmusic). versity versity ni

U Also, make plans to attend the in-depth workshop on the Center being presented by Linda Kempke at ALCM’s biennial conference July ncordia ncordia o

C 19–23 in Atlanta.

Nancy Raabe is Associate

ly Barrett, Barrett, ly in Ministry at Luther mi E Memorial Church, Madison, Concordia University a link at the bottom to a page with coding WI. ALCM members past president John by which these volumes may be located on Nancy Raabe and Linda Johnson, Gloria Kempke serve on the Hillert, and Carl Hymnary.org). Schalk cut the ribbon Center’s advisory group. to launch the Center The Center’s website (www.cuchicago.edu/ o for Church Music in about-concordia/center-for-church-music/) ad- g October 2010. ca dresses every aspect of the Center’s activities and hi C includes such sections as: • “Profiles in American Lutheran Church versity versity ni

Music,” a growing number of video inter- U views with leading musicians and scholars; this area also features a series of essays by ncordia ncordia o

Victor Gebauer on foundational figures in C American Lutheran church music history; • two ongoing sets of essays, “Reflections” by Paul Westermeyer and “Perspectives” by mi Carl Schalk; E Barrett, ly • “Conversations,” videos of noteworthy keynote speeches and presentations; • “Discoveries,” edited by Scott Hyslop, which points readers to resources that are off the beaten track but that others have found to be useful tools for planning worship and music in Lutheran churches; and • a continuing series of “Devotions on the Hymn of the Week” by a diverse array of writers.

4 Spring 2015 | CrossAccent s COUNTERPOINT “Seek the welfare of the city where I have sent you”:1 Worship and Civic Festivals

by Mark Oldenburg

irst of all, two dreadful stories about times I have worshipped on a Sunday F morning, July 4. Dreadful story #1: At the end of a communion service at which I was a supply preacher, what separated the blessing from the dismissal was the procession of four members of the youth group, dressed as if members of the armed forces of the United States and carrying American flags, while the congregation sang, “My Country, ‘Tis of Thee.” Following the service, the organist noted that I hadn’t sung along and asked why. I said that I knew myself well, and that there were a number of things—my wife and my country foremost among them—that I loved so deeply that I needed constantly to work to make sure I feared, loved, and trusted God above them. It was clear that that notion had never occurred to her. Nor, of course, had the notion (which I did not mention) that “My Country, ‘Tis of Thee” is for most of its length a hymn about worshipping a god other than God, and that singing such a hymn in worship is a practice for which Chris- tians have died rather than be forced to carry out. The church should not identify the gospel with any particular social cause—not love of country, not the value of labor, not parenthood. These goods are God-given and God-blessed, but they are not God. They can, however, easily be treated as if they were, if we are not careful.

Childe Hassam, The Fourth of July, 1916

Spring 2015 | CrossAccent 5 s COUNTERPOINT Dreadful story #2: The town in which we va- cation every year is a Norman Rockwell dream, and we look forward to being there on Indepen- dence Day. The town parade consists of several hundred children (from birth to age ten) riding their bikes and strollers decked out with red, white, and blue bunting following the volunteer fire truck, while the rest of the residents cheer from the sidewalks. After enjoying free snow cones on the largest lawn in town, people scat- ter for picnics and gather again later to watch the next town’s fireworks display. This particular July 4th fell on a Sunday and, before going to the parade, my wife and I (and several toddlers already sporting red, white, and blue T-shirts) attended a church service in which Independence Day was completely ignored: no mention in the preach- ing, the prayers, or even the announcements. Both of these are dreadful stories about Childe Hassam, Just Off the Avenue, 1916 times in which the churches concerned fell into inappropriate practice but in very different ways. Dreadful story #2 is dreadful not because it Both practices are at least wasteful and at worst is idolatrous but because it is docetist. Docetism idolatrous. Both ignored the advice of Jeremiah denies the full, true humanity of Christ, at- to the exiles in Babylon (Jeremiah 29:1-23), from tempting to remove him from the material world which comes the title of this essay. Jeremiah and attempting to remove the gospel from its commanded the exiles neither to be completely cultural expression. That congregation did not assimilated into Babylon nor to ignore the place take seriously its context. By ignoring Indepen- where they had been sent by God but rather to dence Day in the prayers—despite the fact that settle in as resident aliens, preserving their iden- people were, in fact, spending the day attending tity but praying for the welfare of the city where to their country and its benefits—the assisting they were. We can and should do no less! minister guaranteed that the prayers were not Dreadful story #1 is dreadful because the prayers of the people. Because the sermon it tempts the church to give up its identity, to omitted any reference to how people would be enter into idolatrous worship of the “city.” Ob- spending the rest of the day, the preacher missed serving a national holiday in such a way within a golden opportunity to connect an important, a church service implies that there is no differ- valued expression of the people’s love on the one ence between God and nation and certainly no hand to God’s love for them on the other. It is possibility of conflict. It makes of the state and dreadful because it is a waste. its ideals (as beloved and generally beneficial How might a congregation, then, slip be- as they are) a god that cannot be differentiated tween this devil and that deep blue sea? How to from the God we know in Jesus Christ. Not to avoid both idolatry and docetism? That has been mention the effect of that practice on any mem- a struggle, and not just for our generation and bers of the assembly who are or were citizens of nation. For some the struggle is slight, while for other countries. It makes something other than others it is painful. I’ve categorized civic festivals the paschal mystery—the story of the death and into five groups and offered some suggestions for resurrection of Jesus—the center of our worship. worship planning, recognizing that different sit- It is dreadful not because it is tacky but because uations can move a particular observance from it is idolatrous. one category to another.

6 Spring 2015 | CrossAccent | www.alcm.org s COUNTERPOINT 1. Churchy: These are festivals that have or- 2. Sales: These are observances that pro- igins in the church and have obvious continuing vide many people with days off from work or connections with it. They would include, for in- school but that do not generally have power- stance, Thanksgiving and Martin Luther King ful resonance, even outside of the church. No Day, as well as St. Patrick’s Day. Depending on matter their original intent, they seem present- how it’s observed, New Year’s Eve could also fit ly primarily to be excuses for automobile dealers into this category, especially in The Lutheran and other merchants to take out advertisements. Church—Missouri Synod and the Wisconsin Presidents’ Day is a prime example, as is Colum- Evangelical Lutheran Synod, where not only les- bus Day in many places and years. This category sons but a nicely edifying hymn (“Across the Sky is also generally an easy one for planners of wor- the Shades of Night” [LSB 899; CW 60]) are ship, since these holidays can be easily and safely included in recent hymnals. This category is an ignored. easy one for planners of worship since the ob- There are times and situations, howev- servance of these festivals fits so easily with the er, when these observances might move out of worship of God and the commemoration of the this category. Attention to the effect of Euro- faithful departed. pean migration on the earlier residents of the Americas, for instance, would lift Columbus The observance of these Day into the Mythic category considered below (although it focuses on lament rather than cele- [churchy] festivals fits so easily bration). In other places, since Columbus Day with the worship of God. gained national recognition as a way for Ital- ian and Spanish immigrants to claim their own mela moore a p s I © tock/

Spring 2015 | CrossAccent 7 s COUNTERPOINT observance does not seem to be problematic. This is not true, however, of the final two categories.

4. Vocational: This category of observances includes those days dedicated to particular callings in the world. While some of these (Grandparents Day, Nurses Day) seem simply to be excuses to purchase greeting cards, there are several that are profound enough to command attention from preparers of worship: Labor Day, Mother’s Day, and Father’s Day. Here we have the first examples of civic festivals powerful enough in their popularity to tempt planners to focus worship on something other than the paschal mystery. These are also festivals that run the danger of wounding those who are marginalized by them. They deserve to be treated, therefore, with some care. First, of course, they deserve a place in the general prayers. Prayers of thanksgiving for the vocations of parents (and not only biological s I

© tock/yaruta parents) or of occupations are most certainly in place in the story of American origins (rather order. But so are those for healing in relation- than be marginalized by the dominant Puritan/ ships (for Mothers Day and Fathers Day) and for Anglo story incarnated in Thanksgiving), there the unemployed and underemployed (for Labor may be contexts in which that original purpose Day). Pastoral sensitivity will dictate how one would move the holiday into the Mythic catego- might include those who desire children but are ry as well. not parents. There are, no doubt, petitions poor enough so that silence would be preferable, but 3. Developing: There are a number of obser- these should be edited, not omitted. vances that are gaining strength and that may Second, I would not recommend depart- soon cry out for inclusion in the church’s wor- ing from the lectionary for these occasions. Nor ship. Earth Day and the Remembrance of the should these be reasons to depart from the plan- Holocaust are certainly two of these, and Inter- ners’ normal way of choosing hymns, anthems, national Women’s Day and International AIDS and other music—please God, as means of pro- Day would also belong in this category. Patriots’ claiming the gospel and especially those facets Day (observed in some New England states on of the gospel lifted up by the service’s Scripture April 19, the anniversary of the battles of Lex- readings. As always, however, pre- and post-ser- ington and Concord) would not seem to belong, vice music is often less obviously connected to but April 19 is a date intentionally used in recent this task than music within the service itself. years for terrorist attacks by some antigovern- Third, as always, the context of the day (of mental groups. (It was originally thought that which these festivals are very much a part) will the Boston Marathon bombing in 2013 fell into be part of the lens through which the preacher this category, although it now seems that that exegetes the texts. She or he will undoubtedly be was coincidental.) Days in this category might sensitive to ways in which the themes of occupa- be observed with special ecumenical or inter- tion or parenthood are present in or illumine the faith services and certainly should be included readings. in building the prayers of intercession, but their And finally, the figure in the festival (mother,

8 Spring 2015 | CrossAccent | www.alcm.org s COUNTERPOINT

Jean-François Millet, The Gleaners, 1857 father, worker) may appropriately serve as an We are faithful residents, icon rather than a idol. That is, rather than be a placed here by God to distraction from the paschal mystery, that figure could very well be a metaphor exactly for that work for the benefit of our mystery. For instance, it is unarguable that each neighbors in this place. of us is alive because a woman gave birth to us, at considerable risk to her own health and even to her own life. This is true even if we have nev- use human concepts to understand God, and er had any further connection with her or if the many of these—father, mother, advocate, build- relationship has been strained. While it is not a er, healer, teacher, and so on—are particularly perfect parallel to Christ, we understand Christ’s appropriate on vocation festivals. self-emptying ministry to us better because we An additional vocational civic occasion that have received a similar ministry from our bio- receives less attention than it deserves, both in- logical mothers. An icon, of course, must be a side and outside the church, is Election Day, broken metaphor—that is, one that is obviously a quintessential stewardship festival. Would insufficient—but an icon will serve as a window that it had the cultural power of Mother’s Day! into a greater love rather than serve as a com- And would that churches would take the oc- petitor with that love. Thus we can appropriately casion, on the Sunday previous to elections, to

Spring 2015 | CrossAccent 9 s COUNTERPOINT pray for wisdom and to reflect on our steward- What one would not want to do, however, ship of power within our political system. And is to assert that love of our country and its ideals perhaps even support those who vote—often in is either identical to or incompatible with love of our buildings—with transportation and further the Triune God. We are resident aliens who have prayer. here no permanent city. But we are faithful residents, placed here by God to work for the benefit 5. Mythic: I’m not using “myth” here in of our neighbors in this place, deriving safety its popular meaning, as a story that is not true. and prosperity from its structures. We are called Rather I’m using it in its strict, profound sense: to give thanks for it and to use the influence we a story that makes sense of the world and which, have to improve it, even if we can never make it in fact, creates the social construction of the perfect. To ignore its festivals would be rob us of world in which we live. These festivals are ones opportunities to give thanks and to deepen our that make us who we are. Such festivals would experience of the gospel. The trick is to celebrate include not only Independence Day but also them in such a way as to proclaim the only true Memorial Day and Veterans Day.2 In different God. Our task is the one W. H. Auden called parts of the country and in different subcultures us to in the last lines of his 1944 poem “For the there would be additional Mythic festivals, Mar- Time Being”: “Love Him in the World of the di Gras and Juneteenth, for instance. Flesh; / And at your marriage all its occasions Mythic festivals could be treated in many of shall dance for joy.”3 the same ways as vocational festivals. Certainly they belong in the prayers. Certainly they would Mark Oldenburg is dean of not require changing the lectionary, although the chapel and Steck-Miller they would serve as lenses through which to hear Professor of the Art of Worship and to proclaim the assigned readings. And most at Lutheran Theological certainly they would need to avoid the tempta- Seminary at Gettysburg, PA. tion to idolatry. Even the sorts of icons to which Mythic holidays lend themselves may be similar. Memorial Notes Day and Veterans Day both celebrate those who, like biological mothers, sacrificed time, conve- 1. Jeremiah 29:7 (nrsv). nience, and even life itself for our benefit. Thus 2. In recent years these last two holidays seem to have the figures they celebrate can serve as icons of been rescued from being simply “sales” holidays Christ. And on Independence Day one might be (in the case of Memorial Day, marking a change of careful about the hymns one sings: “O Beautiful season) into actual occasions of significant depth. It for Spacious Skies” is a sung prayer to God about is unfortunate that both focus on military service, not because such service is unimportant, but America whereas “My Country, ‘Tis of Thee” is because there seems to be a popular equation of a sung prayer to the nation itself. And one might such service and patriotism, as if no other service is include in proclamation a clarification of the dif- patriotic. This identification is in stark contrast to ferent meanings “liberty” and “freedom” have in Alexis de Tocqueville’s Democracy in America. In pre-Civil War America, apparently, the height Scripture and in Luther’s writings than they do of patriotism was the willingness to volunteer in popular usage (aided, providentially, by the for service on town councils and other sorts of readings assigned in most years to the closest municipal responsibility. Sunday). 3. For the Time Being (New York: Random House, 1944).

