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Home , Chorale, Chorale cantata, Chorale fantasia, Hans Leo Hassler, Lutheran chorale

The Holistic Perspective of the Lutheran as an Integrating Factor of the Christian Faith

Cristian Caraman, PhD ‘Timotheus’ Brethren Theological Institute of Bucharest, Romania Baptist Theological Institute, Bucharest, Romania [email protected]

ABSTRACT: Music is the art which demonstrated that the rapprochement of people (in spite of religious differences from a dogmatic and cultic perspective), is necessary and feasible, as long as the superior idea of faith exists as a vital guiding principle that has the purpose of combating the essential evil. Music created a path through which a dialog was started between the main religious orientations—Catholic, Orthodox and Protestant. Humanity had been

Christianity, of any form, had been helping in its efforts to overcome suchstruggling struggles. to reach For, aof superior course, levelas music of affirmation builds on ofthe its principle ideals, and of universal , our deeds follow suit. The beginnings of the Protestant music in the Europe of the 14th–16th centuries are related to the spiritual manifestations necessary for the shaping of the new

other representatives of the . Over time, the shedding ofreligious values and,and firstroutines of all, had to the established great stature certain of Martin hierarchies, Luther andbut the creation of new musical genera during the Renaissance appears useful in building a Protestant music repertoire. The musical core is—and this argument is that the model resists the test of history—

its manifold manifesto. It is worth appreciating the details of the typesthe Lutheran of Choral, chorus, Anthem, which , will become more and Passion. and more The defined holistic in

perspective of the Lutheran chorus culminates with Bach, which in turn, makes the Lutheran spiritual290 model more clearly understood, Caraman: The Holistic Perspective of the as an Integrating Factor291

but also has lasting consequences in classicism, romanticism, to the creation of 20th–century composers.

Christianity, Reformation KEY WORDS: Lutheran Chorale, Protestant Music, Holistic,

The role of the Lutheran chorale in music

Tharmonically by the Wittenberg musicians during the Protestant Reformation,he Lutheran played Chorale a double created role by Martin by stimulating Luther and the developed musical creativity and to encourage the worship of God by the congregation.

