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Crossaccent Is Published Three Times Per PRE LUDE Year by the Association of Lutheran Church Musicians 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, <merican edition# reformers of 200 years prior. Rathey traces shifts vol+ =># Liturgy and Hymns, ed+ ?lrich @+ ;eupold in theology between 16th-century Luther and QUhiladelphiaX Zortress# *[\=]# >^> Qpreface to _eorg `haujs Symphoniae iucundae, a collection of 18th-century Bach. chorale motets published in *=>{]+ 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.
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