10 Spring 2015 | CrossAccent | www.alcm.org s COUNTERPOINT

Jan Victors, Hannah Giving Her Son Samuel to the Priest, 1645 Horn, Heart, Music, Word: Hannah’s Song and Venice after the Interdict of 1606

by Paul Friesen-Carper it, we are simply unable to make music only serve the Word. Our fallibility as leaders, added to the usic is a servant of the Word.” This is cultural and experiential presumptions that our “ a maxim Lutheran church musicians assemblies bring to worship, makes for a messy M will often repeat. (And rightfully so!) reality in which music in the church serves many The core of our calling is to attend to the Liv- masters. Any attempt to “correct” or deny this ing Word as it speaks to the assembly and to multiplicity is an exercise in fantasy. (If you have facilitate, enrich, and embolden that assembly’s any doubts, just ask your music committee to hearing. make selections for a Sunday that falls on Moth- On the one hand, this is daunting. No mat- er’s Day or July Fourth.) ter how piously we approach music-making in On the other hand, when we hear the the church or how earnestly we seek to “purify” maxim as describing our situation (instead of

Spring 2015 | CrossAccent 11 s COUNTERPOINT Our fallibility as leaders, empire peaked in the 14th and 15th centuries, added to the cultural and and especially as those fortunes began to wane in the 16th and 17th centuries, the “Myth of experiential presumptions that Venice” was a concerted and pervasive effort to our assemblies bring to cultivate Venice’s image as a paragon of cities. worship, makes for a messy This idea is essential to any understanding of the city’s culture. In a recent brief history of the reality in which music in the city, a prominent scholar of Venice devotes an church serves many masters. entire chapter of her book to the way Venetians propped up “claims that the city was encapsulat- prescribing it), we are free to trust that music ed in timeless stability … [and] that the entire will serve the Word. Because of this freedom, community offered unquestioned loyalty to the then, we can trust the Spirit to work through the city,” that the city “also enjoyed special favors: church’s music, steadying us as we surf the waves from God and from St. Mark … [and] further … of other demands for its service. Let us be clear: that Venice was blessed with excellent rulers and this situation in not unique to music. It is the superior institutions,” and finally, that “by prov- same in every other aspect of church life: Christ idence, this ideal city and its immaculate ruling 4 is with us as we engage the practical with an eye class were destined to endure forever.” Petrarch’s to the eternal. In the spirit of this freedom I of- oft-quoted words quintessentially describe Ven- fer one story of the church’s song riding waves of ice as “a city rich in gold but richer in renown, political motion. mighty in works but mightier in virtue, founded I stumbled across this story as I was looking on solid marble but established on the more solid for a way to bridge my musical interests with a foundation of civic concord, surrounded by the form-critical and historical analysis of Hannah’s salty waves but secure through her saltier coun- 5 Song (1 Samuel 2:1-10, “My heart exults in the cils.” Literature, architecture, art, and music all Lord”). When I researched settings of this text I fed this myth. Its most consistent reiteration was found a cluster of eight Latin motets published the cycle of rituals celebrating the religio-civic in Venice and Rome between 1608 and 1635.1 occasions that liberally salted its calendar, thus In contrast, there were just two settings from putting the order and virtue of Venetian society elsewhere around the same time2 and less than on display. The center of this ritual life was the a dozen sprinkled from 1680 to the present.3 In Piazza San Marco, where the palace of the doge comparing the settings, I realized that not only (Venice’s elected leader for life) and the Basilica the music but also the texts differed. My inter- San Marco existed physically and symbolical- est piqued, I searched out an explanation for the ly side by side. The liturgies that were included brief blossoming of settings of versions of this on these occasions usually took place inside the text. What I found suggested that this song was basilica. tied to the political context of the day. The story Music was an integral part of these celebra- connects the general use of music in religio-civ- tions, both as part of the church’s official liturgies ic propaganda, the specific interests of Venice and as part of the associated processions. The Ba- during and after the interdict of 1606, and the silica San Marco with its distinctive music was lives and music of the composers who set this a showpiece for the doge and for Venice. One text. sees this depicted metaphorically in the Logget- ta, a small building decorated with statues that Ritual, Music, and the “Myth of Venice” stands prominently at the base of the campanile of San Marco. One of these statues is explained The Song of Hannah functions for Venetian his- as follows: tory as a support for what scholars call the “Myth [Apollo] signifies the Sun, and the Sun is of Venice.” As the fortunes of the Venetian truly one, unique …; thus this Republic

12 Spring 2015 | CrossAccent | www.alcm.org s COUNTERPOINT

Giovanni Bellini, Corpus Christi Procession in St Mark’s Square, Venice. c. 1496

by virtue of the constitution of its laws, Let us be clear: this situation in not unique its unity, and its uncorrupted liberty, to music. It is the same in every other aspect is unique in the world, ruled with justice and with wisdom. In addition, it is of church life: Christ is with us as we engage known that this nation takes natural de- the practical with an eye to the eternal. light in music, and therefore Apollo is represented to signify music. And since from the union of its Magistrates joined music reached its apex in the first years of the together with inexpressible temperament 1600s, and an increasing number of visitors pub- issues extraordinary harmony, which lished unabashedly laudatory accounts of the 7 perpetuates this admirable government, music. Apollo was therefore depicted.6 The myth was built not only by the names Music’s support of the myth is also evident of the musicians of the basilica but also by the in the 1527 procurement for the basilica of the music itself. The polyphonic styles that flowered era’s most famous composer, Adrian Willaert, in Renaissance music found special expression in and in the development of a “dream team” that double-choir music, especially that of the Gabri- surrounded him. Similarly well-known musi- elis, that made use of the double balconies and cians followed, the best-known being Andrea vocal forces unique to Basilica San Marco. A and Giovanni Gabrieli, Claudio Merulo, Ales- style born here, known as music spezzatta, used sandro Grandi, and Claudio Monteverdi. The different groups of voices, instruments, or both virtuosi, singers and instrumentalists, employed to create variations in timbre, range, and volume at the basilica also served the various state oc- that enriched the less-complicated and more-un- casions. The splendor and renown of Venetian derstandable text settings preferred after the

Spring 2015 | CrossAccent 13 s COUNTERPOINT Exultavit cor meum 1 a Exultavit cor meum in Domino, 1 a My heart has exulted in the Lord, b et exultatum est cornu meum in Deo meo. b and my horn is exalted in my God. c Dilatatum est os meum super inimicos meos c My mouth has been enlarged over my enemies, d quia laetata sum in salutari tuo. d for I have rejoiced in your salvation.

2 a Non est sanctus ut est Dominus: 2 a There is none holy as is the Lord. b neque enim est alius extra te, b For there is no other beside you, c et non est fortis sicut Deus noster. c And there is none strong like our God.

3 a Nolite multiplicare loqui sublimia gloriantes. 3 a Do not multiply to utter lofty things, bragging. b Recedant vetera de ore vestro: b Let old things depart from your mouth, c quia Deus scientiarum Dominus est, c for the Lord is a God of knowledge, d et ipsi praeparantur cogitationes. d and to him are thoughts prepared

Table 1: Settings of Exultavit cor meum published in Italy, 1608–35 (by date of composition) Composer Publication Likely Employment Verses set Instrumentation Key Measures place, date composition during (Variation from date composition primary text) Giovanni Venice, 1615 1606 Organist, Verses 1–2 SAATTB One flat 63 Gabrieli (published San Marco, (1c: estos and w/ basso seguente posthumously) Venice m. 18 cor | 1d: laetatus and salutari meo)

Cesario Venice, 1608 1606 Organist, Verses 1–2 SATB x2 One flat 86 (counting Gussago Santa Maria (1d: salutari meo | w/ unspecified sinfonia delle Grazie, Brescia 2b: aliud) instruments twice)

Raffaele Rome, 1609 1608 Singer, Arezzo Verse 1 Soprano & bass No flats 38 Bartei or Rome (1b: cor meum | w/ basso seguente or sharps 1c: cor meum)

Ivan Venice, 1620 1615–1618 Student of Finetti Verse 1 Tenor & bass No flats 64 Lukačić in Venice? w/ basso continuo or sharps

Stefano Venice, 1624? 1622 Maestro di Capella, unknown 8 voices unknown 65 Bernardi Verona Cathedral w/ unspecified instruments

Girolamo Rome, 1627 Sometime Organist of the Verses 1a–c Tenor No flats 37 Frescobaldi before 1627 Capella Giulia of (1a: exsultavit | w/ basso continuo or sharps S. Pietro, and other 1b: exsultatum) work for nobles and churches

Heinrich Venice, 1629 1628–1629 Student in Venice, Verses 1–2 Soprano, two One flat 148 Schütz on extended leave violins & from Kapellmeister basso continuo duties in Dresden

Giovanni Venice, 1635 1635 Vice Maestro di Verses 1–3 Two sopranos One flat 85 Rovetta Capella, San Marco, (or tenors) Venice & basso continuo

14 Spring 2015 | CrossAccent | www.alcm.org s COUNTERPOINT Counter-Reformation councils. It is worth not- response the pope put Venice under threat of in- ing that this style was so connected to Basilica terdict. The Venetians did not balk, arguing that San Marco that long after it had gone out of a prince was directly responsible to God for the vogue in the rest of Italy its use (even into the good of the people and not to God’s intermedi- 18th century) was still a requirement for those ary. The interdict went into effect just before St. grand state occasions that the doge attended Mark’s day and Corpus Christi, a calculated pa- and during which the magnificent, golden al- pal tactic to curb civic pride and to convince the tarpiece—the Pala d’oro—was opened. The Venetian public their government was willing to services were lavishly adorned with music. Ba- deprive them of the sacrament. The Venetians silica San Marco’s musicians wrote constantly. argued in turn that the interdict was invalid Motets on sacred texts and instrumental music because the pope had overreached by using his proliferated in the church services and were used spiritual authority in secular matters. The war of as antiphons or in addition to them. While this words began and soon pamphlets flew from the practice was common in Italy, it found special presses in Rome and Venice. abundance in Venice. Corpus Christi was an important observance for the Venetians. Civic and religious The Interdict of 1606–07 leaders took part in the occasion together, dis- In 1606 Pope Paul V imposed an interdict (the playing Venetian civic piety and clerical loyalty denial of sacraments and other ecclesiastical to Venice. Mass was celebrated with great pomp privileges derived from, but short of, excommu- in the basilica. In the accompanying procession, nication) on Venice. It was the culmination both groups carried floats with state-versus-church of papal assertions of power in Italy that came in slogans, such as “Render to Caesar the things the wake of the Counter Reformation and of the that are Caesar’s, and to God the things that are emphasis on secular authority in Venice. Pope God’s,” and “My kingdom is not of this world.” Clement VIII had recently tried to rein in the Floats also portrayed such scenes as Doge Doná Venetian church, which enjoyed a significant alongside St. Francis and St. Dominic (whose amount of freedom: near complete autonomy at orders defied the interdict) supporting a crum- the basilica, measured authority over the clergy bling church. Venice’s defiance won out, owing of the region surrounding Venice, laws against to both public and foreign support: in 1607 se- selling property to the church, and relative reli- cret negotiations secured the end of the interdict. gious tolerance. The conflict peaked soon after Afterward the matter was officially quiet- Clement died and the legalist, domineering new ed, and Venetians returned to cultivating the Pope Paul V was elected. myth of Venice’s superior religiousity through The matter came to a head when Venice good interactions with the Roman church. Over tried, convicted, and punished two priests. In the next 20 years relations were mostly quiet. In 1628, however, there was a war in which Ven- ice joined antipapal interests to keep the pope’s temporal power circumscribed. The pope was With this historical sketch defeated but war brought plague, and in 1630 a we can see the tumultuous third of Venice’s population perished. With this historical sketch we can see the tu- jumble of religious, civic, and multuous jumble of religious, civic, and political political agendas that agendas that contextualize these motet settings. contextualize these motet We can see the use of both press and ritual as political tactics. In addition we can begin to make settings. We can see the use sense of not only the number but also the varia- of both press and ritual as tion of the motet settings we encounter. political tactics.

Spring 2015 | CrossAccent 15 s COUNTERPOINT

W IKimedia The west facade of St. Mark’s Basilica in Venice Perhaps Hannah’s voice is The Motets the voice of Venice itself, Giovanni Gabrieli predisposed to assertions Gabrieli’s setting was published as part of a collection of his works. Giovanni succeeded his of purity and inviolability. uncle Andrea in 1585 as organist and composer at Basilica San Marco, where he remained un- deuterocanonical collection of canticles from til his death in 1612 and thus was the organist the Old and New Testaments found in some during the interdict. Though the motet is not a Greek manuscripts) is known as the Canticle of double-choir piece, it is written in the style of Anne and was supposedly sung upon the birth music spezzatta. The verses of the text that Ga- of Mary. Add this to its similarity to the Magni- brieli set focus on two aspects: the exultation and ficat of Mary and a distinct Marian connection salvation of the singer and the incomparability appears. Further, add Mary’s use as a repre- of God, topics that ring with the rhetoric of the sentation of the city in Venetian art—with her interdict. The motet may even have been written virginity a metaphor for the city—and Hannah’s for Corpus Christi in 1606. A number of coinci- Song could take on a different story. Perhaps dences point in that direction. Hannah’s voice is the voice of Venice itself, pre- First, the version from the Odes (a disposed to assertions of purity and inviolability.

