CROSS ACCENT VOL 24, NO 2 | SUMMER 2016 JOURNAL OF THE ASSOCIATION OF LUTHERAN CHURCH MUSICIANS
CrossAccent is published three times per PRE LUDE year by the Association of Lutheran Church Musicians. Subscription is included with 2 Editorial Comment—Jennifer Phelps Ollikainen membership in ALCM. Libraries may subscribe at $60 per year by contacting the Business Office. Copyright © 2016 Association of TAKE NOTE Lutheran Church Musicians. 3 30 Years: Re!ecting on Luther at the Birth of ALCM— The views expressed on the pages of the journal Walter R. Bouman are those of the authors and do not reflect official positions of the editorial board of the journal or of the Association of Lutheran COUNTER POINT Church Musicians. Reinterpreting Luther: Lutheran Chorales in Bach’s Chorale This periodical is indexed in the ATLA Religion Cantatas and Organ Works—Markus Rathey Database®, a product of the American 5 Theological Library Association, 300 S. Wacker Dr., Suite 2100, Chicago, IL 60606, USA. e-mail: [email protected], www.atla.com. “One Faith, One Baptism, One God”: Developing an Ecumenical Hymn Festival for the Reformation ISSN 2151–1772 18 Editor: Jennifer Phelps Ollikainen Anniversary—Chad Fothergill Music Editor: Lara West Book Editor: Paul Grime Teaching the Teacher: (Re)Introducing Martin Luther’s Copy Editor: Anne-Marie Bogdan Graphic Design: Kathryn Hillert Brewer 37 Hymns—John Krueger Editorial Office Jennifer Phelps Ollikainen, Editor CHOR US 1127 Magazine Road Green Lane, PA 18054 Music Preparations for the 500th Anniversary Celebration [email protected] 43 of the Reformation, Schlosskirche (Castle Church), Editorial Board Wittenberg—Vincent Ryan Kent Burreson Paul Friesen-Carper Joseph Herl BOOK REVIEW Nancy Raabe Stephen Rosebrock e Hymns of Martin Luther , ed. Peter C. Reske Advertising Office 46 —Paul J. Grime Cheryl Dieter, Advertising Coordinator 810 Freeman St. Valparaiso, IN 46383 Tears into Wine : J. S. Bach’s Cantata 21 in Its Musical and 800.624.2526 eological Contexts , by Eric Chafe—Christopher Cock 219.548.2526 [email protected] ALCM Business Office Evangelical versus Liturgical? Defying a Dichotomy, by Melanie Cheryl Dieter, Business Manager C. Ross—J. William Greene and Dennis S. Roberts Association of Lutheran Church Musicians 810 Freeman St. Valparaiso, IN 46383 SOUNDFEST 800.624.2526 New Music 219.548.2526 52 offi[email protected] www.ALCM.org POST LUDE From the ALCM Secretary/Treasurer—Kevin Barger The Association of Lutheran Church Musicians 64 is a service and professional organization that works to strengthen the practice of worship and Cover art: Statue of Martin Luther in Copenhagen, Denmark church music of all North American Lutherans. by Rikard Magnussen, 1983. Photo by Ib Rasmussen. Membership is open to any person or institution whose interests are in harmony with the Associa- tion’s goals. Address all change of address, ALCM OFFICERS subscriptions, and business correspondence to President: Anne Krentz Organ Region 1 (Northeast) President: John Weit the ALCM Business Office. President-Elect: Julie Potts Grindle Region 2 (Southeast) President: Sarah Hawbecker Secretary/Treasurer: Kevin Barger Region 3 (Midwest) President: Linda Martin Directors at Large: Scott Hyslop, Michael Krentz Region 4 (West) President: Kim Cramer
Summer 2016 CrossAccent 1 L PRE LUDE !e Rev. Dr. Jennifer Phelps Ollikainen "ditor# CrossAccent
n 2017, Lutherans and those in many other Chad Fothergill o&ers a comprehensive church bodies who are heirs of the Reforma- template for shaping thoughtful hymn festi- I tion will celebrate the church reforms that vals by providing three sample outlines for the were sparked after Martin Luther posted his 95 celebration of the 500th anniversary of the theses for conversation. Luther was not the $rst Reformation. Fothergill also o&ers lists of anni- reformer nor is he the last. However, Luther’s versary resources published by a wide variety of bold demand for conversation and reform has publishing houses. His hymn festival and ves- reverberated through the ages, shaping our lives pers outlines are rich in worship resources from of faith even now. a variety of ecumenical sources, in recognition %e anniversary is a time to pause and con- that many denominations celebrate the ongoing sider how the church is always reforming and reformation of the church. refocusing on the clear and faithful proclama- John Krueger o&ers a brief overview of Lu- tion of the grace of God in Jesus Christ. Rather ther’s vast repository of hymns—more than than memorialize a time of deep division in the those found in our denominational worship re- church or fall into Lutheran idolization, 2017 is sources. For church musicians, Krueger o&ers a a time to celebrate the gospel the whole church foundation from which to explore this rich rep- shares and continue to proclaim. We celebrate as ertoire in worship, hymn studies, and re!ections we confess that the church’s reformation contin- over the celebration year. ues until the end of time. Vincent Ryan interviews %omas and Sar- In 2017 Lutherans will celebrate, remember, ah Herzer, co-cantors at the Castle Church in and re!ect on the past 500 years of reform while Wittenberg, Germany, the chapel where Luther looking forward to the ongoing reformation of posted his 95 theses. With a newly refurbished the church. %is is most certainly true. %is issue organ, they are preparing for an exciting year of of CrossAccent seeks to spark your imagination celebration, concerts, and visitors. and creativity as you plan your local celebrations Luther wrote, “next to the Word of God, the in 2017 and beyond. noble art of music is the greatest treasure in the Markus Rathey explores the work of cele- world.” 1 As Lutheran church musicians, we are brated Lutheran J. S. Bach. Bach was born into in unique positions to lead our celebrations with a Lutheran family and lived and worked in the the treasury of music and praise that blossomed reformers’ footsteps in Germany 200 years after out of the Reformation. Sing this treasure and Luther. While very little is known about Bach’s give thanks to God for this transformative gift. personal piety or life of faith, his music reveals a knowledge and familiarity of the Lutheran the- Note ology of his time, somewhat di&erent than the *+ 4artin ;uther# Luther’s Works,
2 Summer 2016 CrossAccent www.alcm.org TAKE NOTE 30 Years: Reflecting on Luther at the Birth of ALCM by Walter R. Bouman century such radically di&erent perspectives on the place of music in worship…. (Editor’s note: In 2016 the Association of Martin Luther (1483–1546), the Saxon re- Lutheran Church Musicians celebrates 30 years former, had an arming attitude toward music as an association as we also prepare for the in worship that is undoubtedly well-known to celebration of the 500th anniversary of the those in attendance here today. What distin- Reformation. The following paragraphs are guished Luther from other reformers was that excerpts from the keynote address delivered by Walter R. Bouman at the ALCM constituting he distinguished “old” from “new” in terms of convention on August 11, 1986, at St. Olaf “bondage” and “freedom.” %e “bondage” with College in Northfield, MN. Titled “Sing to the which he identi$ed the “old age” was the reign Lord a New Song,” the address focused on the of a familiar trio: sin, death, and the devil. %at relationship between music and mission. puts Luther right in the midst of the thought Bouman reminds us that, for us now as for world of the New Testament. %e “old age” is Luther then, we live in the tension wherein indeed characterized by the powers of death. we sing a new song that names our human To live under those powers is to be self-protec- struggles while soaring into the future of God’s tive, self-justifying. For Luther that is bondage reign of life as if it were already here.) because we cannot bring it o&. Justi$cation can only come from the $nal outcome of history, for “Canticum novum est canticum only then are the $nal consequences of my life crucis” (Martin Luther) disclosed. But I am not and cannot be in control of the $nal outcome. To attempt self-justi$ca- s Martin Luther mistaken, then, when he says tion is not to trust the One who is Lord of the “canticum novum est canticum crucis” (%e $nal outcome of history: Jesus, the cruci$ed and I new song is the song of the cross)? %e whole risen Christ. Not trusting Jesus is the essence of quotation comes from his Leipzig debate of 1519. sin against God. To engage in self-protection “Singing to the Lord does not always mean joy- means that I can only postpone the inevitable. I ful and happy circumstances. For the new song cannot build a $nal protection against death. To is the song of the cross. And that means praising protect myself means that I am not free for my God and carrying God with you in the midst neighbor, especially if that neighbor is an enemy. of persecutions and in death itself” ( Weimar When the new age breaks out in the midst Ausgabe II, p. 333). Here we encounter the true of the old age it confers the freedom that comes di&erence between the “new song” of the end- from believing the promise that life really will time or new-age community, on the one hand, have the last word, that the reign of God will tri- and religious entertainment, on the other hand. umph over the reign of the powers of death, that Here we will also see that it was basic di&erenc- forgiveness and not judgment will be God’s $nal es with regard to what constituted the “new” in the new age that gave the reformers of the 16th verdict upon us, that in Christ God truly does justify us even though we cannot foresee the
Summer 2016 CrossAccent 3 L TAKE NOTE $nal justi$cation of our lives and must therefore $nal reign of God but also because the battle line “sin boldly.” %is provides a context for Luther’s between the old and the new runs through each armation of all that is creaturely and earthly of the baptized. Baptism thus complicates our in the worship of God, including and especially lives because it calls into question all our ten- music. %e Gospel confers freedom, but freedom dencies to serve the powers of death with our does not mean having unlimited or at least many quest for self-protection and self-justi$cation. possibilities open to us. Freedom means that we %e ministry of music is authentic and faithful experience our own appropriate creaturely des- when it identi$es areas of struggle and encourag- tiny. Hence the creaturely and the material are es in the struggle with the vision of the Gospel, never the opposite of the “spiritual” but rather as Chesterton’s hymn does, 1 or Fosdick’s “God of the vehicle for the Holy Spirit. %e Spirit is not Grace and God of Glory” (LBW 415). to be understood platonically as escape from the In the last analysis music can be an authen- earthly. Rather the Spirit is to be understood es- tic ministry and parish musicians can function chatologically—that is, as the “down payment” faithfully as Christian ministers when there is a on the future of the redeeming reign of God creative and mutually interdependent relation- (Eph. 1:14). “Spiritual songs” therefore have ev- ship between music and theology. %eology has erything to do with content and purpose. We as its calling so to listen to the event of Jesus as sing the new songs of the new age, that is, living the Christ mediated to us through the Scriptures in the future of God’s reign of life as if it were al- of Israel and the canonical documents of the ap- ready here. ... ostolic church that it discerns the good news of Luther recognizes, as do all the reformers, the $nal reign of God and is guided in its life that music can be taken into the service of the and witness. Music has as its calling the cultiva- powers of death. %is occurs not only when it is tion of a living tradition of sound made by voices connected with obvious evil—for example, play- and instruments through which the church can ing string quartets for Jews on the way to the be identi$ed as the community of the new age, gas chambers to prevent them from guessing the singing a new song in anticipation of the con- murderous fate toward which they were being summation of the reign of God, encouraging the marched. Music can also be taken into the ser- church in its struggle until the consummation is vice of the powers of death when it perverts the granted. message of the Gospel from its authentic content of the triumph of God’s reign in Jesus, the cruci- Walter R. Bouman (1927–2005) was professor $ed and risen Messiah. Music can be taken into of systematic theology at Trinity Lutheran Semi- nary, Columbus, OH. His bachelor’s degree and the service of the powers of death when it o&ers master of divinity were earned from Concordia false comfort or comforts those who ought to be Seminary, St. Louis, MO, and his doctorate in converted, when it does not give hope or lead the theology was earned from the church to give hope to the poor, the oppressed, University of Heidelberg in Germany. and the defeated. ... See http://www.walterbouman.com/unpublished-papers Now we can begin to understand why can- .html for a download of the full address . ticum novum est canticum crucis (the new song is the song of the cross). Because the new age has Note broken into our history in the midst of the old age, because the powers of death are truly defeat- *+ "arlier in this address# ouman had quoted a hymn text written by _+ + hestertonX ed and have become passé but are nevertheless Zrom all that terror teaches# from lies of tongue very much with us, we are plunged by our bap- and pen# tism and calling into the struggle between the Zrom all the easy speeches that comfort cruel men# old age and the new age. %e church is the place Zrom sale and profanation of honor# and the sword# Zrom sleep# and from damnation deliver us# where the struggle takes place not only because good ;ord it is called to witness to the breaking out of the Q; ^{# st+ ^]
4 Summer 2016 CrossAccent www.alcm.org COUNTER POINT L Reinterpreting Luther: Lutheran Chorales in Bach’s Chorale Cantatas and Organ Works
by Markus Rathey Of course, Bach and Luther did not really cross paths: their lives were separated by almost Bach, the Lutheran exactly 200 years. However, numerous places where Bach worked and lived were an integral ohann Sebastian Bach was a Lutheran. He part of Luther’s legacy. Bach could not travel in was born in 1685 in the Luther-city Eisen- his home region of %uringia and Saxony with- ach into a Lutheran family; he grew up in J out tracing some steps of the life of the Reformer. Lutheran territories; and most of his work as a It is hard to tell how important these physical musician included service at a Lutheran church. places of memory were for Bach’s own identity Even during the six years he spent as court musi- as a Lutheran. Historic sites were less signi$cant cian at the Calvinist court in Cöthen (1717–23) in the 17th and early 18th centuries than they he attended services at the local Lutheran St. Ag- are for us today. Did being born in the shadow nes Church. Bach frequently lived in the shadow of Wartburg Castle have a major impact on him? of places that were intrinsically connected to Lu- It probably did not. However, local proximity to ther’s legacy. %e city of Bach’s birth, Eisenach, these sites was connected to other forms of Lu- was located below the famous Wartburg Castle ther commemoration that were of much greater where Luther had translated the New Testament signi$cance. into German. Weimar, where Bach spent two More important for the remembrance of Lu- stints as court musician (1703 and 1708–17), ther were portable “places of commemoration”: was also closely connected with the history of the his German translation of the Bible, which was early Reformation. Luther stayed here frequent- read in church and at home; his Small Cate- ly, and in the Church of Saint Peter and Paul chism, which was the basis of religious education Bach would have seen a depiction of the cruci- and which school children had to learn by heart $xion painted by Luther’s friend Lucas Cranach. early in their lives; and $nally, Luther’s hymns, Bach easily would have recognized Luther as one which still formed the core of Protestant hym- of the people standing underneath the cross. Fi- nody in Germany in the early decades of the nally, Bach served as cantor in Leipzig, the place 18th century. By singing the hymns, by reciting of a famous disputation in the early years of the the catechism, and by reading the Bible in the Reformation (1519) and home to an important voice of Luther, Bach, like his contemporaries, Lutheran university. absorbed Lutheran language, thought, and the- Author’s note: an earlier version of this ology starting at an early age. essay was presented at a meeting of the While Bach was clearly in!uenced by Lu- American Guild of Organists (AGO) in New ther’s legacy in central Germany, it is harder to Haven, CT, in July 2015. Subsequently I had the determine whether he was a “devout” Luther- opportunity to present it at several AGO chapter meetings. I am grateful for the an. Almost no historical sources give insight inspiring questions of the participants that into Bach’s personal piety. He rarely wrote let- have contributed to the clarification of the ters, and the texts he set in his vocal works re!ect argument. the liturgical function of the pieces more than
Summer 2016 CrossAccent 5 COUNTER POINT L the personal faith of the composer. Bach’s theo- Bach’s interest in Luther and his theology logical books, which were catalogued after his re!ects his own upbringing in a Lutheran en- death, 1 document an interest in theology and vironment, his own religious socialization, and provide a framework of what theological ideas he his duties as musician at a Lutheran church in might have known. However, they do not pro- Leipzig. But Bach also bene$ted greatly from vide a roadmap into Bach’s inner beliefs. Despite Luther’s views on music. In contrast to reformers this lack of positive documentation, there can be like John Calvin or Huldryk Zwingli, who had no doubt that Bach’s religious beliefs (regard- limited the use of music in the liturgy (or who, in less of what they were exactly) developed in an Zwingli’s case, had even expunged music from environment that was dominated by Lutheran the service altogether), 3 Luther encouraged the theology. It is therefore safe to say that Luther’s use of both congregational hymns and poly- theological beliefs in!uenced Bach’s religious phonic music. 4 His famous praise of polyphonic formation to a not-insigni$cant degree. music in a preface to Georg Rhau’s Symphoniae A more-than-casual interest in Luther’s the- iucundae from 1538 can stand paradigmatically ology can be inferred from the fact that Bach for his enthusiastic endorsement of demanding owned not only one but two editions of Luther’s and complex musical textures: works. While a fundamental knowledge of Lu- But when [musical] learning is added to all ther’s theology was necessary for Bach’s position this and artistic music which corrects, devel- as cantor at St. %omas in Leipzig, it would not ops, and re$nes the natural music, then at have been necessary for him to own two edi- last it is possible to taste with wonder (yet not tions of the Reformer’s works. He must have had to comprehend) God’s absolute and perfect wisdom in his wondrous work of music. Here a deeper interest in Luther’s works. Moreover, it is most remarkable that one single voice in approximately 1733, Bach acquired the so- continues to sing the tenor, while at the same called “Calov Bible,” a biblical commentary in time many other voices play around it, exult- three volumes that had been compiled by theo- ing and adorning it in exuberant strains and, logian Abraham Calov (1612–86). %e volumes as it were, leading it forth in a divine rounde- provide the text of the Bible (most of the text, as lay, so that those who are the least bit moved 5 it is not a complete Bible edition) with margi- know nothing more amazing in this world. nalia compiled from Luther’s commentaries and %e only time in Bach’s life when he did not sermons and supplemented by Calov’s own in- work in some capacity as a Lutheran church mu- terpretations. %e title page of Bach’s copy bears sician was the six years he spent at the Calvinist his own signature in the lower left-hand corner court in Cöthen. Bach did not have to compose (see $g. 1). He also famously made annotations music for the liturgy, and consequently we have almost no sacred music from that time. It would Fig. 1: Bach’s in the volumes, which shows that he read the Copy of the book carefully and that he added his own theo- be wrong to misconstrue the court in Cöthen as Calov Bible, logical thoughts. 2 being secular; the court was no more or less re- title page ligious than the Weimar court Bach had served before. %e only di&erence was that the Calvin- ist liturgy did not permit concerted music, which meant there was no need for Bach’s skills as a composer. 6 Instead, Bach focused his energy on secular compositions, such as concertos, sonatas, and solo works. Had Bach stayed in Cöthen for the rest of his life—as he had originally hoped to do—we would probably still have a large number of instrumental works and a signi$- cant corpus of secular cantatas. However, there would be no Passions, no Christmas Oratorio, Figure 1: Bach’s Copy of the Calov Bible, title page Summer 2016 CrossAccent www.alcm.org 6
COUNTER POINT L no B-Minor Mass, and only the small number at home, boys choirs sang them on a regular basis of sacred cantatas from his early career at Mühl- in the streets, they were sung during work, hymn hausen and Weimar. Bach would probably still settings were played at the clavichord at home be considered a great composer, but he would be for entertainment, and we even have reports a very di&erent Bach. %ose of us who think that about hymns that were sung in Leipzig during the St. Matthew Passion and the B-Minor Mass executions! Given the importance of hymns and belong to the peak of Western art music might hymnody in Lutheranism, it is understandable $nd it sobering to re!ect upon the fact that these that the anniversary of the earliest Lutheran pieces would not exist without Luther’s apprecia- hymnals, which were published in 1524/25, was tion of liturgical music. 7 Luther created not only celebrated in 1724/25. We have reports from the theological grounding but also the practical, several German cities that special services were liturgical basis for Bach’s creations. Lutheran li- held, and several treatises published during that turgical theology provided the framework for year commemorated the special event. 8 Bach’s Passions, cantatas, and most of his organ Bach himself was involved in a special cel- music. ebration of 200 years of Lutheran hymnody. In 1724/25 he composed a cycle of cantatas based Bach and Luther’s Hymnody on Protestant hymns, the so-called “chorale can- tata cycle.” 9 Each of the 40 cantatas is based While we do not know much about Bach’s on one hymn. %e $rst and last stanzas of each personal piety, it is possible to reconstruct the hymn appear in their original form in the fram- framework in which this piety developed and ing movements of the cantatas, while the inner grew. It is also the framework in which Bach’s lis- movements transform the remaining hymn texts teners perceived his works—how they heard his into modern arias and recitatives. %e chorale Passions, cantatas, and organ music. Important cantatas are almost small hymn sermons, in- parts of this framework were texts transmitted terpretations of some of the most cherished and in the Lutheran tradition. %e most important important hymns in Bach’s own tradition. Some Lutheran “material” Bach dealt with are the bib- of these hymns are by Luther, others by later lical texts in Luther’s translation that Bach set hymn writers. As a whole, the chorale cantata in his vocal works. In particular, the Lutheran cycle is a celebration of hymnody in the very tra- hymns provided both a textual and musical basis dition that Luther had started in the early 1520s. for a large number of his vocal works and piec- %e chorale cantata cycle is the largest project es for organ. Bach ever tackled during his career: composing Each of Bach’s collections with organ cho- cantatas that follow a similar structural principle rales contains numerous settings of hymns by for every Sunday of the year was no small feat. Martin Luther: the Orgelbüchlein , the 18 Leipzig Bach never $nished the project, but even with chorales (the “Leipzig Eighteen”), the third part 40 pieces it is a very impressive accomplishment. of the Clavierübung , the so-called Neumeister Bach would return to the cycle throughout his and Kirnberger collections, and other, individ- later years to $ll in some of the gaps he had left ually transmitted chorale settings for organ. in 1724/25. Further, there is an interesting con- Altogether Bach based more than 50 organ piec- nection between the chorale cantata cycle and es on hymns by Luther. %is already-impressive his organ works. In the 1740s Bach published number excludes alternate versions of some of in print a collection of six chorale settings, the these pieces as well as excluding compositions Schübler Chorales (BWV 645-650). Five of the where the authorship is uncertain. pieces are transcriptions of movements from It is impossible to overestimate the impor- chorale cantatas, and two of them were part of tance of hymns for Lutheran piety and religious the original 1724/25 cycle. formation. Modern listeners might see them pri- It is clear how important Luther and Luther- marily as liturgical pieces, but in Bach’s time an hymnody were for Bach. But what exactly is they were literally everywhere: hymns were sung
Summer 2016 CrossAccent 7 COUNTER POINT L ”Lutheran”? Bach was a Lutheran, he lived and interpretations and readings. An individual’s in- worked in a Lutheran environment, the materi- terpretation can change over time: a poem you al he was using for his works—the Bible and the read 20 years ago you might read di&erently now. hymnbook—originated in Luther’s time or even As you change, your perspective changes. %is is with the Reformer himself. Lutheranism pro- not to say that one of your readings is wrong. But vided the theological, functional, and structural as time moves forward, it sheds di&erent light on framework for Bach’s work as church musician. poetry. %is is true for hymns and hymnody as However, I have already mentioned one caveat: well. In other words, if we want to understand we are not able to reconstruct Bach’s own piety. Bach’s theology, his Lutheranism, and his use of We do not have enough sources to determine Lutheran hymns, it is not enough to consult Lu- what Bach personally believed. A second cave- ther. Luther might actually turn out to be the at is: Lutheranism is not Luther. While Luther’s least useful place to look. Rather, we have to con- works were still widely read, Lutheran theolo- sult sources from the 18th century. We might gy had evolved over the intervening 200 years. discover that what I call the “framework of un- New questions had been asked and new answers derstanding” was di&erent from Luther’s own. formulated. Further, expressions of piety and devotion had changed as theology evolved. In- “Vom Himmel hoch ” terpretations of Bach’s music occasionally make the mistake of simply comparing Bach and Lu- and the Human Heart ther: Luther writes this, so Bach must believe A simple example can demonstrate these shifts. that. In reality, Luther’s texts were reinterpreted Bach set Luther’s Christmas hymn “ Vom Him- and read selectively. If Bach was a Lutheran (and mel hoch ” repeatedly and for di&erent musical we don’t have reason to doubt that), he was an forces. 18th-century Lutheran. He read Luther through %e fact that Bach set the hymn (or stanzas the same lens as his contemporaries. %is holds thereof) at least ten times during his life re!ects true for reading the Reformer’s theology in gen- the importance of the hymn and its enduring li- eral, but also (and maybe even more) for reading turgical presence. Even if the dating of some of his hymns. the organ settings is somewhat problematic, it is Hymns are poetry, and anyone who has in- clear from the overview below that Bach created terpreted poetry in their undergraduate English at least one setting of the hymn in each decade courses knows that a poem is open to di&erent of his proli$c career as a composer. Among the
Bach’s settings of “Vom Himmel Hoch”
BWV 243a/A vocal Magnificat (interpolation) 1723 BWV 248/9 BWV 248/17 vocal Christmas Oratorio 1734 BWV 248/23
BWV 606 organ Orgelbüchlein Weimar BWV 700 organ Kirnberger collection early BWV 701 organ Kirnberger collection early BWV 738 organ BWV 738a organ BWV 769 organ Canonic Variations 1746/47
8 Summer 2016 CrossAccent www.alcm.org COUNTER POINT L organ pieces, the Orgelbüchlein (composed in %e text consists of three parts. Stanzas Weimar) and the Canonic Variations (one of 1–5 paraphrase the message of the angel to the Bach’s latest organ works printed in 1747) con- shepherds, stanza 6 describes the journey of the tain the two most substantive settings. shepherds to the manger, and the $nal stanzas Without getting into the details of each 7–15 are a meditation on the birth of Christ. %e piece, it is obvious that they are Lutheran: the $rst half focuses on the historical event of the text and melody are by Martin Luther, the incarnation. We $nd such typical Lutheran key- hymn is part of the treasure of Lutheran hym- words as “salvation,” “forgiveness of sins,” and so nody, and all ten settings have their origin in on. %e later stanzas are an elaboration of these the Lutheran liturgy. But the pieces’ Lutheran ideas for the believer: the Lutheran pro me (“for identity only represents the surface of their sig- me”). Stanza 13 asks Jesus directly to make his ni$cance. Rather, we have to understand them bed in the heart of the believer. We see the two within the context of early 18th-century piety. steps of Lutheran theology: the historical event %e following table provides a selection of some and biblical message, which are interpreted in characteristic stanzas: the $rst six stanzas, and later the application and signi$cance of these events in the $nal eight
1. Vom Himmel hoch, da komm ich her. From heaven above to earth I come Ich bring’ euch gute neue Mär, To bear good news to every home; Der guten Mär bring ich so viel, Glad tidings of great joy I bring Davon ich singn und sagen will. Whereof I now will say and sing:
2. Euch ist ein Kindlein heut’ geborn To you this night is born a child Von einer Jungfrau auserkorn, Of Mary, chosen mother mild; Ein Kindelein, so zart und fein, %is little child, of lowly birth, Das soll eu’r Freud und Wonne sein. Shall be the joy of all your earth.
