a practical resource for Lutheran church musicians
ALCM No.1, 2015 In Tempo, or Not?
In this first issue of by Nancy Raabe Music is a glorious gift of in tempo : he notes are under our God that unfolds in t fingers. The rhythms are time... a narrative formed mastered. But what should by the composer and In Tempo, or Not? p. 1 our tempo be? viewed through our Tempo is arguably the most over - interpretive lens. Dear St. Cecilia p. 3 looked aspect of music, probably because it is the least well under - Music for the Masses stood. Pitch results from sound We would never dream of waves generated by the vibration purposely playing wrong notes Through the church of a certain length of string or or rhythms, but the choice of the song goes on: column of air. Rhythm consists tempo is left completely to the of patterns of sound by which performer. On the surface we p. 4 Lord, Have Mercy pitches are organized. But what don’t have much to go by. Tempo is tempo? indications allow for wide vari - ances, and metronome marks The Care and Basic resources tell us that tempo Feeding of the (Beethoven’s for example) may is “the rate at which a piece is not always represent the compos - Church Musician p. 6 played” or “the speed or pace of a er’s intentions. (And never given piece.” We know that that choose a tempo simply because tempos can vary according to “that’s the way it’s always played.”) Suceeding with external factors such as the instru - Small Choirs p. 8 How, then, can we discern what ment used and the size and the best tempo for a piece acoustics of the hall. One needs should be? in review: to factor in occasion as well as ability. A good rule of thumb is to Definition and Lent and Easter set your tempo no faster than the discernment p. 9 speed at which you can play the Choral Music Music is a glorious gift of God most difficult measure. Bach, that unfolds in time. How the per - Orgelbüchlein p. 10 n o i l e d e t n e d / k c o t S i © Tempo is far more than the rate at which the Welcome to In Tempo! former controls that element of notes occur. It is what time determines whether listeners To complement our fine journal become engaged. Do we find our - takes place between the CrossAccent, we are delighted to selves swept up in the compelling notes. Tempo is where be able to bring you this new semi - musical narrative? Are we vaguely the music happens. annual publication focusing on aware that substance is being sac - ideas and resources for the practice rificed on the altar of technique? of church music. Each year the win - Or do we find ourselves bored, the actor might call it pacing— ter issue will concentrate on Lent standing idly by while we wait for that a work’s most profound and Easter, and the summer issue it all to end? truths may be absorbed and will look toward fall festivals, understood. Advent, Christmas, and Epiphany. Conductor David Epstein once observed that conducting is far The desire for such a resource was more than a matter of following Strategies for hymn- expressed by many of you in a pub - the score’s directions. Instead, he playing lications survey ALCM carried out a said, “it’s almost like having We can’t apply nuances of tempo few years ago and reinforced in the molten clay in your hands, and to hymns, for we have our congre - survey conducted last fall. So really you’ve got to sustain the piece, gation to consider. But we can it is your idea—but we also want to shape its phrases, and carry on choose our tempos intelligently in hear your voices! All ALCM mem - the underlying motion that is a way that allows each hymn to bers are invited to contribute, unique to every piece.” live and breathe. whether through a short essay on a Tempo is key to this sustaining Ponder the inner nature of the practical topics of interest to other and shaping. Far more important tune apart from the text. What is church musicians, a reflection on a than being the rate at which its true character? Perhaps you recent recording of sacred music or notes occur, tempo is what takes hear it as a yearning ballad such that for use in worship, or thoughts place between the notes. This as SLANE or a rustic dance like on the self-care and spiritual well- where the music happens. KINGSFOLD . Or perhaps you imag - being of the parish musician. Control of music’s element of ine it as procession of heraldic Please send ideas to me at time governs how one note leads trumpets and fluttering banners, [email protected]. Comments or to the next, how one phrase such as SALZBURG , or as an out - letters regarding this issue or the opens onto the next, and so on burst of childlike joy on the order resource as a whole can be direct - across the span of a work. It of BACHOFEN (“God’s Own Child, ed to that address as well. affects our perception of whether I Gladly Say It,” LSB 594). the music has anything say, how Next, factor in the text. The tune In our inaugural issue we warmly well it is said, and whether we are GETHSEMANE , inconsequential on welcome Kevin Hildebrand and his stirred deeply (each in our own its own, assumes the character of recurring column on seasonal way) by participating in the a compelling dirge in “Go To resources and worship planning, process of disclosure. Dark Gethsemane” (ELW 347, “Through the Church the Song LSB 436, CW 