16 Spring 2015 | CrossAccent | www.alcm.org s COUNTERPOINT Thus “Cor meum” (“my heart”) is now Venice’s the religious confraternity Gabrieli served as heart and civic pride. “Cornu meum,” the uplift- organist and was used in their portion of the pro- ed horn, belongs to the doge, whose corno ducale cession. In either case, it seems that this piece (“ducal horn”) was the symbol of his office. Now was event-specific. Venice’s mouth, opened over her enemies, echoes public sentiment. Cesario Gussago Gabrieli’s setting suggests we might not be While it is likely that the maestro di capella at far off in making these connections. The -im Santa Maria della Grazie remained in Brescia to age of the lifted horn is particularly emphasized supervise his own church’s Corpus Christi cel- by Gabrieli’s setting of the words “et exultatum ebration, news of the Venetian interdict spread est cornu meum.” He builds our expectation by quickly and surely would have reached Gussa- breaking the polyphonic texture and giving “et go’s ears. His setting was likely a response to the exultatum est” to three voices in ascending, paral- interdict either as a show of support or simply as lel, inverted triads that are immediately imitated a means of adapting the trendsetting Venetian by the other three voices. Polyphony resumes practice. In either case, it is clear from Gussago’s before a cadence that clearly communicates the other published music that he was greatly influ- words “cornu meum.” Gabrieli’s text reads “salu- enced by the homophonic and multichoral styles tari meo,” letting the singer claim her salvation of Giovanni Gabrieli. The text he sets is practi- instead of making it God’s salvation: God now cally the same as Gabrieli’s and his setting has provides Venice with her salvation. The text “non emphases similar to Gabrieli’s. He uses the high- est sanctus ut est Dominus” receives emphasis as est note of the piece on the word “cornu” and well, as the rhythms get longer and the texture voices it with the A doubled in four octaves and suddenly becomes much more homophonic. an E and a C# near the top. Assuming this motet Homophony also emphasizes “alius extra te.” was used as a replacement or supplemental anti- The duration of “sicut Deus noster” is twice that phon in worship, it likely was meant for the same of any other section. These three assertions of purpose as Gabrieli’s, since both settings share God’s incomparability easily could have been one flat in the key signature. It was included with among floats from the Corpus Christi proces- a few other motets at the end of a collection of sion. “None is holy like the Lord” asserts divine Gussago’s instrumental works published to trade priority over papal authority even in spiritual on Brescia’s prestige as an instrumental center matters. “There is no other beside you” implies while also promoting Gussago’s choral writing. that allegiance belongs to God rather than to the pope. “None is strong as our God” forecasts the Raffaele Bartei end of the interdict going in Venice’s favor. Certainly it would have been a quick job to Not much is known about Bartei except that go from the announcement of the interdict to a he was the nephew of the more-famous Girola- full piece four weeks later written for the Cor- mo Bartei. Born in Arezzo in 1592, he sang as a pus Christi celebration. Perhaps that accounts treble there, then moved to Rome and sang con- for this piece’s mere six voices when compared to tralto at St. John Lateran from 1609 until his the settings in the rest of the collection in which death sometime before 1618. This motet and it appears, most for eight or twelve voices but go- one other are all we have of his work, and we ing up to nineteen. One might think that such know them because of their inclusion in his un- small forces represented the smaller scale of Ba- cle’s publication. As a young musician looking silica San Marco in Gabrieli’s early days, but to make his mark, Bartei likely saw in Hannah’s the adventurous use of chromaticism suggests Song an opportunity to use political movements otherwise. Possibly this allowed the compos- to his advantage. er to complete his task for use in the basilica. Bartei’s setting uses a version of the Song of Or perhaps six voices reflected the resources of Hannah that substitutes “cor” for both “cornu”

Spring 2015 | CrossAccent 17 s COUNTERPOINT and “os,” making verse 1b–c read “and my heart Lukačić, Bernardi, Frescobaldi, is exalted in my God. My heart is enlarged over Schütz, and Rovetta my enemies.” While it might be tempting to A summary of the remaining settings shows that write this off as a mistake, the horn’s prominence the threads of the interdict remained connect- in Gussago’s and Gabriel’s settings makes its ab- ed to this motet. Lukačić’s setting is that of a sence conspicuous here. In fact, the text sounds Roman-educated maestro working and study- exactly like the Roman rhetoric about the in- ing in Venice. Despite its use of basso continuo, terdict. Giovanni Antonio Bovio, an important a central Italian element still somewhat novel papalist writer during the interdict explained it to Venice, its publication in Venice and its af- this way: finities with Gabrieli’s setting (i.e., the musical Politics ordains the whole body of the re- emphasis on “cornu” and the length of the work) public under an earthly prince, religion suggest it may have been written for Venetian orders both the entire republic and its ceremonial usage. Bernardi’s setting is similar to head under the supreme Head and Lord Gussago’s and seems to weigh in on the Venetian God. Politics rules and governs earthly side. Frescobaldi, the foremost Italian keyboard things, religion directs them to the eter- composer of his time, included the motet in his nal. Politics is occupied for the most part first choral output, published during his tenure with what pertains to the body and to as organist at the papal basilica. Sharing a key corporal things, religion with that which 8 signature and a comparatively short length with concerns the salvation of souls. Bartei’s setting, it is certainly Roman, but the It is the heart or soul that is raised up over text is “corrected” and the composer seems more Rome’s enemies rather than the horn or doge interested in making a statement about the mu- that is raised up over Venice’s enemy. sicians’ virtuosity than about politics or piety. Additionally, Bartei sets only the first verse Schütz, a student of Gabrieli from 1609 to 1612, of Hannah’s Song, thus avoiding any comment included this motet in a collection published about whether ultimate allegiance was owed ei- during his second visit to Venice. The setting ther to God or to the pope. It is possible that tempers the polemical emphases of his teacher, the text’s abbreviation is a matter of liturgical reflecting the conciliatory attitude of Venetian use rather than political intention. A one-verse leaders toward Rome at the time. His emphat- motet, especially with such a small requirement ic setting of the second verse, however, might of forces, might have been meant for use as an betray a Lutheran skepticism about absolute me- antiphon for Wednesday Lauds in the peniten- diators of divine authority, namely the pope. tial seasons of Lent and Advent when it was the Rovetta’s setting, published while he served as appointed text. Lauds was a service mostly for Monteverdi’s assistant at Basilica San Marco, clerics and monastics, however, and there would while still probably meant for the ducal chapel, have been little demand for a fully composed an- left behind the pomp of its predecessors and was tiphon. It makes more sense to understand the the only one to include the third verse. Perhaps piece as a rebuttal to the Venetian settings of the after war and plague this unprecedented inclu- text, made by stripping it of allusions to the doge sion represents a call to give up the polemic that and by avoiding any challenge to papal authority. originally inspired the song’s setting. It certainly provides a fitting conclusion to this story. As a young musician looking to make his mark, Bartei Concluding Thoughts on the Motets likely saw in Hannah’s Song Up to this point I have argued that political context was part of each composer’s intent. But still an opportunity to use political I wonder: were the composers really politically movements to his advantage. motivated? Did the first audiences really hear the

18 Spring 2015 | CrossAccent | www.alcm.org s COUNTERPOINT Did the first audiences really hear the songs as protest songs? I have no perfect window into the composers’ or hearers’ souls.

The double balcony at the Patriarchal I can tell the story so that we What this story makes clear, at least, is that Cathedral Basilica who make music in the church Rome and Venice had competing interests in dif- of Saint Mark. can see ourselves alongside ferent kinds of settings of Hannah’s Song. The motets that came out of this competition would Gabrieli and the others in the have given listeners divergent views of the inter- complicated reality in which dict and of early 17th-century Venetian politics, music happens. were they to listen carefully. Servant Music “Music is a servant of the Word.” Can this max- songs as protest songs? I have no perfect window im still apply to these motets mired in their into the composers’ or hearers’ souls. political context? This is not a question that For that matter, composing is not a grace- can be asked or answered academically. I may ful sweep from purity of conception to clarity laud the way some of the motets supported the of expression. Rather it is a long slog through retiring of interdiction and I may criticize the ap- variously ugly compromises. Even after that, propriation of worship for civic or national goals, composers have no real control over how their but I cannot pretend to be sure that God agrees work is received. with me. What I can do is trust that God, who

Spring 2015 | CrossAccent 19 s COUNTERPOINT promised to be with us always, was at work for Notes God’s people even in the political mess of the interdict. I can tell the story so that we who make 1. These are by Cesario Gussago (Venice, 1608), music in the church can see ourselves alongside Raffaele Bartei (Rome, 1609), Giovanni Gabrie- Gabrieli and the others in the complicated reali- li (Venice, published posthumously, 1615), Ivan Lukačić (Venice, 1620), Stefano Bernardi (Venice, ty in which music happens. 1624?), Girolamo Frescobaldi (Rome, 1627), Hein- Music is powerful. It turns ideas into beliefs. rich Schütz (Venice, 1629), and Giovanni Rovet- It unifies and divides people. Song takes on un- ta (Venice, 1635). A YouTube playlist of several of predictable meanings because of who sings it and these pieces may be found at https://www.youtube. how and where it is sung. It elevates the everyday com/playlist?list=PLwQQO7ofQDwqagdqmiN45I- 80vUDrh9IEi. into the realm of the mythical. This is why music serves the powerful, faith-creating, unifying, 2. These are by Hans Leo Hassler (Nuremberg, 1601) dividing, unpredictable, ennobling Word. This and Orlando Gibbons (London, 1623). is also why its service is so sought after. 3. These are by Marc-Antoine Charpentier (France, So, church musicians, if I may be so bold as 1680), Francis Giroust (France, 1777), Daniël de to offer us advice: pay attention to the words, to Lange (Netherlands, 1883), and F. Jean Read (En- the world, and to the Word! Learn the histories gland, 1894). There are also a handful of settings of what you play and sing. Know what expec- from the second half of the 20th century to the tations and connections your assembly brings present. to worship. Listen to the way God is working 4. Joanne M. Ferraro, Venice: History of the Floating through music in your assembly. City (New York: Cambridge University Press, 2012), 125 –27. Paul Friesen-Carper is a 5. Quoted in Ellen Rosand, “Music in the Myth of church musician, composer, Venice,” Renaissance Quarterly 30 (1977): 511. singer, and multi-instrumen- talist serving Trinity Luther- 6. Ibid., 512. an Church in Richmond, MI. He holds an MA in theology 7. Ferraro, 149. from the Lutheran School of 8. Quoted in William J. Bouwsma, Venice and the De- Theology at Chicago (IL) and a BA in music from fense of Republican Liberty: Renaissance Values in the Valparaiso University (IN). Age of the Counter Reformation (Berkeley: University of California Press, 1968), 428.

20 Spring 2015 | CrossAccent | www.alcm.org s COUNTERPOINT s I © tock/meinzahn Faithful Christians, Conscientious Citizens: Independence Day and Assembly Song by Chad Fothergill prompts as these from one of the Evangelical Lu- uring Time after Pentecost, the texts theran Worship companion volumes: of Lectionary 14 (Proper 9) will fall on Is a hymn or prayer able to be voiced by D a Sunday between July 3 and July 9, a the whole community using it, or does it range that includes the American national hol- narrowly describe an individual’s experi- iday doubly known as Independence Day and ence? Does it give the impression that our the Fourth of July. On this Sunday many pastors works will gain us favor with God? Does and musicians feel compelled to chart a middle it gloss over the reality of the world’s suf- course through the entities of church and state fering? Does it represent only a theology that intersect when celebrating citizens come to of glory, or is there a theology of the cross? worship (I use “middle course” intentionally, for Does it exclude anyone in the assembly? our baptisms into the death and resurrection of Questions like these help us discern wise- Christ make it impossible to separate Christian ly texts that can truly carry the assembly’s worship from Christian living). As with plan- proclamation, and they help us ensure a ning for any Sunday, questions about what to healthy balance of emphases in all the ex- say, sing, and pray should be guided by such pressions that are used on a given day.1

Spring 2015 | CrossAccent 21 s COUNTERPOINT We are free to love one On the Sunday closest to Independence another, free to agree and to Day—an instance when civic and Christian disagree, free to work for justice identities are both brought into relief—we and peace, free to care about are often asked to consider, in addition to the questions above, the appropriateness of in- this remarkable creation God cluding national or patriotic music in worship. has given us, free to care about Should we sing patriotic hymns? Does praise the common good. and thanksgiving alone gloss over the suffering around us? What will define any “American” ex- at the end of his Galilean ministry (Mark 6:1- pressions used on this day: shared geographic 6); and Paul writes an indictment of worldly borders or shared values? What are those values? wisdom, a conglomerate of social, economic, What are the implications of offering service political, and military interests—what Marcus music by only American composers? What does Borg and John Dominic Crossan call “imperial a “healthy balance of emphases” between In- normalcy”5—that stands opposed to God’s vi- dependence Day and Lectionary 14 look like? sion of a new creation (Galatians 6:1-17). These types of questions, in turn, steer pastors Yet even in the midst of tribulation, the and musicians toward a larger, highly nuanced voices of the prophets, psalmists, and evangelists dialogue that Peter J. Gomes once proposed in a point beyond their contexts to God as sovereign sermon about patriotism at Harvard’s Memorial ruler of all nations, promoting God’s vision of Church: “What is it that will help us to be both justice, healing, and peace in the world, regard- conscientious citizens and faithful Christians? less of hardship or danger (Psalm 145; Luke 10). Are the two mutually exclusive, or is it possible, Their words comprise a stark, necessary remind- somehow, to live responsibly in the tension be- er that earthly machinations by nations and tween those two claims?”2 citizens will never outmaneuver or outlast God’s As with any other Sunday, planning should eternal kingdom where, in words of Walter begin with the day’s Scripture readings. Broad- Brueggemann, “God’s regal power is mobilized ly viewed, the texts for Lectionary 14 can, in to care for the otherwise uncared for.”6 Paul, too, fact, be seen as a series of vignettes about nation- dwells upon larger communal concerns, encour- al behaviors toward both God and individuals. aging the Galatians to set aside self-interest and Rarely, though, are nations and citizens behav- instead “work for the good of all” (Galatians ing responsibly. For example, God’s commission 6:10). of the prophet Ezekiel is intended for “a nation Taken together, these passages model the of rebels” whose descendants are “impudent and tension embodied by God’s people as dual cit- stubborn” (Ezekiel 2:3-4); the psalmists lament izens of a temporary earthly kingdom and their oppression (Psalm 123) and offer thanks an eternal heavenly kingdom, forerunners of for deliverance from captors (Psalm 66); Jesus is Luther’s two-kingdom worldview in which mu- rejected by the residents of his native community tual cooperation (even symbiosis) between one’s

