CONCORDIA THEOLOGICAL MONTHLY

Religious Music Among the Jews WALTER E. BUSZIN

Philipp Nicolai (1556-1608) ARTHUR CARL PIEPKORN

The Church Hymn and Its Way into Music WILLEM MUDDE

Development of Worship Skills GEORGE W. HOYER

Lodge Practice Within the Missouri Synod JOHN W. CONSTABLE

Book Review

1V0l. XXXIX July-August 1968 No.7

J The Church Hymn and Its Way into Music WILLEM MUDDE

hen the thunderstorm of the Refor­ in the city of Lubeck.1 In 1529 a poor W mation appeared on the heaven of blind man in front of the church entrance the life of the church, it looked as if it was singing the hymn "0 Lord, Look Down would destroy the harvest of European from Heaven." Because of this, he was music. With its protest against the Mass forced by the papal-minded authorities to as an opus operatum, the Reformation also leave the city. The following Sunday, the opposed the artificial music that accom­ second Sunday in Advent, a few boys took panied the Mass. As formulated in the up the singing of this hymn in St. Jacobi Motu Proprio of Pius X, the music Church. The entire congregation joined in shrouded the Mass in beautiful garments of singing the hymn to its conclusion, reduc­ sanctity and Roman Catholic universality. ing the officiating pastor to silence. From What substitute did the Reformation offer? that time forward, if any pastor said any­ Surely not something that one could ac­ thing from the pulpit which the evangeli­ tually call "art," but rather sacred folksong. cal-minded people did not like, they sang Tolerated only as an evil in the Roman the same hymn, "0 Lord, Look Down from Catholic Church, the folksong possessed Heaven," causing both the church and the a very simple musical form which could city to acquire a Protestant government. be sung by anyone. Eduard Emil Koch, author of a history of Nevertheless, there was an entirely dif­ the church hymn and hymn singing, says: ferent reason why the Jesuits at the time "It thus happened that this one simple song of the Counter-Reformation burned more effected more than human power and sense evangelical hymnbooks than Bibles. Even could have done." 2 though these hymnals, at least in their ele­ Martin Luther made the beginning. The mentary form, possessed little artistic value, song with which the city of Lubeck was the song which accompanied the Reforma­ won was his adaptation of Psalm 12. He tion to its victory showed many other quali­ did not write it to create a revolution. He ties. Wherever it was heard, it drew the was merely following the example of the hearts of men like a magnet, and it prophets and church fathers, creating strengthened the confessional courage of psalms and hymns in the mother tongue the Reformation-minded people. It created so that the Word of God would always re­ a breach in the once-strong bulwark of the main with the people. He did not consider Roman Church. It overpowered dynasties 1 This incident is recorded in Eduard Emil and changed the faith of entire cities. Take, Koch, Geschichte des Kirchenlieds und Kirchen­ for example, the story of what took place gesangs del' Christlichen, insbesondere del' deut­ schen evangelischen Kirche, ed. Richard Laux­ The author is in the Department of Church mann, 3d ed. (Stuttgart: Chr. Be1sen, 1876),8, 523. Music at the Utrecht Conservatory of Mu­ 2 Ibid. Translated by the author from the sic, Utrecht, Holland. original: "So geschah es, dasz dieses einzige, ein- 462 THE CHURCH HYMN AND ITS WAY INTO MUSIC 463 himself a poet and was therefore in search Beza.6 This work also contained some of poets. These he encouraged to write hymns and the creed. In Holland, Willem hymns based on the Psalms. van Zuylen van Nyeveldt wrote his own At first the poets did not react quickly. psalter on popular melodies; Gerhardus For a time Luther had to work alone. In Mes and Philip van Marnix van St. Alde­ addition to writing hymns based on the gonde composed a psalter, and Johannes Psalms, he also wrote catechismal songs, Uitenhoue and Peter Datheen made sepa­ adaptations of old hymns, etc. However, rate translations of the French psalter for Paul Speratus, Elisabeth Creuziger, and Jus­ use in Holland.7 tus Jonas soon became his helpers. The The pens of the poets and composers Achtliederbuch and the Erfurt Enchiridion were busy, printing presses sprang into ac­ appeared with the first 25 evangelical con­ tion, and the churches were filled with gregational hymns. In 1524 the first offi­ songs and congregational singing. After cial hymnal was printed aI Wittenberg with many centuries the same hymns created by 32 hymns for use by schools and their the Reformation are still resounding in choirs. Since then the stream has swollen. churches and homes, in schools and on The flood grew under the influence of such radio; they are still being sung as the con­ men as Nicolaus Decius, Nicolaus Herman, fession of faith and corporate prayer of the Philipp Nicolai, Bartholomaus Ringwaldt, congregation. After the Bible, which is Johann Heermann, Paul Gerhardt, Johann more important, the catechism or the Rist, Joachim Neander, and Nikolaus Lud­ hymnbook? The hymnal contains the com­ wig Graf von Zinzendorf.3 In