CROSS ACCENT VOL 25, NO 1 | SPRING 2017 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 © 2017 Association of Lutheran Church Musicians. TAKE NOTE The views expressed on the pages of the journal 3 ALCM Names New Executive Director—and a Greeting are those of the authors and do not reflect official positions of the editorial board of the from James Rindelaub journal or of the Association of Lutheran Church Musicians. This periodical is indexed in the ATLA Religion Database®, a product of the American COUNTER POINT Theological Library Association, 300 S. Wacker Music in the Service of the Gospel: Discerning the Church Dr., Suite 2100, Chicago, IL 60606, USA. Musician’s Vocation through the Life and Work of Paul Manz e-mail: [email protected], www.atla.com. 5 ISSN 2151–1772 —Paul Westermeyer Editor: Jennifer Phelps Ollikainen Music Editor: Lara West Doctor, Lawyer, Poet, Mayor … and Cantor? Early Lutheran Book Editor: Paul Grime Church Musicians and Vocation—Chad Fothergill Copy Editor: Anne-Marie Bogdan 14 Graphic Design: Kathryn Hillert Brewer Editorial Office Communal Singing: More !an Meets the Ear— Jennifer Phelps Ollikainen, Editor 29 Lorraine Brugh 1127 Magazine Road Green Lane, PA 18054 [email protected] Editorial Board THANK YOU Kent Burreson Paul Friesen-Carper 26 !ank You to Our Donors Joseph Herl Nancy Raabe Stephen Rosebrock Advertising Office BOOK REVIEWS Cheryl Dieter, Advertising Coordinator Lifting Hearts to the Lord: Worship with John Calvin in 810 Freeman St. by Karin Maag —Frank C. Senn Valparaiso, IN 46383 37 Sixteenth-Century Geneva 800.624.2526 219.548.2526 [email protected] Singing the Church’s Song: Essays & Occasional Writings on Church Music by Carl Schalk—James Freese ALCM Business Office 39 Cheryl Dieter, Business Manager Association of Lutheran Church Musicians 810 Freeman St. Valparaiso, IN 46383 SOUNDFEST 800.624.2526 New Music 219.548.2526 40 offi[email protected] www.ALCM.org POST LUDE The Association of Lutheran Church Musicians is a service and professional organization that 48 From the ALCM President—Julie Grindle works to strengthen the practice of worship and church music of all North American Lutherans. The Ambassadors ( 1533). National Gallery, London. Membership is open to any person or institution Cover art: Hans Holbein the Younger, whose interests are in harmony with the Associa- tion’s goals. Address all change of address, ALCM OFFICERS subscriptions, and business correspondence to President: Julie Grindle Region 1 (Northeast) President: Jennifer Baker-Trinity the ALCM Business Office. Past President: Anne Krentz Organ Region 2 (Southeast) President: Ryan Hostler Secretary/Treasurer: Kevin Barger Region 3 (Midwest) President: Linda Martin Directors at Large: Jeffrey Blersch, Michael Krentz Region 4 (West) President: William Kuhn
Spring 2017 CrossAccent 1 L PRE LUDE !e Rev. Dr. Jennifer Phelps Ollikainen "ditor# CrossAccent
artin Luther wrote, “the gift of lan- Finally, Lorraine Brugh presents an informal guage combined with the gift of song study of the Kantorei, a select choir at Valparai- M was only given to [human beings] to let so University with the vocation of leading sacred them know that they should praise God with song in the assembly. Over the course of a se- both word and music, namely, by proclaiming mester, Brugh observes the impact of intentional [the word of God] through music and by pro- re%ection about body awareness and stress levels viding sweet melodies with words.” 1 before and after rehearsals. !e study reminds With this $rst issue of CrossAccent in 2017, us all that participation in the musical leader- the editorial board decided to turn away from ship of the assembly yields spiritual and physical thematic issues. And yet, with no intentionality, bene$ts and builds community. Our vocation as a theme emerges in this Reformation celebration servants of the proclamation of the word in mu- year. !e three Counterpoint articles in this is- sic is strengthened by these intentions. sue center on the vocation of the cantor in the !is unexpected theme of the vocation of church who proclaims the word of God through the church musician is most certainly Spirit led. the leadership of the worshipping assembly’s !e plenary sessions at ALCM’s 2017 biennial song. conference, “RISE: Remember Well the Future,” Paul Westermeyer shares his address from will further explore the changing role of cantor the Manz Tage of October 2016 at Mount Ol- in our times as we simultaneously celebrate the ive Lutheran Church in Minneapolis, MN. He treasures of the last 500 years of Reformation explores the gifts of Paul Manz—a celebrated history and look to the future and God’s cov- organist, composer, and church musician—as a enant of faithfulness in all of what is yet to be. prime example of a church musician who shared music with humility and gratitude in service of Note the gospel. Breaking the paradigms of perfor- &( )artin *uther# +/reface to 3eorg 4hau8s mance and pride, Manz’s craft leads the way in Symphoniae iucundae,” in Luther’s Works, 9merican de$ning the role of the cantor in our time. ed(# vol( ;<# Liturgy and Hymns, ed( =lrich >( Looking back in history, Chad Fothergill *eupold @/hiladelphiaQ Xortress /ress# &Z\;^# <_<( presents descriptions of the many vocations of church cantors from Reformation times. !ese cantors were multifaceted and variously gift- ed leaders—not only in the congregations they served but in the whole community. !is explo- ration undergirds Fothergill’s upcoming address at the ALCM biennial conference this summer Hymnal Abbreviations: in Minneapolis. ELW: Evangelical Lutheran Worship LSB: Lutheran Service Book CW: Christian Worship