Themes in the Lectionary3

Lectionary Year B Lectionary Year C Lectionary Year A Sixth Sunday after Pentecost Seventh Sunday after Pentecost Fifth Sunday after Pentecost 5 July 2015 3 July 2016 9 July 2017 4 Ezekiel 2:1-5 Isaiah 66:10-14 Zechariah 9:9-12 Psalm 123 Psalm 66:1-9 Psalm 145:8-14 2 Corinthians 12:2-10 Galatians 6:[1-6] 7-16 Romans 7:15-25a Mark 6:1-13 Luke 10:1-11, 16-20 Matthew 11:16-19, 25-30

22 Spring 2015 | CrossAccent | www.alcm.org s COUNTERPOINT citizenship and one’s faith is far more valuable this objection most boldly and to remind than mutual exclusion. In Luther and the Hungry us that the proud are scattered in the Poor Samuel Torvend reminds us that even by imagination of their hearts.9 the 1520s the reformer’s “own writings on busi- Independence Day in the United States is a ness practices served as a cogent argument for celebratory occasion and rightly so: as a nation Christian engagement in social and economic we have much to be thankful for and should ren- questions,” adding that, “while other reform- der our praise and thanksgiving to God for the ers would attempt to transform society into a blessings of peace, freedom, prosperity, and a ‘Christian’ state or establish a ‘holy’ community landscape of vibrant beauty. But these gifts are separately, at the margins of society, Luther con- not shared by all, and failure to acknowledge the sistently labored for another position: Christian intolerance, arrogance, narcissism, dishonesty, engagement with society.”7 and injustice of our past and present in voice, However, an honest Christian engagement prayer, or song only perpetuates the same cap- with society requires us—like Ezekiel, Paul, tivity and exile of the Israelites and the rejection and other voices in Lectionary 14—to articu- of Jesus by the Nazarenes. We become the im- late the harsh realities of the world around us, pudent and stubborn people whom Ezekiel is down the street, across town, throughout the na- commissioned to warn, and we shy away from tion. This is the very essence of patriotism (from the hands-on pattern of Christian engagement the Latin patriota, or “countryman”), the setting modeled by Luther. Westermeyer reminds us aside of self-interest in order to name communal that as dual citizens we are blessed with civic and problems and arrive, by way of compromise, at Christian freedom—and not just a self-interest- equitable resolutions. Unfortunately, patriotism ed freedom from something we don’t happen to is often conflated with nationalism, wherein like, but a freedom for action: alternative or unpopular views of a nation’s char- We are free to love one another, free to acter are dissuaded or silenced, often through agree and to disagree, free to work for viciousness and violence. Put simply (chillingly) justice and peace, free to care about this by Steven Grosby, professor of religion at Clem- remarkable creation God has given us, son University, nationalism “seeks to sweep aside free to care about the common good, the many complications that always are a part free to turn away from our selfish and in- of life as it actually is,” all the while promoting grown motives to live for others.10 a “systematic, uncompromising, and unrealis- tic view of the world.”8 Nationalism unchecked Themes for Assembly Song sows the seeds for exceptionalism and empire—a While hymns for the nation and other nation- bastion for the “imperial normalcy” described by al songs (Evangelical Lutheran Worship [ELW ] Borg and Crossan—where the hunger for pow- 887–893, Lutheran Service Book [LSB] 964– er and prestige by one group invariably serves 966, Christian Worship [CW] 617–620) may be as a catalyst for injustice and inequality toward appropriate for Lectionary 14, our dual roles as others. conscientious citizens and faithful Christians If you’re wondering by now what any of encourage us to look beyond ourselves and past this actually has to do with assembly song for hymns of mere platitude toward texts that can re- Lectionary 14, it is this point made by Paul inforce the themes of justice, service, and God’s Westermeyer: sovereignty that are woven through Lection- When the emperor takes on God-like ary 14. In choosing hymns, writing a newsletter powers that presume it is legitimate to column, or compiling music notes, pastors and crush anyone who has whatever the em- musicians may consider: pire wants, the church, like ancient Israel, • singing about the freedom we have through is called to object. It may be that today our baptisms into the death and resurrec- church musicians are called to articulate tion of Christ;

Spring 2015 | CrossAccent 23 s COUNTERPOINT

Hymn Suggestions for Lectionary 14 and Independence Day “All Who Love and Serve Your City” (ELW 724) “Come to Me, All Pilgrims Thirsty” (ELW 777), especially for Matthew 11 in year A “Come unto Me, Ye Weary” (CW 336), especially for Matthew 11 in year A “Eternal [Almighty] Father, Strong to Save” (ELW 756, LSB 717, CW 517) “Forgive Us, Lord, for Shallow Thankfulness” (LSB 788, CW 482), especially for Galatians 6 in year C “Forth in the Peace of Christ We Go” (LSB 920, CW 518) “Here, O Lord, Your Servants Gather” (ELW 530) “Hope of the World” (LSB 690) “In Christ There Is No East or West” (ELW 650, LSB 653, CW 539) “Let Streams of Living Justice” (ELW 710) “Lift Every Voice and Sing” (ELW 841, LSB 964) “Lord, Help Us Walk Your Servant Way” (LSB 857) Magnificat settings (e.g., “Canticle of the Turning,” ELW 723; “Tell Out, My Soul, the Greatness of the Lord, ” LSB 935; and “My Soul Now Magnifies the Lord,” CW 274) “My Hope Is Built on Nothing Less” (ELW 596, 597, LSB 575, 576, CW 382) “Not unto Us” (LSB 558, CW 392) “O God of Every Nation” (ELW 713) “O God of Light” (ELW 507, LSB 836) “O God of Love, O King of Peace” (ELW 749, LSB 751, CW 519)13 “Rise, Shine, You People! ” (ELW 665, LSB 825, CW 556) “The Church of Christ, in Every Age” (ELW 729) “The Son of God, Our Christ” (ELW 584, CW 525) “Weary of All Trumpeting” (CW 527) “What Is the World to Me” (LSB 730, CW 477) “Your Hand, O Lord, in Days of Old” (LSB 846, CW 520)

• using such settings as Native American • choosing texts that lift up the mission of the melodies (e.g., Lac qui Parle, “Many church in the world as a means of restoring and Great,” ELW 837), a Japanese melody God’s justice, such as a setting of the jus- (e.g., Tōkyō, “Here, O Lord, Your Servants tice-themed Magnificat; Gather,” ELW 530), or African American • selecting texts that make deliberate use of the spirituals, all of which encourage us to re- holiday’s associated imagery and keywords member that American nation-building is such as “God Who Stretched the Spangled not a one-sided glory story but has come at Heavens” (ELW 771), “Lord of All Nations, significant cost to our sisters and brothers Grant Me Grace” (ELW 716, LSB 844, CW once thought (still thought by some) to be a 521), or the Taizé chant, “Sing, Praise, and danger, a commodity, or an “other”; Bless the Lord … Peoples! Nations!”;11 • celebrating the diversity of musical styles • singing a hymn text by Francis Scott Key, brought to the United States by immigrants, “Before You, Lord, [Before the Lord] We including the major waves of Lutheran im- Bow” (ELW 893, LSB 966, CW 618); or migration to the Delaware Valley in the • some of the additional hymn suggestions 17th century and the Midwest in the 19th printed above. century;

24 Spring 2015 | CrossAccent | www.alcm.org s COUNTERPOINT Worship leaders may also wish to consult 3. The texts referenced here are drawn from the com- synodical resources for missions as a reminder plementary series of the Revised Common Lection- of the many places where societal engagement ary wherein the Old Testament reading and psalmo- dy relate to the second lesson and gospel. All biblical may bring hope, awareness, compassion, light, quotes are from the New Revised Standard Version. and love; websites linked to government offices and relief organizations such as www.elca.org/ 4. In 2017, Lectionary 13 will fall much closer to In- advocacy, www.lcms.org/socialissues, and www. dependence Day than Lectionary 14. Attentive worship leaders may wish to examine these texts— wels.net/aom/christian-aid-and-relief may be Matthew’s gospel this day is, after all, a message of particularly useful. Each assembly gathering welcome—for themes that hold civic and Christian of course will be shaped by its own traditions, claims together. physical environment, and abilities. Whatever we sing, we should remember that we are after 5. Marcus J. Borg and John Dominic Crossan, The First Paul: Reclaiming the Radical Visionary Behind all only tenants and stewards—resident aliens— the Church’s Conservative Icon (New York: Harper- of God’s creation. The local, state, and national Collins, 2009), 135–36. identities we subscribe to are ephemeral and, as made plain by the American evangelical theolo- 6. Walter Brueggemann, The Message of the Psalms: A gian Russell Moore, “there will come a day when Theological Commentary (Minneapolis: Augsburg, 1984), 30. Old Glory yields to an older glory, when the new republic succumbs to a new creation.”12 7. Samuel Torvend, Luther and the Hungry Poor: Gath- ered Fragments (Minneapolis: Fortress, 2008), 119.

Nationalism: A Very Short Introduc- Chad Fothergill holds an 8. Steven Grosby, tion (Oxford: Oxford University Press, 2005), 18. MA in organ performance from the University of Iowa, 9. Paul Westermeyer, Rise, O Church: Reflections on the where he has also completed Church, Its Music, and Empire (Fenton, MO: Morn- residency requirements ingStar, 2008), 43. toward a PhD in musicology. 10. Ibid., 36. He currently serves as cantor at University Lutheran Church of the Incarnation, 11. In Jacques Berthier, Taizé: Songs for Prayer (Chica- Philadelphia, PA, and is a visiting faculty go: GIA, 1998). member at the University of Delaware, where he teaches undergraduate and graduate courses in 12. Douglas Wilson, Lisa Velthouse, and Russell D. music history. Moore, “Should Churches Display the American Flag in Their Sanctuaries?” Christianity Today 56, no. 7 (July/August 2012), 82; www.christianityto- Notes day.com/ct/2012/july-august/should-churches-dis- 1. Lorraine S. Brugh and Gordon W. Lathrop, The play-the-american-flag.html. Sunday Assembly, Using Evangelical Lutheran Wor- ship, vol. 1 (Minneapolis: Augsburg Fortress, 2008), 13. Thinking of “lighter” works typical for many sum- Prayer for 16. mer choirs, this text is also available as Peace, a two-part mixed anthem with optional as- 2. Peter J. Gomes, “Patriotism Is Not Enough,” in sembly set by David Cherwien and published by Strength for the Journey: Biblical Wisdom for Dai- MorningStar (MSM 50-9209). ly Living: A New Collection of Sermons (New York: HarperCollins, 2003), 120.

Spring 2015 | CrossAccent 25 s THANKYOU Thank you to our 2014 Donors!

The following made contributions between January st1 and December 31st 2014 to support ALCM’s Annual Fund, Biennial and Regional Conferences, and the Cantor Connection: Columbus chapter. One individual became a lifetime member. Contributions made in honor of (IHO) and in memory of (IMO) individuals are so noted. We are grateful for the support these gifts provided ALCM last year. SPECIAL GRANTS $101-$250 Beverly Jedynak Metropolitan New York Syn- Alice Caldwell Carolyn Jennings od of the ELCA - $15,000 Carol H. Churchill J. Scott Jones Thrivent Financial - $10,000 Norman & Ethel Geist George F. Joyner Thomas A. Gerke Karol K. Kimmell IMO LIFETIME MEMBER Sarah Hawbecker Don Busarow, teacher Nancy Raabe Eunice Kanning Barbara Kudirka Ronald E. Koch Gordon W. Lathrop ANNUAL FUND DONORS Margaret McMillan Marcia C. Lofdahl $1,000-$1,250 Virginia & Mark Meyer IMO Lowry Family Trust Beth & Kevin Barger Ida Meyer Sylvia Luekens Robert & Linda Kempke Gregory & Ann Peterson Luther Memorial Church St. Luke’s Lutheran Church, James & Stephanie Rindelaub IHO Bruce Bengtson Park Ridge, IL Brian Wentzel Linda L. MacNamara Kathryn Zita Weyland Martin E. & Harriet J. Marty $251-$500 Marian Metson Lorraine S. Brugh $51-$100 June Miller Kim Cramer Kate Adelman Frederick A. Niedner Michael & Linda Krentz Mary Anna Anderson Mark W. Pinnick Wanda L. Krentz Karen J. Anderson Donald A. Reinertsen Linda Martin Steven C. Berg Tony P. Roof Rev. John D. Morris David L. Beyer Mark Sedio Mark W. Oldenburg Patrick J. Bier John A. Seest Anne Krentz Organ Karl & Daniele Bruhn Martin A. Seltz Our Saviour’s Evangelical Pamela Carlson IHO the Rev. Robert & Joyce Strobel Lutheran Church IHO staff & sanctuary choir of Marion K. Talley Barbara Kudirka Mount Calvary Lutheran Luke Tegtmeier IMO David C. Ritter David Cherwien Dorothy Herman Thomas & Kathy Schmidt Marilyn Comer Edward & Hildred Tornberg Estate of Florence L. Sandra D. Deiter Nancy Verba IMO Ronald A. Sponberg Cheryl E. Dieter (Ronnie) Nelson John Weit Betty & Philip Gehring Paul D. Weber Julie Grindle David Wertz IHO Tom Judith A. Holden White Cynthia Holden Deborah Zudell-Dickey Amanda Husberg Martha J. Israel Helen Iverson-Metzger