Bohemia mon faith shared by the New Testament, Peter Herbert and George Vetter followed Bernhard of Clairvaux, Luther, and our the example of Michael Weise.4 The first time. A theologian of the last century testi­ Swiss hymn book, which originally appeared fied that if one would want to know what in 1536, was compiled by Johannes Zwick faith is, he would have to take the cate­ and Sixt Dietrich.5 In France, where John chism in hand, but if he would want to Calvin was the leading reformer, Clement know what is still alive in its contents, he Marot began work on a complete psalter would have to consult the hymnbook. It which was later finished by Theodore de is really difficult to grasp how deeply the church hymn reaches into the life of the fache Lied mehr ausrichtete, als viel menschliche Christian. Who knows whether more Kraft und Klugheit hatten ausrichten konnen." Christians die with a hymn verse or a Scrip­ 3 See further Philip Schaff, "German Hym­ ture text on their lips? nody," A Dictionary of Hymnology, ed. John Julian (New York: Dover Publications, Inc., Bur now, what about the relationship 1957), I, 412-18. between these hymns and the musical art? 4 See further J. T. Mueller, "Bohemian Did the Reformation, with its hymns and Brethren's Hymnody," A Dictionary of Hym­ nology, I, 153-60. 6 See further Schaff, I, 415, and H. Leigh 5 This is the Konstanzer Gesangbuch; see Bennett, "Psalters, French," A Dictionary of further Markus Jenny, Geschichte des Deutsch­ Hymnology, II, 932-36. schweizerischen Evangelischen Gesangbuches im 7 See further J. Alexander Hewitt, "Dutch 16. lahrhundert (Basel: Barenreiter-Verlag, Hymnology," A Dictionary of Hymnology, II, 1962), pp.77-139, especially pp.99-112. 1526-30. 464 THE CHURCH HYMN AND ITS WAY INTO MUSIC other songs, estrange from itself the musi­ ciation with other forms lest it lose its cal art? Whatever the differences between character. In contrast, the church hymn of Luther, Zwingli, and Calvin in their stand­ the Reformation was the musical expres­ point over against the arts and the use of sion of the musica vulgaris because it music in the liturgy, all three of the Re­ sprouted in the souls of the people. formers were true friends of music. The church hymn took its first steps in Zwingli probably was the most talented of the fields of house and school music. It the three from a musical point of view, was the kirchliche Gebrauchsmusik (music although he closed his church to all music, for church use) that developed when com­ even to congregational singing. posers like Johann Walther, Thomas Stol­ The musical art also took other paths zer, and Balthasar Resinarius started to put than those within the church. At the time the songs of the Reformation in the form the Reformation dosed its church doors to of choral arrangements and motets. To it, as in Reformed Protestantism, or when these were added the polyphonic Psalm music had to present other credentials, as settings of Louis Bourgeois and Claude in Lutheranism, it was free to separate it­ Goudimel in the Geneva Psalter. These self from the heritage of the church. It arrangements really did not have any litur­ could choose to identify itself with Rome, gical purpose, but they as well as the Psalm which, under the influence of the Reforma­ Motets of Claudin, Lejeune Paschal de tion, was also at odds with music. But the l'Estocart, and Johann Peter (Jan Pieters) Reformation was above all a tremendous Sweeling, supplied inspirational power in spiritual event that touched the individual, the same splendid manner as did the Refor­ offering him new freedom and giving him mation hymns. new responsibilities at the same time. In addition, the sacred folksong that it pro­ The song of the Reformation penetrated duced was truly a simple yet not a non­ yet more deeply into the musical art be­ musical phenomenon. 'Following the thun­ cause it won greater forms for itself. Here derstorm of the Reformation, there were one thinks of Michael Praetorius' Musae many chances that a new growth would Sioniae, of the few but impressive cantus prosper in the fields of the art of music. firmus compositions of Heinrich Schuetz, Emil Frommel remarks that wonders create of the organ chorales of Samuel Scheidt and songs and songs create wonders. What Johann Pachelbel. One is reminded of a wealth of polyphonic music and various Dietrich Buxtehude and Johann Sebastian musical forms arose on the basis of the Bach, whose St. Matthew Passion never Protestant chorale. Basically, it was the would have become the Passion music if it nature of the church hymn of the Reforma­ had not consisted of 18 chorale stanzas, if tion that it would attract the musical art the impressive first chorus had not been more so than the Gregorian chant would. bound to the cold wire of the chorale, The Gregorian chant was the expression of "Lamb of God, Most Holy," and if the the medieval musica ecclesiastica attitude, touching plaintive song completing the an existential creation, with an almost first part of the Passion had not echoed otherworldly appearance. It shunned asso- the beautiful melody of the chorale of THE CHURCH HYMN AND ITS WAY INTO MUSIC 465