6. Des laßt uns alle frölich sein Now let us all with gladsome cheer Und mit den Hirten gehn hinein, Follow the shepherds, and draw near Zu sehn, was Gott uns hat beschert, To see this wondrous gift of God Mit seinem lieben Sohn verehrt. Who hath His only Son bestowed.
7. Merk auf, mein Herz, und sieh dorthin! Give heed, my heart, lift up thine eyes! Was liegt dort in dem Krippelein? Who is it in yon manger lies? Wes ist das schöne Kindelein? Who is this child so young and fair? Es ist das liebe Jesulein. %e blessed Christ-child lieth there.
13. Ach, mein herzliebes Jesulein, Ah! dearest Jesus, Holy Child, Mach dir ein rein, sanft Bettelein, Make %ee a bed, soft, unde$led, Zu ruhen in meins Herzens Schrein, Within my heart, that it may be Das ich nimmer vergesse dein. A quiet chamber kept for %ee. 10
Summer 2016 CrossAccent 9 COUNTER POINT L stanzas. %e hymn proceeds from the objective %e picture is not much di&erent in the to the subjective. area of musical compositions based on Luther’s While Luther’s hymn was still widely sung Christmas hymn. Numerous composers from in the 18th century, the understanding of the second half of the 17th century either set just Christmas and its existential meaning had un- stanza 13 or they composed cantatas that started dergone signi$cant changes during the 17th and with the interpretative section in stanza 7, Merk early 18th centuries. %e focus had shifted from auf, mein Herz (“Give heed, my heart”). Exam- the incarnation to the mystical unity of Christ ples of this practice include a cantata by Bach’s and the believer. 11 We can see this changing predecessor in Mühlhausen, Johann Rudolph emphasis in sermons and treatises from the de- Ahle (1625–73), and a cantata by Bach’s uncle cades around 1700. A very clear and instructive Johann Christoph Bach (1642–1703). example is a book for children by the German It is still Luther’s text. It has Luther’s au- theologian Johann Joachim Neudorf, published thority. %e preachers and musicians understand in the 1720s. 12 Like other theologians of his themselves as Lutherans. But the focus shifted. time, he understood the coming of Christ as a Lutheran theology shifted as culture and soci- three-layered process, each layer representing a ety have evolved. What does that mean for our di&erent time in salvation history: a $rst coming understanding of Bach’s settings of the hymn, (the historical event), a second coming (into the ten in number, six of these for organ? What believer’s heart), and a third coming (at the end does it mean that one of Bach’s most complex of times). Neudorf explains: contrapuntal works, the Canonic Variations, is Without the second advent neither the $rst based on this chorale melody? Interpreters of- nor the third [advent] would save anyone. ten mention the descending melodic lines in the %erefore, one has to thankfully begin this variations as representing the descending angels. new ecclesiastical year during this Advent Even if this is true, it is a very super$cial under- and remember that God comes to us through standing of the piece that does not go beyond the word and the holy sacraments. 13 the opening stanzas, which had lost importance Of what nature is the other coming? %at in Bach’s time. Wouldn’t an interpretation have Christ comes to the believers through the to take into account the changed understanding word and the holy sacraments and uni$es himself with them. 14 of Christmas and of this hymn in particular? It is beyond the scope of this essay to delve into What is the bene$t of this coming? %e bless- a detailed analysis of the Canonic Variations. ed indwelling of Christ, and, through this, also of the Father and the Holy Spirit in us: However, the example raises the question: what as the highest happiness is in such a uni$ca- is Lutheran in the early 18th century, and what tion of the Trinitarian God with the faithful is the impact of these religious shifts on Bach’s man. 15 music? In other words, Christmas is about the pres- %e example of “ Vom Himmel hoch ” has ence of Christ in the believer’s heart. While demonstrated that 18th-century Lutheranism Luther’s hymn touches on this idea, the focus is emphasized di&erent theological aspects from $rst and foremost on the historical event of the 16th-century Lutheranism and from Luther’s $rst coming. But Luther’s text also provided a own theology. For the remainder of this essay point of entry for this transformed understand- I will focus on two of the hymns, “ Nun komm ing of Christmas. Sermons as well as musical der Heiden Heiland ” (“Savior of the nations, settings of Luther’s hymn in the 17th and 18th come”) and “ Gelobet seist du, Jesu Christ ” (“we centuries highlighted the later stanzas. While praise you, Jesus Christ”), set by Bach for organ nine printed hymn sermons from the 17th and $ve and four times, respectively. What makes 18th centuries interpret the entire hymn, ten in- these hymns so interesting for this study is that terpret only stanza 13, which meditates on the Bach also set them as chorale cantatas. %erefore presence of Christ in the believer’s heart. 16 we have not only Bach’s compositions but also
10 Summer 2016 CrossAccent www.alcm.org COUNTER POINT L the poetic interpretations and expansions of the well the contemporary understanding of Advent hymn texts from Bach’s immediate circle. While and Christmas in the early decades of the 18th the framing stanzas of the hymns remain unal- century. In fact, Neumeister, a staunch Luther- tered in the chorale cantatas, the middle stanzas an, had written the preface to Neudorf’s treatise are paraphrased and theologically updated. %e quoted earlier. %e text begins with the $rst cantatas and their texts give us easy access to a stanza of Luther’s hymn and then provides a new, 18th-century understanding of the hymns. theological interpretation of what the “coming of the Savior” means. Before we explore some de- tails of Neumeister’s text, let us turn to Bach’s “Nun komm der Heiden Heiland ” setting of the hymn in his Orgelbüchlein (BWV and the Coming of Christ 599), composed around the same time as the %e text, based on Luther’s German paraphrase cantata (see ex. 1). of the medieval hymn Veni redemptor gentium , %e melody of the hymn appears only mini- was set twice by Bach in a chorale cantata. %e mally embellished in the upper voice. %e lower $rst setting (BWV 61) dates from Bach’s Weimar voices weave a dense texture with suspensions years and only uses the $rst stanza of the hymn. and interesting harmonic details. Interpret- 19 %e text for the rest of the cantata was written by ers of the setting—such as Peter Williams the theologian and poet Erdmann Neumeister. or the editors of the annotated edition of the %e composition was $rst performed in Wei- Orgelbüchlein , Robert Clark and John David Pe- 20 mar in 1714 and later repeated in Leipzig. 17 In terson —view the descent in the accompanying his later chorale cantata cycle Bach returned to motives as a re!ection of the descent of God into the hymn, and his anonymous librettist created the world and his incarnation in human form. a paraphrase of the entire song text. %is later In other words, the interpreters focus on the his- piece (BWV 62) was $rst performed on the $rst torical event (or in Neudorf’s terms, the “$rst Sunday in Advent, 1724. 18 advent”). %is is not wrong; however, Bach’s can- Neumeister’s libretto for BWV 61 represents tata has a di&erent focus. %e second movement, Example 1: “Nun komm, der Heiden Heiland” (BWV 599, in the Orgelbüchlein ), mm. 1–5
Summer 2016 CrossAccent 11 COUNTER POINT L a recitative for tenor, praises the incarnation of the descent that some interpreters highlight the God in Jesus as an event in the past (“ Der Hei- most important feature, or is it rather the longing land ist gekommen ” [“%e Savior has come”]). for the presence of Jesus expressed in the chro- But then the tense shifts and the following aria maticism and drawn-out, longing suspensions in asks Jesus to come to his church (“ Komm, Jesu, the accompaniment? In light of contemporary komm zu deiner Kirche ” [“Come, Jesus, come to theological emphases, Bach’s setting suggests your church”]). %e content of the aria is not so that it rather is the longing of the bride for the much the event in the past but the continuing bridegroom that is being expressed. Seen within presence of Jesus with his believers. %e bass rec- this context, the setting from the Orgelbüchlein itative following sonically enacts the arrival of almost becomes an erotic piece! A performer will Christ at the believer’s door: “ Siehe, ich stehe vor probably play it di&erently with this context in der Tür und klopfe an ” (“Behold, I stand at the mind. door and knock”). Bach’s setting with pizzicato Even in the larger setting of Nun komm chords sonically invokes the heavy knocks at the der Heiden Heiland from the Leipzig Eighteen door, and the choice of the bass voice followed an (BWV 659) this longing is audible. Interpreters old convention of giving the voice of Christ (or have suggested that the harsh harmonic progres- God) to a bass. 21 %e arrival of Christ at the door sions in the piece could be an allusion to Christ’s is $nally followed by a response in a soprano aria, su&ering and that the three-part writing at the in which the singer exhorts her heart to open it- beginning might be an allusion to Mary’s per- self for Jesus. %e heart of the believer shall be fect virginity. 23 %ese interpretations are not the dwelling place of Christ—we are remind- necessarily wrong; however, they remain on a ed of the 13th stanza of Luther’s “ Vom Himmel historical level and do not reach the deeper and hoch ” and its popularity in the early 18th centu- personal understanding of the hymn prevalent ry. Both texts exemplify what Neudorf described in Bach’s time. Imagine how ex. 3 would sound as the second coming of Christ: and envision a heartfelt love song.
5. Arie S 5. Aria S “Gelobet seist du, Jesu Christ ” and the Theology of Love Ö&ne dich, mein ganzes Herze, Open, my whole heart, Jesus kömmt und ziehet ein. Jesus comes and moves in. Bach set Luther’s Christmas hymn “ Gelobet Bin ich gleich nur Staub und Erde, %ough I am but dust and earth, seist du, Jesu Christ ” four times for organ. %e Will er mich doch nicht verschmähn, Yet He would not disdain number of settings is again due to the liturgical Seine Lust an mir zu sehn, To $nd his pleasure in me, importance of this hymn as the main piece for Daß ich seine Wohnung werde. So that I become His dwelling. Christmas Day in Bach’s time. Bach would have O wie selig werd ich sein! Oh, how blessed I shall be! 22 heard and sung the hymn every year on Christ- mas, and his congregation would have been familiar with the text and melody. One of Bach’s Bach’s setting of the text is highly emotional. settings appears in the Orgelbüchlein (BWV %e singer sighs and expresses her desire for the 604); the others are transmitted individually: as presence of the Lord. Poets of Bach’s time would a simple fughetta (BWV 697), an expanded cho- often borrow the image of bride and bridegroom rale harmonization (BWV 722), and as a setting from Song of Songs to express the burning de- in Pachelbel style (BWV 723). I will again focus sire of the heart waiting for the coming of Jesus. on the version in the Orgelbüchlein . Even though Neumeister’s text does not employ %e hymn text celebrates the incarnation this language, Bach’s expressive setting invokes of Christ. Luther’s text describes the incarna- this imagery (see ex. 2). tion as an event in the past and elaborates on What does this mean for our interpretation the meaning of the event for the believer. %e $- of the chorale setting from the Orgelbüchlein ? Is nal two stanzas highlight this interpretation of
12 Summer 2016 CrossAccent www.alcm.org COUNTER POINT L Example 2: Cantata “Nun komm, der Heiden Heiland” (BWV 61/5), mm. 1–21
Example 2: Cantata Nun komm, der Heiden Heiland BWV 61/5, mm. 1-21
Example 3: “Nun komm der Heiden Heiland” (BWV 659, one of the Leipzig Eighteen), mm. 1–8
Summer 2016 CrossAccent 13 COUNTER POINT L the incarnation. For Luther, the juxtaposition %e keywords inserted by Bach’s anony- of human poverty and the richness of heaven is mous librettist proclaim familiar 18th-century especially important. %e reason for the incarna- themes: Christ has chosen his dwelling place, tion is, for Luther, the love of God for mankind: and it is love that made him become man. %e dwelling place, mentioned in line four, is further 6. Er ist auf Erden kommen He has come on the earth in speci$ed in the fourth movement as the human arm, poverty heart. %e Son of God comes as a guest, and the Daß er unser sich erbarm’, to have compassion on us, human heart is moved to an emotive response Und in dem Himmel machet and in heaven he makes us rich (see Recitative no. 4). reich and like his dear angels. Recitative no. 4 is sung by the bass. Although Und seinen lieben Engeln gleich. Kyrieleis. the bass does not represent the voice of God Kyrieleis. here, it speaks to the believers from a position of authority, addressing the whole of Christen- dom directly. Further, the register underscores 7. Das hat er alles uns getan, He has done all this for us the voice’s authoritative speech. As in BWV 61, Sein’ groß’ Lieb’ zu zeigen an. to show his great love, the bass recitative is followed by an aria sung by Des freu’ sich alle Christenheit at this all Christendom rejoices voice registers commonly associated with female Und dank’ ihm des in Ewigkeit. and thanks him for this in characters. Even though the parts of soprano Kyrieleis! eternity). and alto were sung by boys in Bach’s Leipzig, Kyrieleis. the two voices could still hold female connota- tions. In BWV 91 Bach uses these connotations. Bach’s chorale cantata for Christmas Day %e male recitative is followed by a duet for so- 1724 again shifts the emphasis in the interpre- prano and alto praising God’s descent into the tation of Luther’s hymn. Already the second poverty of human nature. %e parallel motion of movement highlights love as the reason for the voices, as well as the sigh-like motives, were 25 Christ’s coming into the world. %e text for the common features of love-duets in Bach’s time movement, set as a recitative for soprano, main- (see ex. 4). tains the words of the original hymn (underlined Love, the heart, and the male-female di- below) and interpolates interpretative tropes: chotomy—all these are familiar topics of early
2. Choral und Rezitativ 2. Chorale and Recitative
Der Glanz der höchsten Herrlichkeit, %e radiance of the highest Glory, Das Ebenbild von Gottes Wesen, %e image of God’s nature, Hat in bestimmter Zeit Has at the appointed time Sich einen Wohnplatz auserlesen. Chosen for Himself a dwelling place. Des ewgen Vaters einigs Kind, %e eternal Father’s only Child, Das ewge Licht von Licht geboren, %e eternal Light, born of Light, Itzt man in der Krippe *ndt. Is now found in a manger. O Menschen, schauet an, O Man, look at Was hier der Liebe Kraft getan! What the power of Love has done here! In unser armes Fleisch und Blut, In our poor !esh and blood, (Und war denn dieses nicht ver+ucht, (And was this not cursed, condemned, verdammt, verloren?) lost?) Verkleidet sich das ewge Gut. %e eternal Good is clothed. So wird es ja zum Segen auserkoren. %us it is indeed elected for Blessing.