The spiritual significance of the chorale was established by theMartin Luther, music which was responsiblewanted to encourageto bring people the congregation to church every to Sunday,develop fora personal the purpose relationship of worship. with God. Luther also believed that of the sixteenths century was the integration of congregational The most important accomplishment of Luther’s reformation theology I give music the highest place and highest honor.”1 In order tosinging encourage within the the participation worship service of the of believersthe Lutheran within church. the liturgy, “After congregation, but was able to transmit profound theological truths. created the chorale which was very accessible to the German. In order to encourage the understanding of theological textsThe Lutheran and to make Chorale it easier has afor simple the people melodic in linethe congregation,and the text is the in text was always in German. Luther replaced the traditional liturgical expresslanguage, their which beliefs was and Latin, worship with in German.their native Through tongue. theThe chorale,German language,Luther made full his of wishconsonants, come true needed by allowing a particular the German musical people style, toin freecontrast rhythms with whereLatin, whichthe vowels is reach were in held vowels. for longThe liturgicalperiods of music, time. Thecomposed German on Chorale Latin texts had a was more characterized syllabic style withby long less phrases, melisma’s. with In 292 HARVARD SQUARE SYMPOSIUM | THE HOLISTIC SOCIETY: MULTI–DISCIPLINARY PERSPECTIVES the beginning, during the liturgy, the were unaccompanied and were sung in a monodic style. Also, in order for the chorales to by sung by untrained voices, sixteenthdue to its vocaliccentury, text, lead the to the melodies need of where new liturgical characterized music byto serve very few the interval jumps. The creation of the Lutheran Churches during the composersLutheran ideology. ten used The old purpose melodies of insuch combination new music with was newto create melodic and transmit the subtle and profound Lutheran theology. The Lutheran century, by using sacred and non–religious music. The early chorales fromlines. the The Contrafact Lutheran period,Chorale used developed well known very texts,rapidly which in the were sixteenth added of the Meistersinger and the folk German songs. A good example of to Gregorian melodies. The official Latin , the religious songs All Ehr’ und Lob soll Gottes sein andthe relation Praise Bebetween Given), the which Gregorian was based onand the the Gregorian Lutheran Choralemelody Gloriais Luther’s tempore Chorale paschali .2 (All Glory, Laud, Gott der Vater whon uns bei (God Lutherans the Father have with often Us adoptedBe).3 folk German usedsongs non–religious and modified songsthem into theirreligious liturgy, texts. by One replacing such piece the original is text with a spiritual one. One such example is, Ich komm Most aus Lutherans fremden Landen her (I come from foreign lands), with a new text which turned the song into the well–known chorale, Vom Himmel kam der Engel Schar (From Heaven the Angel Troop Came Near).4 On example of such chorale is O Welt, ich muss dich lassen („O World, I now must leave thee”), which is a contrafact of the famous secular sponge Innsbruck, ich muss dich lassen al lui 5 Based on familiar ideas of the congregations.(Innsbruck, I Now The Must fundamental Leave Thee). tradition was the inspiration fortime, Johann most Lutheran Sebastian text Bach’s had double compositions, meaning, which where is losthe toused today’s the juxtaposition of familiar melodies to religious texts. In spite of this composers used original compositions and texts for their chorales. It ismethod important of music to mention creation that of thethe textssixteenth and melodies century, afor lot new of Lutheran chorales were usually written by the same person. This method was used to Caraman: The Holistic Perspective of the Lutheran Chorale as an Integrating Factor293 create a homogenous symbiotic relationship between text and music. music and theological concepts, which were impossible to separate. From the very beginning the Lutheran Chorale was a combination of

The harmonized Chorales with time and by the end of the sixteenth century many chorales The need for harmonized chorales in the Lutheran Church grew

Walter.were already Johann harmonized. Walter kept The all thefirst original harmonized rhythmical chorales verse appeared of the in 1524, and were composed by the Lutheran composer Johann like the majority of the . The untrained believers hadcantus a major firms, problem but placed when the hearing cants firms the melody in the intenor the lowervoice, voice,much

This stylistic change allowed the congregation to learn the chorales hence the Lucas Osiander, moved the melody to the higher voice. were modal, and in the beginning of the seventeenth century a lot easier. Most harmonized chorales of the sixteenth century more tonal in their harmonic structure. Other composers, such as MichaelHans Leo Praetorius Hassler publishedand Johann chorale Balthasar arrangements Koenig, contributed which were with the introductionliturgy. He also of instruments.incorporated J.various S. Bach chorales harmonized in his more , than oratorios400 Lutheran and chorales,. with J.S. Bach’sthe sole use purpose of the of chorale being used in his during own and ideology to all. compositions was related to his wish to bring the Lutheran theology new concepts by new harmonic structures brought the Chorale to the perfectionBach’s ability it was to takeoriginally Lutheran imagined melodies to be. and Bach’s infuse knowledge them with of harmony allowed him to perfect this genre and give more musical meaning to his spiritual beliefs. One such example is the Ein’ feste Burg ist unser Gott (A Mighty Fortress Is Our God),6 where Bach uses close harmonic intervals to create the harmonization of Bach also uses the fermata to indicate the ending of textual phrases. feeling of a fortified wall, which cannot be penetrated, or demolished. 294 HARVARD SQUARE SYMPOSIUM | THE HOLISTIC SOCIETY: MULTI–DISCIPLINARY PERSPECTIVES