104) and “Chief of Goes On.” Other contributors How, then, do we decide what the best general tempo for a given Sinners Though I Be” (ELW 609, include three former ALCM regional piece should be? LSB 611). The text to which presidents: Linda Kempke (Region SHADES MOUNTAIN is sung (“There 1), Donald Armitage (Region 2), and First, discern to the best of your in God’s Garden,” ELW 342) Bruce Bengtson (Region 3), along ability what the music is trying to infuses the tune with a sense of with Tom Leeseberg-Lange , express and what its larger pur - awe and timelessness, which is ALCM’s administrator for many pose is. Then place your under - best conveyed through a tempo of years and also a former editor of standing into the dimension of q = 88-92, as opposed to the more CrossAccent . Dear St. Cecilia is time. What subtle adjustments of perfunctory q = 112 (or h = 66) rejoining the world of print as well. tempo will clarify the music’s than one often hears. The tune Not bad for our first time out! shape and project its deepest MARTYRDOM may have started out truths? Imagine a great actor as a simple Scottish folk song, but Blessings to all as we approach the reading a Shakespearian mono - when joined to “Alas! And Did My season of Lent, logue. Dynamics and articulation Savior Bleed” (ELW 337, LSB 437, play a part, but it is by harnessing Nancy Raabe, editor CW 129) it assumes a mantle of tempo’s great expressive power— mourning. 2 ALCM in tempo no.1, 2015 A matter of survival Dear St. Cecilia Ron Koch Tempo can spell life or death for “Dear St. Cecilia,” previously published in ALCM’s Grace a hymn. At a ponderous tempo Notes, is back in print by popular demand. Pastor Ron Koch, the “Dear Abby” of the Lutheran church music your congregation may not sur - world, is the voice behind St. Cecilia, and he welcomes vive all six stanzas of “Thy Strong your questions and concerns. You can reach Ron at Word” (ELW 511, LSB 578, CW [email protected] or by snail mail to Good Shepherd 280) or even the four of Lutheran Church, 1735 Hecker Pass Highway, Gilroy, CA 95020. Phone calls are also welcome at (408) 842-2713. “Through the Night of Doubt and If the writer wishes, his/her identity may remain Sorrow” (ELW 327), both set to anonymous. EBENEZER . Instead of a life-drain - ing tempo such as = 80, try mak - h Music for the Masses with a choir, maybe a community ing the whole note the unit of Dear St. Cecilia, college, or perhaps another com - beat. The effect is spectacular: We munity church that could evalu - find ourselves carried aloft by I am a new choir director at Faith ate the music for their purposes. text’s great proclamation instead Lutheran Church, NJ. We have of becoming entangled in seem - many old SATB and SAA octavos Meanwhile, may I suggest that ingly endless chains of heavy that we no longer use. Can you church choirs keep some of the triplets. recommend an organization for music they no longer use? There donating music? yet may be a purpose for having it This same matter of life and around. Without a choir to sing death applies to hymns that con - Thank you, Becky Majewski it, or without the usual comple - sist largely of a succession of ment of SATB singers, some smaller note values. This tempts music can be adapted for singing us to focus on that foreground Dear Becky, by a soloist. Often the accompani - level, a recipe for tempos that are ment can carry the harmony, so too slow. A good example is Thanks for writing Dear St. why not use the music to enhance “Thine the Amen” (ELW 826, Cecilia. You raise a good question and enrich the congregation’s LSB 680) with its preponderance about old music. I’m sure there song. Some settings are call- of eighth notes. With a tempo of are many filing cabinets in many response style, and perhaps the around = 66 may strike you as churches filled with unused q congregation can be the “choir as majestic, but it gets in the way of music. When our church musi - congregation” and sing the the organic progression of larger cian came here over 20 years ago, response phrase. phrases across the span of the she was very busy sorting through hymn. Let the music to flow at un-filed stacks of old stuff. From Thanks for writing, and blessing h = 40, and we are able to experi - time to time we go through the on your new ministry. ence its exquisitely sculpted rising music together and decide if and falling lines and the artful something is worth keeping or St. Cecilia way they enhance the text’s poetic not. Mostly we base our decisions P.S. Do you have other suggestions images. on the quality of the music, not for donating/sharing worthwhile the age. We have found some real music that your choir no longer Many of these suggestions may gems in the old collection. And sings? Send an email to seem like relatively small adjust - some things we’d never use. [email protected]. We’ll include ments. Put them into practice, your suggestions in a future though, and they can make all While I know of no organization In Tempo issue. difference in whether and how that accepts music you no longer our faith is strengthened by what use, I might suggest a high school we sing. l Nancy Raabe is editor of In Tempo and an Associate in Ministry at Luther Memorial Church in Madison, focusing on ministries for women and seniors.