Matthias Greitter, 0 Mensch, bewein' dein Es ist genug, Herr, wenn es dir gefiillt Sunde gross. from Bach's 0 Ewigkeit, du Donnerwort, The Lutheran hymn finally penetrated which was chosen by Alban Berg as a so extensively and decisively into the musi­ theme in the last movement of his violin cal art that there need be little hesitation concerto, although this work cannot really about speaking of Lutheran church music. be added to the musical repertoire of Lu­ Surely, though, there are many complaints theran church music. These examples against it. The great strength of the music should be sufficient. The church hymn of of the Lutheran Church was that it did not the Reformation clearly had an inspiring isolate itself from its surroundings as the influence on the art of music. music of the Roman Catholic Church often The church musician, who has as much did. A part of its nature was its adaptation love for the church as for church music, to musical developments of its time and who is a church musician in heart and soul surroundings. and looks into the world through the win­ The polyphonic music of the Lutheran dow of the church, will want to make Church received a special character through a further remark. This remark is not a clos­ inclusion of the Lutheran chorale. Truly, ing comment but the beginning of a song it is not a work of magnitude in itself, nor of praise, his special song of praise to God. is it musica saC1"ct. Although we cannot iso­ Because he is also a musician and knows late it from all other music, we can classify the history of music, he does not object to it as a special type of music. It has its roots the statement of his esthetically minded col­ in the hymn of the church. One might even league who emphasizes that not all church go as far as did Johannes Mehl, who in­ songs inspired the musical art. On the sisted that the angels of Luke 2 sang in a contrary, he wants his pastors and congre­ Lutheran manner. But this is not all. The gations to know that only a small group of hymn of the Reformation, which once church hymns had the power to impress seemed to be so poor, penetrated beyond great composers. A small group, with spe­ the boundaries of the chorale. It can be cial musical substance, was selected by the found where one might not look for it. musical art because of its striking melodic So Luther's "a Lord, Look Down from structure. The secret of this fact is that the Heaven," which once reformed the city power of these hymns is not their obvious of Li.ibeck, appears in the opera of Wolf­ beauty but their concealed musical struc­ gang Mozart, The Magic Flute. The chorale ture. From the composers' handling of of Philipp Nicolai, "How Bright Appears these elite melodies we know that they the Morning Star," resounds as a musical used the technique of analysis (their daily background in the piano accompaniment work) and that they thus arrived at the of "Three Kings" by Peter Cornelius. The hymns' deepest significance, the seeds from melody of "A Mighty Fortress Is Our God" which have sprung their musical master­ is used by Max Reger in his lOOth Psalm pieces. as a crowning counterpoint played by the If we study the works of Johann Wal­ brass players in the double fugue of the ther and Michael Praetorius, of Johann final part. A modern example is the chorale Sebastian Bach and Max Reger, and of the 466 THE CHURCH HYMN AND ITS WAY INTO MUSIC outstanding composers of our day, we see church, thinking that they do not need the that they were not always the most beloved church. by the congregation. But the hymns of the The final observation the church musi­ master composers were musically best con­ cian must make is that Lutheran Christians, structed. For instance, the old hymn, Nun who are supposed to support the "singing komm' der Heiden Heiland ("Savior of the church" after possessing this rich heritage, Nations, Come") reveals in all its simplic­ are now so musically poor that they hardly ity a remarkable musical construction. realize what great missionary resources are The first and last phrases are completely available in their church hymns, particu­ equal, and the second and third are exact larly in that select group from the Refor­ melodic