The chorale

The motet chorale is a composition „in a polyphonic style, in one or two parts, based on a German melody of a Chorale.”7 In the beginning, the motet chorale was interpreted a cappella, and later with various instruments, or the organ replaced one or more voices. One of these chorale is Komm, Heiliger Geist, Herre Gott, no. 108, written as a cannon by Arnold von Bruck. The choral–motet, developed with a four partial harmonization, initially modeled after the work of Dutch composers of the fifteenth and sixteenth centuries. This andmodel equality of chorale–motet between voices. is characterized by arranged rhythmic some and melodicof those choralesimitations, in smooth a motet cadenzas, stile before polyphonic 1524, and textures, his compositions canon techniques, used cantus firmus in the tenor voice. The other voices, supported the

Venetian polyphonic elements. In his works, all the voices were changedcantus firmus in a mirror in a polyphonictype dialogue. style. This Hans writing Leo style Hassler brought introduced balance

Praetorius also included fugal and elements in the choral– motetto all voices compositions and essentially to attain eliminated a better balance the cantus amongst firmus the line. voices. Michael He also made use of complex polyphonic parts and a freer melodic line. However, the most important contribution to the choral–motet was the introduction of accompaniment instruments. Up until J.S. Bach the typical motet made use of continuo instruments. The texts for all his works were based on biblical passages. Bach’s ability to infuse his works with his genius is clearly seen in his polyphonic discourse of Fantasia super Ich ruf zu Dir, Herr Jesu Christ by Samuel Scheidt and Nun Komm, der Heiden Heiland by J. S. Bch the Lutheran Chorales. during his life. Even though he made use of the traditional form of theare style,very goodhe infused examples his worksof significant with more chorale–motets contrast and composed very well established biblical texts. One of the most original of all his motets is, Jesu, meine Freude. like a variation on themes. The melody of the chorale comes back eleven times throughout In this the work, work Bach and usesevery cantus time isfirmus just slightly almost Caraman: The Holistic Perspective of the Lutheran Chorale as an Integrating Factor295 style of variations in a vocal polyphonic genre. Stylistic characteristic ofdifferent. Bach’s motet–choraleBach is probably includes the first short composer syllables, to incorporatea small number this of long notes, repetitions and many high notes. Also, he applies ornamental discourses and instruments for each voice.

Bach’s contribution to the Lutheran Chorale during his school years, where the Bible, catechism and the religious hymnsBach’s wereLutheran the most faith important began in hiseducational early childhood tools. His and role developed of church organist and boy soprano allowed him to become very familiar with the chorale texts and its melodies. During his school years, Bach learned about the spiritual importance of the chorale. He was a frequent attendee of his local learned about the Bible, participated in congregational singing and Lutheran Church, where his father was the music director. Bach to develop a religious base, which he used later in life by writing musiclearned for the worshiping Lutheran doctrine.God. These formative years allowed him and for the glory of God. He frequently used chorale texts, which Bach wanted to create that was well organized when composed, many melodies were composed in a matter that representedwere essential the toclarity the Lutheranof the biblical church message, service. he Evenalso includedthough, some of his smaller works within larger compositions. He always encouraged the congregational singing and the worship of God. In many ways of musical and literary expression. his instrumentalThe cantatas works,8 and the he passionsutilized 9the that chorale, he composed by exploiting represent the the sum of his entire artistic experience, showing his great talent. Also, his melodies could be found inserted in his instrumental works, or more frequently in cantatas and . The purpose of this intertwining was to allow the listener to worship God. In this musical representation, Bach presents the suffering of Christ and wanted to truly express the significance of Christ’s sacrifice. 296 HARVARD SQUARE SYMPOSIUM | THE HOLISTIC SOCIETY: MULTI–DISCIPLINARY PERSPECTIVES

One example of such work is Matthäus Passion, which contains a melody in the soprano part, of which text expresses the prayer and the painful sound of a multitude of people worshiping God. It is very possible that Bach original thought was to have the congregation way, eve thought the music was very ornamented and complex, the listenersparticipate, could by singing easily listen during and the appreciate first movement the message of the Passion. of the text.This