ALCM in tempo no.1, 2015 3 through the church the song goes on Kevin Hildebrand
Lord, Have Mercy: Singing the Kyrie in the Season of Lent
ll l too often a quest for Setting Five in Evangelical part of the prayers at your mid - a variety in the liturgy leads Lutheran Worship, where “All Glory week Lenten worship, such as: worship leaders in a multi - Be to God on High” is used as the tude of directions and toward a Gloria in excelsis. L Kyrie, God Father in heaven multitude of resources. Although above many good resources (and some Options for Lent: C You abound in gracious love not-so-good!) abound from vari - Kyrie! God Father ous publishers, scholars, and Perhaps Lent would be an ideal L Hear our cry and grant our organizations, and although the season to use a hymn paraphrase supplication church’s composers continue to of the Kyrie. Since the Gloria in C Eleison, eleison. provide new and creative compo - excelsis is omitted during Lent, the sitions in the church’s ever- seemingly longer setting of A further idea would be to have expanding tradition, it behooves “Kyrie! God Father” could more the choir or cantor sing the us to remember that there are easily be used in this season. If hymn, with the congregation often resources right under our this hymn is unknown in your singing only the repetitive noses in the church’s hymnals parish, it will require some careful “Eleison, eleison” text at the end that often go unused. Where’s the planning and teaching. At the of each section. variety, you ask? It’s already in the very least, a choir, ensemble, or church’s liturgy! cantor can sing this. Or, to pro - An excellent new choir-only vide this rich text to the congre - version of this chorale by Paul From time to time it can be useful gation, it could even be used as a Bouman is available from tempo to substitute an alternate setting responsive reading, perhaps as 1° press either as a single copy of one of part of the liturgy in the communion service. This could be a different musical setting of Hymn Paraphrases of Liturgical Ordinaries the same text, a paraphrase of the No matter what setting or hymnal your parish uses, it can be beneficial text, a through-composed setting, to occasionally use one of these historic hymns as a metrical a version to be sung with leader paraphrase of its corresponding part of the Divine Service: and congregation, something for congregation alone, a setting for Liturgy Hymn ELW LSB CW choir or vocal ensemble. Kyrie Kyrie! God Father ELW 409 LSB 942 CW 266 This practice is nothing novel. In Gloria All Glory Be to ELW 410 LSB 947 CW 263 many ways, it follows Martin God on High Luther’s lead of using vernacular hymn paraphrases for the ordi - Creed We All Believe in ELW 411 LSB 954 CW 271 naries in the liturgy in Luther’s One True God Deutsche Messe (1526). Indeed, for Sanctus Isaiah in a Vision/ ELW 868 LSB 960 CW 267 generations thousands of Isaiah, Mighty Seer German-speaking American Lutherans worshipped according Agnus Dei Lamb of God, Pure ELW 357 LSB 434 CW 268 to this model. In our own day this and (Sinless/Holy) is outlined as Divine Service Nunc Dimittis In Peace and Joy ELW 440 LSB 938 CW 269 Setting Five in Lutheran Service I Now Depart Book, as well as being hinted at in
4 ALCM in tempo no.1, 2015 Figure 1.
There are resources right under our noses in the church’s hymnals that often go unused.