14 Summer 2016 CrossAccent www.alcm.org COUNTER POINT L
4. Rezitativ 4. Recitative
O Christenheit! O Christendom! Wohlan, so mache die bereit, Well then, make yourself ready Bei dir den Schöpfer zu empfangen. To receive the Creator. Der grosse Gottessohn %e great Son of God Kömmt als ein Gast zu dir gegangen. Comes to you as a guest. Ach, laß dein Herz durch diese Liebe rühren; Ah, let your heart be stirred by this Love; Er kömmt zu dir, um dich vor seinen ron He comes to you, to lead you before His throne Durch dieses Jammertal zu führen. %rough this vale of tears. 24
18th-century piety. Luther’s theology is still When we turn to the musical setting in the present. He had himself identi$ed divine love as Orgelbüchlein , we hear these elements as well: a the motivation for the incarnation in stanza 7 slightly embellished solo melody and an intricate of his hymn. But the additional appearance of play with suspensions in the lower voices (see ex. the term “love” in the chorale cantata’s second 5). %ese compositional choices make us wonder movement indicates that the emphasis has shift- whether Bach heard the hymn simply as a depic- ed towards emotionality, intimacy, love, and tion of historical events (as Luther’s text suggests) religious individualism. or whether he heard it rather in more emotional,
Example 4: Cantata “Gelobet seist du, Jesu Christ” (BWV 91/5), mm. 8–11
Summer 2016 CrossAccent 15
COUNTER POINT L Example 5: “Gelobet seist du, Jesu Christ” (BWV 604, in the Orgelbüchlein), mm. 1–8
existential terms. Bach’s setting is clearly about as the core relationship between Christ and the the praise of God and his incarnation in Christ, believer—can all be traced to Luther’s theology but it is also about the intimate relationship be- and hymns. But while these ideas appear among tween Jesus and the believer that is instituted by others in Luther’s hymns (often surfacing only this incarnation (see ex. 5). in the !nal stanzas), the poetic paraphrases of the hymn texts in Bach’s chorale cantatas feature Conclusions them more prominently, and Bach’s settings un- derscore this emphasis on emotionality. Not all organ settings by Bach transfer Luther’s Finally, the texts of the chorale cantatas texts and melodies into a personal and emotional help understand Bach’s compositional choices in sphere. Some of his compositions on “ Nun komm some of his organ works. Bach is a Lutheran and der Heiden Heiland ,” for instance (such as BWV there is nothing in Bach’s reading of Luther’s 660 and 661), lack the expressive character of a hymns that would contradict Lutheran theology. love song. However, it is signi!cant that some of However, being Lutheran in the early 18th cen- the chorale preludes on this hymn (as well as on tury did not simply mean a repetition of Luther’s “Gelobet seist du, Jesu Christ ”) clearly do make views. What we have seen is that even the hymns use of a musical language that is highly emo- of the Reformer were reinterpreted, re-envi- tional. "e texts for Bach’s chorale cantatas can sioned. Bach was born in the shadow of Luther’s help us understand these compositional choices. Wartburg. But just as time had changed the cas- While it is not possible to reconstruct what Bach tle and landscape, so also it had transformed the personally believed, the updated hymn texts religious landscape. Bach was not exempt from provide a framework for discerning how Bach these changes—he was a child of his time, even and his contemporaries would have understood when he read Luther’s Bible, recited his Small certain texts and dogmas. "is framework was Catechism, and sang Luther’s hymns. decidedly Lutheran. "e ideas explored here— of the heart as Jesus’ dwelling place, and of love
16 Summer 2016 CrossAccent www.alcm.org COUNTER POINT L Markus Rathey is professor Ihorale Iantata Iycle+{ Bach ]>+ no$ @ /@_#@?+ of music history at Yale =_–=>$ University, New Haven, CT. <$ 4ee &lfred ürr+ }AachEs Ihorale Iantatas+{ in The His research focuses on music Baroque Composers, ed$ avid *edbetter /qarnham7 in the second half of the 17th &shgate+ @_##?+ #UK–=]$ century, Johann Sebastian #_$ ~ranslation by Iatherine inkworth+ *4A >K=$ Bach, and the Bach family. His most recent books ##$ qor the impact of this shift on the understanding are Bach’s Major Vocal Works: Music, Drama, of Ihristmas in the #Uth and #=th centuries+ see Liturgy (New Haven: Yale University Press, `arkus %athey+ Johann Sebastian Bach’s Christmas Oratorio: Music, Theology, Culture /2ew Zork7 2016) and Johann Sebastian Bach’s Christmas xford [niversity Tress+ @_#\?+ #>–]<$ Oratorio: Music, "eology, Culture (New York: #@$ Pohann Poachim 2eudorf+ Christlicher Unterricht, Oxford University Press, 2016). He is president of für die Jugend, wie die H. Advents-Zeit, das H. the American Bach Society and associate editor of Christ-Fest und das Neue Jahr Gottgefällig zu feyren the Yale Journal of Music and Religion. sey /9amburg7 #U@U ?$ #>$ bid$+ U /my translation?$ Notes #]$ bid$+ @_ /my translation?$ #$ %obin &$ *eaver+ Bach’s Theological Library: A #K$ bid$+ @# /my translation?$ Critical Bibliography /2euhausen34tuttgart7 #\$ 4ee `artin %össler+ Bibliographie der deutschen 9änssler+ #<=>?$ Liedpredigt /2ieuwkoop7 e Qraaf+ #
Summer 2016 CrossAccent 17 COUNTER POINT L “One Faith, One Baptism, One God” Developing an Ecumenical Hymn Festival for the Reformation Anniversary
by Chad Fothergill reform nor did they result in the !rst divisions of the church. As one Reformation historian has “Christian ecumenism is not a noted, “the call for ‘reform’ within Christianity is about as old as the religion itself, and in ev- choice: it is our mission to wit- ery age there have been urgent attempts to bring ness together with and in Christ, it about.” 2 Nor have historians and theologians and it is a gift we receive from always agreed on whether Luther’s time was a period of one Reformation con!ned to the 16th 1 God through the Holy Spirit.” century or, alternatively, a composite of several Reformations—Protestant, Reformed, Angli- 2017 Is Not Just for Lutherans can, and Catholic—that lasted through the end By now many of us have probably given thought of the "irty Years’ War in 1648. Recall, too, to the shape and scope of the 2017 Reformation that the 2017 anniversary year marks the start commemorations that will take place in our re- of Luther’s attempts at reform, not the birth of spective contexts. Several anniversary-themed the denomination that bears his name. Even publications have been on display at summer the Augsburg Confession of 1530, the founding conferences and workshops, and more are sched- confessional document of the Lutheran church, uled to appear in the coming months. Yet in the stressed points of theological agreement instead course of our preparations and planning it is easy of highlighting dierence and division. to overlook how the Reformation is marked by In our roles as stewards who nurture and our ecumenical partners with whom we share equip the church’s song, we do well to remember creeds, patterns of worship, prayers, and songs. that many of our basic materials—patterns of Paul’s letter to the Ephesians reminds us that worship, lectionary readings, feasts, festivals, and in Christ “there is one body and one Spirit, … songs—are fashioned from a web of ecumenical one Lord, one faith, one baptism, one God … relationships. For example, both text and melo- who is above all and through all and in all” dy of Luther’s Advent chorale N , (Ephesians 4:4–6, NRSV). Because singing in H H (ELW 263, LSB 332, CW 2) community is a visual, aural, and embodied ac- are derived from a 12th-century Latin hymn, tivity—something seen, heard, and felt—it is Veni redemptor gentium , and Luther’s commu- worth considering how we might sing together nion chorale J C ¡, H with our sisters and brothers who, like us, are (LSB 627, CW 313) builds on earlier work of 3 formed and reformed by the same Spirit and live the Bohemian reformer Jan Hus. "roughout among the same volatile divisions and polariza- the church year Lutherans sing Genevan psalm tions—political, racial, economic—that have tunes from the Calvinist tradition (such as F come to de!ne our current milieu. ¢ [ELW 256, LSB 347, CW 11]), texts As Lutherans, we too often forget that the from the Methodist tradition (such as “Love Di- events of 1517 were not the !rst attempts at vine, All Loves Excelling” [ELW 631, LSB 700, CW 365]), and historic Anglican tunes (such
18 Summer 2016 CrossAccent www.alcm.org COUNTER POINT L as S¥ ¦§ [ELW ¨©«; LSB ©®; CW ¯¦¨, §°¦], want to consult some of the ecumenical resourc- S¡. M¥ [ELW ©§¯, LSB «§¯, CW ¦²¨], es published with the 2017 anniversary in mind and W¡¡ A³³´ [ELW ®©«; LSB «¦, (see sidebar: Anniversary Resources). Some are °, ¦©; CW ¨¨, «§¦]). "us an honest musical speci!cally about Lutheran–Catholic dialogue commemoration of the 2017 anniversary year since the reforms of Vatican II (1962–65), while is one that takes a panoramic view of assembly others seek to capture the essence of wider ec- song from the psalmody of our Jewish fore- umenical and interfaith conversations. If it is bears to Roman plainsong of the early church your congregation’s practice to present adult to branches of Protestantism to global traditions education oerings, many of these anniversary including African American spirituals, Shaker resources may be useful for developing themes, hymns, songs from the ecumenical communities shared readings, and conversation topics. It also at Taizé and Iona, and the Spirit-led composi- may be helpful to peruse a number of books and tion of new music today. "e diversity of God’s websites—such as those of the Lutheran World gifts of language and music expressed in praise, Federation or World Council of Churches— prayer, and lament do not belong to Lutherans that explore ecumenical themes (see sidebar: alone, and Lutherans are not the only ones for Ecumenical and Cultural Studies). "ese, too, whom reform and reconciliation are important. might provide a foundation for designing educa- "e following paragraphs and checklists are tional programs, writing newsletter and bulletin oered as starting places to assist you in plan- notes, or even crafting commentaries and re¸ec- ning an ecumenical hymn festival during the tions for the hymn festival itself. As you “read, 2017 anniversary year or for some of the many mark, learn, and inwardly digest” 4 these materi- 500th anniversaries that will follow in 2022 als, consider the following: (Luther’s New Testament translation), 2026 ¹ hat is the story you will sing» (Tyndale’s English Bible), 2030 (Augsburg Con- ¹ hat spoken texts—4cripture+ re¸ections+ fession), 2034 (establishment of the Church of poetry—will form the }glue{ that holds the England), or 2045 (Council of Trent). "e plan- sung texts together» ning considerations outlined below are followed ¹ hat do you want participants to learn from by three sample services that include suggestions singing together as an ecumenical commu3 for readings, songs, anthems, and instrumental nity» &n awareness of songs in common» & settings. One cannot sing everything presented sense of shared mission» nspiration to serve in the sample outlines, nor do they pretend to be those in need» comprehensive. Do not read them as prescrip- ¹ 9ow will your planning focus on unity tions but rather as starting sketches, invitations, rather than dierence» and prompts for conversation with your Episco- ¹ n what ways will you hold together our pal, Catholic, Baptist, Presbyterian, and even common past+ shared present+ and future nondenominational colleagues. Remember that generations» the best choices about what to sing in your ¹ s it clear that the festival is a story of shared setting will grow out of open and honest conver- witness and not a musical potpourri of sation among pastors and musicians who know, }greats{ and }favorites{» love, and serve the people.
Ideas for Planning Connect "ink carefully about how you might assem- Read ble a planning team that uses the gifts of many As you prepare to meet with pastors, worship individuals from both within and beyond your committee members, and ecumenical colleagues, congregation. For example: spend time thinking about a narrative that will ¹ %each out to your ecumenical colleagues hold this service together. To begin, you may as soon as possible7 consider visiting their
Summer 2016 CrossAccent 19 COUNTER POINT L churches or sharing a meal rather than choosing the biggest church with a rolling+ communicating through a faceless and manicured lawn compared to an inner3city impersonal chain of e3mails$ Terhaps this congregation whose archways shelter the process can yield future collaborative proj3 homeless» ects or lead to a regular gathering of church ¹ hich sites best support assembly song» musicians for lectionary study+ exchange of ¹ hich sites provide access for participants compositions or arrangements+ professional and attendees who use canes+ wheelchairs+ development+ or a time of fellowship$ or other forms of assistance» 9ow might this ¹ er to exchange hymnals and other song be indicated in publicity materials» collections so that pastors and musicians ¹ 9ow does parking availability and proxim3 alike can browse new songs or become ac3 ity to public transportation aect choice of quainted with dierent translations of site» otherwise familiar hymns+ prayers+ and blessings$ ¹ s there room for all the participating musi3 cians—choirs+ instrumentalists+ handbells+ ¹ nvite committees for community outreach+ others—to gather comfortably without education+ service+ prayer+ and hospitality to appearing }segregated{ according to denom3 display their materials in a gathering space ination or style» or fellowship hall following the service$ Ter3 haps a strong and creative partnership will ¹ ill there be enough music stands» emerge from an awareness of shared mission$ ¹ s there a gathering space hall where par3 ticipants and attendees can assemble for fellowship after the hymn festival» !emes As you browse resources and engage in planning conversations, thematic ideas will emerge. In ad- Scheduling dition to the three outlines presented at the end As your committee weighs possible dates for the of this article, consider: hymn festival, consider its wider placement in ¹ `ight you plan a service built around the the church’s calendar of festivals and commem- many verbs that begin with }re3{ that are orations. 7 While the Reformation festival on important during the anniversary commem3 October 31 or “Reformation Sunday” (October oration+ such as reforming+ remembering+ 29, 2017) are ideal candidates, those dates might renewing+ reconciling+ re¸ecting+ repenting+ best be saved for a congregational observance resounding+ or refreshing» rather than an ecumenical one. Use the Week ¹ f the theme of }pilgrimage{ would work of Prayer for Christian Unity as a time to intro- well in your context+ perhaps you could fol3 duce the festival, or publish bulletin notes about low a model designed by 4usan and avid hymns and anthems on dates that correspond to Iherwien$ K the lives of authors, translators, and composers ¹ Iould you plan a festival titled }*iberated (e.g., post something on April 6 if your festival by QodEs Qrace{ after the theme chosen by will include visual art). Some festivals and com- the *utheran orld qederation for the @_#U memorations of note include: anniversary year» \ ¹ Panuary #=–@K7 eek of Trayer for Ihris3 tian [nity Spaces ¹ qebruary #=7 `artin *uther Care is essential for choosing a site for the ¹ `arch #7 Qeorge 9erbert /poet? hymn festival. As your team discusses options, ¹ &pril \7 &lbrecht ürer+ *ucas Iranach the consider: ^lder+ `atthias Qrünewald+ and `ichelan3 ¹ f you are singing about the mission of gelo Auonarotti /artists? the church+ what message is conveyed by ¹ `ay @U7 Pohn Ialvin
20 Summer 2016 CrossAccent www.alcm.org COUNTER POINT L ¹ Pune ] /in @_#U?7 ay of Tentecost 9ildegard of Aingen+ Iatherine of 4iena+ ¹ Pune @K7 Tresentation of the &ugsburg Pohn and Iharles esley+ ~homas `erton+ Ionfession ietrich Aonhoeer+ Teter Qomes+ 4usan Talo Iherwien+ or Tope qrancis» ¹ Puly #7 Pohn `ason 2eale and Iatherine inkworth /translators? ¹ o authors+ translators+ composers+ and arrangers represent the diversity of QodEs ¹ Puly #@7 2athan 4öderblom /ecumenist? creation» ¹ Puly @=7 P$ 4$ Aach+ 9einrich 4chütz+ and Q$ ¹ ho will read the texts» `en+ women+ the q$ 9andel /musicians? youthful+ the experienced+ children» hat ¹ 4eptember #]7 9oly Iross ay is the importance of hearing spoken re¸ec3 ¹ ctober #\7 ~homas Iranmer+ 9ugh *atim3 tions or prayers from a single+ well3rehearsed er+ and 2icholas %idley /^nglish reformers?+ voice as compared with a diversity of voic3 and the !rst Book of Common Prayer es that represent all of the participating ¹ ctober @\7 Thilipp 2icolai+ Pohann 9eer3 congregations» mann+ and Taul Qerhardt /hymnwriters? ¹ 9ave you provided opportunity to sing ¹ ctober @<+ @_#U7 %eformation 4unday hymns in languages other than ^nglish» ill you support the singing of global music ¹ ctober >#7 %eformation ay with indigenous instruments and rhythms» ¹ ecember K7 `arcus &urelius Ilemens ¹ ork as a group to decide which variants Trudentius+ Ioelius 4edulius+ ¾enantius of hymn melodies and harmonizations will qortunatus+ ~heodulph of rleans+ and Po3 work best in the context of the service$ seph the 9ymnographer /hymnwriters? ¹ 4tudy text and music variants closely+ and Be sure to check local calendars, too, for any prepare to alert singers to unfamiliar ver3 events—concerts, parades, marathons, festivals, sions in rehearsal$ qor example+ will the road construction and closures—that pose lo- midpoint of }&mazing Qrace{ be held for @ gistical complications. Make a contingency plan beats or K beats» f you use AeethovenEs tune for inclement weather, and schedule instrument 9´ ¡ P´+ will you include the }kick{ maintenance (tuning) far in advance. on beat ] of the last phrase» hich trans3 lation of the chorale 4¢ ¿¢ ¢ + Texts, Art, and Music ³ 4 would be best in your context7 As you and your colleagues begin to develop }eck ~hyself+ `y 4oul+ with Qladness+{ a list of texts, re¸ections, songs, and art you’d }Qraced with Qarments of Qreat Qladness+{ like to include (see sidebar: Text, Music, and Art or }4oul+ &dorn Zourself with Qladness{» Resources), think carefully about which mix- ¹ ill you include printed or projected art ture of versions, translations, and harmonies are from artists of various times+ places+ and most appropriate for your theme and setting. For traditions» example: ¹ hat versions of 4cripture will be read Bulletins during the service» P¾+ 2%4¾+ or &e Mes- As you work together on the design of the pro- sage » hat about translations by linguists such as %obert <er or illis Aarnstone» = gram or bulletin, think carefully about what oes the inclusion of dierent translations layouts, words, and images are most hospitable draw attention to dierences or allow for ex3 for an ecumenical assembly. For instance: periencing familiar texts in new ways» ¹ Aecause you will probably be using materials from several hymnals and song collections+ ¹ ill you include re¸ections that unpack the print both text and music$ central theme/s? of the service» hat could you read from the rich treasury of writ3 ¹ ndicate which stanzas may be sung in uni3 ings from such !gures as Aasil the Qreat+ son+ harmony+ by treble or lower voices+ by
Summer 2016 CrossAccent 21 COUNTER POINT L men or women+ by a choir+ and where there that can be shared among the participat3 may be an instrumental interlude in a con3 ing congregations$ n addition to a written certato setting$ description+ include website and qacebook ¹ Iredit all authors+ translators+ hymnal banners+ and collect images for qacebook sources+ composers of introductions or ar3 posts or icons for printed announcements in rangements+ and publishers$ 4eek necessary bulletins and newsletters$ 4hare the cost of permissions for copyrighted material$ newspaper advertising and of poster design and printing+ and encourage leaders and ¹ Trint both texts and sources of choral participants to share details of the festival$ anthems$ ¹ Ae mindful of page turns in the middle of prayers+ re¸ections+ or music7 do not Logistics shrink music engravings so as to make them ¹ 9ow will singers or instrumentalists dress» unreadable$ f each participating choir is to wear their ¹ ill you make large3print versions of the own robes+ will this draw attention to dif3 bulletin available or perhaps have a version ference rather than unity» s a uniform dress that could be projected» even needed» ¹ *ist all participating congregations and ¹ o pews need to be reserved for any of the festival leadersY acknowledge those who singers+ instrumentalists+ or other leaders» contributed to the service in }hidden{ ways+ ¹ 9ow do musicians from each of the partici3 such as custodians+ sextons or vergers+ greet3 pating congregations share in the leadership ers+ administrative assistants+ and other of hymns+ anthems+ stanza settings+ or in3 volunteers$ strumental selections» ¹ Troofread$ Troofread aloud$ Troofread ¹ &re }breaks{ provided for the assemblyEs again$ voice through readings+ choral stanzas+ an3 thems+ or stand3alone instrumental works» Getting the Word Out ¹ ould it be helpful for some choir members to be strategically placed among the assem3 As you work together to tell your congregations bly in order to support singing in this way» and wider community about this hymn festival, think carefully about the wording, images, and ¹ `ight this endeavor serve as a chance for outlets for your publicity materials. For example: potential choir members to experience sing3 ¹ o images show buildings+ symbols+ or peo3 ing with the choir» ple singing» o they suggest that this is a ¹ ill an oering—e$g$+ monetary+ food+ participatory service or a concert» clothing+—be taken» f so+ will there be a ¹ s the phrase }hymn festival{ understood collection during the festival or will there be beyond *utheran circles+ or might your space in the entry or narthex for donations committee need to think carefully about a to be made» 9ow will this be noted in pub3 dierent description» licity materials» ¹ o publicity images represent a diversity ¹ 9ow will attendees be greeted» ill they be of musical expression» qor example+ does a handed a bulletin or program» ill there be spread of organ pipes across the length of a a representative from the host facility pres3 poster honor the contributions of other lead3 ent to direct attendees to elevators+ ramps+ ers+ such as handbell ringers+ percussionists+ restrooms+ or nurseries as needed» guitarists+ and singers» ¹ o publicity materials note points of access Rehearsals for attendees who use canes+ wheelchairs+ or ¹ Ae sure to have the service bulletin avail3 other forms of assistance» able in its full or abbreviated form so that ¹ ork together on a collaborative design participants can mark unison and harmony