26 Spring 2015 | CrossAccent | www.alcm.org s THANKYOU

$26-$50 Connie & Dan Schmalz Marilyn M. Patterson IMO Ruth M. Adams Robert & Virginia Schoenike parents George and Irene Daniel Aune Daniel E. Schwandt McCutcheon Robert & Dorothy Sharmyn Thompson IMO Walter L. Pelz Beckstrand IMO their parents Lester E. & David Anderson and Joanna daughter, Lisa Beckstrand Marjorie Thompson Pretz-Anderson David Beecher Rev. Gwenn L. Trout Carl Schwertz Lani Beuerman Paul & Sally Westermeyer Milton Snyder Carolyn Bliss IMO Ronald Kathleen Rife White Meredith A. Stone A. Nelson Dorothy H. Whiting Helen M. Strahl Harold & Anita Bontekoe Lella C. Wake IHO Kevin Susan R. Briehl $5-$25 Barger Virginia Casteel Jennifer L. Baker-Trinity Chris Wallhausser Alan C. Collyer John P. Bernthal Steven F. Wente Karen Couturier Wendy Betts Wayne Wold Daniel Dauner Timothy Braband Deborah Schultz Woods L. George Detweiler June L. Cheelsman IHO Margaret R. Zobel Paul E. Elsener Kevin Barger Rev. Loren & Shirley Larry A. Christensen NATIONAL Espeland Charles Cohen CONFERENCE Martha Fisher Karla Devine DONORS Joyce E. Frigm Dale Elmshaeuser Linda Kempke Susan L. Gerrard Barbara W. Foster Michael & Linda Krentz Martha S. Gregory James & Diane Gladstone Alan L. Hair Zebulon Highben REGION 1 CONFERENCE Arthur Halbardier Linda Hoch DONOR Carole Metzger Hedrick Lois J. Hoger IMO husband John Weit James Heidecke Rev. Donald Hoger James Hild Ryan Hostler CANTOR CONNECTION: James Honig Scott M. Hyslop COLUMBUS DONORS* Karron G. Lewis Donald Jackson R. & J. Crouse Darryl Miller Helen Jean Johnson Thomas A. Gerke Marcus & Katherine Miller Shirley Lewis Brenda S. Noe Kirsten K. Olson Anne Mangelsdorf Thrivent-West Franklin Martin Ott Pipe Organ Elaine F. Mann County Chapter Company Linda Maule Jeffrey & Linda Pannebaker Joan Nordstrom William A. Pasch Rev. Louis & Gloria *Cantor Connection: Dorothy Richterkessing Nuechterlein Columbus is a chapter of Kristin Rongstad Michael L. Olson the Association of Lutheran A. Lee & Sarah Rupert Paul R. Otte Church Musicians. David A. Schack Bärbel Otto

Spring 2015 | CrossAccent 27 s Crho us s33 i w s I © tock/dle The Reason Why We (Should) Sing!

by Lamont Anthony Wells

remember singing spirituals and gospel to know the presence of God in times of op- music at a predominantly white Lutheran pression. If the African American spiritual and I congregation several years ago. After wor- gospel hymn is sung only as a relic of history or ship, some of them would say that it was a “fun” as “fun” then that rendition denies the relevance experience. Intrigued by their response, I asked to the modern moment where the problems of them to describe what made it “fun.” I wondered injustice and oppression are still felt by many whether they understood the meaning of the people. music. Their responses suggested that they ex- As with any cross-cultural musical expres- perienced great passion with use of high tempos, sion, one must remember the context from which repetition, and volume but declared no engage- the songs came. African American spirituals are ment with the message content. I encouraged songs that were written or sung (from the oral them to listen again and be open to the narrative tradition) in a time of ugly forms of oppression. story and message content of the music declaring These songs were composed to cope with and grace in the midst of oppression. deal with the actions of oppressive slave masters. The use of African American music by James H. Cone, in his book The Spirituals and White communities without confession and ac- the Blues (New York: Seabury, 1972; reissued knowledgement of engines of oppression does no Maryknoll, NY: Orbis Books, 1991), asks some justice to the meaning and purpose of the music. key questions to consider in preparing to inter- African American spirituals and gospel hymns pret and sing Black spirituals and gospel hymns: express the ways African Americans have come • What did it mean “to steal away to Jesus”

28 Spring 2015 | CrossAccent | www.alcm.org s Crho us when one had been stolen from Africa and of God grows deeper and more powerful. This enslaved in America? happens through our vulnerability—sitting • What did it mean to “work on a building with, recognizing, and struggling with the emo- that is a true foundation” or to “hold up the tional and historical legacy that produces that blood-stained banner for the Lord” when division and oppression. In this way, the recon- one had no building to call one’s own and ciliation of the gospel is revealed. one’s own blood was stained with slavery? Historically, spirituals and gospel music played an important role in the struggle for civil • What did it mean to be “child of God” as rights. This music has helped to heal and soothe a Black slave in a predominantly White the pain caused when countless people of color society? needlessly lost their lives. At the funeral of Dr. These questions help us to go deeper into the Martin Luther King Jr., Mahalia Jackson punc- power of narrative often seen in the performance tuated that emotional moment with a powerful of gospel music and spirituals and hymns. Cone’s rendition of Thomas Dorsey’s “Precious Lord, key questions enable us to interpret this African Take My Hand.” In recent times gospel mu- American cultural music, moving us to claim sic has been able to provide comfort, hope, and the dignity and understanding that it deserves. strength in the face of the killings of Trayvon There are those who maintain opposition Martin, Michael Brown, Eric Garner and many to White congregations singing spirituals and others: we sing the gospel message of justice, gospel music, arguing that it is an act of cul- peace, grace, mercy, and God’s righteousness. tural theft and disrespect. This view, however, It’s the transforming and transcending mes- fails to recognize the cross-cultural revelation sage of hope in gospel music that helps convey in the worship life of all cultures. The danger of avoiding ethnic-specific music in largely homo- geneous worship traditions perpetuates a sense of cultural separation that does not honor the God-given diversity of the church. Yet the other side of the danger is when we sing spirituals that came from the experience of oppression as a disconnected experience without recognizing or empathizing with the original context. In some congregations it may be that sound INSPIRATION few can personally relate to the awful systematic oppression the music describes so well. However,

African American spirituals and gospel hymns Riedel enhances the worship experience by inspiring the speak to many who have been and are marginal- dynamic expression of speech and sound. By blending art, ized because of ethnicity, socioeconomic status, immigration status, and more. science and skill, we help enrich the fullness, presence and The authenticity of singing the spiritual and clarity of speech and music, as well as silence unwanted noise. the gospel hymn does not come from creating a false equivalence in claiming another’s strug- SCOTT R. RIEDEL & ASSOCIATES, LTD. gle as our own but by opening the heart to be 819 NORTH CASS STREET • MILWAUKEE, WI 53202 (414) 771-8966 • www.riedelassociates.com challenged and healed by the music and words. email: [email protected] hear the difference. With honest confession of the brokenness of our humanity that is experienced around divisions between people and around power imbalances Acoustical Design & Testing • Organ Consultation & Inspection • leading to oppression, the transformative and Organ Maintenance & Tuning • Sound & Video System Design, reconciling relationship between diverse people Evaluation & Training

Spring 2015 | CrossAccent 29 s Crho us through its delivery that the freedom from po- The use of African American lice brutality and violence and the achievement music by white communities of equal rights may be just as important to many as knowing Jesus. without confession So how might a largely non-African and acknowledgement of American congregation sing African Ameri- engines of oppression does no can spirituals and gospel songs, honoring the cross-cultural revelation of God with hearts justice to the meaning open to the struggle of oppression that still re- and purpose of the music. verberates in our culture today? • Embrace and celebrate the passionate, vo- luminous, theatrical, and experiential emphasis of gospel music. Don’t be rig- • Include some information about the imag- id. For the authentic gospel interpretation, ery in the song or about the historical context learn to include the rhythmic style, moves, of the music when using African American and gestures in the singing and in its spiritual or gospel music. Two resources are accompaniment. James Weldon Johnson, The Books of the • Seek training. There are trainers that as- American Negro Spirituals (New York: Vi- sist with the methodology of gospel singing. king, 1925–26; reissued Cambridge, MA: Many offer a science-based and practical Da Capo, 1969), and Melva Wilson Costen, application for the voice/choir. The leading African American Christian Worship, rev. ed. work of Jeanette Lovetri (www.thevoice- (Nashville, TN: Abingdon, 2007). workshop.com), Dr. James Abbington These practices may be a challenge for some. (Candler School of Theology, Atlanta, GA), However, the value of cross-cultural singing is and Dr. Lisa Allen-McLaurin (the Interde- an essential part of our growth in Christ. It is an nominational Theological Center, Atlanta, entryway into God-given diversity that enriches GA) is often noted as key in training and all parts of the body of Christ. I hope those who workshops for gospel sounds. are not comfortable singing these songs would • Listen, practice, and repeat. The vocal dis- take a moment to attempt to enter into the ex- tinction often occurs in the power of the perience empathetically. Understanding and voice and the way one holds one’s mouth using the African American spiritual and gospel (smiling/broad), often more nasal with a hymns is a way to stand in solidarity with those higher laryngeal shift. The quality of the who repeatedly struggle in oppressive structures sound produced differs from typical classi- that often seek to diminish their humanity and cal low larynx, long mouth, and vowel style. divinity. The consistent practice and repetition allows the muscles to develop that allow for Lamont Anthony Wells is breath- and spirit-filled shifts between reg- director for evangelical mis- isters that help create the gospel flow and sion in the Metropolitan New sound. York Synod of the Evangelical Lutheran Church in America. He holds an MA in church music and homiletics from the Interdenominational Theological Center in Atlan- ta, GA. He is a former advisory council member of the men’s chorus of the Gospel Music Workshop of America.

30 Spring 2015 | CrossAccent | www.alcm.org s BOOKREVIEW

Alice Parker. The Answering Voice: The Beginnings of Counterpoint. Chicago: GIA, 2014.

xii, 128 pgs. ISBN-13: 978-1622770984. $21.95, ppbk.

Alice Parker. Melodious Accord: Good Singing in Church. Chicago: GIA, 2013.

ISBN-13: 978-0929650432. viii, 114 pgs. $7.95, ppbk.

lice Parker has been an incredibly influ- liturgies, to study each song before presenting it Aential voice in American choral music for to the people, and to view hymnals as treasuries over half a century. A world-renowned conductor of time-tested melodies for their people to use. and composer, Parker worked alongside Robert Parker also offers encouraging thoughts for other Shaw for many years. Her contributions to the musicians, for clergy, and for parishioners, ask- choral genre have been recognized by universi- ing them to respect the professional opinions of ties and organizations across the country. These their musicians, to work in collaboration with two recent books serve to continue her legacy of their musician toward better congregational mu- teaching and equipping educators and choristers sic-making, and to evaluate the quality of the around the world. sanctuary for group singing. It is no secret that we live in a post-singing In The Answering VoiceParker tackles the culture. Communal music-making is no lon- topic of composing and arranging for cho- ger a norm in our society or in our schools. For ral voices. She spends the majority of the book many people, the only place they may encounter teaching how to write a functional and beautiful corporate singing on a regular basis is in their “answering” voice or countermelody. Parker ar- church, and the thought of joining in the com- gues that when a melody is sung beautifully and munal song of their congregation is alien and in character, the echoing voice will respond with frightening. In Melodious Accord Parker explores the same beauty and character. The response will the topic of good singing in church, offering sim- be drawn from the melody and will play with ple and practical solutions to encourage a more that melody in a way that is appropriate to its in- beautiful and robust sound in the congregation. tention, whether plaintive or exuberant. Church musicians are challenged to see their Parker begins by outlining the basis for cho- music programs as communally focused and ral improvisation. She persuades the reader that not performance driven, to expect good sing- the best choral arrangements are actually in- ing from their entire congregation, to consider sufficient attempts to capture the beauty and how best to teach nonmusicians new hymns and nuance of real live melodic interplay between

Spring 2015 | CrossAccent 31 s BOOKREVIEW improvising voices. The first half of the book de- In addition, Parker’s advice is practical and scribes the importance of the text and its natural achievable. Melodious Accord serves as a remind- rhythm and how defining this rhythm is essen- er that our largest choir is the congregation. tial to creating an excellent answering voice. At Quality singing from the pews should be every the conclusion of the first half she highlights the church musician’s goal, but oftentimes we for- strengths and weaknesses of creating a counter- get this and focus solely on those musicians who melody in various modal and tonal contexts, make up our ensembles. Parker’s simple advice including using such influences as classical, jazz, can help us lovingly encourage our members to blues, spirituals, and world music. sing again and experience the joy of communal After this brief and delightful intermezzo, music-making in church. The Answering Voice Parker then delves into the actual process of ar- offers church musicians effective ways to arrange ranging for voices. She is careful to show that the worthwhile pieces for their own church’s singers. bulk of the process happens long before pencil is Throughout the book Parker elaborates on this ever put to paper. Parker encourages the musi- simple concept: “Make your response to the mel- cian to imagine the possibilities of performance, ody reflect what you just heard. It’s not literal … arguing that the goal of arranging is to envision but it’s built from those elements that vibrate in music that will be sung and not merely exist on your ear” (The Answering Voice, 107). This belief paper. She also encourages the arranger to seri- permeates Parker’s entire philosophy of coun- ously analyze the melody, giving special emphasis terpoint. Her suggestions are straightforward to the rhythmic aspects of the tune, exploring enough to encourage the novice arranger in his its form and textual origins, and considering craft and thoughtful enough to be of aid to the the form of the whole arrangement. Finally she seasoned composer. provides some basic rules for composing the an- These volumes are geared toward anyone swering voice. Only after all these things are who leads choirs and churches in song. They are considered can the arranger be prepared to be- not overly technical and will be of little use to gin writing. Parker’s argument is simple: once those who are looking for a college-style text on this big-picture work is completed the stresses of singing or composing. However, for those of us arranging are lessened considerably, and the re- who are looking for a practical handbook that sult is a more singable and pleasing end product. fosters good singing within our churches, these These books are recommended for any prac- volumes would be an excellent addition to any ticing church musician. Both volumes are easy library. In these books Alice Parker continues to to read—they could be read to cover to cover teach us all about excellent singing in ways that in the course of a few hours—but offer insights are both philosophical and practical. that we all need to hear repeatedly throughout our careers. Parker’s voice is simple and pro- Matthew Machemer found, insisting that the act of singing and the Associate Kantor power of melody is a common bond that all the Concordia Theological Seminary people of our churches share. Because of this be- Fort Wayne, IN lief, her writing conveys a genuine concern with continuing the practice of excellent singing in our churches and choirs while understanding that many choir conductors work with amateur musicians.