octavo or in the larger collection 12 Anthems for Mixed Voices (www.tempo1press.com). Your Heart, O God, is Grieved Of course, these six chorales are not the only liturgical paraphrases that could be sung in the liturgy. Another option for the Kyrie is the hymn “Your Heart, O God, is Grieved” (ELW 602, LSB 945). Figure 2. This hymn begins with a Kyrie bid, followed by a prose verse which expands the prayer expressed in the initial line. The melody of the verses is almost entirely stepwise, making it easier for many congregations to learn. Russian Orthodox Kyrie An even easier idea is the Russian Orthodox Kyrie found at ELW S155 and LSB 944. Even congre - gations that balk at foreign lan - guages may be willing to sing three words they probably already know (Kyrie/Christe, eleison). If that’s still a stretch, both books idea from these books and use as Communion Setting One (“In provide the text in English also. a choir-only option. For example, peace let us pray to the Lord…”). See figure 1. the Kyrie setting at ELW 156 could easily be sung between sec - Kyrie in Daily Prayer A performance option would be tions of a choir or vocal ensemble to have a choir or three soloists Exploring this variety in the musi - or between leader and assembly sing the first verse, then have the cal settings of the Kyrie is not lim - with minimal rehearsal. congregation sing verses 2 and 3. ited to the communion service. Accompanying this with a couple If a mixed choir is leading the Parishes that pray Matins, of handbells (G and D) may singing and you can have three- Vespers, morning prayer, and provide some basic harmonic part women and three-part men’s evening prayer can also explore support. See figure 2. voices, this rich texture can be these options in the Kyrie in these prayer offices in place of the very satisfying. LSB 943 provides a Kyrie setting standard Kyrie that is provided in from the Taizé tradition. In this Further ideas: the hymnal. l Plainsong and Taizé example, the congregation (or choir) sings the “Kyrie, Kyrie elei - Kevin Hildebrand is a widely pub - Both LSB and ELW provide other son” refrain in alternation with lished composer and Kantor at resources for singing the Kyrie. the cantor or liturgist singing the Concordia Theological Seminary, Even congregations that use other familiar Kyrie bids from Divine Fort Wayne, Indiana. worship books could borrow an Service Setting One / Holy
ALCM in tempo no.1, 2015 5 e l k n i p S / k c o t S i ©
Physical Health
l Have a regular day off and take it!! l Exercise regularly. This can be as simple as walking every day or a more elaborate workout regimen at a gym or Y. l Develop healthy eating habits. l Drink in moderation. l Keep your weight under control. l Get enough sleep. l Get a massage from time to time. l Have regular physical exams. The Care and Emotional Health Try to keep yourself from Feeding of the working in a vacuum. Have a friend you trust (probably Church Musician not a spouse or significant other) with whom you can meet regular - ly and with whom you can share issues of your work. This person by Donald Armitage cians, contract with instrumental - can be a sounding board for ists, prepare scores, tune the you—and you for him/her— Reprinted from “Tips for the Twenty- reeds, move chairs, herd children, to the benefit of you both. Fifth,” April, 2011, found in the carry handbells and tables. Our members area of alcm.org. Meet occasionally with your energy is never to flag, our sense colleagues from other churches. s you read this, we are of humor never to wane, and we There need be no agenda to a approaching of one of the never show frustration. these informal gatherings—just busiest times of the year for Though written a little tongue-in- the chance to talk together to the church musician. Schedules cheek, the above is not far off the share ideas, accomplishments, are relentless and expectations— mark for most of us. And my problems, etc. We all face the our own and others’—are high. point is: how do we musicians same basic issues, and often new We practice, plan, rehearse, write, care for ourselves and keep our - ideas and solutions to conflicts compose, prepare documents, go selves fit for the stresses of our can be found at such meetings. to meetings, lead worship, and in work? The demands on us are so doing help lead our congrega - If active guilds or associations of physical, emotional, and spiritual. tions in their worship. We church musicians exist in your What follows are items that seem respond to the guidance of our area, attend their meetings. obvious when you read them, but pastors and committees, tend to Again, these are opportunities for are nonetheless important as we the pastoral needs of our musi - ideas and experiences to be maintain our own health. shared among colleagues.