reflections. Other melodies which mation period. In the last century Max offer great musical discoveries are Aus tie­ Reger, himself a Catholic, proclaimed that fer Not schrei' ich zu dir ("Out of the "you Protestants do not know what you Depths I Cry to Thee"), AUein Gatt in possess in your chorales." Today in Mos­ der Hoh' sei Ehr ("All Glory Be to God on cow believers and unbelievers still come in High"), and ]esu, meine Freude ("Jesus, contact with the happy message of the Priceless Treasure"). An analysis of the church through Bach's St. Matthew Passion and its many chorales. Everywhere in the two well-known hymns of Philipp Nicolai, world where people substitute their wor­ Wachet auf, ruft uns die Stimme ("Wake, ship of the arts for religion, they are never­ Awake, for Night Is Flying") and Wie theless still found by the church through schon leuchtet der Morgenstern ("How the musical art in which the song of the Lovely Shines the Morning Star") reveals church lives on and continues its work. why they are called the king and queen of the church hymns and were often used by Truly, the church musician who com­ bines church and music in its heart and the greatest composers in their greatest soul could sing a song of praise at the works. They are hymns of majestic beauty union of select church hymns and select and superb musical structure. Church church music. As the result of this union hymns with special substance possessed the he sees many other possibilities to serve the power t0' inspire the great composers; they church with this music. His song of praise were enabled to take the gradus ad Parnas­ modulates to a song of lamentation when sum, the big step, to the top of the moun­ he sees how little the church makes use tain of the musical art. of these means. The rediscovery of our But the church musician must interrupt time, of this post-modern and post-Chris­ in order to finish this reasoning. He agrees tian era in which the spoken word has de­ but also points out that in the hymns of the clined so strongly, is that the song of the church is found the congregational procla­ church, together with all its good qualities, mation of the creed and of the Word of also has a missionary power. He who deals God. By the use of great and famous melo­ with the church hymn and knows of its dies the church lifts up its message ad Par­ radiating power in and through the art of nassttm, from which it can be heard by music knows that it can today fulfill a spe­ people who have turned their backs on the cial church function. As a witness of the THE CHURCH HYMN AND ITS WAY INTO MUSIC 467 church, the hymn can fulfill a mission to The only thing the church musician still the outposts of the church, and through the has to say at this time before he can begin musical art, which the hymn won for itself, the work he should like to do for the it is already standing as a servant of the church is that the church should listen to church in the midst of the world. him and realize that the church hymn, with Paul Gabriel, a fine hymnologist, gave its musical power, has at the same time due recognition to the church hymn religious power. If we sing the hymn and when he said that many melodies water listen to it, if we fathom it and use it with the words, so that the Word of God all its artistic possibilities, we will discover looks refreshed, is prevented from wilt­ that the select hymn of the church has ing, and can grow and bear fruit in a special radius. We will see that it can man's heart. Gabriel "hit the nail on the bring the message of the church to those head" when he mentioned that the church who could not otherwise be reached, that hymn is the lengthened arm of the Bible, it seeks the lost sons, that it helps an arm that reaches so far that one cannot strengthen the faith, that it preaches and hide from it. It is always where one least encourages, and that it does nothing else expects it, where one takes for granted that than what its duty is, namely, to minister he has no need for it; it is like a mother to the world. And if it does this artistically, who always provides for the needs of her it does it thoroughly, even though this may child. be hard to believe.

UTRECHT, HOLLAND