Bach’s listeners ware inspires to worship and praise God. A common factDue into Bach’sthe combinations cantatas is fullthe ofuse significance of instruments, of the especially texts and formusic, the various used, while the soloist interprets a biblical, or poetic text. It is very important to notice the way Bach combines the texts with the music, to create profound understanding of the which necessitate virtuosic interpretation, but are appropriate forLutheran the church doctrine. service The organas well. chorales These areworks elaborated represent musical some works, of the most important works ever composed by Bach. These chorales use entire chorales, or parts of chorales, composed for the purpose of introducing the congregation to a new type of chorale. All of these the virtuosic nature of playing the organ. Some of these works include theworks chorale–motet portray the textual10 form, and chorale–fantasia liturgical significance, and chorale while–fughetta exploiting. The fughetta style uses imitation in the motet style, without make extensive use of variations and preludes. The variations are in athe Partita use of style, the cantusand Bach firmus. was fascinatedAlso, there by are this organ for at chorales the end which of his career. These works are usually used as interludes, between various verses of the chorale. –chorale has two versions, short and long. Some of the techniques used for these Overture–chorales, are putting the melody in the alto voice, creating a fantasy–chorale form, which ornamented the composition. The short are found in the book Orgel–Büchlein melodies, trios, and the ritornello form. In the hymn–chorale . Long overtures include cantus firmus ) extends for the(contra entire punctum duration simplex), of the work, we find in one simple single harmonization voice. This is called of four the to uninterruptedfive voices, where form. the11 chorale melody (cantus firmus

Cantus firmus is usually found in the soprano Caraman: The Holistic Perspective of the Lutheran Chorale as an Integrating Factor297 voice, while the lower voices don’t mirror, or replicate each other. The lower voices support the main voice and borrow musical material his musical genius and to bring up the mist important aspects of from the cantus firmus. During his life, Bach was capable to express in perfecting genres, other composers brought to light. , through his compositions. He was also very successful

Conclusions

The Lutheran chorale flows seamlessly in the history of universal profoundmusic, representing spiritual meditation different styles and anddeals developing with the humanamazing spiritual artistic value to the Christian musical world. The Lutheran music calls for chorale,condition. alongside Protestant the music,Cantata in and general, , has representits well–defined the pillars place of within the cultural and universal artistic expression. The Lutheran found its uses in philosophy, culture, history, sociology and last, but notprotestant least, in music. musicology. The holistic perspective of the Lutheran chorale

BIBLIOGRAPHY

.______. DEXI—Dicționar Explicativ Ilustrat al Limbii Române, Editura ARC & GUNIVAS, 2007. Blume, Friedrich, Protestant Church Music a History, Friedtich Chișinău: Blume

Walter Blankenburg, Torben Schousboe, Robert Stevenson, and in collaboration with Ludwig Finscher, Georg Feder, Adam Adrio, Norton & Company, Inc., 1974. Caraman,Watkins Cristian, Shaw, Genuri Foreword ale Muzicii by Paul Protestante Henry Lang), New York: W. W.

The Oxford Companion to Music, Editura (edited Universității by Alison Naționale de Muzică București, 2011. Latham, Alison, , Luther`s Works, vol. 53, Liturgy and Hymns Works)Lathman), in 55 New volumes, York: Oxford General University Editors: Jaroslav Press, 2002. Pelikan, vols. 1–30, Leupold, Ulrich S. (in Luther’s

and Helmut T. Lehmann, vols. 31–35, Philadelphia: Concordia 298 HARVARD SQUARE SYMPOSIUM | THE HOLISTIC SOCIETY: MULTI–DISCIPLINARY PERSPECTIVES