6 ALCM in tempo no.1, 2015 How do we musicians care for ourselves and Keep your work from Spiritual Health keep ourselves fit for the consuming you. l Work with your personnel com - stresses of our work? If you have a spouse or significant mittee so you can have a half other, give that person the time day a week (not your regular The demands on us are and energy deserved for the com - “day off”) for the enrichment physical, emotional, and mitment to your relationship of your own spiritual life. he/she has made. spiritual. l From time to time go on a spir - Do something outside your pro - itual retreat. There are retreat fession: build Habitat houses, vol - centers across the country; find Though each person is at a differ - unteer at a shelter ministry, tutor one and go for several days. In ent place in their trek, your job is children, be a Big Brother or Big my own experience my time to help them in this journey by Sister, coach Little League, or be was best used when I had a giving them language and oppor - a Scout leader. spiritual director at the retreat. tunity for their praise, their laments, and their thanksgivings. Have a hobby. l Attend a Bible study weekly. Make sure you don’t forget about Get away from your work—physi - l Have a few minutes of uninter - this as you exercise your passion cally away—for a day every couple rupted quiet time every day. for your art. At the end of the day, helping to nurture the folks of weeks. Go to the mountains, l Ask a Jesuit priest to help you and their relationship to their walk on the beach, visit a state work through the Ignatius God is the most important work park, go to a vineyard for a wine Loyola prayer discipline. This you do. Keep yourself healthy so tasting, shop, visit craft centers, will be a good way to develop a you can do that work well. museums or galleries. regular discipline of Bible l reading and prayer.. Go to movies. Donald Armitage is a former You, your staff, your singers, and Cantor (retired) of Augsburg Read books (not about your all the other members of your Lutheran Church, Winston-Salem, work!). parish are on a spiritual journey. North Carolina.
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ALCM in tempo no.1, 2015 7 Succeeding With Small Choirs
by Linda Kempke and separate instrumental parts unfamiliar hymns to your congre - available from Augsburg Fortress.) gation. If you can’t come up with s choirs in many congrega - your own free accompaniments, a tions diminish in size, choir Another great way to utilize the save octavos from publishers’ directors are called to use hymnal for small choirs is to sing reading sessions. You can borrow their imagination and creativity. hymns in canon. introductions and ideas from Even if you have a group of fewer these. I always say that a good Hymns that work well in than 10, there are many great teacher is a great thief. For more canon include: options. festive hymns of the day I often l “How Firm a Foundation (LSB One of the most important things draw on concertato settings. 728, ELW 796 , CW 416 ) to stress is that the hymnal is your Of course, there are also many greatest resource for small choirs. l “Come, Let Us Eat” ( LSB 626, good collections available to meet There are many ways to use it for ELW 491) your need. The Global Song this purpose. One is to sing l “The King of Love My series by Bread for the Journey hymns in unison, perhaps creat - Shepherd Is” (LSB 709, ELW (Augsburg Fortress) makes for ing your own If you go to reformedwor - 502, CW 375) lovely anthems. So do the Crown free accompani - ship.org and search the Choir Books and the Church ments or using l “In dulci jubilo” phrase “the joy of singing Choir Books (both Concordia one that in canon,” you’ll find a two- l “Have No Fear, Little Flock” Publishing House), which have already exists. part article with a long list (LSB 735, ELW 764, CW 442) plenty of unison settings, Unison is not a alth ough some are not easy. of hymns that work in bad word! l “All Praise to Thee, My God, canon, along with instruc - Actually it is This Night” (LSB 883, ELW You can liven up your unison tions on when the second more challeng - 565, CW 592) hymn for choir by adding percus - voice should enter. ing than people You can get a lot of ideas for sion. For example, temple bells think. Every canonic hymns from the two work very well punctuating end - variance in pitch in unison books by Donald Busarow: Hymns ing phrases on “Arise, My Soul, singing stands out. If you have a in Canon and Thirty More Arise” (ELW 827, CW 244). choir of six (or less) singing in Accompaniments for Hymns in Using hymns in alternation is also unison, they had better be on top Canon (published by Augsburg of what they are doing. As Carl an interesting way to create your Fortress but both out of print). own anthem. For Reformation, Schalk