22 Summer 2016 CrossAccent www.alcm.org COUNTER POINT L stanzas+ instrumental stanzas+ and other lo3 Notes gistical details$ #$ Pulie $ &ageson et al$+ One Hope: Re-Membering ¹ %eserve rehearsal time for readers+ instru3 the Body of Christ /`inneapolis7 &ugsburg qor3 tress and Iollegeville+ `27 *iturgical Tress+ mental ensembles+ and participants in any @_#K?+ #<$ liturgical procession$ ill there be a pro3 @$ Teter `arshall+ The Reformation: A Very Short In- cession» ho will process» here will troduction /xford7 xford [niversity Tress+ members of the procession sit» @__–]$ ¹ f your festival will include projected ele3 >$ %obin &$ *eaver+ Luther’s Liturgical Music: Princi- ments+ rehearse carefully with those who ples and Implications /Qrand %apids7 ^erdmans+ will work with audio and visual equipment$ @__U?+ #K>–\_$ *eaver acknowledges that 9us /d$ #]#K? was the credited author in *utherEs ¹ Tractice the hymns$ Tractice timings and time+ though some @_th3century historians transitions between hymns and read3 have suggested Pan of Penštejn /#>]=–#]__?+ ings$ Tractice sitting and standing$ ^nsure &rchbishop of Trague+ as another possible that the readers have practiced$ Tractice author$ the hymns again$ ^nsure that members of ]$ Zou may recognize this phrase from a collect any procession or recession have practiced$ in the Book of Common Prayer that also appears TracticeÀ under the heading }Qrace to receive the word{ in the }&dditional Trayers{ section of Evangel- ical Lutheran Worship, p$ U@Y the prayer begins }Qrant that we may hear them the 4criptures + Codetta read+ mark+ learn+ and inwardly digest them${ As in all forms of worship planning, let knowl- K$ 4usan Talo Iherwien+ From Glory into Glory: edge of your community’s abilities, needs, and Reflections for Worship /4t$ *ouis7 `orning4tar+ resources guide your conversations and choic- @__# new colleagues. Be open to new insights. Let this for more information$ experience speak to your sense of vocation; let it U$ 4ee Thilip 9$ Tfatteicher+ The New Book of Fes- tivals and Commemorations: A Proposed Common spark a renewed vision of ministries in your con- Calendar of Saints /`inneapolis7 qortress Tress+ gregation. Remember: a commemoration of the @__=?+ or Qail %amshaw+ More Days for Praise: Reformation is not just for Lutherans, and it is Festivals and Commemorations in Evangelical Luther- not con!ned to 1517, 2017, or even 2517. an Worship /`inneapolis7 &ugsburg qortress+ @_#\?$ Veni, Sancte Spiritus! =$ %obert <erEs translations with commentaries— all published by 2orton of 2ew Zork—include Come, Holy Spirit! The David Story: A Translation with Commentary of 1 and 2 Samuel /#<Summer 2016 CrossAccent 23 COUNTER POINT L Q~Q Glory to God: &e Presbyterian Hymnal Sample Service /estminster Pohn nox Tress+ @_#>? *A Lutheran Book of Worship /&ugsburg+ #
24 Summer 2016 CrossAccent www.alcm.org COUNTER POINT L M¢K Meal: S¡. P¡ TEXTS CW 539, ELW 650, Ga3 832, GTG 317/318, Acts 2:42, “"ey devoted themselves … to the H82 529, LBW 359, LSB 653, NCH 394/395, breaking of bread.” OC 668, TFF 214, Wor 824 Susan Palo Cherwien, “God Is in Eucharist” 6
“What Is "is Place” ASSEMBLY SONG K¡ ¡ Ê¥ “Deck, "yself, My Soul, with Gladness” ELW 524, Ga2 541, GTG 404 “Graced with Garments of Great Gladness” “Soul, Adorn Yourself with Gladness” “Vengo a ti, Jesús amado” ... around word and sacrament. (Isaiah 61:10; Matthew 25:1–13; John Baptism: 6:35–38, 48–51, 57–58; 1 Corinthians 11:23–26; Revelation 19:7–8, 22:17) TEXTS C¡ BÍ Romans 6:3–5, Dying and Rising with Christ S¢ ¿¢ ¢ , ³ S Fifth-century baptistry inscription, “Here is CW 311, ELW 488/489, GTG 514, H82 339, 4 born in Spirit-soaked fertility” LBW 224, LLC 388, LSB 636, NCH 334, Susan Palo Cherwien, “"e Holy Catholic OC 771 Church” 5 “I’m Gonna Eat at the Welcome Table” ASSEMBLY SONG (Isaiah 25:6–9; Luke 14:15–24) “I Bind unto Myself Today” W¢ T³ (Deuteronomy 6:8; Matthew 28:19; GTG 770, TFF 263 John 6:39; Romans 6:4; Ephesians 6:10–17; 1 "essalonians 5:8; 1 Peter 1 :1–9 ) “Taste and See” S¡. P¡¢’ B¡Ë¡ “Gusten y Vean” D (Psalm 34:1–8) ELW 450, GTG 6, H82 370, LBW 188, T¡ S LSB 604 ELW 493, Ga2 609, Ga3 930, GTG 520, OC 741, SNC 255, TFF 126, WLP 764, “O Blessed Spring” Wor 945 (Genesis 2:9; John 15:1–5; Revelation 22:14) Word: B¥ O W´ W´ TEXTS ELW 447, LSB 595, WLP 765 Matthew 13, "e Parable of the Sower Dietrich Bonhoeer, “We share our bread.” 7 CHORAL AND INSTRUMENTAL Susan Palo Cherwien, “God Beyond 8 “I’m Going on a Journey” Language” 9 arr. Mark Hayes Susan Palo Cherwien, “God’s Word Ful!lls” Unison or two-pt. choir, kybd., opt. ¸. Susan Palo Cherwien, “"e Word Became 10 Augsburg Fortress (978-0-8006-7552-3) Flesh”
“Njooni majini” (“Come to the Waters”) ASSEMBLY SONG Mark Sedio “Open Your Ears, O Faithful People” SATB a cappella, solo voice(s) (Deuteronomy 5:1, 6:4–9; Jeremiah 2:4) MorningStar (MSM-50-2009) Y Î’¡ ELW 519, GTG 453
Summer 2016 CrossAccent 25 COUNTER POINT L
“"e Word of God Is Source and Seed” S C (Ezekiel 37; Matthew 13:1–8; Mark 4:1–9; ELW 402, H82 698, LBW 441, LSB 769, Luke 8:4–15; John 1:1–14. 11:1–53, NCH 520, Wor 655 12:20–33) G D “God, When Human Bonds Are Broken” ELW 506 M¡ ELW 603 “"y Strong Word” (Genesis 1:3; Isaiah 9:1–2; John 1:1–14; “Hope of the World” 1 Corinthians 1:22–24; 2 Corinthians 3:18, (Psalm 146:5–10; Matthew 9:36; Mark 4:6; 1 Peter 2:9) 6:34–44; John 8:12; Romans 8:18–28; E³Ê Colossians 2:13–15; 1 Timothy 1:1) T-´-B¡ A¢¡ Ï D´ CW 280, ELW 511, H82 381, LBW 233, D ¢ LSB 578 E GTG 374, H82 472, LBW 493, LSB 690, CHORAL AND INSTRUMENTAL NCH 46 “"e Glory of the Father” (“"e Word Became Flesh”) “We Cannot Measure How You Heal” (John 1:1–14) R¡ C¡´ Egil Hovland Y B B SSATB a cappella Ga2 401, Ga3 657, GTG 797, SNC 69, Augsburg Motet Book Wor 664 Augsburg (978-1-4514-2370-9) “You, Dear Lord” “Tú, Señor, que brillas” God hears our cries for mercy ... (Psalm 88) TÒ, SÓ TEXTS ELW 702, LLC 429 Psalm 24:3–6, “"ose who have clean hands and pure hearts” CHORAL AND INSTRUMENTAL Psalm 79, Plea for Mercy for Jerusalem “Grant Peace, We Pray” 1 Timothy 1:12–17, Gratitude for Mercy (“Verleih uns Frieden gnädiglich”) 11 Felix Mendelssohn Bartholdy ASSEMBLY SONG SATB, accompanied “Comfort, Comfort Now My People” Chantry Choirbook “Comfort, Comfort, O My People” Augsburg (978-0-8006-5777-2) (Isaiah 9:6–7, 26:8–9, 40:1–11; Matthew 3:3; Mark 1:2–3; Luke 2:29–32, 3:4–6) “Prayer for Peace” F ¢ David Cherwien CW 11, ELW 256, Ga3 413, GTG 87, H82 67, Two-pt. (mixed), org., opt. assembly LBW 29, LSB 347, NCH 101, Wor 402 MorningStar (MSM-50-9209) “Eternal Spirit of the Living Christ” (Luke 11:1–4, 22:24; Romans 8:26–27; Ephesians 6:18) ... and pours out abundant grace. A ¡ Ρ TEXTS F´ C¡ Psalm 67, "e Nations Called to Praise God F¡¥ Isaiah 55, An Invitation to Abundant Life
26 Summer 2016 CrossAccent www.alcm.org COUNTER POINT L Ephesians 2:4–5, “God, who is rich in mercy” “Jesu, Jesu, Fill Us with Your Love” Martin Luther, “ Es wolle Gott uns gnädig sein .” 12 “Jesús, Jesús, enséñanos tú a amar” (Matthew 25:14–30; John 13:1–20; ASSEMBLY SONG Galatians 5:13–14; 1 John 4:7–12) “Amazing Grace” C Ë “Sublime Gracia” ELW 708, Ga2 296, Ga3 505, GTG 203, (1 Chronicles 17:16–17; Psalm 73:26; Luke H82 602, NCH 498, OC 425, TFF 83, 15:4–32; John 1:14–17; Romans 3:22b–24; Wor 487 Ephesians 2:1, 4–9; 1 Timothy 1:12–14; Hebrews 4:16) “"e Church of Christ, in Every Age” NÔ B¡ (Matthew 14:13–21) CW 379, ELW 779, Ga2 434, Ga3 645, GTG D 649, 13 H82 671, LBW 448, LSB 744, NCH O W´ W´ 547/548, 14 OC 545, Wor 650 W ELW 729, Ga3 765, GTG 320, LBW 433, “God of Grace and God of Glory” NCH 306, WLP 779, Wor 785 (Joshua 1:9; 1 Kings 3:5–12; Psalm 27:14; Psalm 46:9; Proverbs 9:13–16; Isaiah 2:4–11; Micah 4:3) ... with glad and generous CÔ R M hearts. CW 523, ELW 705, GTG 307, H82 594/595, TEXTS LBW 415, LSB 850, NCH 436 2 Chronicles 5, "e Ark Brought into the Temple “What Wondrous Love Is "is” Revelation 7:12, “Amen! Blessing and glory and “¡Cuán Admirable Amor! ” wisdom and thanksgiving and honor” (Psalm 17:7; Psalm 69:13–14; John 8:58, 19:17; Susan Palo Cherwien, “Christ on the Road” 16 1 John 4:7–10; Revelation 5:6–13) W LÎ ASSEMBLY SONG CW 120, ELW 666, Ga2 295, Ga3 642, “Gracious Spirit, Heed Our Pleading” GTG 215, H82 439, LBW 385, LSB 543, (John 16:7–15; 1 Corinthians 12:4–11) NCH 223, OC 544, SNC 142, Wor 641 N× Ô¡, R Ô ELW 401, GTG 287, SNC 166, TFF 103
“"ine the Amen, "ine the Praise” The Spirit leads us into Christ’s (Psalm 145:10–13; Matthew 26:26–29; future ... Revelation 5:6–14, 7:9–14, 19:1–16) TEXTS T Revelation (several instances), “Let anyone who ELW 826, LSB 680 has an ear listen to what the Spirit is saying to the churches.” CHORAL AND INSTRUMENTAL Janet Gaden, “We are the body of Christ.” 15 “God, Whose Giving Knows No Ending” N and N ¡ G¡¡ ASSEMBLY SONG Zebulon M. Highben “How Clear Is Our Vocation, Lord” SATB, org., handbells (2 oct.), opt. assembly, (Matthew 11:28–30; Luke 5:1–11; opt. children’s choir Hebrews 12:1–4) MorningStar (MSM-50-6082) RË¡ ELW 580, GTG 432, LSB 853
Summer 2016 CrossAccent 27 COUNTER POINT L CHORAL AND INSTRUMENTAL #2: One Hope: “"e Old Hundredth Psalm Tune” (“All People "at on Earth Do Dwell”) Re-Membering the arr. Ralph Vaughan Williams SATB accompanied, opt. assembly, opt. brass Body of Christ and perc. Oxford University Press (978-0-19-353508-4)
Gathering TEXTS Praying and Breathing Ephesians 4:1–16, Unity in the Body of Christ TEXTS 1 Corinthians 3:1–11, "e Foundation Is Jesus Job 33:4, “"e breath of the Almighty gives me Christ life.” Susan Palo Cherwien, “Community” 17 Psalm 61:1, “Hear my cry, O God.” Psalm 143:1, “Hear my prayer, O Lord.” ASSEMBLY SONG Luke 11, "e Lord’s Prayer “All People "at on Earth Do Dwell” Susan Palo Cherwien, “Vibration” 19 “Oh Pueblos Todos Alabad” (Psalm 100) ASSEMBLY SONG O H¡ “Breath of the Living God” CW 233, ELW 883, Ga3 853, GTG 385, “O Living Breath of God” H82 377/378, LBW 245, LSB 791, OC 682, “Soplo de Dios Viviente” NCH 7, Wor 837 VØÎ Ï ELW 407, LLC 368, OC 458 “Christ Is Made the Sure Foundation” “Cristo, Firme Fundamento” “Come, Holy Ghost, Creator Blest” (2 Chronicles 6:18–21; Ephesians 2:20–22, “Creator Spirit, Heavenly Dove” 4:15–16; 1 Peter 2:4–7; Revelation 21:1–4) “Veni Creator Spiritus” E C ¢ C H´ G ¡ R¥¡ SÍ K, G¡¡ S¢ ÙËÏ W¡¡ A³³´ L³¡¡ S¡. T V, C¡ Ë¡ CW 531, ELW 645, H82 518, Ga3 745, CW 177/178, ELW 577/578, Ga3 558, GTG 394, LBW 367, LSB 909, NCH 400, H82 502/503/504, LBW 284, OC 454, OC 607, Wor 732 Wor 543
“Here, O Lord, Your Servants Gather” CHORAL AND INSTRUMENTAL “Sekai no tomo to te o tsunagi” “All "at Hath Life and Breath Praise Ye the (Psalm 102:25–27; John 10, 14:6; Romans Lord!” 10:12–13; Ephesians 1:7–14, 2:13–22) René Clausen T´ 18 SATB div ., a cappella ELW 530, GTG 311, NCH 72, WLP 793 Mark Foster (MF 35000569)
“Voices Raised to You We Oer” (Psalm 147:1; Isaiah 12:2; 2 Corinthians 4:13; Colossians 3:16) S¥ Ï P ELW 845, LSB 795
28 Summer 2016 CrossAccent www.alcm.org COUNTER POINT L Eating and Drinking ASSEMBLY SONG TEXTS “Lift Every Voice and Sing” Luke 24:13–35, "e Walk to Emmaus (Exodus 15:1–21; Psalm 85:1–7) John 6, Feeding the Five "ousand LÏ¡ Eδ V¢ “A queue of hungry people” 20 ELW 841, GTG 339, H82 599, LBW 562, Susan Palo Cherwien, “"e Mystic Banquet” 21 LSB 964, NCH 593, TFF 296, Wor 801
ASSEMBLY SONG “Oh, "at I Had a "ousand Voices” “Draw Us in the Spirit’s Tether” (1 Chronicles 16:31–36; Psalm 95:6; Psalm 126:3; Psalm 150:6; Joel 2:26) (Matthew 18:20; 1 Corinthians 12) U S´ D¡Ê ELW 470, GTG 529, NCH 337, Wor 937 KÙ¥ O ¢ ¡ Z¥ Ú¡¡ “God Extends an Invitation” CW 194, 242, ELW 833, GTG 16, LBW 560, “Nuestro Padre nos invita” LSB 811 N¡ P ELW 486, LLC 397 “Sing a New Song unto the Lord” “Canten un Cántico Nuevo” “Let Us Break Bread Together” (Job 19:25; Psalm 16:9; Psalm 98; Psalm 149:3; “De Rodillas Compartamos” Romans 13:11; 1 Corinthians 15:22) S¥ NÔ S¥ (Acts 2:42) L¡ U B B Ga2 384, Ga3 607, GTG 276, OC 521, SNC 1, ELW 471, GTG 525, H82 325, LBW 212, Wor 600 NCH 330, OC 762, TFF 123 “Sing, Praise, and Bless the Lord” “Now the Silence” “Laudate Dominum” (Psalm 117) (Matthew 26:26–29; Luke 15:20–24; Ga2 364, Ga3 623, GTG 635, OC 515, Revelation 19:7–9, 22:1–5) NÔ SNC 30, WLP 829, Wor 625 CW 231, ELW 460, GTG 534, H82 333, also Taizé: Songs for Prayer (GIA [G-4956]) and LBW 205, LSB 910 Songs and Prayers from Taizé (GIA [G-3719])
CHORAL AND INSTRUMENTAL ASSEMBLY SONG “Le banquet céleste pour orgue” “Oertory” Olivier Messiaen (Micah 6:6–8) Alphonse Leduc (AL 22893) John Ness Beck SATB accompanied, opt. str. quartet Beckenhorst Press (BP 1280)
Singing and Worshipping “Psalm 150” TEXTS John Harper Psalm 148, “Praise the Lord!” Two-pt., org. Susan Palo Cherwien, “God in Worship” 22 Oxford University Press Dietrich Bonhoeer, “It is the voice of the (ISBN 978-0-19-351120-0) church that is heard in singing together.” 23
Summer 2016 CrossAccent 29 COUNTER POINT L Forgiving and Reconciling B¡ T ´ TEXTS ELW 728, Ga2 469, Ga3 735, GTG 172, Ephesians 4:25–32, Rules for the New Life OC 601, SNC 122, Wor 721 Pope John Paul II, 1920–2005, “Among the sins” 24 “Canticle of the Turning” Susan Palo Cherwien, “Ashes” 25 ”My Soul Cries Out with a Joyful Shout” Susan Palo Cherwien, “Praise and (Luke 1:46–55 [Magni!cat]) Renunciation” 26 S¡ Ï C¡´ DÔ John O’Donohue, “For Love in a Time of ELW 723, Ga2 376, Ga3 622, GTG 100, Con¸ict” 27 Wor 624
ASSEMBLY SONG “Come! Live in the Light!” “Goodness Is Stronger than Evil” “We Are Called” G I S¡¥ “¡Dios nos llama!” ELW 721, Ga3 528, GTG 750, Wor 500 (Micah 6:8) W A C “Have Mercy on Us, Lord” ELW 720, Ga2 518, Ga3 807, GTG 749, “Khudaya, rahem kar” OC 656 K ´ 28 “When a Prophet Sings of Justice” Love and Anger: Songs of Lively Faith and Social F ¢ Justice GIA (G-4947) SNC 264
“How Long, O God” “Where Charity and Love Prevail” “Where True Charity and Love Dwell” (Psalm 13) L Ï R¡ “Where True Love and Charity Are Found” ELW 698 “Donde hay amor y caridad” “Ubi caritas et amor” (Plainsong and Taizé versions: John 15:9–16; 1 Corinthians 13:2–8, 13; 1 John 4:13–21. Serving and Seeking Justice Paraphrase versions: Matthew 18:21–35; John TEXTS 13:1–17; Romans 12:4–5; 1 Corinthians 1:10– Deuteronomy 16:20, “Justice, and only justice, 11; Ephesians 4:29–32; James 3:13–18, 5:16) you shall pursue.” C ¡ LÎ Amos 5:23–24, “Take away from me the noise M¡´ of your songs. ... But let justice roll down like P waters.” TÊÛ U³ C¡ Roman Catholic Synod of Bishops, Justice in TÔ¡´-F¡ the World, “Christian love of neighbor and U³ ¢¡ ¡ justice” 29 Plainsong versions: ELW 653, Ga3 705, St. Vincent de Paul, “You will !nd out that H82 606, OC 585, Wor 694 Charity is a heavy burden to carry.” 30 Paraphrase versions: ELW 359, GTG 316, Susan Palo Cherwien, “God Is Praised in LBW 126, LSB 845, NCH 396, TFF 84, Justice” 31 Wor 700 Taizé versions: ELW 642, Ga2 301, Ga3 500, ASSEMBLY SONG GTG 205, OC 589, 32 WLP 831, Wor 702 “Blest Are "ey” “Benditos los Pobres” (Matthew 5:1–12; Luke 6:20–23)
30 Summer 2016 CrossAccent www.alcm.org COUNTER POINT L CHORAL AND INSTRUMENTAL “Ubi caritas et amor” from Quatre Motets , #3: Evening Prayer Op. 10 Maurice Duru¸é (Vespers) SATB a cappella Editions Durand (Hal Leonard) (HL 50600000) SERVICE MUSIC COLLECTIONS Preces and Responses Magni!cat and Nunc Dimittis Dying and Grieving More than Psalms: Anthems from the Psalms for TEXTS Mixed Voice Choirs , ed. Barry Rose John 11, "e Death of Lazarus (London: Novello, 2003) (NOV040062) Book of Common Prayer , Funeral Sentences 33 Susan Palo Cherwien, “Salt and Light in Open &ou Our Lips: Evensong Music for Upper Heaven” 34 Voices , ed. David Halls (Salisbury: Royal School of Church Music, ASSEMBLY SONG 2012) “Sing with All the Saints in Glory” available from GIA (G-8526)) “Canten con Gloriosos Fieles” (1 Corinthians 15:20) Sing Evensong: A Complete Book of Evensong , H´ ¡ J´ comp. and ed. Andrew Earis and Tom Shorter MËË (London: Shorter House, 2011) ELW 426, Ga3 539, LSB 671, OC 443, (ISBN: 979-0-90002201-5-8) Wor 526 Psalmody Psalm 141 Bread for the Journey 35 Psalm 133 TEXTS Ambrose of Milan, “What is more pleasing 37 John 6, "e Bread from Heaven than a psalm?” Pope Francis, “We must never forget that we are pilgrims journeying alongside one another.” 36 Word Choice texts and hymns of the previous the- ASSEMBLY SONG matic sections could be “condensed” to form an “Hallelujah! We Sing Your Praises” abbreviated hymn festival within this portion of “¡Aleluya! Te Bendecimos” the evening prayer liturgy. Other considerations H´Ü P ¡ for assembly song include: ELW 535, Ga2 394, Ga3 626, GTG 538, LLC 420, OC 508, SNC 261, TFF 158, WLP 784 ASSEMBLY SONG “Bind Us Together” “Send Me, Jesus” B U T¥¡ “Send Me, Lord” TFF 217 “"uma mina” (Isaiah 6:8) T , N ´ ELW 549, ELW 809, Ga2 484, Ga3 776, GTG 746, NCH 360, SNC 280, TFF 244/245, WLP 808
Summer 2016 CrossAccent 31 COUNTER POINT L “Many Are the Light Beams” 38 Prayer “Muchos Resplandores” RESPONSES (John 8:12, 9:5, 15:1–5; 1 Corinthians 12:4–27; “Hear Our Prayer” (collection) 39 Galatians 3:28) Augsburg Fortress (ISBN 978-0-8006-7859-3) L¥ ¡³ T×Ú¡ “Lord, Listen to Your Children Praying” Ga2 534, NCH 163, OC 673, WLP 794 (Psalm 5:1–3; 1 Peter 3:12) C P´¥ “O God of Every Nation” ELW 752, GTG 469, TFF 247 HÊ¢ ¡¡ ¢ , Î¥ L¥ÏÏ P C Sending ELW 713, Ga3 825, GTG 756, H82 607, ASSEMBLY SONG LBW 416, Wor 812 “Christ, Mighty Savior, Light of All Creation” (Psalm 4; Psalm 134; John 1:1–5; “O God of Light” Hebrews 4:8–10) (Psalm 100:1, 119:105; Isaiah 51:4; C ¡, LÝ (P¥) Matthew 9:36; Mark 6:34; Luke 2:13–14; IÏ F 1 Peter 1:10–12; Revelation 5:11–14, 7:9–10) M¥ ¡´ SÎ A¡ ELW 560, H82 33/35, LSB 881, Wor 855 ELW 507, LBW 237, LSB 836 “We Are Marching in the Light of God” “Shine, Jesus, Shine” “Marcharemos en la luz de Dios” (Matthew 17:1–8; Mark 9:2–8; Luke 9:28–36; “Siyahamba” John 8:12, 9:5) (Psalm 89:15) S , J, S S´ ³ ELW 671, GTG 192, SNC 128, TFF 64 ELW 866, Ga2 357, Ga3 594, GTG 853, NCH 526, OC 493, SNC 293, TFF 63, WLP 787, Wor 586
32 Summer 2016 CrossAccent www.alcm.org COUNTER POINT L Notes @> $ &ageson et al$+ ]]$ #$ %obert Auckley qarlee+ ed$+ Reformation 500 @] $ bid$+ K]$ Sourcebook: Anniversary Resources for Congrega- @K $ Iherwien+ Crossings, #]K$ tions /`inneapolis7 &ugsburg qortress+ @_#\?+ =>–=\$ @\ $ bid$+ #=>$ @$ Pulie $ &ageson et al$+ One Hope: Re-Membering @U $ Pohn Eonohue+ To Bless the Space Between Us: the Body of Christ /`inneapolis7 &ugsburg qor3 A Book of Blessings /2ew Zork7 oubleday+ @__=?+ tress and Iollegeville+ `27 *iturgical Tress+ >@$ @_#K?$ @= $ 4lurs from one note to another are character3 >$ 4usan Talo Iherwien+ From Glory into Glory: istic of the Takistani singing traditionY [rdu Reflections for Worship /4t$ *ouis7 `orning4tar+ text$ @___ $ bid$+ U#$ cago7 *iturgy ~raining Tublications+ #<<]?+ ]<$ ># $ Iherwien+ Crossings, #\$ K$ 4usan Talo Iherwien+ Crossings: Meditations for >@ $ ncludes translations in orean+ 4panish+ and Worship /4t$ *ouis7 `orning4tar+ @__>?+ \=$ ~agalog$ \ $ bid$+ ]U$ >> $ n }~he Aurial of the ead7 %ite ne+{ The U$ ietrich Aonhoeffer+ A Testament to Freedom: The Book of Common Prayer /2ew Zork7 Ihurch Essential Writings of Dietrich Bonhoeffer, edited by 9ymnal Iorp$ and Qreenwich+ I~7 4eabury Qeffrey A$ elly and q$ Aurton 2elson /2ew Tress+ #
Summer 2016 CrossAccent 33 COUNTER POINT L
}%eformation K__ Ioncerts+{ Anniversary Resources http7ÄÄreformationK__concerts$orgÄ Books isconsin ^vangelical *utheran 4ynod+ &ageson+ Pulie $+ et al$ One Hope: Re-Mem- http7ÄÄwels$netÄreformationK__Ä bering the Body of Christ /`inneapolis7 &ugsburg qortress and Iollegeville+ `27 *iturgical Tress+ @_#K?$ Ecumenical and Aucher+ %ichard$ &e Ecumenical Luther /4t$ Cultural Studies *ouis7 Ioncordia+ @__>?$ Books Iommittee on ^cumenical and nterreli3 gious &airs+ [nited 4tates Ionference Confessing One Faith: &e Origins, Meaning, of Iatholic Aishops+ and ^vangelical *u3 and Use of the Nicene Creed: Grounds for a theran Ihurch in &merica$ Declaration on Common Witness, A Guide for Ecumenical the Way: Church, Ministry, and Eucharist Study /Iincinnati+ hio7 qorward `ove3 /`inneapolis7 &ugsburg qortress+ @_#K?$ ment Tublications+ #<==?$ CrossAccent: Journal of the Association of Lu- 9ollinger+ avid &$ After Cloven Tongues theran Church Musicians, vol$ @#+ no$ @+ of Fire: Protestant Liberalism in Modern }ntersections7 ~he K_th &nniversary of American History /Trinceton7 Trinceton ¾atican { /Puly @_#>?$ [niversity Tress+ @_#>?$ qarlee+ %obert Auckley+ and Aeth &nn Qaede+ Podock+ arrell+ ed$ Covenantal Conversations: eds$ Honoring Our Neighbor’s Faith, rev$ ed$ Christians in Dialogue with Jews and Juda- /`inneapolis7 &ugsburg qortress+ @_#\?$ ism /`inneapolis7 qortress Tress+ @__=?$ qarlee+ %obert Auckley+ ed$ Reformation 500 Pohnson+ `axwell ^$ &e Church in Act: Lu- Sourcebook: Anniversary Resources for Con- theran Liturgical &eology in Ecumenical gregations /`inneapolis7 &ugsburg qortress+ Conversation /`inneapolis7 qortress Tress+ @_#\?$ @_#K?$ ~he *utheran orld qederation and ~he Ton3 *athrop+ Qordon $+ and ~imothy P$ engert$ ti!cal Iouncil for Tromoting Ihristian Christian Assembly: Marks of the Church [nity$ From Con3ict to Communion: Lu- in a Pluralistic Age /`inneapolis7 qortress theran–Catholic Common Commemoration Tress+ @__]?$ of the Reformation in 2017 /*eipzig7 ^van3 Tfatteicher+ Thilip 9$ Commentary on the *u3 gelische ¾erlagsanstalt and Taderborn+ theran Aook of orship : Lutheran Liturgy Qermany7 Aonifatius+ @_#>?$ # in Its Ecumenical Context /`inneapolis7 &ugsburg qortress+ #<<_?$ %oss+ `elanie I$ Evangelical versus Liturgical? Websites Defying a Dichotomy /Qrand %apids7 ^erd3 Ioncordia 4eminary+ }%eformation K__+{ mans+ @_#]?$ http7ÄÄreformationK__$csl$eduÄ ilkey+ Qláucia ¾asconcelos+ ed$ Worship and ^vangelical *utheran Ihurch in &merica+ Culture: Foreign Country or Homeland? }qreed and %enewed in Ihrist7 /Qrand %apids7 ^erdmans+ @_#]?$ K__ Zears of QodEs Qrace in &ction+{ http7ÄÄwww$elcaK__$orgÄ Websites }*utherK__ qestival+{ ~he *utheran orld qederation+ http7ÄÄlutherK__festival$comÄ https7ÄÄwww$lutheranworld$orgÄ }*uther @_#U+{ http7ÄÄwww$luther@_#U$deÄen 2orth &merican &cademy of ^cumenists+ ~he *utheran Ihurch—`issouri 4ynod+ https7ÄÄnaae$netÄsiteÄ http7ÄÄlutheranreformation$orgÄ orld Iouncil of Ihurches+ *utheran orld qederation+ }%eformation http7ÄÄwww$oikoumene$orgÄen @_#U+{ https7ÄÄwww$lutheranworld$orgÄ reformation3@_#U