32 Spring 2015 | CrossAccent | www.alcm.org BOOK s REVIEW Michael Kemp. Innovative Warm-Ups for the Volunteer Choir: Creative Concepts to Improve Choral Sound. Chicago: GIA, 2014.

Director’s edition: xii, 66 pgs. ISBN-13: 978-1622770953. $17.95, ppbk. Singer’s edition: 36 pages. ISBN-13: $5.75, ppbk.

any rehearsals tend to include the same Each exercise has a stated objective at the Mvocal warm-ups time after time. Some of top of the page and follows with a paragraph ex- them become so predictable that the director planation of how and why one could utilize this need neither not say a word nor play a note and particular example. The author is to be praised the choir already knows which warm-up will be for utilizing the minor mode, mixed meter, and next. The purpose of a warm-up should be to singing in multiple parts throughout. vocally prepare instruments while specifically Kemp encourages the volunteer choir to sing addressing the musical objectives for the re- these warm-ups a cappella. Purchasers of this hearsal. Thankfully there are resources such as book should note that there are no keyboard re- this book to encourage directors to utilize a new ductions for these warm-ups; therefore if one is warm-up repertoire. to lead them from the piano, it is necessary to be In addition to a very nice forward by Helen able to read open score in up to four parts. Kemp, the author’s mother, the book contains Innovative Warm-Ups for the Volunteer Choir a narrative to directors about warm-up objec- is not the only warm-up resource you will need tives, general how-to comments, and thoughts for your work with a volunteer group. And that on working with a group of volunteers. As one is not the point of this volume. You will find that would assume, the majority of the book consists this book includes several warm-ups that will of warm-ups. This collection begins with two- help your ensemble improve their choral sound, part exercises; then moves to four-part; and ends and that is always a worthy investment. with four-part canons, which the author has edited to better serve this context. One will note Jonathan Busarow that the vast majority of exercises in this volume Artistic and Executive Director are written for at least two parts. The author also Fort Wayne (IN) Children’s Choir provides several four-part examples. While the rewards of four-part singing in warm-ups are valuable, this could be a challenge for a volunteer group.

Spring 2015 | CrossAccent 33 s BOOKREVIEW

Stephen Petrunak and Randall R. Phillips. Managing Music Ministry: {Beyond Notes and Chords}. Chicago: GIA, 2014.

xiii, 117 pgs. ISBN-13: 978-1622771042. $12.95. ppbk

hose who have musical training may feel Dealing with people one-on-one, however, is Tthey have all the skills necessary to be a church different from working with a group, and sever- musician, but as those involved in the field know, al examples he takes from his own ministry are there is a lot more to the job than just music. This quite poor models for interaction when dealing book seeks to equip church musicians with the with a group of parish volunteers. Petrunak does skills necessary to handle not only interperson- hit the mark on instructing musical leaders to set al issues but also other administrative and select the climate of a music program and to be a coach musical leadership responsibilities needed in and cheerleader. parish music ministry. Stephen Petrunak draws Whereas Petrunak takes readers through a on his corporate and music ministry leadership rather thorough discussion of managing peo- experience while addressing issues common to ple, the second section offers a more cursory look music programs. Interspersed throughout the into musical and nonmusical topics. When ad- text, Petrunak’s priest, Randall R. Phillips, re- dressing motivating volunteers, planning music, flects on leadership within the gospel. keeping up morale, or even recruitment, it would The first section of this book deals entirely have been helpful if Petrunak had addressed the with managing people. A chapter each is giv- matter of setting an ensemble up for success by en to understanding personality types, effective choosing music that would make the group suc- communication, dealing with conflict, working cessful. One of the strongest chapters of this with difficult people, being a manager, servant section is on youth; Petrunak has sustained an leadership, and motivating volunteers. The sec- active and successful youth music program for ond section touches on topics the author believes over 20 years. may not have been covered in music schools: the This book does not seek to replace proper basics of directing, keeping up morale, rehearsal musical training or even on-the-job training. management, teaching new music, helping the Readers can glean valuable insights that will assembly, planning music for services, spiritual- help them to become more complete and bet- ity of the music ministry, working with youth, ter leaders. As the author acknowledges, this is recruitment, and budgets. what all parish musicians want, because they un- Concerning interpersonal issues, Petrunak derstand what an immense responsibility it is to offers some excellent insights from the corpo- serve their worshipping communities. rate world in terms of understanding people, why they are there, and what they contribute to Nicole Busarow the ministry. He also covers how to be an effec- Director of Music tive communicator and how to resolve conflict. Emanuel Lutheran Church New Haven, IN

34 Spring 2015 | CrossAccent | www.alcm.org SOUND s FEST of the carol, “Nails, spears shall pierce him INSTRUMENTAL | through,” are recalled as the mother keeps watch ORGAN at the cross. The tree in the garden of Shades Mountain is equated with the tree of the cross. This is not pretty music. It’s as dark and challenging as the first Good Friday. It requires the performer to prepare carefully and to intelligent- James Biery. ly interpret the complex score. It also invites the Journey to the Man- congregation to deeper reflection on the drama ger: Hymn Preludes of the cross. KO for Advent and Christmas. Concordia (97-7663), $26.00. Benjamin M. Culli. Hymn Tune Innovations: 8 Easy This is a nice collection of eight hymn preludes Chorale Preludes for All Seasons, Set 2. on familiar Advent and Christmas hymns. Biery Concordia (97-7649), $18.00. has paid careful attention to keeping his settings in style with the nature of the hymn tune being While sightreadable or slightly above, used. The organ parts are of medium difficulty, these intelligently written settings will with some arrangements making use of a some- hold the interest of musicians of all abili- what more active pedal part. The hymn tunes ty levels. Registration suggestions are given included in this volume are Cas radosti; Di- for two-manual instruments. Eight tunes are vinum mysterium; Go Tell It; Helmsley; treated, including Gethsemane; Ich sterbe Milwaukee; Sieh, hier bin ich; W Żlobie täglich; Llangloffan; and Komm, Heilig- Lėży and Wo soll ich fliehen hin. This is er Geist, Herre Gott. The settings are brief, strongly recommended as a refreshing addition with many containing a single statement of the to your Advent and Christmas library. MS hymn tune. Culli’s creativity with tuneful introductions and interludes, rhythms, articulation, and registration add up to a versatile, appealing package. CP David Cherwien. Good Friday Re- flections: Organ Meditations on Sta- John Eggert. tions of the Cross. Partita on Veni Creator Spiritus. MorningStar (MSM- Concordia (97-7652), $14.00. 10-365), $18.00. Commissioned by the Western Illinois Good Friday Reflections features nine hymn tune University Chapter of the AGO in hon- settings, one for each station of the cross. A de- or of the retirement of Dr. Anita Eggert votional service by Susan Palo Cherwien based Werling, this lively and inventive partita on the stations is provided, including reproduc- is versatile and highly appealing. There are ible pages for the congregation. The musical style seven movements which, though not explicitly is both dissonant and dramatic, drawing the indicated, could be said to correlate to the seven composer into uncharted musical waters. Nails hymn stanzas. Each movement can stand on its are pounded by the full organ. Nasty detached own, whether as service music or as a solo organ chords mock the Christ. The haunting words stanza during singing of the hymn on Pentecost.

Spring 2015 | CrossAccent 35 s SOUNDFEST As a complete partita, the movements provide güldne Sonne, Engelberg, Ewing, Fortu- sustained interest through a range of composi- natus New, Houston, Le p’ing, Marching tional ideas. The tune is always present—not too to Zion, Min Aynet Fiqir New, Neno Lake obvious or obscure—with enough variation in Mungu, St. Clement, Shanti, and The meter, timbre, and tempo to invite the listener Saints’ Delight. This is a nonseasonal volume into the texture. This partita also could be very that offers something to use at almost any time effective in a festival hymn sing, alternating be- of the year. MS tween organ and congregation through all seven movements/stanzas or having the congregation sing a stanza or two after hearing the organ play. DR Ronald Perera. Hymnos. ECS (8101), $13.10.

Hymn Prelude Library: Lutheran Commissioned in Service Book, vol. 4 (Tunes F G). honor of organist and Ed. by Kevin Hildebrand. choirmaster Peter Concordia (97-7457), $50.00. Beardsley on his retirement from Christ The collection features hymn settings Church Cathedral in Springfield, MA, this work (alphabetically on the tunes Faithful- comprises two movements. The first movement ness through Gwalchmai) by an array is based on Star in the East from Southern of composers, including Jeffrey Blersch, Harmony, and the second is based on Michael Alfred Fedak, Charles Ore, Anne Krentz and Hyfrydol. These three main tunes are per- Organ, and Wayne Wold. The editor’s pref- sonal favorites of Beardsley and the composer. ace points to an assortment of style, harmony, Portions of additional hymn tunes are stated and registration, all suitable for use as prelude, throughout. Registrations and rhythmic group- postlude, offering, or hymn introduction music. ings of septuplets and octuplets at times give an Most settings are sightreadable, making them ethereal effect. Changing and irregular meters ideal for use by students, lay musicians, or busy are prominent, as well as an array of dynamics. professionals. CP This music will be best served when presented on a well-voiced, three-manual instrument by an organist familiar with the instrument, as fre- quent registration changes are employed. It is suitable for recital, hymn festival introduction, J. Wayne Kerr. or other special-presentation occasions. CP Musica Sacra: Easy Hymn Preludes for Organ, vol. 9. Concordia (97-7653), $30.00. Louis Vierne. Complete Organ Works, vol. 5, Symphony This is an excellent collection of 14 hymn No. 5, op. 47. preludes that are well written and acces- Ed. by Helga Schauerte-Maubouet. sible for any organist. The rhythms and Bärenreiter (BA 9225), €28.95 pedal parts are easy, as promised in the title, (approx. $32.00). but the arranging is well done and worth using. The tunes arranged in this volume include Ach This volume features Vierne’s 5th Symphony, the Gott vom Himmelreiche, Alabaré, Die largest of his symphonies. Editorial assistance

36 Spring 2015 | CrossAccent | www.alcm.org SOUND s FEST was given by Thierry Escaich, a student of Marcel Dupré. Sever- Jacob B. Weber. al errors from previous Easter Mosaics. editions have been cor- Concordia (97-7646), $18.00. rected by using the original autograph as Weber has already established himself as a the principal source, fine, young composer. This book of “mo- along with some hand- saics” on Easter hymns should find wide written alterations by Vierne. The foreword in usage. While they may stand alone for this volume (presented in both French and En- worship or recital, some would also make glish) is extensive, including photographs of festive, ideal introductions for hymn singing. Vierne’s manuscripts and a detailed historical Weber treats both familiar, beloved tunes as well background of this symphony. as some newer, lesser-known tunes. The sugges- The layout of the music on the page is worth tions for registration should be appropriate for noting. The book is in portrait format with an most organs. Of moderate difficulty, they none- average of about eight measures per page. The theless deserve to be practiced, not sightread. generous spacing between the notes improves Tunes included are Alleluia No. 1, Easter readability over some earlier editions. It is print- Hymn, Gelobt sei Gott, Ncheu, Orientis ed on paper that may glare under organ lamps. partibus, and Salve festa dies. Organists will This is an excellent scholarly edition of Vierne’s enjoy performing these works and worshippers 5th Symphony. MS will enjoy hearing them. Recommended. JG

Organ and Church Music at Shenandoah Conservatory J. Thomas Mitts, Director Church Music Summer Organ Institute Academy

Week 1 | June 14-19 for High School Keyboard Players Featured Artist – Maurice Clerc Saint-Bénigne Cathedral in Dijon, France June 21-26 Improvisation in the French Manner, Organ Vespers Offered concurrently with Church Music Institute Week 2 Week 2 | June 21-26 Featured Artist – Bruce Neswick Featured Topics and Activities Indiana University – Royal School of Church Music • Private Lessons Hymn Festival, Master Classes, Choral Evensong • Hymn Playing & Improvisation • Exploring the Harpsichord Featured Topics • Organ Design & Construction • Hymn & Service Playing (Basic & Advanced) • Keyboard Skills & Improvisation (Basic & Advanced) • Visit to Taylor & Boody Organ Shop • Organ Literature, Registration & Performance Practice • Evening Programs of CMI • Anthem Literature for the Church Year • Recreation • Morning & Evening Prayer

CMI is a program of Shenandoah University in Visit SU.edu/Conservatory/ChurchMusicInstitute Winchester, VA and may be taken for credit. or email [email protected] for more information.