states – two or more peo - Two- Another good resource is alternate “Lord, Keep Us ple can be a choir! Part Canons on Classic Hymns and Steadfast In Your Word” (LSB Chorales, The dangers lie mostly in diction. sets 1, 2, and 3, by Carl 655, ELW 517, CW 203) with If singers are not shaping vowels Schalk (Concordia Publishing “Listen, God is Calling” (LSB 833, in the same way, or if they are House, also out of print). ELW 513), or “A Mighty Fortress” singing final consonants at the You can create two parts using the with “Built on a Rock.” “Dearest wrong time, or if they are cutting hymnal by having one voice part Jesus, At Your Word” (LSB 592, off late, individual voices will sing the hymn tune and the other ELW 520, CW 295) and “Jesus, stand out. It takes a lot of work to the matching descant from the We Are Gathered” (ELW 529) sing well in unison. You can book Vocal Descants for the Church makes another interesting alter - spend just as much time on a uni - Year (Augsburg Fortress). nation. In all these just be sure son piece as on one sung in parts. Another idea is to use a hymn there is a relationship of key and that has good four-part writing. pulse between the two hymns, Unison singing can even work and make the transition from one well on big occasions. For exam - Have one voice part sing the tune and other part sing the tenor line to the other in a way that cues the ple, if you don’t have many congregation. l singers at your late service on up an octave. That’s your descant! Linda Kempke is Cantor at Christmas Eve, singing “Before Creating an anthem from the the Marvel of This Night” in uni - hymnal using your small choir is Lutheran Church of the Good son is very effective, perhaps with also a great way to introduce Shepherd in Brooklyn, Ohio. a soloist on one verse. (Octavo 8 ALCM in tempo no.1, 2015 in review Bruce Bengtson Lent and Easter Choral Music
David Hurd LENT Percy Whitlock Jesu, Grant Me This, I Pray Easter Antiphon J. K. Hirten SATB SATB, organ, opt. brass Be Merciful, O Lord Oxford A.115 GIA G-2782 Cantor/U and 3-part treble, organ, A good anthem for the First If your choir is used to singing congregation Sunday in Lent—temptation in the psalms, this setting of Psalm GIA G-3318 the wilderness. 118 will practically roll off their I’ve used this for Ash Wednesday tongues. The antiphon is quite from time to time—choirs with Martin How grand, especially when the more women than men will find Lenten Litany optional brass parts are used. it useful. Baritone solo/U and I’ve sometimes included children upper voice group and youth on the antiphon. Healey Willan Boosey & Hawkes OCUB6080 Behold the Lamb of God Martin How writes pieces for any James Macmillan Minimal SATB or SB, organ number of voicings—useful for The Lamb Has Come for Us Concordia 98-1509 large or small choirs. from the House of David Intense and effective. Much SATB, organ unison work. My teen choir has Richard Proulx Boosey & Hawkes sung it in two parts(sop/ten) at We Adore You, O Christ A rich text from St. Ephrem—a the end. The organ doubles all SATB Bible study in itself! I’ve used it the voices. Paraclete Press 09836 on Good Shepherd Sunday. This piece is in the spirit of the Bernhard Lewkovitch Eastern Church—the choir does McNeil Robinson Christus factus est not so much preach as worship. Spice She Brought and SATB I first heard this at the ALCM Sweet Perfume Wilhelm Hansen nr. 327 biennial conference in Kansas SATB, opt. sop solo, organ A very effective setting of this City in 2001. Theodore Presser 312-41437 text—my choir has grown to love A dramatic, tuneful setting of the the piece. “Modern” music of the EASTER Easter story that places performer 1950s with effective harmonies and listener in the midst of the Joel Martinson and fine voice-leading. story. Christ Is Arisen Trond Kverno SATB, brass quintet, timpani, congre - Bruce Bengtson is Director of gation, organ (originally written for Corpus Christi Carol Music at Luther Memorial Church choir, congregation, and two organs) SATB (some divisi) in Madison, Wisconsin. Norsk Musikforlag N.M.O. 9665 Kessler Park Press An unusual text—gratefully in Based on “Christians, to the English! A powerful setting that Paschal Victim” ( VICTIMAE rewards some work. PASCHALI LAUDES ) and “Christ is Arisen” ( CHRIST IST ERSTANDEN ). I McNeil Robinson commissioned this for the Easter Improperium (You Have gospel procession, in which we Abandoned Me) traditionally alternate the chant U or 2-part, organ and the chorale. My intent was to Theodore Presser 312-41301 have a Lutheran version of the My teen choir has sung this. masses for choir and two organs Effective in Latin or English, and by Widor and Vierne. The pub - delivered on sustained lines. lished version makes it possible for more churches to use it—the brass replacing one of the organ parts.