34 Summer 2016 CrossAccent www.alcm.org COUNTER POINT L Text, Music, and Art Individual Artists In addition to the many works available at the Resources collections above, several contemporary artists Reflections, Hymn Festival whose work has been featured in denominational History hymnals, Sundays and Seasons recommendations, and other publications include: Iherwien+ 4usan Talo$ Crossings: Meditations for Worship /4t$ *ouis7 `orning4tar+ @__>?$ %obyn 4and &nderson+ Iherwien+ 4usan Talo$ From Glory into Glory: http7ÄÄwww$robynsandanderson$comÄ Re3ections for Worship /4t$ *ouis7 `orning3 `aximino Ierezo Aarredo+ 4tar+ @__
Art Collections Notes ¾anderbilt ivinity *ibrary+ }&rt in the #$ &vailable as a Tq download at Ihristian ~radition+{ http7ÄÄdiglib$library https7ÄÄwww$lutheranworld$orgÄcontentÄ $vanderbilt$eduÄact3search$pl resource3conflict3communion3basis3lutheran3 Aowden Iollections+ catholic3commemoration3reformation3@_#U$ http7ÄÄbowdencollections$comÄindex$html @$ 4everal leadership helps for stylized rhythms and Ihristians in the ¾isual &rts+ http7ÄÄciva$orgÄ accompaniments are included in the Apéndice de ~he `etropolitan `useum of &rt+ ritmos of the leaderEs edition+ \@U–><$ http7ÄÄwww$metmuseum$orgÄartÄcollection }~he ~ext ~his eek7 &rt ndex+{ http7ÄÄwww$textweek$comÄartÄart$htm
Summer 2016 CrossAccent 35 COUNTER POINT L Liturgies et cantiques luthériens /innipeg7 Additional Resources âglise luthérienne du Ianada+ @__ 36 Summer 2016 CrossAccent www.alcm.org COUNTER POINT L Teaching the Teacher: (Re)Introducing Martin Luther’s Hymns by John Krueger "is article begins with a brief summary of the background of Luther’s hymns and a review Introduction of current worship literature for planning the use f there is a word besides “reformer” to describe of these hymns and of sources for instrumental Martin Luther, it would be “teacher.” He held settings. It includes a table begun by Robin Leav- the professor of Bible chair at the Universi- er in his Luther’s Liturgical Music: Principles and I 1 ty of Wittenberg, both of his catechisms were Implications. Leaver includes a table of Martin meant to be teaching tools, and his Bible transla- Luther’s hymns and their appearance in the Ger- tion helped to standardize written German. His man and English editions of Luther’s works and translations of the baptismal rite and of the Mass in Lutheran hymnals from 1941 to 1995. I have and the hymns he wrote helped teach people to updated this table to include more recent wor- worship in their own language. ship resources, which allows for ease in online "e upcoming 500th anniversary of the searching, and have provided categories to help Reformation is a celebration of a lifetime. Giv- with scheduling and placement within worship. en Luther’s aãnity for and delight in music, we as Lutheran church musicians will support our Challenges worshipping communities as they sing Luther’s "ree problems arise when examining Luther’s theology with his hymns in worship. Not only hymns: (1) the vast number of hymns Luther did Luther love music, he also understood its wrote, (2) where to !nd them, and (3) what educational value, particularly in a society that translation to use for searching and singing. All was mostly illiterate. Music was the delivery sys- of Luther’s hymns are found in vol. 53 of the tem for his reforms of church practice and also American edition of Luther’s works; 2 howev- his way of teaching the basics of the faith. We er, no Lutheran hymnal published in the last 75 are quite fortunate to be the heirs of his peda- years includes all of the hymns or all the stanzas gogy, and over the next year of celebration we of the hymns. "erefore, a large number of Lu- have a great opportunity to intentionally expand ther’s hymns will be unfamiliar to congregations our knowledge and use of Luther’s hymns in the who do not venture beyond the denomination- worshipping life of our churches. al hymnal. Ideas and resources are provided here for the While one can !nd all of Luther’s hymns teaching and inclusion of a wide variety of Lu- in Luther’s Works , the translations there are not ther’s hymns in congregational worship. "ese in current usage in our familiar hymnals. 3 "is ideas stem from my congregational experience lack of uni!ed and updated English translations teaching Luther’s hymns in an adult Sunday makes it diãcult to simply augment the hymns school setting. It is not intended to be an exhaus- found in current worship hymnals with extra tive study of Luther’s hymns but a resource for stanzas. Additionally, it is diãcult to search for Lutheran church musicians who may undertake additional music when the translations of the ti- a similar study in congregations in this anniver- tles are not consistent. sary year. Summer 2016 CrossAccent 37 COUNTER POINT L "ankfully, new resources are appearing as ~hou+ `an+ *ive 9appily+{ a hymn based the anniversary of the Reformation approach- on the ~en Iommandments+ uses a math3 es. Concordia has published a complete set of ematical sequence—after an introductory Luther’s hymns, edited by Peter Reske. 4 (Edi- !rst stanza+ the second stanza addresses the tor’s note: this volume is reviewed later in this !rst commandment+ the third stanza talks issue.) Rather than one consistent translation about the second and third command3 in text-only format, this new volume includes ments+ the fourth stanza discusses the fourth standard translations and useful, hymnal-style through sixth commandments+ and the last U four-part harmony. "e edition also includes stanza covers the last four commandments$ historical background and indexing. Additional- We must discard the myth that Luther used ly, one need only search the websites of Augsburg “tavern songs” for his melodies or that the phrase, Fortress and Concordia Publishing House to “"e devil should not have all the best tunes” is !nd a variety of recent publications, including somehow connected to him. ("is quote is actu- choral and organ arrangements of these hymns. ally from an 1844 sermon by the Rev. Rowland Hill. 8) "e sole use of a folk melody in early Lu- Luther’s Hymns theran hymnody was for “"e Only Son from Heaven,” and that tune was speci!cally request- In the church Luther knew, congregational sing- ed by Elizabeth Cruciger, who wrote the text. ing had been reduced to a few sequence hymns (Cruciger was the !rst female Lutheran hymn- and occasional Kyrie Eleisons and Alleluias. Lu- writer. 9) Luther’s “From Heaven Above to Earth ther wrote a now-famous letter to the chaplain I Come” (1534) was originally set to a folk at Frederick of Saxony’s court, Georg Spalatin, song but had a new tune written for it prior to in 1523 asking for help in setting psalms to mu- publication. 10 sic: “Everywhere we are looking for poets. Now One must also be cautioned to consid- since you are so skillful and eloquent in German, er Luther’s ongoing transformation in his use I would like to ask you to work with us in this of hymns in order to avoid broad generaliza- and to turn a Psalm into a hymn as in the en- tions about Luther’s intentions. His two earliest 5 closed sample of my own work.” Even as Luther hymns, “A New Song Here Shall Be Begun” asked for help, he had already completed four and “Dear Christians, One and All, Rejoice,” psalm settings, most famously “From Depths of more resemble folk ballads. According to Leu- Woe I Cry to You” (Psalm 130). pold, “Folk ballads told the stories of kings and Many of the early hymns made their !rst ap- villains, of treason and heroism, of battles and pearance in lea¸et or broadsheet form and likely banditry. "ey were printed on broadsheets included music, since musical typesetting had and widely sold.” 11 In like fashion, Luther’s ear- 6 been invented by Ottaviano Petrucci in 1501. liest hymns !rst appeared in broadsheet form "e !rst two hymns Luther wrote most resem- and were assembled into hymnals beginning in ble Meistersinger or folk songs and were used 1524. Leupold also compares them to Meister- to teach the faith and proclaim the gospel. As sangen (“Meistersinger songs”). 12 “"e very !rst Luther’s hymn writing progressed, he employed hymn by Luther, ‘A New Song Here Shall Be such eects as Begun,’ is modeled after the folk ballads, which ¹ a method that became known as the bar3 told the stories of important events and person- form chorale7 &&A/&Äcoda?Y }& `ighty alities.” 13 “If the ballad describing the martyr’s qortress{ is a prime exampleY deaths of Johann Esch and Heinrich Voes was ¹ standard poetic meters7 }*ord+ eep [s Luther’s !rst hymn, this ballad (‘Dear Chris- 4teadfast in Zour ord{ uses what would tians, One and All, Rejoice’) of the believer’s later be known as *ong `eter /four lines of justi!cation was the second.” 14 Both the folk bal- eight syllables each?Y and lads and hymns were strophic in structure, and ¹ poetic devices7 }~o Pordan Iame the Ihrist+ both could be very long: “A New Song” has 12 ur *ord{ uses a chiastic structureY }ilt 38 Summer 2016 CrossAccent www.alcm.org COUNTER POINT L stanzas and “Dear Christians” has 10 stanzas. example, “From Depths of Woe” may be utilized But this resemblance to folk songs was not con- as an alternate psalm on either Ash Wednesday !ned to early hymns. "e second type of song or Maundy "ursday. Alternatively, it highlights mentioned by Leupold, the Hofweise 15 (“court the theology of the Confession section of the cat- airs” 16 ), appears in one of Luther’s last and least- echism. In like fashion, “Our Father, Who from used hymns, “Sie ist mir lieb, die werte Magd” Heaven Above” (“ Vater unser ”), a hymn based on (“To Me She’s Dear, the Worthy Maid”). 17 One the Lord’s Prayer, can be used for catechesis, as a must note, also, that two-thirds of Luther’s part of the Mass, or as a hymn when the Lord’s hymns were written in 1523 and 1524. 18 Hence, Prayer appears in the lectionary. ("e Luke ver- the notion of using “From Depths of Woe” as sion appears as the gospel reading for year C a catechism hymn came after this; once Luther (July 24–30) at Proper 12 (LCMS)/Lectionary decided to match hymns with parts of the cate- 17 (ELCA)/Pentecost 10 (WELS). "e Matthew chism, he used some of his earlier work. Luther’s version is in the “missing” verses, or gap in the two most popular hymns, “A Mighty Fortress” text, of the Ash Wednesday gospel reading. ) and “Lord, Keep Us Steadfast,” are among the “To Jordan Came the Christ, Our Lord” is last hymns he wrote. the most intentional catechetical hymn. Near the end of his life, Luther realized the need for a Categories of Hymns hymn about Holy Baptism and wrote this hymn to !ll the gap. In addition, there is an overlap Luther’s hymns are easily categorized for study between the catechism and Mass hymns, most and use in worship. Most of these categories are notably the creedal hymn “We All Believe in obvious: the psalm settings mentioned by Lu- One True God.” ther himself, the parts of the Mass (after the Deutsche Messe or chorale mass), and the cate- chism hymns. A slightly less-evident category is Scheduling the Hymns the seasons of the church year. Lastly, there are To expand a congregation’s repertoire of Luther’s those that don’t !t into a neat category: the two hymns, consider aligning the hymns with the aforementioned Meistersinger hymns, the Leisen lectionary texts. Luther’s hymns are !lled with (those hymns in which a contraction of “Kyrie scriptural quotes and references. For example, eleison” appears at the end of a section or mel- “Isaiah, Mighty Seer” relies on Isaiah 6; “Our ody), and amazingly enough, “Lord, Keep Us Father, Who in Heaven Above” references Mat- Steadfast in Your Word.” "is hymn can be de- thew 6 and Luke 11; “A Mighty Fortress” has its scribed as a Trinitarian hymn. Also diãcult to foundation in Psalm 46. "e cycle of the church classify is “A Mighty Fortress.” Whereas “From year also provides a framework for including Depths of Woe” is a translation and versi!cation Luther’s hymns; for example, “We All Believe of Psalm 130, “A Mighty Fortress” may be better in One True God” could be scheduled on the described as a “Christianization” of Psalm 46. Festival of Pentecost; “Triune God, O Be Our Several hymns are marked “Lei” in the chart Stay” on Trinity Sunday; “Savior of the Nations, below; these are Leisen . “Christ Is Arisen” is the Come” for any Sunday in Advent. While many best example: each section of the hymn ends hymnal companion resources index Scripture to with “Lord, have mercy.” It is listed as a Luther hymn text, Lutheran Worship Hymnal Compan- hymn because he did a translation of the text. ion indexes Scripture to hymn text and hymn "e Leisen are important to the development of text to Scripture. 19 Even more, since the hymnal hymnody: in many places, congregational sing- Lutheran Worship contains the largest number ing had been reduced to singing some version of of Luther’s hymns compared to other resourc- “Kyrie eleison” or “Alleluia.” As a result, Luther es, it makes the task of lining up hymns and was teaching hymn singing from scratch. lectionary easier. Care must be taken, however, Some hymns may be categorized by useful- because the early LCMS three-year lectionary ness in the ¸ow of the liturgy or church year. For diers from the later version, from the WELS Summer 2016 CrossAccent 39 COUNTER POINT L Martin Luther’s Hymns The table that follows offers a resource for planning: the German titles and hymnal listings from TLH to ELH originally appeared in Leaver’s book and are used with the kind permission of Eerdmans Publishing Company. I have added common English titles, listings for ELW and LSB, and categories. Hymn Title (German/English) TLH LBW LW CW ELH ELW LSB Category Ach Gott, vom Himmel sieh darein / 260 205 440 Ps 12 Oh Lord, Look Down from Heaven, Behold All’ Ehr’ und Lob soll Gottes sein / 238 210 262 36 948 M All Glory Be to God Alone Aus tiefer Not schrei ich zu dir / 329 295 230 305 452 600 607 AW, Ca, Ps 130, MT From Depths of Woe I Cry to You/Out of the Depths I Cry to You Christ ist erstanden / Christ Is Arisen 187 136 124 144 344 372 459 E, Lei Christ lag in Todesbanden / 195 134 123 161 343 370 458 E Christ Jesus Lay in Death’s Strong Bands Christ, unser Herr, zum Jordan kam / 79 223 88 247 406/407 B, Ca To Jordan Came the Christ, Our Lord Christe, du Lamm Gottes / 147 103 + 196 + Le, M, MT O Christ, "ou Lamb of God Christum wir sollen loben schon / 104 39 267 C Now Praise We Christ, the Holy One Der du bist drei in Einigkeit* Dies sind die heil’gen zehn Gebot / 287 331 285 490 581 Ca "ese Are the Holy Ten Commands/ "is Is the Tenfold Sure Command Ein’ feste Burg ist unser Gott / 262 228/229 297/298 200/201 250/251 503/504 656/657 Ps 46, R A Mighty Fortress Is Our God Ein neues Lied wir heben an# / 259 556 Me A New Song Here Shall Be Begun Erhalt uns, Herr, bei deinem Wort / 261 230 334 203 589 517 655 R, T Lord, Keep Us Steadfast in Your Word Es spricht der Unweisen Mund* Ps 14 Es woll’ uns Gott genädig sein / 500 335 288 574 591 823/824 M, Ps 67 May God Bestow on Us His Grace Gelobet sei’st du, Jesu Christ / 80 48 35 33 136 382 C We Praise You, Jesus, At Your Birth Gott der Vater wohn uns bei / 247 308 170 192 18 505 T Holy Father (Triune God, O) Be Our Stay Gott sei gelobet und gebenedeiet / 313 215 238 317 327 499 617 Ca, M, Lei O Lord, We Praise You Herr Gott, dich loben wir / 45 We Sing thy Praise, O God (Te Deum) Jesaia, dem Propheten, das geschah / Isaiah in a 249 528 214 267 40 868 960 M Vision Did (Mighty Seer, in Days) of Old Jesus Christus unser Heiland, der den Tod* E Jesus Christus unser Heiland, der von uns / 311 236/237 313 316/317 627 Ca, M Jesus Christ, Our Blessed Savior 40 Summer 2016 CrossAccent www.alcm.org COUNTER POINT L Hymn Title (German/English) TLH LBW LW CW ELH ELW LSB Category Komm, Gott Schöpfer, Heiliger Geist** / 233 473 156 177 10 578 498 P Come, Holy Ghost, Our Souls Inspire Komm heiliger Geist, Herre Gott / 224 163 154 176 2 395 497 Lei, P Come, Holy Ghost, God and Lord Kyrie eleison* Litanie* M Mensch, willst du leben seliglich* / Ca Wilt "ou. O Man, Live Happily Mit Fried’ und Freud’ ich fahr dahin / 137 185 269 48 440 938 M In Peace and Joy I Now Depart Mitten wir im Leben sind / 590 350 265 534 52 755 Lei In the Midst of Earthly (Very Midst of) Life Nun bitten wir den Heiligen Geist / 231 317 155 190 33 743 768 Lei, P To God the Holy Spirit Let Us Pray Nun freut euch, lieben Christen / 387 299 353 377 378 594 556 Me Dear Christians, One and All, Rejoice Nun komm, der Heiden Heiland / 95 28 13 2 90 263 332 A Savior of the Nations, Come Sie ist mir lieb, die werte Magd* Vater unser im Himmelreich / 458 431 410 381 746/747 766 Ca, M Our Father, Who ("ou) in Heaven Above Verleih uns Frieden gnädiglich / 471 219 522 584 784 777/778 M Grant Peace, We Pray, in Mercy, Lord Vom Himmel hoch, da komm ich her / 85 51 37/38 38 123/124 268 358 C From Heaven Above to Earth I Come Vom Himmel kam der Engel Schar / 103 52 53 154 C To Shepherds as "ey Watched by Night Wär Gott nicht mit uns diese Zeit / 267 202 396 Ps 124 If God Had Not Been on Our Side Was fürchst du, Feind Herodes, sehe* / C, Ep Wir glauben all’ an einen Gott / 251 374 213 271 38 411 954 Ca, M We All Believe in One True God Wohl dem, der in Gotts Furcht steht* Ps 128 æ &ppears only in Luther’s Works + vol$ K>$ Category Definitions: + &ppears in liturgical section & = &dvent # &bbreviated /rewritten»? version & = &sh ednesday ææ *utherEs translation of %abanus `aurusY A = Aaptism tune is simplification of chant I = Ihristmas Ia = Iatechism ^ = ^aster Hymnal Title Abbreviations: ^p = ^piphany *e = *ent ~*9 = ~he *utheran 9ymnal *ei = *eisen *A = *utheran Aook of orship ` = `ass * = *utheran orship `e = `eistersinger3style song I = Ihristian orship `~ = `aundy ~hursday ^*9 = ^vangelical *utheran 9ymnary T = Tentecost Ts = Tsalm ^* = ^vangelical *utheran orship % = %eformation *4A = *utheran 4ervice Aook ~ = ~rinity Summer 2016 CrossAccent 41 COUNTER POINT L lectionary, and from the New Revised Com- John Krueger serves as mon Lectionary commonly used in the ELCA. director of music at Christ the Christian Worship: A Handbook 20 indexes stan- Servant Lutheran Church in za numbers in its Scripture-to-hymn-text index. Houston, TX, and holds "e margin notes in Lutheran Service Book give degrees from Hillsdale College Scripture references at the bottom right of the (Hillsdale, MI) and Concor- page. "e aforementioned work by Reske in- dia University Wisconsin (Mequon), as well as a cludes an extensive topical index but a limited certi>cate in liturgical studies from the University Scripture index. of Notre Dame (South Bend, IN). "e hymns of Luther may also be considered seasonally within the church year. Historically Notes the catechism was studied during Lent. Today #$ %obin &$ *eaver+ Luther’s Liturgical Music: Principles one might schedule the catechism hymns either and Implications /Qrand %apids7 ^erdmans+ @__U?+ >_K–_\$ on consecutive Sundays during the season of @$ `artin *uther+ &merican edition Lent or during midweek services. Luther’s Works, /hereafter LW ?+ vol$ K>+ Liturgy and Hymns, ed$ [l3 rich 4$ *eupold /Thiladelphia7 qortress+ #<\K?$ Beyond Sunday Worship >$ bid$+ #<<–@__$ It’s worth exploring some other possible uses of ]$ Teter I$ %eske+ ed$+ The Hymns of Martin Luther Luther’s hymns. For example, I will be combin- /4t$ *ouis7 Ioncordia+ @_#\?$ ing forces with a nearby Lutheran church to do a K$ LW K>+ #<#+ @@#$ series of vesper and evening prayer services over \$ LW K>+ #<#$ the next year, the !rst of which will cover Lu- U$ *eaver+ #>U+ #@#$ ther’s Psalm settings. Previously, we centered =$ %owland 9ill+ cited in *owell 9art+ Satan’s Music series on the catechism hymns, and looking for- Exposed /Ihattanooga+ ~27 &`Q Tublishers+ #<=#?$ ward we expect to cover all the major groups of <$ qred *$ Trecht+ Lutheran Worship Hymnal hymns by Reformation 2017. Over the years I Companion /4t$ *ouis7 Ioncordia+ #<<@?