Publishing House and Fortress Press/ Muhlenberg Press, 1965), 209. The Oxford Companion to MUSIC, New York: Oxford University Press, 2002. Lathman, Alison, Websites: All Ehr und Lob soll Gottes sein - Hymnary.org, site: https://hymnary.org/ text/all_ehr_und_lob_soll_gottes_sein, (Accessed February 2, 2018). • Gott der Vater wohn‘ uns bei - Lutheran Hymnal, site: www.lutheran- hymnal.com/german/tlh247g.htm, (Accessed February 2, 2018). • Vom Himmel kam der Engel Schar – Wikipedia, site: https://de.wikipedia. org/.../Vom_Himmel_kam_der_Engel_S..., (Accessed February 2, 2018). • O Welt, ich muß dich lassen, site: www.mab.jpn.org/musictex/score_lib/ hi_owelt.pdf, access 2. 10. 2018. • Ein feste Burg ist unser Gott – Wikipedia, site: https://de.wikipedia.org/ wiki/Ein_feste_Burg_ist_unser_Gott, (Accessed February 2, 2018).

NOTES 1 Friedrich Blume, Protestant Church Music a History, Friedtich Blume

Blankenburg, Torben Schousboe, Robert Stevenson, and Watkins Shaw, Foreword in collaboration with Ludwig Finscher, Georg Feder, Adam Adrio, Walter 2 , Luther`s Works, vol. 53, Liturgy and Hymns (Philadelphia: Concordiaby Paul Henry Publishing Lang (New House, York: 1965), W. W. Norton209. & Company, Inc., 1974), 10. Hymnary.orgUlrich S. ,Leupold site: https://hymnary.org/text/all_ehr_und_lob_soll_gottes_sein, (Accessed February 2, 2018). All Ehr und Lob soll Gottes sein -

3 Ibid., 208, 269; Blume, Protestant Church Music a History, 21; Gott der Vater , site: tlh247g.htm, (Accessed February 2, 2018). wohn’4 Blume, uns bei208; - Vom Lutheran Himmel Hymnal kam der Engelwww.lutheran-hymnal.com/german/ Schar – Wikipedia, site: https:// de.wikipedia.org/.../Vom_Himmel_kam_der_Engel_S..., (Accessed February 2, 2018). 5 Blume, 33; O Welt, ich muß dich lassen, site: www.mab.jpn.org/musictex/ score_lib/hi_owelt.pdf, (Accessed February 2, 2018). 6 Ein feste Burg ist unser Gott – Wikipedia, site: https://de.wikipedia.org/ wiki/Ein_feste_Burg_ist_unser_Gott, (Accessed February 2, 2018). 7 Cristian Caraman, Genuri ale Muzicii Protestante 79. (București: Editura Universității Naționale de Muzică, 2011), Caraman: The Holistic Perspective of the Lutheran Chorale as an Integrating Factor299

8 Cantata (Germ.: Kantate: Ital.; Fr. Cantate) is a vocal composition with an instrumental accompaniment, typically in several movements, often involving a Dicționar Explicativ Ilustrat al Limbii Române, The Oxford Companion to MUSIC. Ibid, (New 118; York: see Oxford also DEXI- University Press, 2002), 202, 203. Chișinău:9 Passion Editura (music) ARC In & Christian GUNIVAS, music 2007; aAlison Passion Lathman, is a setting of the Passion of Christ church services in the Holy Week. As a form, the Passion stands between biblical declamatory. Liturgically text and most Oratorio. Passions Passion were was intended performed to be mostly performed în the as German part of speaking countries after 1600. The theological base of the Protestant Passion was modeled after Theologia Crucis The Oxford Companion to Music Dicționar Explicativ Ilustrat al Limbii Române, 2007. written by Martin Luther. Ibid., 140, 152; Latham,10 There are multiple forms of the protestant, 933, chorale, 934; DEXI such - as: chorale–cantata, chorale–concert, chorale–fantasy, chorale–, chorale–, chorale– monody, chorale–motet, chorale for organ, chorale–prelude, chorale–psalm, chorale–variation, chorale–suite, chorale–, chorale–lied, chorale– , chorale–hymn, trio–chorale, chorale–Mass. Caraman, Genuri ale Muzicii Protestante, 60–92. 11 Ibid., 93.