ALCM in tempo no.1, 2015 9 Orgelbüchlein, J.S. Bach Dana Robinson • Arsis CD 173 (2010). Available through Canticle Distributing (MorningStar).
Ullrich Böhme • Querstand/ Believe Digital (2005). Available as a digital download from eMusic, a subscription music service (www.emusic.com). by Tom Leeseberg-Lange he title page of the autograph t score reads in an English translation:
In which a beginning organist is given guidance in the many ways of performing a chorale and, in addi - tion, in qualifying himself in the study of the pedal, since in the herein contained chorales, the pedal is treat - ed entirely obbligato. treasured collection as there are A happy convergence pieces in it. Still, there will always Robinson described this project [Dedicated]: be room for new interpretations as a happy convergence of organ In honor of the Supreme God alone, and performer/instrument pair - builder John Brombaugh, produc - [To] others, [that they] from this ings. Both of these new-century er Robert Schuneman (until his might teach themselves versions are highly worthy of your recent retirement the owner and Author consideration. guiding light of ECS and Arsis, its Johann Sebast. Bach, record label), and himself as per - The surprise is the disc by Dana Capellmeister to his Serene Highness former. Robinson’s playing is mas - Robinson, associate professor of the Prince of Anhalt-Cöthen terfully confident and mature, organ at the University of Illinois. demonstrating a deep under - He offers a strikingly elegant and Bach’s Orgelbüchlein is liturgical standing of each setting. The energetic interpretation of this organ music as close to perfection musical lines are clean. Tempi are liturgical masterpiece. as any we will ever hear in definitely on the faster side but Lutheran worship and capable of Curiously, Dr. Robinson is not a almost never sound rushed to my being interpreted reasonably even high-profile name despite having ear. If the maxim of matching the in churches of modest means. been a past first-prize winner of singing tempo for the chorale to These 46 miniatures (two versions the Arthur Poister competition the tempo of the cantus firmus in of Liebster Jesu share a number) and teacher of 2006 NYACOP the chorale prelude is upheld, encapsulate a supreme effort fus - first-prize winner Scott then Robinson’s choices are defi - ing compositional, theological, Montgomery. After reading his nitely on target. I initially had one and pedagogical intent to express intriguing bio on the university issue with a single interpretation and illuminate each chorale text. web site (www.music.illinois.edu/ (see below), but otherwise this Nearly all were composed faculty/dana-robinson) and hear - recording allowed me to reflect between 1708 and 1717, Bach’s ing his interpretations, I decided on the chorales and absorb Bach early 20s to early 30s. to call him and find out who he without the interpretation intrud - Today there are very nearly as was and what he was trying to ing. Robinson told me that in many complete recordings of this accomplish. agreeing to perform on the
10 ALCM in tempo no.1, 2015 No single recording of something as important
much-lauded, modestly-sized as the “Little Organ approximately 4:17 and Böhme’s Brombaugh (II/31), opus 22 at Book” could or should be at 4:20. (These reflect actual play - Christ Church Episcopal in considered definitive. ing time, not the track listing Tacoma, Washington, he was in time in which silence is often effect accepting the discipline of added to the end of the perform - a limited disposition. And yet, from the baroque Lutheran tradi - ance.) Of the dozen-plus versions because of its astute design, this tion, among innumerable others in my library these are the fastest. possible limitation is never dis - periods and styles, especially alt- But I was surprised to find that cernible. This is a standout rock—don’t let that deter you. Helmut Walcha’s time clocks in at recording and the accompanying The price is quite attractive as a mere 4:36 (his second recorded booklet, which