Spring 2015 | CrossAccent 37 s SOUNDFEST PIANO HANDBELLS

Charles Callahan. We Are Gathered: 12 Hymn Meditations Sandra Eithun. for Piano. Handbell Praise. MorningStar (MSM-15-760), $15.95. 2 octaves handbells. Concordia (97-7637), Callahan’s giftedness in radiating sublime $30.00 (reproducible). beauty shimmers throughout this collection of 12 hymn meditations. Original This is a wonderfully melodic passages complement hymn tunes musical and worship- with occasional poignant recasting of tra- ful collection including ditional harmonies. Effective use of key the following hymn tunes: Bradbury, Cantad changes, subtle dynamics, and prominent paral Señor, Eventide, Italian Hymn, Madrid, allelisms provide overtones that are uniquely Siyahamba, and Terra beata. Written for only Callahan. The generally themed settings in- two octaves of handbells, handchimes could also clude well-loved—but often overlooked—tunes, be used in their place, making this a very ver- such as Beecher, Bradbury, Jesus Loves Me, satile compilation of favorite hymn tunes. The Nicaea, and Olivet. Musicians who enjoy ex- benefits to having reproducible music are end- perimenting with creative sound possibilities less: special marking for every ringer, ability to may want to explore the meditations on elec- use the music for more than one event, and the tronic medium. The settings are at sightreading ability to copy again and again. The techniques level or slightly above. As suggested by the title, used are thumb damps, mallets (both on the ta- the collection is appropriate for quieter, medita- ble and suspended), mallet roll, shake, swing, tive portions of worship services. CP ring touch, LV (let vibrate), and mart-lift, and tempo and key changes add interest. Level 2–2+. KEYBOARD AND ML INSTRUMENTS

Cathy Moklebust. Henry Mollicone. Silent Night. Elegy. 3–5 octaves handbells, B-flat soprano saxophone/clarinet, organ. 3–5 octaves hand- Ione Press/ECS (7974), $10.50. chimes, with optional triangle, finger cymbal, Commissioned by organist Douglas Cleve- chime tree. land and dedicated to him, this piece Concordia (97-7638), achieves a meditative mood that could be $4.25. interpreted as mournful longing. A relatively slow tempo, colorful harmonies, and soft For a level-2 piece, this arrangement of Stille dynamic markings contribute to this mood. The Nacht really packs a punch. Newer ringers saxophone carries most of the melodic interest, will feel accomplished while ringing this lovely supported by undulating organ lines. California rendition of one of our most beloved Christ- composer Mollicone, best known for his operas, mas tunes. Not only can one include a triangle uses dissonance and chromaticism throughout, and finger cymbals—and these must be in tune which add to the difficulty level. LW for the piece to be effective—but the use of the

38 Spring 2015 | CrossAccent | www.alcm.org s SOUNDFEST singing-bell technique is very ethereal. This piece can be rung without the triangle, finger ADULT CHOIR cymbals, and chime tree and even without the handchimes, but it will be much more enjoyable Jeremy J. Bankson. if you are able to include all of the extras. The By All Your Saints. section where the handchimes ring actually gives SATB, organ, with optional brass quintet, the melody to the bass, and that is a rare occa- timpani. sion. Level 2. ML Augsburg Fortress (978-1-4514-8576-9), $1.80.

VOCAL | This makes attendant music for a stirring All Saints celebration—or perhaps CHILDREN’S CHOIR even a funeral where a large choir is utilized—a splendid event indeed. Written for a church anniversary, the setting has many possible uses, such as dedication and choral fes- James Melby. tival. Sopranos are invited to divide on the final In Thee Is Gladness. doxological stanza and even share a high B-flat. Adapted by Scott Good solid part-writing, which choirs will enjoy Hyslop. singing. This is a festive arrangement of a known Unison voices, organ text with a brand new tune. Full score and in- or piano, strumental parts are available separately at the two flutes, hand drum. publisher’s website. JG Concordia (98-4175), $2.00.

This energetic anthem is a setting of the tune In Mark Bender. dir ist Freude. Both the English translation My Soul, Now Praise Your Maker. and original German text are included. Since SATB, congregation, organ. this is written in unison, it would be appropri- Concordia (98-4160), $2.50. ate for children’s, youth, or adult choirs. Both the tempo marking and the unique instrumen- Composed in G major, this anthem is an tal ensemble help the text and music come alive. energetic setting of the tune Nun lob, Instrumental parts are included in the score. It is mein’ Seel’. Written for SATB choir, stan- suitable for the Easter season. AW zas 1 and 2 of the anthem are in unison. Stanza 3 highlights tenors and basses, then sopranos and altos, and finally the whole choir. The final stanza is unison with a soprano des- cant. Reproducible pages for congregation are included. This anthem is accessible for a wide variety of ability levels and can be sung by large or small choirs. It is suitable for general use or for Lent. AW

Spring 2015 | CrossAccent 39 s SOUNDFEST James Biery. Holy and Beloved. SATB, organ. Paul Bouman. Augsburg Fortress (978-1-4514-9249-1), Kyrie, God Father. $1.95. SATB unaccompanied. Tempo 1º Press (t1p James Biery’s setting of Colossians 3:12-17 002), $1.60. starts with a soft, free choral introduction, “You are God’s chosen ones, holy and be- Bouman utilizes the loved.” It is nice to see a new setting of an 9th-century chant Ky- underutilized scriptural text. Biery’s mu- rie fons bonitatis as the sic always supports the text as he moves basis for his unaccompanied four-part choral through key and meter changes, building to a setting featuring text from “Kyrie, Gott Vater.” fortissimo at the words “sing psalms and hymns, Thus the work is unmetered, with basic rhythms sing songs of the Spirit with thankfulness in and stepwise motion. This worshipful, unhur- your hearts to God.” Difficulty level is manage- ried piece features bookend piano dynamics, able for most church choirs, with a melodic grace with a dramatic central section in forte. A four- that makes the music singable for the choir and part ensemble adept in the nuances of breath accessible to the congregation. The composer’s control, diction, intonation, and blend will make return to the introductory material at the end this a highly effective addition to a seasonally or is particularly satisfying. This gentle music re- liturgically appropriate worship service. CP minds us of St. Paul’s call to “clothe yourselves with compassion, kindness, humility, meekness, and patience” (nrsv). KO

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Music featured at AugsburgMusic.org is also available in PreludeMusicPlanner.org

40 Spring 2015 | CrossAccent | www.alcm.org s SOUNDFEST Carol Doran. for the women and basses. The tune by Carol O Praise the Doran is Christpraise Ray. Thomas Troeger’s Gracious Power. text makes this piece fit for Reformation, evan- Arr. by John gelism/missions, Eastertide, and social justice. Ferguson. Other editions available from MorningStar are SATB, treble choir, the full score (MSM-50-4052A, $15) and the handbells (2 or 3 oc- instrumental parts (MSM-50-4052B, $25) for taves), brass quartet, handbells and brass quartet, with French horn organ, with optional as an optional substitute for Trombone I. The congregation. handbell part is playable by 3–4 people. An or- MorningStar (MSM- gan with power will be advantageous, and the 50-4052), $2.25. organ can actually play the entire accompaniment if the brass quartet is not available. It This is a mighty setting of a powerful hymn in would be prudent to have both a conductor and concertato form. Ferguson has arranged it to in- an organist for this concertato. JG clude a treble choir (children/youth/adults) most effectively, which is not an “option” but rather a necessity. The congregation is invited to join the choirs for stanzas 6 and 7, producing a thrill- ing conclusion. The SATB choir has some divisi

ORGAN AND CHURCH MUSIC AT VALPARAISO UNIVERSITY

CHURCH MUSIC STUDIES 103 Rank Schlicker/Dobson Organ Bachelor of Music in Church Music in the Chapel of the Resurrection Bachelor of Music in Performance (Organ or Voice) 6 practice pipe organs Bachelor of Arts

CURRICULUM INCLUDES Church Music, Theology, Liturgical Organ Playing, Conducting, History, Theory, Performance Studies

ENSEMBLE OPPORTUNITIES Chorale, Kantorei, handbells, conducting and leadership opportunities

FACULTY Joseph Bognar, DMA, Chair, Department of Music; Associate University Organist Lorraine S. Brugh, PhD, 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

Competitive scholarships available For more information, please contact the Department of Music 219.464.5454 or email [email protected] valpo.edu/music Department of Music

Spring 2015 | CrossAccent 41 s SOUNDFEST

Charles Forsberg. Hal H. Hopson. In the Shepherd’s Keeping. O Dearest Jesus, divisi SATB a capella, with optional violin. What Law Have You Augsburg Fortress (978-1-4514-8290-4), Broken. $1.95. SATB, piano. MorningStar (MSM- A Norwegian folk tune is the basis for this 50-3515), $1.85. lovely setting, and there is an optional Norwegian text included for the first cou- Hopson uses the haunting American work song ple pages. Performance options are included for Water Boy as the basis for this anthem for Pas- the division of parts and use of a violin. This ar- sion Week, using a 17th-century text by Johann rangement will delight singers and listeners alike Heermann. The overall form of this piece is AB- but will require a disciplined approach to learn- CBA, with A (the opening call of the work song) pianissimo forte-fortissimo ing. The nuances of to sung by a soloist, accompanied only by open are dramatic. The themes of eternal life, the joys fifths in the piano. The first B section presents of heavenly (Jeru)Salem, glory, mercy, and grace the melody in unison with a more flowing ac- all permeate this arrangement, which one hopes companiment. The middle section is in the spirit JG will find wide use. of a call and response, with the sopranos beginning each phrase, answered by the lower voices. The choir here also acts as a countermelody, with the piano playing the melody first introduced in the B section. The B section then returns with George Frideric Handel. full SATB choir, forming the climax both mu- Jesus, Sun of Life, My Splendor. sically and textually (“Conquer my heart, now, Arr. by John Leavitt. make love its sole purpose”). The piece has been SAB, organ or piano. building dynamically to this point as well, Concordia (98-4179), $1.75. growing from piano to forte with each section. With the return of the more pensive A section, There are other published arrangements Hopson also returns to the softer dynamic and of this lovely chorale (Schmücke dich) minimal open-fifth accompaniment. That Hop- from Handel’s “Brockes Passion.” How- son uses a melody that may have originated as a ever, if you do not have a separate tenor prison work song makes it a fascinating choice section, this practical SAB version retains most for this text. This piece would make a moving of the original part-writing while providing a addition for Passion Sunday or Good Friday. nice, user-friendly keyboard adaptation of the Medium-easy. AE orchestration. Leavitt has also lowered the key to F major and has modernized the Winkworth English translation (e.g., replacing “thee” with “you”). This piece provides an opportunity for the SAB choir to learn and enjoy a classic communion anthem in a musically satisfying setting. DR

42 Spring 2015 | CrossAccent | www.alcm.org s SOUNDFEST followed by a brief choir coda, brings the piece to a close. Choral ranges are generally comfortable, with some divisi. A low D is required of the Hal H. Hopson. second basses on the final chord. The choir will With a Mighty Wind need to be able to sustain a slow tempo. LW and Tongues of Fire. SATB, organ. Augsburg Fortress (978-1-4514-2081-4), Thomas Keesecker. $1.75. The Sun Was Bright That Easter Dawn. Set in ternary form, SATB, organ, trumpet, Hopson’s Pentecost anthem begins and ends with optional assembly. “With fire and vigor.” An ascending flourish from Augsburg Fortress the organ leads into the choir’s opening fortissi- (978-1-4514-9261-3), $1.95. mo statement. Syncopated and dotted rhythmic motives increase the sense of urgency, then the This anthem is based on a text by the late tempo slows slightly for the quieter middle sec- Dr. Herman G. Stuempfle, Jr., a contem- tion. Rhythmic interest continues here, with an porary pastor and hymn writer. The tune Easter increased focus on the text, adapted by Hopson Dawn is an original work by Keesecker. The can- from Scripture. The closing section adds Allelu- tus firmus has a searching, modal quality and ias and divisi on the final chords. Aside from the is underpinned by solid, four-part harmony. A fact that the tessitura may be somewhat high for slightly unconventional 6/4 meter lends a Celtic altos and basses, the choral parts are written in air to the music. A balanced ensemble will be key such a way that they will be easy to learn, with to successful presentation, but the work should many unison passages. This would make a stir- be accessible to a range of ability levels. This up- ring addition to a Pentecost worship service. LW lifting anthem includes a reproducible page that enables participation by the worship assembly. A trumpet part may be downloaded from the publisher’s website. Keesecker’s setting will be suitable for use throughout the Easter season. CP

Thomas Keesecker. Jesus Said, Come, Follow Me. Thomas Keesecker. SATB a cappella, We Praise Your Cross, O Christ. oboe. SATB, piano, with optional guitar. Augsburg Fortress MorningStar (MSM-50-3087), $1.70. (978-1-4514-2074-6), $1.30. This original anthem has a haunting melody that focuses on the cross. Composed The text is simple, consisting of nothing beyond in C minor, it is a good marriage of text the words of the title, and the piece is only three and tune. Although the tempo indication pages long, but it is an effective reflection on Je- is very slow, all of the phrases are short. sus’ call. The anthem begins with a solo melody As a result, this anthem is accessible for a played by the oboe (or other C instrument). The wide variety of ability levels and can be sung by choir enters and sings alone, unmeasured, with large or small choirs. It is suitable for Lent or any dynamic and harmonic variety to add interest to service where the Scripture passages refer to the the repetitive text. Another plaintive oboe solo, cross. AW

Spring 2015 | CrossAccent 43 lutheran JUNEs 21 – JULY 19, 2015 SOUNDFEST a musical training and performance summer program on the campus music of Luther College, Decorah, Iowa ACADEMY & FESTIVAL

Discover a place where Paul Leavitt. music and faith meet in Luther’s Words. supportive community. SATB divisi, piano, Accepting with optional flute. applications for: www.PaulLeavittMusic.com, $2.95. Band, Choir, Orchestra, Piano, Pipe Organ, and, NEW for 2014, Composition! Leavitt has based his musical work on Martin Luther’s text, “We are not yet what we shall be, but we are growing toward it.” The scriptural Financial assistance and reference is Philippians 3:12. The 157-measure early application discounts anthem was written for a pastoral ordination. are available. Use application code Straightforward rhythms bring out the stalwart ALCM14 to recieve an character of Luther’s words. Text is further high- additional $100 discount. lighted with passages of imitation, ground bass, and some well-placed dissonant second and seventh intervals between parts. Also featured is an www.lutheransummermusic.org | 888-635-6583 optional a cappella section. The supportive ac- [email protected] companiment consists of flowing 16ths. While not exceedingly difficult, this piece nonetheless will require some independence on the part of the choir, both in its ability to effect dissonance between parts and in the ability to correctly interpret longer-held rhythms. A well-blended choir skilled in reading notes and rhythms, dic- Kenneth T. Kosche. tion, and dynamic nuances will bring out the Now the Green Blade Riseth. best in this piece. CP Two-part mixed voices, piano. Concordia (98-4161), $1.75.