+ =#–=@$ have also taught summer Sunday School class- #_$ bid$+ ]U$ es on Luther’s hymns: they can all be covered ##$ LW K>+ @#@$ in 5–6 weeks. In a similar vein, I have also giv- #@$ LW K>+ #<\$ en lecture recitals on some of Luther’s hymns, #>$ LW K>+ #<\$ which gives me a chance to do both vocal and #]$ LW K>+ @#U$ instrumental versions of the hymns. #K$ LW K>+ # 42 Summer 2016 CrossAccent www.alcm.org L CHOR US Music Preparations for the 500th Anniversary Celebration of the Reformation, Schlosskirche (Castle Church), Wittenberg An Interview by Vincent Ryan homas and Sarah Herzer are co-cantors 1 at the Castle Church, Wittenberg, Ger- T many. "eir ministry includes such usual musician’s duties as preparing choirs, handbells, and instrumentalists for worship; practicing the organ; and planning music. However, these duties are framed in an extra-ordinary circum- stance: the Herzers make music—and evoke it from their community—in the chapel where Martin Luther posted his 95 theses and where he is buried. "is is an edited interview conduct- ed on April 13, 2016, in the Herzers’ residence, Wittenberg, Germany. SARAH HERZER (SH): I grew up in Min- Onesota, in the household of a Lutheran pastor. As a child, I did not think I would be a church musician; rather, that developed as I grew up and went to school. I attended Gustavus Adol- phus College in St. Peter, MN, to study organ. As part of my studies there I spent a year abroad in Germany, where I met "omas, whom I lat- er married. Even as a student I recognized the signi!cance of studying at the place where, spe- ci!cally, Lutheran church music originated. I completed a Master’s degree at the University of Nebraska–Lincoln, then returned to Germa- ny to complete a German church music degree, A-Diploma, 2 in Halle. It was an honor to be awarded the position at the Castle Church in Summer 2016 CrossAccent 43 L CHOR US Wittenberg, and it continues to be a privilege to who live the faith, or maybe those who are just work and teach here. curious about faith and church; for both of us, this is a great chance to see how reformation can THOMAS HERZER (TH): I was raised in live today, not just 500 years ago. We have devel- Osouthwest Germany, close to the French border. oped the choirs locally. We know that there will "e church synod there had a very good system be many visitors—speci!cally, many choirs— of educating part-time church musicians. I stud- from around the world. We realized that it was ied organ and conducting, attended weekend important to develop an active musical life here, workshops, and earned my C-Diploma. Howev- so that we could share the ministry of singing er, my organ teacher, Helge Schulz, was a strong the faith with our guests. in¸uence on me. She encouraged me to attend school in Halle (1997–2003), where I met Sarah TH: "ere will also be a few major events and earned my A-Diploma. I studied abroad in throughoutO the year: rededication of the chap- the United States with Quentin Faulkner at the el, dedication of the new chancel organ, and a University of Nebraska–Lincoln. festival week of concerts beginning October 2, 2016. In May 2017 (24–28) we will celebrate VINCENT RYAN (VR): What has the Kirchentag .4 "is is a week when people from CastleO Church community been doing all over Germany come to one region (which in- to prepare for the 500th anniversary cludes Berlin, Wittenberg, Magdeburg, Halle, of the Reformation? and Leipzig). At the end of the week, there will be a large outdoor service in Wittenberg. Oc- tober 2017 will then be the culmination of the TH: "e community of the Castle Church Luther Decade. has been preparing for the 500th anniversary O "e 1863 Ladegast gallery organ, renovated during the “Luther Decade,” which began in in 1994, is now in the process of being cleaned. 2008. (Luther came to Wittenberg in 1508). "e It has suered due to the construction—with Luther Decade has included theme years, which mold, dust, and so on—and must be cleaned. celebrate speci!c aspects of the Reformation. 3 In addition, the seminary is moving from the For example, 2012 was the “Reformation of Mu- Augusteum into the new Castle Complex. With sic” year, in which we were heavily involved. that move, the existing seminary organ will be Following that, renovations began on the inside relocated into the Castle Church. "is instru- and outside of the Castle Church chapel, so most ment was built by Schuke in Potsdam. It has two activity, such as worship and rehearsals, had to manuals, pedal, and 16 ranks of pipes. It will be moved to other locations. be “hidden” behind the choir stalls in the chan- cel area of the chapel. In order to do this, some SH: "ere are dierent levels of preparation technical changes were made (speci!cally the in- happening concurrently. "e congregation itself O stallation of an electrical action and a movable is small, approximately 130 members, and they console). "e neo-Baroque sound of this instru- do not play a large role in the planning per se. ment, originally built in 1965, will perfectly "ey are intent on being as welcoming as possi- complement the tone of the existing Ladegast ble to the many guests who will visit. "eir main organ. 5 "e chancel organ will be used for choir area of focus is worship. "e musical groups in- accompaniments, devotional services, chamber clude people who are not necessarily members of groups, and the like. It will give the music pro- the congregation but are among the most active gram some much-needed ¸exibility. people in the church. "ose groups will be very busy next year singing, playing, and ringing— SH: It will be a much dierent sound and doing what they always do! It is important for us will be physically closer to the worshipping con- to recognize that there is something special hap- O gregation, especially beyond the anniversary pening here, that there are people in Wittenberg celebrations. 44 Summer 2016 CrossAccent www.alcm.org L CHOR US VR: One of the most successful min- Pastors from the United States visit for two Oistries of the congregation has been weeks and preach in both the Castle Church and the Gospel Choir, which has toured in- the Town Church in Wittenberg. Valparaiso ternationally in Europe and the United University has also been an important partner; States (twice). in 2015, my organ tour to raise funds for the new instrument started there. It then continued to TH: It may surprise many Americans to learn Indiana and Trappe, PA; Ft Lauderdale, FL; Lib- Othat gospel choirs are quite popular in Germany. ertyville, IL; Columbia, SC; and St Louis, MO. "e music that is sung by them (spirituals and "e support of the people and congregations in gospel music) is considered “contemporary” in the United States has been critical to our success, Germany, as opposed to music by Bach, for ex- and we are deeply grateful for them. ample. We do sing music that is old as well (an occasional Luther chorale). I can’t really explain Vincent M. Ryan is minister why it is so popular in Germany. We are begin- of music at Advent Lutheran ning to sing some dierent repertoire in addition Church, Harleysville, PA, to the spirituals, and the choir is growing in their where he has served since 1997. musicianship. "e Gospel Choir, like the other musical groups of the Castle Church, will partic- ipate in the anniversary celebration. We are not Notes focused on a major event or two; rather, we want to be present around town, seen and heard fre- #$ ~he 9erzersE responsibilities as cantors also include quently, especially in worship. "e Gospel Choir teaching at the ^vangelisches Tredigerseminar *u3 therstadt ittenberg /}^vangelical Treaching 4em3 is a good example of a mission possibility, espe- inary in ittenberg{?$ ~he Iastle Ihurch serves as cially in eastern Germany, where there are not the chapel for the seminary$ many church members. If you want to draw peo- @$ n Qermany+ church musicians can be awarded four ple to the church, you have to give them a path to diplomas7 & and A /equivalent to `asterEs and Aach3 the church. Singing is a path. We can give people elorEs degrees+ respectively? are for full3time employ3 something to do in worship; then they become mentY I and are for part3time employment$ curious. >$ `ore information about the *uther ecade can be found online at http7ÄÄwww$luther@_#U$deÄenÄ@_#UÄ luther3decadeÄ$ SH: "e choir has also become ambassadors ]$ ~he Deutscher Evangelische Kirchentag /}Qerman Ofor the Castle Church. It is really special because Trotestant Ihurch &ssembly{? is a biennial week3 it isn’t just about “the world is coming to Witten- long lay church celebration that includes Aible berg.” It is the Wittenberg community going out study+ lectures+ discussions+ and concerts$ t began into the world. 6 as a church re3formation effort after $ K$ ¾incent 4haper+ project designer for 4chuke rgel3 bau+ Totsdam+ offered this comment about a unique VR: Is there anything else you would feature of the new console7 }~here is not a lot of Olike to share about your ministry? space for the console+ and it needs to move on wheels$ e decided to make it as small as possible$ TH: We have some important partners in ~he pedalboard is hinged and can be flippedE up so the console can be moved and tucked into place America. For example, people in Pennsylvania, O behind the choir stalls when not in use{ /¾incent Virginia, and Washington, D.C., have welcomed 4haper+ interview with author+ &pril @U+ @_#\+ 9ar3 the Gospel Choir. "e English Ministry 7 pro- leysville+ T&?$ gram of the Castle Church has also been a key \$ ¾isit http7ÄÄwww$wittenberger3gospelchor$deÄY on element. Founded about 20 years ago, when the qacebook+ search for }Qospelchor der 4chlosskirche Wittenberg churches were not as visitor-friend- ittenberg${ ly, this program was developed so we could be U$ qor the latest news and updates+ search qacebook more accessible to our English-speaking guests. for }ittenberg ^nglish `inistry${ Summer 2016 CrossAccent 45 BOOK REVIEW Martin Luther. !e Hymns of Martin Luther. Ed. Peter C. Reske. St. Louis: Concordia, 2016 88 pgs. ISBN-13: 978-0-7586-5622-3. $20.00, ppbk. common assumption is the back of the collection that allow the user to A that Lutherans are famil- !nd any hymn with relative ease. iaiar with the hymns of Martin So why might one wish to have a complete LuLuther. After all, we all sing collection of Luther’s hymns? Two initial rea- “A Mighty Fortress,” don’t we? sons come to mind. First, a quick glance at the BuBut if one were to survey the total output of Luther’s hymn-writing activity cocongregation, how many of reminds us of the well-balanced nature of his ef- ouour parishioners would know forts. Unlike the hymns of Calvin’s reforms in ththe titles of any other hymns Switzerland or those of the early English hymn of Luther? Or even the clergy, writers, Luther did not limit his work only to fofor that matter? More telling strict psalm paraphrases; rather, his hymns ex- mimight be a survey of the hymns hibit a variety of sources. Six of Luther’s earliest of Luther that the congregation hymns, written toward the end of 1523 and early sisings over the course of a year. 1524, were indeed psalm paraphrases, of Psalms WhWhile our modern Lutheran 12, 14, 67, 124, 128, and 130. It was, after all, a hymnals still contain a fair number of the Re- psalm paraphrase that Luther gave as an exam- former’s hymns, the number of them that are ple of how to write a hymn when he urged Georg sung with any regularity might surprise us, and Spalatin, the chaplain at the court of Frederick not in a good way. of Saxony, to take up the task in a letter he sent How timely, then, is the appearance of this Spalatin in late 1523. 1 But Luther neither limit- book. "e preface describes this collection as ed others nor bothered himself with producing a “rare thing” that gathers under one cover all more paraphrases; instead, he went on to demon- of Luther’s hymns in English translation with strate other ways of writing hymns, such as by practical musical settings. Rare indeed, and wel- translating Latin hymns. Luther was hardly the come. Included are not only the familiar hymns !rst to make such translations, but his choices of Luther that we sing on a (fairly) regular basis of hymns from the earliest centuries—such as but the obscure ones as well—such as the ballad Ambrose’s “Savior of the Nations, Come”—as Luther wrote to recount the deaths of the !rst well as the quality of his translations provided a Lutheran martyrs, two Belgian monks who died lasting model. Centuries later, for example, John in 1523; and also an intriguing text that uses the Mason Neale and others involved in the Oxford colorful language of the Revelation to St. John to Movement would also enrich the English-lan- sing of Christ’s church. Arranged alphabetically guage hymn repertoire by translating many early by English hymn title, several indices appear at and medieval Latin hymns into English. 46 Summer 2016 CrossAccent www.alcm.org L BOOK REVIEW In addition to psalm paraphrases and trans- Father’s crown” (23). "e work that Jesus accom- lations of Latin hymns, Luther wrote in still plishes is equally described in vivid colors. He is other genres. "e collection reveals a number the “Valiant One” (8) who !ghts for us. In his of medieval Leisen hymns, named for the Kyrie- humiliation, his “royal power” is disguised as he leis that concluded the hymn. Luther improved leads “the devil captive” (23). (verbessert ) many of these single-stanza medieval "e images abound, reminding us in part hymns by adding additional stanzas that ¸esh that, as an exegetical theologian by training, Lu- out key Reformation insights. Congregations ther was particularly attuned to biblical imagery. already familiar with these hymns most like- It is perhaps no coincidence that he commenced ly found them to be an entrée to Luther’s other his hymn writing in 1523 even as he was con- hymns. "e genres in which Luther writes often tinuing the fevered pace of his translation of the overlap, such as when he writes hymns for each Bible into German. (In just the previous three part of the catechism, using the Leisen model for years, for example, he had completed his trans- one of his hymns on the Ten Commandments. lation of not only the entire New Testament—in "e same is true of his paraphrases of various 11 short weeks while still at the Wartburg Cas- parts of the Divine Service as they appeared in tle—but also almost half of the Old Testament, his German Mass. And there were, of course, through the book of Esther!) Wrestling as he did his wholly original hymns, such as “Dear Chris- to !nd just the right words for his German Bible, tians, One and All, Rejoice,” a tour de force that it should not come as a surprise that the words in provided an amazing encapsulation of Luther’s his hymns are also well chosen. teaching. "e multifaceted nature of Luther’s "e translations in the collection come from hymn corpus reminds us just how in¸uential a variety of sources. For those hymns that are he was, not only for setting important biblical included in Lutheran Service Book , those trans- teaching in easy-to-understand poetry but also lations are used. "at, however, should not deter for setting a trajectory for hymn writing itself anyone who uses a dierent hymnal. "e prima- that continues to this day. ry purpose of &e Hymns of Martin Luther is not "ere is, I would maintain, another im- to serve as a performing edition but as a resource portant contribution that a complete collection that assists us in delving more deeply into our of Luther’s hymns provides, and that is an op- Reformation heritage. With the 500th anniver- portunity to feast on the actual texts of Luther sary just a year away, this resource is a welcome hymns. While we may have great familiarity one among many that are sure to follow. with a few of his hymns and a passing knowl- edge of several more, the entire corpus gathered Paul J. Grime in one place presents us with the rich language Concordia &eological Seminary that is a hallmark of Luther’s hymns. Among the Fort Wayne, IN many ready examples, note the striking ways Lu- Book Review Editor, CrossAccent ther describes our sinful condition: we are “fast bound in Satan’s chains” (22) with death brood- Note ing darkly over us. Our life is, as Luther bluntly puts it, “a living hell” (22). But even more sig- #$ `artin *uther+ Luther’s Works, &merican edition+ vol$ ]<+ Letters II, ed$ and trans$ Qottfried c$ rodel ni!cant are the ways in which he describes our /Thiladelphia7 qortress+ # Summer 2016 CrossAccent 47 L BOOK REVIEW Eric Chafe. of the musico-theological connections he !nds Tears into Wine : J. S. Bach’s essential to understanding the music of Bach. Cantata 21 in Its Musical and Rather than giving in to widely held criticism !eological Contexts. of BWV 21 (criticism that began with Bach’s contemporary, Johann Mattheson) as a work New York: Oxford University Press, 2015. that lacks a clear and coherent formal struc- ture, Chafe argues that a study of theology and x, 603 pgs. hermeneutics of the 16th through 18th centu- ISBN-13: 978-0-19-021729-7. ries proves Bach’s clear intention. At the root of $85.00, hdbk. this thesis is Chafe’s belief that much of modern ach enthusiasts familiar Bach scholarship has created a misunderstand- Bwith his cantatas likely ing of the design of Cantata 21. He states, “To knknow his large-scale cantata, some extent, this book is my response to that BWBWV 21, Ich hatte viel Beküm- situation, which I outline in the second part of mernis (“I had much grief”). this introduction. In the !rst part I set forth the OvOver many years Bach schol- principles that underlie the form and meaning of arars and musicians have given Cantata 21, which I hold as one of the most care- it special attention because of fully and successfully conceived of Bach’s earlier itits scope, its place in the ear- compositions, re¸ecting the religious impulses lilier works of Bach (Weimar, of its time particularly closely” (3). 1714), and its deep pathos, il- Given the length of this book, it seems ap- lulustrated so poignantly from propriate that Chafe has lavished 44 pages on ththe !rst moments of the open- the introduction. Many readers will gain con- ining Sinfonia and the striking siderable insight into the year 1714, Cantata ininitial choral entrance, “ ich, 21, and the thrust of Chafe’s theological ar- icich, ich .” Like many works of gument with a close reading of this expansive BaBach, the actual history of its prelude. In the second half of the introduction, composition and initial perfor- Chafe directly confronts the historic criticism mance remains elusive. As musicologist Joshua of the cantata and lays out his thesis regarding Rifkin has stated, “Few works of Bach confront the musico-theological connection he !nds so scholar and practitioner alike with such a mass prevalent in Bach’s music. He has developed of recalcitrant problems.” 1 Bach’s lifetime goal of this approach to analyzing these great works for composing a signi!cant canon of music for the many years, and even if one does not completely church is well-documented as early as 1708. His agree with his conclusions, any reader will have early cantatas, while showing signs of a young great respect for the utterly thorough manner in composer working on his craft, oer deep rich- which Chafe proposes and defends his position. es—musically, emotionally and psychologically. "e author takes care to note that a signi!- Cantata 21 exempli!es these qualities. cant portion of the book—some 300 pages—is But does one need a massive tome to under- devoted to theological and hermeneutical stand a musical composition of such power and discussion in order to assist in properly under- feeling? Perhaps not. Noted Bach scholar Eric standing the theological and spiritual Zeitgeist Chafe has, nevertheless, here given us a book of in which Bach began his compositional life. complexity and depth that leaves the reader mar- Chafe lays out this view clearly: “In my view the veling at such attention lavished on one cantata most important goal of history is to re-create as (with brief discussion of the other cantatas Bach much as possible within the minds of contem- composed in 1714). In fact, Chafe has wrestled porary individuals the thought patterns, ideas, with BWV 21 for more than 25 years; with this and spiritual makeup of past individuals and publication he oers his most exhaustive study cultures” (39). It could be argued as to whether 48 Summer 2016 CrossAccent www.alcm.org L BOOK REVIEW this book is !rst about theology and secondly to give voice to compositional genius, I searched about Bach’s cantatas. Chafe himself provides in vain for an analysis of the role of Bach’s col- a bit of a warning as he states the necessity of laborator, Salomo Franck. German musicologist oering “considerable overlap” in presenting a Alfred Dürr and others have lifted up Franck’s detailed analysis of historic Lutheran theology. contributions as essential, and this reviewer and It is not often that an author suggests, as Chafe performer has always been struck by the depth of does, that a reader may “skim” some portions feeling in these 1714 cantatas and by the unmis- of the book that seem redundant. Whether takable sense that Bach was moved by Franck’s the reader chooses to follow this suggestion or eloquent poetry. One can argue that Franck was not, there is much to be gained from exploring the court poet and Bach was simply required to Chafe’s view of Bach and his analysis of Canta- work with him. But the setting of the texts found ta 21. in these works suggests something deeper than Following the theological survey that oc- merely the case of colleagues who were required cupies the central portion of this book, Chafe to collaborate. Considering that Tears into Wine devotes one chapter to each of the two sections of is such an in-depth probing of these great works, BWV 21. In each, we !nd considerable theoret- I found myself wondering why Franck is large- ic analysis, respectively titled “Spiritual Sorrow: ly ignored in Chafe’s comprehensive study, given Part 1” and “Ascent of the Soul: Part 2.” Chafe his close proximity and collaboration with Bach opens chapter 8 (“Spiritual Sorrow”) with the in 1714. subtitle “Tribulation and Consolation: C minor Tears into Wine is a comprehensive, even and E b major.” In these chapters, the reader will encyclopedic, study of Bach’s Weimar 1714 can- !nd tatas that deserves a place in the library of not ¹ detailed analysis of each movementY only the serious Bach scholar but also any per- ¹ examples of key relationships and cadential former or discerning reader who seeks to grapple formulas as they relate to textual ideas and with the musico-theological connection in theological meaningY and Bach’s vocal works. "e book will !nd a place ¹ frequent musical examples and charts relat3 on the shelf of any signi!cant library that takes ed to formal and