includes the regis - well. Most digital downloads are version of Bach’s organ works was trations for each piece, is a valu - available for $5.99 per disc! my introduction to the able bonus. Orgelbüchlein more than 40 Other than its placement in St. years ago, and was a benchmark Thomas, Leipzig, what makes the Of course, tastes vary, as do per - recording for me). I prefer, or Woehl instrument a “Bach sonalities, interpretations, instru - maybe it’s more accurate to say organ”? In their encyclopedic ments, acoustics, and recording that I’m conditioned to prefer - 2006 reference work, Die Orgeln techniques. So no single record - ring, a length of at least five min - J.S. Bachs: Ein Handbuch (Leipzig: ing of something as important as utes for this sober Lenten Evangelische Verlagsanhalt), co- the “Little Organ Book” could or chorale. should be considered definitive. authors Christoph Wolff and Markus Zepf cite the Georg However, in my phone conversa - The new “Bach organ” Christoph Stertzing organ (1707) tion with Robinson, he explained Ullrich Böhme, current organist in St. George’s, Eisenach (where that with so much rich detail at the most famous Lutheran J. S. was baptized) as the source packed into this sublime setting, church in the world, offers a for its disposition, as prepared by there’s a real danger of losing the robust recording as well. By now his cousin Johann Christoph pulse if played too slowly. most church musicians know that Bach. They also tell us that the Some recordings of this piece run Bach’s official duties never includ - organ built by Bach’s contempo - as slow as 6:49. Even Marcel ed playing the organ at St. rary Johann Scheibe for St. Paul’s Dupré, who “introduced” the Thomas. (Check the church’s in Leipzig (1720) was the model Orgelbüchlein to the extremely website to learn the names of the for the Woehl case design. (The “wary-of-anything-Germanic” two little-known organists who Scheibe organ was replaced in the French after WWI, played it in the occupied the organ bench during 1800s and the church was blown sedate time of 6:39. Bach’s tenure as cantor.) But up in 1968 by the East German there’s still considerable appeal in communist regime after escaping Perhaps unconsciously we have hearing the new “Bach organ” major damage in WWII.) learned to think of the Orgel- (IV/61) built by Gerald Woehl In 2012, The Organs of J.S. Bach: A büchlein as a beautiful collection and installed in St. Thomas back Handbook (Urbana: University of of “stand-alone” pieces, which is in 2000, played by the brilliant Illinois Press), an English transla - certainly viable. Yet Bach’s inten - organist who knows it best. tion of the afore-mentioned book tion was that it be used for “pre - Several of Böhme’s Orgelbüchlein by Lynn Edwards Butler, was pub - luding,” to be followed by the readings are available on YouTube lished. It incorporates new singing of the chorale. Again, if if you want to preview his research, especially English-lan - we compare the natural singing approach and style. guage scholarship, corrections, tempo of the melody with the tempo these two artists employ in Released in 2005, the Böhme disc and new color photos. their respective renderings of the is no longer listed in the chorale prelude, they appear to Querstand catalog, so obtaining A question of tempo make a strong case for the quick - this as a download will probably Returning to the Robinson and ness with which they play this require signing up for at least a Böhme recordings, I had only piece. minimal subscription with eMusic. one quibble, and that was with I have been a member of eMusic the tempos employed for the When was the last time you treat - for nine years and it offers access magnificent chorale “O Mensch ed your congregation, or enno - to a wealth of European labels bewein dein Sünde gross.” bled yourself, by playing selec - and a rich repertoire of music Robinson’s version times out at tions from the Orgelbüchlein? l
ALCM in tempo no.1, 2015 11
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