This is an arrangement using the tune Noël Nouvelet that any smaller choir Paul Leavitt. would enjoy singing. The piano part is not Psalm 85: I Will Lis- difficult and offers plenty of clues for the vo- ten to What the Lord calists throughout the piece. The two parts God Is Saying. each remain in unison throughout. The third SATB a cappella, re- stanza is written as a canon with the women hearsal reduction for taking the lead. The canon occasionally creates keyboard. some close harmonies, but the well-written pia- www.PaulLeavittMusic.com, $1.95. no arrangement guides the singers through. The option exists to double the voicing for the last Leavitt composed this elegant setting of Psalm stanza, with S/T on voice one and A/B on voice 85:8-13 for a pastor’s installation. This is a perfect two. This would create more fullness for the cli- piece for choirs that enjoy the challenge of singing max. MS liturgical music requiring disciplined reading (it is written with six sharps), a few changes of meter, close harmonies that are simply elegant, and

44 Spring 2015 | CrossAccent | www.alcm.org s SOUNDFEST some octave leaps that must be performed with great control. The dynamic changes are exqui- site. Learning this psalm setting will provide the choristers with practical music theory. Warning Paul Leavitt. to the conductor and the accompanist: do not Psalm 121: I Lift Up My Eyes to the attempt to sightread this in rehearsal. Go over Hills. each voice part before the choir ever sees it and SATB a capella, rehearsal reduction for know exactly where the challenges lie. Learning keyboard. the music with sectionals would be wise (SA and www.PaulLeavittMusic.com, $1.95. TB). The singers will be thrilled with the ethereal qualities of this arrangement. Leavitt has The close relationship between the words other SATB works available on his website, and a and rhythm in Leavitt’s setting helps to em- few for TTBB as well. Highly recommended. JG phasize the text of Psalm 121. While there are a number of accidentals, the voices are aided by deft voice leading. The composer’s sensitive use of expression markings serves to underscore the text. SATB choirs with experience singing unaccompanied will find this to be a welcome addition to their repertoire. General use. AE

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Spring 2015 | CrossAccent 45 s SOUNDFEST

Walter L. Pelz. Anne Krentz Organ. O Day Full of Grace. We Walk by Faith. SATB, congregation, Two-part mixed, piano. organ, brass quartet. Augsburg Fortress (978-1-4514-9263-7), Concordia (98-4186), $1.80. $2.00.

Krentz Organ gives us a new setting of the Composed in C major, hymn text by Henry Walford. The use of this hymn concertato is a flattened seventh in the melody and accom- a straightforward setting of the hymn. The in- paniment adds a modal touch to the piece. The strumentation and inclusion of the congregation anthem is mainly in 3/4, shifting to 4/4 and a capture the grandeur of the text. Reproducible new melody at stanza 4 (“For you, O resurrected pages for congregation are available at the back Lord”). The lovely melody, flowing accompani- of the anthem. This anthem is accessible for a ment, and sensitive text setting will make this a wide variety of ability levels and can be sung by solid addition for choirs looking for two-part an- large or small choirs. It is suitable for Pentecost. thems. Appropriate for Easter season and general AW use. Easy. AE

Mark Patterson. Carl Schalk. Easter Introit and Benediction. My Song in the Night. SSATB, brass quartet, timpani, organ. SAB, organ. MorningStar (MSM-50-4110), $1.70. Concordia (98-4178), This composition contains original lyrics by $1.75. the composer. It is divided into two sections of 24 measures each. The first one, titled Schalk has creat- “Christ Triumphant,” is a festive introit or ed a simple and entrance to an Easter worship service. The effective setting of this choral parts are medium in difficulty with hauntingly beautiful American folk hymn (Ex- some upper tenor notes needed. The divided so- pression). The poetry appears to be inspired by prano is minimal and could be covered easily imagery from Psalm 77, particularly verse 6 (“I by a first alto. The second section is titled “Our said, ‘Let me remember my song in the night’” in Strength and Our Stay.” This section includes the esv translation), and is an expression of con- more festive rhythms and the brass quintet. It fidence in Jesus despite any darkness that may should be noted that the brass parts are included envelop us. Stanza 1 presents the whole melody in the accompaniment and marked as such. The sung by the women in unison, a call to the Lord vocal parts are once again medium in difficulty in the midst of affliction but in hope rather than with more doubling of parts to create a forceful in anguish. The men start stanza 2 in unison and sound to reflect the strong lyrics. Full score and are answered by the women with a variation on instrumental parts (MSM-50-4110A; $32.00) the middle melodic phrase highlighting Jesus as are also available. This is an excellent piece that “My comfort and joy, my soul’s delight.” In the would work well with or without the additional last stanza, the choir begins in a prayerful three- instrumentation. MS part setting, building to “My love, my life, my only light” and ending in a quiet affirmation of

46 Spring 2015 | CrossAccent | www.alcm.org s SOUNDFEST the “song in the night” image. With its primarily two-part texture based on the melody, this piece is accessible to choirs of all sizes and will be a welcome addition to your choral hymn col- Timothy Shaw. lection. DR Who Trusts in God. Two-part equal voices, organ or piano, with optional solo. Timothy Shaw. Concordia (98-4176), We Praise You, Jesus, $1.75. at Your Birth. SAB, piano. Since the 500th anniversary of the Reforma- Concordia (98-4170), tion is coming in 2017, many choirs will surely $1.75. want to perform not only classic Lutheran cho- rales, hymnody, and various choral music from There was a time, the early days of Lutheranism but also new set- which seems not so tings of these great texts. Shaw has taken the long ago, when Amer- sturdy words of a 16th-century hymn and giv- ican church choir directors sought out SAB en them a fresh new melodic treatment. The first music for their high school/youth choirs and and third stanzas are almost in the antiphonal divisi only considered SATB with for their adult style (another form of singing sacred texts from choirs. In many cases SAB music was not well the early days of the Lutheran church). Directors crafted and was unsatisfactory for helping young must carefully decide which voices to use when singers to develop. Now, in the 21st century, it performing this setting. It would easily fit the is (unfortunately) common that there are few tessitura of soprano and alto; if tenor and bari- (or no) youth choirs, and many adult choirs are tone were used, the second part might be a bit no longer comfortable singing four-part choral low for clean diction. If mixed voices, try switch- music. Shaw has taken a great 14th-century Ger- ing things around in order to discern the best man text that includes some stanzas by Martin sound. Whether a soloist or a section is used for Luther and provided a lovely new tune and ac- the middle stanza, the singer(s) must be able to companiment. This is a splendid opportunity for sing a high F quietly with a challenging vowel. If those who seek to provide classic Reformation two accompanists are available, it could be very texts accessible to choirs and faith communities effective to use the piano for the two-part texture of today. This setting definitely needs a piano for and the organ for the soloist. Experiment and be the accompaniment. It lies in good ranges for so- creative. JG pranos, altos, and men—no complaints that it’s “too high” or “too low.” SAB voicing appears to be very natural with Shaw, and this should find great usage for Christmastide and Epiphanytide worship or concerts. It could even be sung by a trio or used to start building up a youth choir once again. JG

Spring 2015 | CrossAccent 47 s SOUNDFEST

Mark Shepperd. Sweet Freedom. Ride On, Ride On in Majesty. Adapted by Gwyneth SAB, keyboard. Walker. MorningStar (MSM-50-3520), $2.25. SATB divisi a cappella. ECS (7698), $2.25. This original anthem is a joyous setting of a Palm Sunday text based on John 12:13. Based on the beloved Composed in 6/8, it alternates between F anthem My Country, ‘Tis of Thee,this upbeat major (when referring to the triumphant arrangement is sure to have both singers and nature of Palm Sunday) and F minor (when re- audience riding high on a wave of patriotism. ferring to the Passion aspect of Palm Sunday). Walker effects a skillful improvisation on the Because the voicing is SAB, this accessible an- original God Save the King melody, under- them would be appropriate for a youth choir or pinning it with a choral ostinato that brims with adult choir. AW rhythmic vitality. A full, balanced ensemble whose director is capable of eliciting rich dynamic and tempi expression will bring out the best in this piece. It is suitable for advanced middle school through adult choirs. CP

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48 Spring 2015 | CrossAccent | www.alcm.org s SOUNDFEST Tom Trenney. Mothering God, You Gave Me Birth. SATB, piano. Augsburg Fortress David von Kampen. (978-1-4514-9254-5), Go to Dark Gethsemane. $1.80. SATB, piano. Concordia (98-4183), $2.00. Trenney has taken a text by Jean This well-known hymn, which has earned Janzen (based on the a position in midweek Lenten worship and 14th-century words Holy Week services, is an invitation to of Julian of Norwich), added a hauntingly lovely “walk” with Christ throughout the final hours arrangement of the tune Maryton, and fash- of his Passion. (Curiously, the last stanza— ioned an anthem for those seeking music with a sometimes omitted—is an invitation to “run” to mystical touch. Specific directions are given for the open tomb.) This setting is a refreshing ar- the piano accompaniment—organ would not be rangement of the familiar text and tune, done appropriate for this setting. There is some very with drama and tasteful simplicity. Piano will minor doubling of parts for basses and sopranos. be far superior to the organ for accompanying The entire choir sings the last note (E-flat above this anthem. Choirs will enjoy the rich harmonic middle C) in unison for the final 20 beats, where structure; tenors and basses get to sing in par- a diminuendo is achieved. Sumptuous. JG allel fourths, sopranos get to sing lower than

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Spring 2015 | CrossAccent 49 s SOUNDFEST altos, and the men will take the challenge of an Reviewers: octave leap, quietly, which will land them one whole step from the altos at the dramatic “It is Ann Edahl (AE) finished!” moment. They are also invited to dou- Choir Director ble up for an optional TTBB final three chords. Our Saviour’s Lutheran Church, Fresno, CA This is a beautiful arrangement. JG James Gladstone (JG) Retired Cantor, Saginaw, MI Glenn Wonacott. Music Assistant, Ev. Lutheran Church of God Is Here. St. Lorenz, Frankenmuth, MI SATB a capella. Augsburg Fortress (978-1-4514-8580-6), Marilyn Lake (ML) $1.50. Handbell Director Southminster Presbyterian Church, Wonacott has provided his own text for Prairie Village, KS this short but very complete anthem. The Music Educator, Shawnee Mission School texture is straightforward with a few har- District, KS monic surprises, and the choir will enjoy singing in a free, rubato style. Rich chords Karl A. Osterland (KO) with mildly challenging intervals provide a Music Director Historic Trinity Lutheran Church, Detroit, MI beautiful background for the text. Every phrase begins with “God is here”; the latter part of the Carla Post (CP) phrase reminds the listener that God reaches Organist out, listens to prayers, gives grace to the wound- St. Mark’s Episcopal Pro-Cathedral, ed heart, lifts lives after a fall, calls us Christians, Hastings, NE teaches us, and finally shows us why we, too, are St. Paul Lutheran Church, Blue Hill, NE here. There is much music in only 28 measures. Editor/developer, www.thepaulineproject.com JG Deborah Reiss (DR) Minister of Music Village Lutheran Church, Bronxville, NY

Mark A. Schultz (MS) Minister of Music Trinity Lutheran Church and School, Wausau, WI

Lara West (LW) Music Director Good Shepherd Lutheran Church, Lawrence, KS Lecturer, Benedictine College, Atchison, KS

Austen Wilson (AW) Director of Music Lutheran Church of Our Savior, Haddonfield, NJ

50 Spring 2015 | CrossAccent | www.alcm.org

s DEpostLU Julie Potts Grindle President-Elect, ALCM

he articles in this issue speak to many his- God? When we focus firmly on the final -an torical and practical tensions in the life and swer—serving God!—we know that serving all T work of the church musician, the pastor, the others is going to happen as well. We serve the composer. They have reminded me just how them all, as they (we!) are the body of Christ in truly subjective music is to the leader, the sing- this world, in this nation, in this city or town or er, the listener. The choices we make as worship village, in this neighborhood. planners are subject to our experience, our edu- A friend recounted to me how, when plan- cation, the parish we serve, our time of life, our ning for Pentecost, she and the other planners preferences. scheduled the wonderful hymn “God of Tem- How many times have we chosen a new pest, God of Whirlwind” (ELW 400). During hymn that spoke to the word and to us, yet the week leading up to that Sunday, one of the fell flat as a pancake when sung as an assem- families in the church suffered the grievous loss bly? The text worked but the music didn’t, not of their house and all their possessions due to in the unique context of that day, or vice versa. a fire. All of a sudden this wonderful, appro- Conversely, hasn’t it been a nice surprise when priate hymn for Pentecost was not appropriate a hymn that was thrown in at the last minute anymore, where the second stanza reads, “God during communion reached deep into the hearts of blazing, God of burning … let your flaming of the same people, stirring them to be God’s Spirit surge!” A wonderful text, but not one for faithful people? that congregation on that Sunday. Needless to The writers in this issue want us to think say, as a servant of God and of her congregation, deeply about why we choose the hymns we pick she unscheduled that hymn. and how those hymns relate to being of the We must live in the context of our world and world, but not in the world. These articles help of our immediate area, while also living as God’s shape us into being better thinkers, more inten- people. Instead of letting this be burdensome, let tional about how we guide the worship of the it be an opportunity for blessing in our life and congregation through song. in our vocation. Let it be an opportunity for rec- It is always helpful to ask oneself when one onciliation and healing. Let it be an opportunity is worship planning, “whom do I serve?” Those to serve our neighbor. Let it be an opportunity in the pews? My colleagues? My congregation? to serve God. My country? My worship and music committee?

52 Spring 2015 | CrossAccent | www.alcm.org