structural analysis$ Bach scholarship seriously. "e reader who is prepared for a dense and challenging study will Chafe risks pedantry by sinking back into relish the opportunity to delve into this lengthy an extended discussion of how the aria “Bäche and complex book. von Gesalznen Zähren” relates to the writ- ing of the 17th-century theologian Heinrich Christopher Cock Müller. He cannot resist an eleven-page exposi- Valparaiso University tion (358–68) on Müller’s writing to emphasize Valparaiso, IN again how important it is for the reader to under- stand theological texts of Bach’s time. Chafe’s seeming obsession with proving his theological Note point certainly tests the patience and stamina of #$ Poshua %ifkin+ }qrom eimar to *eipzig7 Ion3 certists and %ipienists in AachEs Ich hatte viel the reader. Bekümmernis ,” Early Music @]+ no$ ] /2ovember "e !nal chapter is a brief study of the tru- #<<\?7 K=>$ ly marvelous works from this quite fertile year in the compositional life of the young Bach (BWV 61, 63, 152, 182, 12, and 172, in this order). As I have noted, these early cantatas are rife with deep expression and feeling. Setting aside the obvious observation that Bach’s Weimar canta- tas show a young composer chomping at the bit Summer 2016 CrossAccent 49 L BOOK REVIEW Melanie C. Ross. emotionalism that became the norm for these Evangelical versus Liturgical? assemblies has colored American Protestantism Defying a Dichotomy. ever since. "is approach led to the near disap- pearance of the sacraments in worship. Grand Rapids: Eerdmanns, 2014. "e goal of the threefold “frontier” ordo , de- scribed by Ross as preparation– sermon–decision, xv, 140 pages. or by Lathrop as warm-up–sermon–conversion ISBN-13: 978-0-8028-6991-3. (3), is to soften ’em up (usually with music), ser- $17.00, ppbk. monize ’em, and convert ’em. "is ordo is still the basic plan in many evangelical churches. "e e approached this re- goal is to manipulate emotion, not generate emo- markable little book W tional understanding. Because that is the goal, wiwith some trepidation and this kind of worship plan necessarily plays on even,ev perhaps, some annoy- the heart strings; it requires a constant “one-up- ancean at its title. Having spent ping” of itself, what John Nevin describes as “the a lifetime in the service of the ever-changing new,” 1 church—asch a church musician to maintain interest. "is andan parish pastor, respectively approach can only degenerate into emotionalism —the—t never-ending evangeli- as it tries to stay fresh. Perhaps this can happen cal/ca liturgical con¸icts can leave within the historical liturgy of the church as oneon weary. After reading Ross’ well—the use of so-called “contemporary” wor- book,bo however, we were deep- ship music is insidious in this respect—but that ly impressed with the author’s very liturgical structure evolved not only to bal- levelle of theological knowledge. ance liturgical “events” (so that no one element NearlyNe every sentence is chock- of the service comes to dominate the others) but fullfu of not just her erudition but also to contain and focus emotion toward not alsoal her synthesis of Protestant only understanding but also renewal. theological thought from the Ross observes correctly that biblical interpre- last 300 years. tation is a divisive issue when discussing worship In a writing style that is thoroughly because dierent parts of the church read Scrip- approachable and easily readable (not an insig- ture in profoundly varying ways. "is makes ni!cant achievement in a book on theology), it more diãcult to formulate an ecumenical Ross surveys religious thinkers from George liturgical theology, especially when some evan- gelicals have what Craig Allert calls a “‘dropped White!eld (1714–70) of the First Great Awaken- 2 ing (1725–50) and Charles Finney (1792–1875) from the sky’ understanding of the Bible” that of the Second Great Awakening (1795–1835) approaches textual dei!cation. Ross notes that to writers of our own day, including Mark Noll the role of critical biblical scholarship is a top- (who wrote the forward to this book), Gordon ic for future evangelical and liturgical dialogues. Lathrop, and Gail Ramshaw. "e interesting structure of this book sets A part of the author’s analysis that stands out lengthy case studies of two churches inter- out is her description of the American experience spersed between three chapters of theological synthesis. "e two churches chosen for study are as a con¸ict of ordo s: the historical, sacramen- tal, liturgy (word, bath, table, prayer) versus the Eastbrook Church in Milwaukee, WI, and West Shore Evangelical Free Church in Mechanics- “frontier” (4) ordo with its emphasis on conver- burg, PA. Both are remarkable in many ways: sion. Perhaps the “frontier” ordo was a necessary response to a dispersed frontier population, welcome, outreach, hospitality, missions, and where “congregations” only rarely came togeth- so on. It is puzzling, however, why the author er in what would later be called camp meetings, could not have found a vibrant liturgical church but the extreme emphasis on conversion and on which to do a case study. "is omission is all 50 Summer 2016 CrossAccent www.alcm.org L BOOK REVIEW the more glaring given the !nal paragraph of own inculcated religious biases? If her goal is to the book in which Ross quotes an interviewee !nd a middle ground between the liturgical and who said, “I hope your book won’t just be about the evangelical, in spite of beautiful writing, she a couple of evangelical churches. I hope it will hasn’t done that in this book. be something that speaks to the church univer- sal” (137). J. William Greene Does this betray some of the author’s own Organist-Choirmaster, Holy Trinity evangelical bias or does she think the church’s Lutheran Church liturgy has been studied enough? "is seems a Lynchburg, VA real gap in her thinking and religious under- standing. Both of these congregations seem to Dennis S. Roberts adhere mostly to the “frontier” ordo , the emo- Pastor, Holy Trinity Lutheran Church tionalist approach. It is saddening to note that Lynchburg, VA when Ross addresses the issue of music she most- ly quotes from so-called “contemporary” worship Notes songs, largely ignoring the great hymnody of #$ Pohn 2evin+ The Anxious Bench /Ihambersburg+ the church. Perhaps this betrays her religious T&7 #=]>?+ @>+ as cited by %oss+ #\$$ origins. Does this mean that someone with as @$ Iraig &llert+ A High View of Scripture? /Qrand %ap3 strong a background in writings on theology as ids+ `7 Aaker &cademic+ @___U?+ #_+ #@+ as cited by %oss+ \=$ she has can still have diãculty transcending her VRXQG INSPIRATION Riedel enhances the worship experience by inspiring the dynamic expression of speech and sound. By blending art, science and skill, we help enrich the fullness, presence and clarity of speech and music, as well as silence unwanted noise. SCOTT R. RIEDEL & ASSOCIATES, LTD. 819 NORTH CASS STREET MILWAUKEE, WI 53202 ZZZULHGHODVVRFLDWHVFRP email: [email protected] hear the difference. Acoustical Design & Testing Organ Consultation & Inspection Organ Maintenance & Tuning Sound & Video System Design, Evaluation & Training Summer 2016 CrossAccent 51 SOUND FEST INSTRUMENTAL | ORGAN FiveFi Classical Transcriptions for Organ. GeorgeGe FrederickF derick Handel.H del. Transcribed by Samuel Händel Orgelwerke. Metzger. Ed. Terence Best, comp. Siegbert Rampe. MorningStar (MSM-10-099), Bärenreiter (BA 11226), $11.00. €27.95 (approx. $30.85). #is collection comprises #is scholarly critical performing edition of transcriptions of %ve individ- Handel’s Complete Organ Works is based on ual movements by J. S. Bach, the composer’s keyboard music edited by Ter- ArArcangelo Corelli, Antonio Vi- ence Best as part of the Halle Handel Edition, vavaldi, and Gabriel Fauré. Bach completed in 2000. #is present volume features is represented by two works, Handel’s twelve fugues, presented here for the “Sanctify Us by #y Goodness” (from Canta- %rst time as a self-contained set, as well as three ta 22), and “Quia respexit” (from Magni%cat in brief miscellaneous works; the volume was com- D Major, BWV 243). #e Cantata 22 selection piled by Siegbert Rampe in 2016. Although this is carefully worked out so that a full texture is volume o&ers no new works by Handel or new maintained and left-hand parts are manageable sources (compared to those in the Halle Han- despite including some chordal passages. “Quia del Edition), nevertheless it includes plausible respexit” is beautifully transcribed as a trio, with alternative readings from various sources in the fully independent melodic lines assigned to ped- main body of the music. #ese fugues were pre- al, left hand, and right hand. “Largo” (from sumably written for the training of organists, Vivaldi’s Lute Concerto in D major , RV93) fea- and none call for the use of pedals, since almost tures an active melodic line with dotted rhythms no British organ of Handel’s day had a pedal- in the right hand, set against more slowly mov- board. Incidentally, the speci%cations of both ing chords in the left hand, accompanied by the Bernard Smith organ at St. Paul’s Cathe- repeated eighth-note %gures in the pedal. #is dral in London and the Renatus Harris organ setting presents somewhat of a challenge to play in Salisbury Cathedral are included in the pref- as the left-hand chords are consistently placed ace. Taken as a whole, these twelve fugues are in a higher register than the right-hand melo- delightful examples of contrapuntal art with the dy. Perhaps a judicious use of registration (with added distinction of being tuneful, rhythmical- 4’ pitch) might make it possible to play the left ly animated, and varied in formal approach. All hand an octave lower than written in the score. of these fugues are in four voices and range in #e set concludes with a lovely rendition of “In length from three to four pages. #e most preva- Paradise” (from Fauré’s Requiem , op. 48); it is lent texture, however, is three voices. #e lack of %ve pages in length. #is set of transcriptions is pedal parts and the skillful distribution of voices highly recommended for those wanting to ex- in the manuals make these fugues easier to play pand the organ repertoire to include attractive than the typical fugues of J. S. Bach. Structural- works written for other instruments. JB ly, nine of the twelve fugues follow the standard subject-answer-subject-answer format. Fugues #2, #3, and #10 are double fugues, which con- sistently accompany the original subject with a countersubject in the next entering voice. Han- del demonstrates his skill in fugal composition by tightly integrating his thematic material. In 52 Summer 2016 CrossAccent www.alcm.org L SOUND FEST Fugue #3 he employs the initial countersubject Ronald Perera. to create extended episodes featuring imitation Aria. of this countersubject material. In Fugue #4 he E. C. Schirmer (8357), weaves a rich tapestry of sound by juxtaposing $8.00. a simple stepwise ascending subject in longer notes against an active countersubject of eighth #is organ solo was notes. Harmonic surprises delight the listener commissioned by and at every turn. #e subject of Fugue #8 has an is dedicated to Carson unusual pro%le: an initial descending major sev- Cooman, who gave the enth is followed by an ascending octave leap; this %rst performance in 2005. fugue also e&ectively employs chromaticism and #is publication incorpo- stretto. #is collection of the twelve fugues by rates a 2015 revision. It Handel is highly recommended. #ese excellent is a contemplative solo that calls for the use of fugues make quite e&ective pieces for use in wor- solo reeds, Kutes, and principal chorus. Suggest- ship, especially as preludes or postludes. JB ed registrations are included on the score. #is composition of medium di@culty is worth the e&ort to learn. Rubato is used throughout, with Gerald Near. the tempo beginning as Adagio and moving up DeepDe River. to a moderate tempo. #is is a nice, well-written MorningStar selection to add to any recital program. MS (MSM 10-371), $8.00. Lynn Trapp. #is selection was Fanfare & Processional. writtenwr in honor of a MorningStar friend of the compos- (MSM-10-662), $8.00. er and makes use of the tune D//< R=>- #is piece will be a %ne /?. #e registrations addition to any organist’s remain soft and con- collection of festive mu- templative throughout, with recommendations sic suitable for weddings, included on the score. #e pedal part is of me- graduations, or other dium di@culty, containing primarily sustained such occasions. It could notes. #is is quite a well-written composition be e&ective on most any that honors the syncopation found in the tune. size instrument and will #e composition ends at a piano/pianissimo vol- demonstrate a Solo Trumpet stop magni%cently. ume level, calling for an organ chime be played Lynn Trapp has provided possible cuts or exten- imitating a bell tolling. A footnote suggests that sions, to be determined by the amount of music a handbell could be used in place of an organ needed for a particular situation. An optional chime. #ere is a short, optional ending in the coda can be used if a more brilliant ending is de- event that neither the chime nor handbell are sired. Medium di@culty. JG available. #e entire piece is of medium di@cul- ty and would serve well in any recital. MS Summer 2016 CrossAccent 53 SOUND FEST L Gwyneth Walker. KEYBOARD AND PrProfound Praise. INSTRUMENT(S) Tuba and organ. E. C. Schirmer Duane Funderburk. (8254), $18.00. O the Deep, Deep Love. Two violins, viola, cello, #is collection is a and piano. pleasant surprise. It MorningStar (MSM 20-646), comprises two parts: $16.00. Hymns of Celebration (8 minutes) and !ree #is is an excellent arrange- Christmas Carols (7 minutes), each containing ment for a string quartet and arrangements of three familiar hymns. Each piano. It is based on the hymn part can be played as a suite or as three individu- tune EX/Y/Z/?/T\Y-]-X\- al selections. In Walker’s own words, “the organ ^/_ and includes an optional writing is mostly in hymn-style (chordal); the ScriScripture narration io from 1 Corinthians 11:23– tuba o&ers commentary, occasionally doubles 25. #e piano part is of medium di@culty and the bass line and presents newly composed inter- does more than just accompany the strings. #e ludes.” Hymns of Celebration includes “A Mighty tune is quoted very discreetly throughout the Fortress,” “Fairest Lord Jesus,” and “Christ Is composition. #e instrumental parts are in- Risen.” #e (Advent and) Christmas section in- cluded in the score and are reproducible. #is cludes a charming counter-melody to “O Come, well-written composition will serve well as mu- O Come, Emmanuel .” A rhythmic dialog high- sic during the distribution of the sacrament as lights “Angels We Have Heard on High,” and well as in any concert setting. MS “Good Christian Friends, Rejoice!” allows the tuba to proclaim the melody in a playful, joyous fashion. #e tuba player should be agile and can Carlyle Sharpe. be expected to rejoice in this unique moment of FlFlourishes. being in the limelight. JG Brass quintet and organ, wiwith optional timpani. E. C. Schirmer (8352), $35.00. HANDBELLS Carlyle Sharpe, professor of BellBe Tree composition and theory at Christmas. Drury University, Spring%eld, ArArr. Linda Lamb. MO, gives us a noisy three Bell trees with piano minutes of festivity in this ex- accompaniment. citing piece. #e organ part is AgAgape (2774), $17.95. not easy, alternating between toccata-like %g- uration and big, rhythmic chords. Nor are the #is collection of brass parts easy, with their ever-changing keys %ve bell tree solos and meters. It might help to have a conductor withwi piano accompa- lead the performers through the busy score. #e niment covers Advent composer is meticulous in his notation of artic- through Epiphany. ulation, leaving no doubt about how he wants it Each selection el ti includesi lude a familiar melody fol- performed. It is an expression of pure joy. What lowed by a variation. #e hymns included are a great way to start a big, festival service! KO “God Rest Ye Merry, Gentlemen”; “On Christ- mas Night All Christians Sing”; “O Come, O Come, Emmanuel”; “We #ree Kings”; and “Sing We Now of Christmas.” ML 54 Summer 2016 CrossAccent www.alcm.org SOUND FEST L Crown Him Now #ank We LoLord of All! All Our God. ArArr. Derek K. Hakes. Arr. Lloyd Larson. 3–5 octaves 3–5 octaves handbells handbells. and piano. AgAgape (2777), $4.95. Agape (2776), $4.95. #is straightforward #e meter changes in this setting combines two arrangement will not be fafamiliarmi li hhymn tunes, C\ C\?\Y}^=\Y and D=}- a challenge for beginning ~/. #ere are no bell changes, but the marts ringers because of the famil- and the mart-lifts are well-placed techniques. iarity of Johann Cruger’s hymn tune. ##e pipiano #is is quite an accessible handbell arrangement (2776D; $8.95) adds some depth to the arrange- for most church choirs. Level 2. ML ment and helps with the transitions between the key changes. #is would be lovely in worship or concert settings. Level 2. ML AmAmy Grant and Chris Eaton. BrBreath of Heaven. On Christmas Day ArArr. Sandra Eithun. in the Morning. 3–7 octaves Arr. Tammie Waldrop. handbells, with 3 or 5 octaves handbells, optional 3–7 octaves with optional 2 octaves handchimes. handchimes. AgAgape (2764), $5.50. Agape (2770), $5.25. #is contemporary #is 17th-century English car- Christmas classic will ol includes pealing bell lines, appeal to younger worshippers and is quite love- dancing rhythms, and a de- ly from a melodic standpoint as well. It is a very cidedly Celtic style. #e arranger has included legato piece of music, with well-placed wind many techniques that keep this tune quite in- chimes and with meter and tempo changes. To teresting: mallets, marts, mallet clicks, tower have seven octaves of handbells would be a treat swings, thumb damps, and shakes, not to men- for many churches, but this piece would also tion meter changes from 6/8 to 4/4 and a lyrical, sound just as musical with only three octaves. mysterious middle section. #e hand chimes are Level 3. ML optional and only 9 measures long, but they pro- vide a lovely timbre in contrast to the bells in this section. #is piece would be perfect in the Franz Gruber. prelude or postlude positions in any Christmas Silent Night. worship service. Level 3+. ML ArArr. Sondra K. Tucker. 3–6 octaves hand- bells, with optional 3 octaves handchimes. AgAgape (2771), $4.95. Smooth jazz and an intentional “homage to Brubeck” combine to make this a most relax- ing and calming setting of the cherished hymn. It is an advanced arrangement, with many acci- dentals and meter changes. #e handchimes are not optional. Level 4-. ML Summer 2016 CrossAccent 55 SOUND FEST L Praise & Worship Classics. Arr. Peggy Bettcher. VOCAL | 3–5 octaves handbells. ADULT Agape (2768), $59.95. CHOIR Seven well-known praise songs are included in this reproducible collection: “10,000 Reasons,” “Blessed Be Your Name,” “How Great Is Our Amazing Grace. God” with “How Great #ou Art,” “Mighty Arr. #omas to Save,” “Revelation Song” with “Holy, Holy, Keesecker. Holy,” “Everlasting God,” and “Our God.” #ere SATB and piano. are varied techniques and key changes that will Augsburg Fortress (978-1-5064-1379-2), $1.95. keep both ringers and congregations engaged. Level 3. ML Keesecker has taken this well-known hymn text and set it to a brand-new tune. #e choral parts are not di@cult but require sensitive tuning. #e RingRi & Sing Hymns. piano part gently but forcefully accompanies Arr.Ar Martha Lynn #ompson. the vocal lines with arpeggios punctuated with 2 and 3 octaves handbells. chords, which the accompanist will enjoy play- AgapeAg (2762), $49.95. ing. Refreshing minor keys highlight the text. Choirs of all sizes will enjoy this setting; possi- #is is a collection of repro- ble uses could include Reformation, All Saints, ducible full-chord settings of memorial services, or any occasion when God’s familiar hymns to be rung and grace is emphasized. JG sung. #e arrangements can be used with or without piano or organ accompaniment. All Augsburg Easy 19 hymns are well known and Choirbook , vol. 3. cover theth entire ti church hu year. Lyric sheets are also Unison or two-part, included to facilitate group singing. Level 1–2. various ML accompaniments. Augsburg Fortress (978-1-5064-1404-1), Toccata on KING ’S W ESTON . $9.95. ArArr. Matthew Compton. 3–6 octaves handbells, Augsburg here con- wiwith optional 2 octaves tinues its aim of handchimes. providing accessi- AgAgape (2767), $5.25. ble anthems for choirs with limited resources as well as for children’s or adult treble choirs. #is #e nonstop action and inten- volume provides 11 anthems, including three sity of this arrangement assure with instruments and one with optional con- that ringers and congregations gregational participation. #ere are anthems alike will be entranced. Mal- suitable for various Sundays of the church year, lets are used in the bass bells only. #ere are 16 including for Advent (“Come, O Long Expect- measures in the middle where the melody on the ed Jesus,” David Lasky), Christmas (“Gifts for handchimes is the K=Y’ W/^\Y tune in ret- Immanuel/#e Friendly Beasts,” arr. David M. rograde. #is piece is only 112 measures long Kellermeyer), and Lent (“A Right Spirit,” Ste- and will leave you wanting more. Level 3+. ML phen Casurella), as well as psalm settings (e.g., “Psalm 150,” Nathan Jensen) and anthems for general use (e.g., “Taste and See the Goodness of the Lord,” #omas Keesecker). Many pieces in the volume are written for treble voices but are easily adaptable for mixed choirs. 56 Summer 2016 CrossAccent www.alcm.org SOUND FEST L Stephen Casurella’s “A Right Spirit,” for ex- John Carter. ample, is a beautiful setting of Psalm 51:1, 8, 11 In Praise of the Trinity. for unison treble voices and organ plus option- SAB, piano, and Kute. al descant on the familiar text “Create in me a MorningStar clean heart.” While written for a children’s choir, (MSM-50-9430), $1.95. it would also be successful in adult treble voices. #e lyrical “Lord, Fill My Heart with #ankful- #is vigorous anthem sets a ness,” by Stephen Kramer, arranged by Walter text by Mary Kay Beall in three Krueger, is for unison voices and piano or gui- stanzas, one on each of the tar. It can be performed a number of ways, with three persons of the Trinity. In parts provided for two optional instruments in G minor, the piece modulates both C and B-Kat. It would be a good choice for to A minor on the third stan- a service of thanksgiving or for general use. A za. #e SAB voicing makes two-part anthem for mixed voices, “Walking on this arrangement accessible for Our Way with God” by Jayne Southwick Cool, choirs with limited tenor and bass voices, while sets a text based on Micah 6:8, “What does the the Kute adds textural interest. Good for general Lord require?” A driving, sometimes syncopat- use or Trinity Sunday. #e Kute part is available ed, rhythm and minor key serve the text well, for download free of charge. Medium easy. AE with the piano supporting the singers and add- ing to the piece’s forward motion. #is volume includes a helpful suggested-use John Carter. index. Instrumental parts are included. Easy. AE Jesus Comes, the Mystery Proclaiming. SAB and piano. AutumnAu Carol. Augsburg Fortress ArrangedAr by Russell (978-1-5064-1392-1), $1.80. Schulz-Widmar. SATB or SAB, Carter sets a text by Mary Kay withwi 6 handbells. Beall to a dance-like 6/8 mel- AgapeAg (SATB: C ody. #e arrangement reKects 6050; SAB: RS the meaning of the text, bring- 7731), $2.10 each. ing out the joyful yet peaceful coming of Christ. #is is an excellent setting for #is anthem is meant a small choir, remaining in unison or three parts to be sung a cappella, throughout. Carter uses modulation to bring a withwi 6 handbells ac- climax to the arrangement. Simple yet well writ- companying in various ostinato forms. #is ten, this anthem will be a good addition to any arrangement of the traditional, historic hymn choral library. MS “Sing to the Lord of Harvest” was originally SAB and has now become available in SATB. #e handbell part is simple enough for young David M. Cherwien. ringers to accompany the chancel choir. ML God, Whose Giving Knows No Ending. SATB, organ, with optional brass quartet and congregation. MorningStar (MSM-60-6350), $1.95. Cherwien gives us a hymn concertato on Robert L. Ed- wards’ text, set to C. Hubert Parry’s stirring hymn tune R^=Y^\Y, that should %nd a place in many choir inventories for Summer 2016 CrossAccent 57 SOUND FEST L use on festive occasions. Organ and brass quar- Paul M. French. tet open the piece in rousing fashion. Stanza 1 A Prayer of is for unison voices and optional congregation, St. Patrick. moving to stanza 2, for SATB choir, which brief- SATB and organ. ly modulates from F to A. Cherwien’s sensitive MorningStar (MSM part writing and careful use of dynamics in this 50-8012), $1.95. choral stanza further enhance the text. Stanza 3 is set for unison choir and congregation with #is anthem, origi- soprano and tenor descant, organ, and brass. A nally written in 2004, brief instrumental codetta rounds out the piece. is based on the Lorica Full score (60-6350A) and optional brass parts of St. Patrick (also known as St. Patrick’s Breast- (60-6350B) are available separately. Medium plate). It is challenging for both the full choir easy. AE and the organist. #e choral arrangement does a good job of bringing out the meaning of the text and includes some syncopation and triplets. #e Mark Edwards. organ accompaniment quotes the hymn tune Joyful,Jo Joyful, S_}Y/ throughout the piece. #is would be an We Adore #ee. excellent piece for a concert setting with a mass SATB and piano or choir. MS optional chamber orchestra. MorningStar (MSM-50-8141), $1.70. Franz Gruber. Stille Nacht. #ere are many arrangements Arr. Joseph Gregorio. of the beloved H]Y ^\ J\] SATB divisi . available, but this one has E. C. Schirmer the added possibility of be- (8267), $1.95. ing used simply as written (piano only), or with the added chamber orchestra accompaniment Another setting of (score MSM-50-8141A, $20.00; parts MSM- “Silent Night”? #e 50-8141B, $55.00), and even the potential for value of this one is in including a youth or high school choir where its lush 8-part texture the vocal lines are in unison. A choral festival and warm but most- could be enhanced by allowing younger singers ly traditional harmonization. Opening with the join with adults. Stanza 4 could accommodate unadorned soprano melody in the key of D-Kat, the congregation singing along, either in unison the %rst stanza thickens to 4-part women by the or alternating phrases between men and women. %nal phrase and then ends on the unison ton- Directors are allowed freedom to interpret the ic. Stanza 2 is handed o& to the men’s choir—a performance options to best suit the situation. gorgeous setting—concluding with a low D-Kat JG in the bass. Stanza 3 is text that is unfamiliar to most of us; it speaks of the grace that was brought down from the “golden height” of heav- en. Gregorio has provided both German and English texts for singing, using traditional En- glish words plus his own translation of stanza 3. He suggests that this stanza be sung by soloists or a semi-chorus positioned away from the main choir. #is will call attention to the unexpected text and also provide a contrast to the last stanza, which opens the sonority to six and then eight parts. You will need a fairly good-sized choir to make this work optimally, but it will bring a spe- cial quality of beauty and majesty to this beloved carol. DR 58 Summer 2016 CrossAccent www.alcm.org SOUND FEST L Zebulon M. David D. Livingston. Highben. I Sing the Birth: A Hymn on #e Spirit the Nativity of My Savior. of the Lord. SATB and harp or piano, SATB a cappella. with optional viola. AuAugsburg Fortress Augsburg Fortress (978-1-5064-1398-3), (978-1-5064-1391-4), $1.95. $1.50. Largely in D major, this lyri- Highben’s short cal anthem is set to a profound anthem will be a beautiful addition to the reper- and hopeful Christmas text. toire of an SATB choir comfortable with singing #e anthem starts with sopra- unaccompanied. After an opening chantlike nos and altos in unison, then splits to two parts. bass solo, the tenors and basses begin the cho- After the %rst iteration, the full choir comes in ral section. Good voice leading, lush harmonies, and stays SATB for the remainder of the piece. mostly homophonic part writing, and sensitive #e texture is homophonic throughout and text setting help make this piece successful. Near some of the parts are slightly unpredictable. An the end is a freer, chantlike section for full choir optional viola part is included in the score. #e that is reminiscent of the opening solo. Written lilting accompaniment is mostly arpeggiated, al- for the composer’s daughter’s baptism, this piece though there are a number of a cappella sections. is appropriate for baptism, ordination, and Ad- It is suitable for large or small choirs that can vent, or as a general benediction. Medium. AE sing solid four-part harmony. AW His Voice as the Lord of Our Life. Sound of the Arr. David L. Almond. DulcimerDu Sweet. SATB and organ. Arr.Ar David W. Music. Augsburg Fortress SATB and piano. (978-1-5064-1393-8), $1.95. AugsburgAu Fortress (978-1-5064-1389-1), “Lord of Our Life” is a stir- $1.80. ring hymn concertato on the 17th-century text translated #is arrangement by Philip Pucey set to the tune comes out of the I^/ C\Y/\?. After a fan- Southern Harmony fare-like organ introduction, tradition, with a wistful tune in G minor from the %rst stanza begins with the a supplement to Kentucky Harmony (1825) and a basses and tenors in unison, answered by the so- text by English hymn-writer Joseph Swain. #e pranos and altos, accompanied by motives in poetry draws from biblical images in the Song the organ taken from the introduction. #e sec- of Songs and the Psalms, all pointing to Christ ond stanza is set for SATB with organ ad lib and but not explicitly so (although the arranger in- leads to the third stanza, a two-part texture in cludes the option to open with the alternate text the voices, with altos and basses on the melody. “Christ’s voice”). #ere is a tone of longing and Music from the organ’s introduction punctuates comfort as expressed through the senses of hear- the stanza, moving to the quietness of the %nal ing, smell, and sight. #e melody is always clearly stanza, “Peace in our hearts.” Soprano and ten- presented and the stanzas roll along in gentle or divisi . Medium-easy. For Lent, Holy Week, or motion, almost a reverie. Most SATB choirs will Reformation. AE be able to learn the music quickly and can thus concentrate on expressing the text. #ere is no speci%c liturgical season for this piece, but it can be used as a quiet reKection on our desire to be closer to our Lord. DR Summer 2016 CrossAccent 59 SOUND FEST L JosephJo M. Martin. On #is Day Earth Come to the Light Shall Ring. (A Celtic Advent Song). Arr. Bryan L. Greer. SATB and piano. SATB and organ, Hope (C 6049), $2.10. with optional piano and handbells. Some churches observe a Augsburg Fortress weweekly Advent wreath-light- (978-1-5064-1395-2), ing ceremony and include a $2.40. brief song that gives names for the candles being lit. #is “Personent Hodie” is an early carol from Piae anthem covers three candles: Cantiones of 1582. “On #is Day Earth Shall Hope, Peace, and Love. Martin has arranged his Ring,” the versi%ed translation by Jane M. Jo- own text for SATB choir, but if only children seph (1894–1929), includes the nonsensical or youth are singing, it could be feasible to have “Ideo-o-o” refrain. Bryan Greer’s arrangement them sing just the soprano part in unison. A per- does a %ne job of preserving a period Kavor. #e formance/accompaniment CD is also available choir parts are not di@cult and would be fun (C 6049C, $29.95). JG to sing. #e organ part is also delightful, sug- gesting a well-articulated dance played on chi&y Kues or buzzy reeds, anything to evoke the spirit Daniel Nelson (music) and of the Renaissance or Middle Ages. #e option- Shirley Erena Murray (text). al handbell part is %ne. #e optional piano part ForFo the Music of Creation. is also interesting, but it may detract from the SATB and piano. antique feel. #e modal harmonies and rough- AugsburgAu Fortress hewn dance rhythms are a perfect foil to all the (978-1-5064-1386-0), $1.50. sweet 6/8 lullabies heard at Christmas. Highly recommended. KO #is anthem is perfect for such occasions as “Music Sunday” or perhaps a choral concert, Anne Krentz Organ. blessing of choirs, or joint Christ Is Made the choir festival. Unison and Sure Foundation. four-part harmony in the bright key of E ma- SATB, Kute, oboe, jor will delight both choristers and listeners. It and piano or or- might be possible to include a liturgical dance gan, with optional troupe in the interpretation of this lovely text. JG children’s or unison treble choir and congregation. MorningStar (MSM- 50-6076). $1.95. In this concertato, Krentz Organ gives us a new tune, I}Y/_ , to the hymn “Christ Is Made the Sure Foundation.” Alternating 3/4 and 4/4 measures, the Kowing tune %ts the text well. After an extended organ and instrumental in- troduction, the choir (optional children’s choir) introduces the melody, with the congregation joining on stanza 2. Stanza 3, for SATB choir, is a variation on the tune, which returns with choir, congregation, descant, and instruments on stanza 4. Flute and oboe parts are within the ability of many amateur or high school players. Written for the 150th anniversary of Immanuel 60 Summer 2016 CrossAccent www.alcm.org SOUND FEST L Lutheran Church in Valparaiso, IN, this piece balconies or apses and other unique spaces in will be within the capabilities of most SATB which to place singers and instruments are the church choirs. #e optional children’s choir perfect places to use this piece. Choirs capable and congregational participation add to the an- of singing in four-part harmony while moving them’s festive nature. Instrumental parts and a through the worship space, alternating with reproducible page for congregation are included. the children or soloist, will especially enjoy per- Medium easy. AE forming this. Acoustics would determine if that would even be possible. #e composer’s idea of using it as an extended introduction to the con- WilliamWi Allen Pasch. gregational carol is excellent. Easily learned and MiracleMi in Mystery. very festive. JG SATB or two-part mixed, with optional divisi ; organ or Robert Sieving. string quartet, with Resonet in laudibus . optional oboe. SATB divisi and 2 Kutes AugsburgAu Fortress (or optional keyboard). (978-1-5064-1394-5), E. C. Schirmer (8259), $1.95. $1.80. #is lovely setting features a #is haunting text cappella choir with brief ac- starts out as if it were intended to be sung when cents from the two Kutes. By the story of the Prodigal Son (Forgiving Father) varying the texture from two is read, or when reconciliation is emphasized. In to eight parts, there is an ebb the second stanza, however, it is obvious that it and Kow to the music that helps references the fall of creation and also celebrates preserve the character of a dance ensemble. On the incarnation of Christ into the world. Many the practical side, there is a keyboard reduction churches utilize strings for Advent or Christmas to facilitate learning of the choral music; how- choral services or concerts. #is elegant, new set- ever, you will want to be able to sing the piece ting will be a welcome addition to the repertoire without keyboard. #e Kute parts are printed on of the season, and all will enjoy singing, play- the back cover and can be played on organ or ing, and hearing the lilting music in 3/2 time. keyboard if instrumentalists are not available. String quartet parts are available for download at #e text of this German carol is set in Latin at www.augsburgfortress.org; oboe (or other C in- the beginning but includes an English transla- strument) part is included in the choral score. JG tion of each phrase for the choir. #e second half of the piece switches over to English with a new translation of the original German by the com- JoelJo Raney. poser. #is would be excellent for a lessons and An Antiphonal carols service or to add a festive touch to Christ- Noel.No mas morning. DR SATB, unison choir (or soloist), and 6 handbells (or keyboard). Hope (C 6052), $1.80. First of all, think handbells (chimes), or even Or& type glockenspiels, rather than keyboard. #is accompaniment is an ostinato. Raney envisions this as a processional, an introit, or as the introduction to the assembly sing- ing T/ F=?^ N\/_. Buildings with multiple Summer 2016 CrossAccent 61 SOUND FEST L Zach Westermeyer. Reviewers: Go into the Ark. SATB and piano. John Bernthal (JB ) AuAugsburg Fortress Associate Professor of Music Emeritus (978-1-5064-1388-4), $1.95. Valparaiso University, Valparaiso, IN Go into the Ark is a snappy, Ann Edahl (AE ) stylish setting of the words of Choir Director the Lord telling Noah and his Our Saviour’s Lutheran Church, Fresno, CA household to go into the ark. Edited by Anton Armstrong James Gladstone (JG ) and John Ferguson, this is an- Retired Cantor, Saginaw, MI other %ne piece from the St. Olaf Choral Series. Music Assistant, Ev. Lutheran Church of #e notes are not di@cult, but the 5/8 time sig- St. Lorenz, Frankenmuth, MI nature will take some time to settle in. It will be worth the rehearsal time. #e minor mode and Marilyn Lake (ML ) 5/8 meter give the piece a hip, jazzy feel that is Handbell Director fairly bursting with energy. It might be appropri- Southminster Presbyterian Church, ate for the %rst Sunday in Lent, when the Noah Prairie Village, KS story is read from Genesis (series B), or any other Music Educator, Shawnee Mission School time that the imagery of God saving his people District, KS from the rising waters is remembered. KO Karl A. Osterland (KO ) Music Director Historic Trinity Lutheran Church, Detroit, MI Deborah Reiss (DR ) Summer reading for Minister of Music the church musician… Village Lutheran Church, Bronxville, NY In Their Own Words Mark A. Schultz (MS ) 6ODYH/LIHDQGWKH3RZHURI6SLULWXDOV Minister of Music Eileen Guenther Trinity Lutheran Church and School, This account weaves a succint history of Wausau, WI slavery in America into the role of singing and religion in the lives of the enslaved. 90-52 $28.00 Austen Wilson (AW ) Director of Music Lutheran Church of Our Savior, Church Musicians Haddon%eld, NJ 5HÁHFWLRQVRQ7KHLU&DOO&UDIW+LVWRU\DQG &KDOOHQJHV Paul Westermeyer This book of lectures examines the work and craft of the church musician from a historical perspective through current practices. 90-60 $15.00 Church Music in the United States 1760–1901 David W. Music and Paul Westermeyer Not a comprehensive history, these essays can be read singly or as a whole. 90-49 $24.95 www.morningstarmusic.com 800-647-2117 62 Summer 2016 CrossAccent www.alcm.org *LYHDJLIWWKDWFRQWLQXHVJLYLQJWKURXJKRXWWKH\HDU 0HPEHUVKLSLQWKH$VVRFLDWLRQRI/XWKHUDQ&KXUFK0XVLFLDQV Membership benefits GOALS OF ALCM include subscriptions to the journal CrossAccent , • Preserve, strengthen, and renew our Lutheran liturgical heritage published 3 times per • Define the role of the musician in the life of the church year; In Tempo , a • Provide opportunities for growth for Lutheran musicians and worship leaders practical resource for the • church musician, also Foster partnership and support within the pan-Lutheran musical community published 3 times per • Assist parishes with guidelines for compensation and hiring year ; monthly e- • Serve both full-time and part-time church musicians and facilitate placement newsletters; unlimited use • of Members Area free Advocate for college and seminary courses promoting the practice of worship and liturgical music downloadable resources; opportunities for • Strengthen communication between clergy and musicians stimulating biennial and • Create liaisons between ALCM and the worldwide Lutheran church regional conferences; and • Foster cooperation between ALCM and other associations of denominational networks to connect musicians and liturgical artists members with other church musicians and • Encourage creation and publication of quality material related events in their region. &ŽƌŵŽƌĞŝŶĨŽƌŵĂƚŝŽŶ͕ǀŝƐŝƚƵƐŽŶƚŚĞtĞďĂƚ ǁǁǁ͘ĂůĐŵ͘ŽƌŐ ŽƌĐĂůůƵƐĂƚϴϬϬͲϲϮϰͲϮϱϮϲ͘ Please provide information about the person giving the gift, so that we can notify recipient: Ȃ Giver’s Method Check Credit Card (Visa/MC/AmEx/Discover) Name of payment Address Credit Card # Exp. Date Category (check one): Recipient’s contact information: Voting Member $90.00 Name Second Member in Household $50.00 Clergy/Musician Team $160.00 Address Student (full time) $40.00 Voting Member over Age 65 $45.00 Institutional/Congregation $110.00 Telephone Email address Send completed application to: Name of Church ASSOCIATION OF LUTHERAN or Institution CHURCH MUSICIANS 810 Freeman St. Church Body ECLA LC-MS WELS ELCIC ______Valparaiso, IN 46383 Position / TitleSummer 2016 CrossAccent 63 L POST LUDE Kevin Barger ALCM Secretary/Treasurer ummer is a great time to attend confer- So celebrate in your unique way. Perhaps ences and to go on vacation in order to !nd your celebration will be a close look at Bach’s S some much-needed rest from hard work music and theology. Perhaps you will dive deeply and to prepare for the rest of the year. It is a great into the rich hymnody of Martin Luther. Per- time of planning for many church musicians, as haps you will dust o$ that anthem that features we begin to look forward to a new year of pro- the brass choir. Perhaps your celebration will be gramming. My mailboxes—both snail mail and completely out of the box. Enjoy this time plan- e-mail—are "ooded with so many suggestions ning your special events. Take advantage of the for programming. Many of these messages de- educational resources in this issue as well as oth- liver the hope of the biggest and best celebration er resources you may have collected. Whatever of the Reformation. your choice of celebration, do it well. And always It seems impossible to look back 500 years remember the “why” of your celebration: God is and take in all the changes and reforms. So always reforming us from death into life by the much has happened since the day those 95 theses grace revealed in Jesus Christ. were posted in Wittenberg. Considering what to Also, look forward to our biennial confer- celebrate and how to celebrate it is complicated. ence in the summer of 2017 with its theme along #is issue of CrossAccent provides some insight these very lines of celebrating into the future: to begin your planning. Not everyone’s celebra- “Rise, remember well the future.” It is that fu- tions will be the same. How will you imagine the ture that makes us the church today. Plan now celebrations and commemorations in your com- to attend the conference next year. Remember munity and in your setting? that, as Lutheran church musicians, we support Particularly challenging is the consider- our congregations’ praise-!lled song of the ongo- ation of what to celebrate. We’re not simply ing reformation. celebrating a unique event that took place 500 I pray that this summer has been relaxing years ago. Rather, we are celebrating an ever- and that you have been able to rejuvenate as we reforming church that has grown, developed, return to the busy-ness that September brings. and prospered into what we claim as “being Celebrate that we, the church, are ever-reforming! Lutheran” today. We celebrate an ongoing ref- ormation that must continue as we look forward to ways to grow and nourish our faith. It’s not a one-day celebration. It’s not a historical moment. Our celebration continues to create history ev- ery day, and we, as Lutheran church musicians, are called to take part in this living reformation. 64 Summer 2016 CrossAccent www.alcm.org