2 Spring 2017 CrossAccent www.alcm.org TAKE NOTE ALCM Names New Executive Director
he ALCM board of directors named James Rindelaub as the association’s new T executive director. Rindelaub is a life- long Lutheran with church music degrees from St. Olaf College (North$eld, MN) and West- minster Choir College (Princeton, NJ). He has served as organist/music director at Saint Mark’s Evangelical Lutheran, Jacksonville, FL; Grace Lutheran, Phillipsburg, NJ; Faith Evangeli- cal Lutheran, Glen Ellyn, IL; and First United Lutheran, Dallas, TX. Currently he serves at As- cension Lutheran, Indian Harbour Beach, FL. Rindelaub was the founding director of Jacksonville’s Community Bach Vespers Cho- rus and Chamber Orchestra. He served on the ALCM national board as Region II president and was the organization’s 2003 National Con- ference chair (the conference was held in San Diego, CA). He has held various oces for lo- cal American Guild of Organists and Choristers Guild chapters. A deacon in the Evangelical Lu- theran Church in America, Rindelaub chaired synodical worship committees in Florida and Illinois. He has been the executive director of Choristers Guild since January 2004 and will assume the role of ALCM’s executive director on He writes: April 24, 2017. Rindelaub resides in Satellite Beach, FL, Dear ALCM friends, with his wife, Stephanie. !ey have three grown !ank you for all you have meant to me over sons living in New York, California, and Florida. the years. I was a young adult when I came into contact with all of you at the constituting con- vention of ALCM at St. Olaf. Over the years, the modeling and nurturing of ALCM members taught me how to be a Lutheran church musi- cian, to coordinate conferences, and to provide leadership to nonpro$t organizations. Anything
Spring 2017 CrossAccent 3 L TAKE NOTE I have ever done professionally I owe to your Education. ALCM has a great history of guidance. In my new role as executive director, national and regional conferences. We can ex- my next goal is to repay your kindness by helping pand our reach and impact with webinars. In my our organization grow and %ourish. service with Choristers Guild, I have seen that I have three primary goals as I begin my webinars are very successful as an easy way to work with ALCM: get a quick burst of inspiration without the ex- Membership. !ere are over 16,000 Lu- pense of a continuing education trip. I’d like us theran churches in the United States and our to present four webinars during the 2017–2018 current membership represents only 10 per- program year. cent of those congregations. I will be calling Fundraising. I believe that nurturing and our musician colleagues who haven’t renewed equipping musicians to serve and lead the their memberships or have never been members church’s song is a mission worthy of one’s char- in order to encourage them to (re)join ALCM. itable giving priorities. !erefore I will be I want them to experience the personal growth identifying potential major donors and culti- and satisfaction I have enjoyed through ALCM vating relationships to strengthen our $nancial membership. resources, which are vital to the future of our organization. My home base will be Satellite Beach, FL. !ree miles away, we have our wonderful Ascen- sion Lutheran Church family where I serve as the Sunday morning organist and choir director. I will be on the road whenever an opportunity exists to make a signi$cant ALCM connection. Please include me in your prayers, as I am praying for you. We have a wonderful organiza- tion of members, a gifted board to lead it, and an amazing business manager, Cheryl Dieter, han- dling all our important tasks. It is an honor and joy to dedicate my time and talent to the work of strengthening our organization and the connec- VRXQG INSPIRATION tions that make it sing. !ank you so much for being a Lutheran church musician and a mem- ber of ALCM! God’s blessings in your music ministry. Riedel enhances the worship experience by inspiring the Jim Rindelaub dynamic expression of speech and sound. By blending art,
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4 Spring 2017 CrossAccent www.alcm.org L COUNTER POINT Music in the Service of the Gospel: Discerning the Church Musician’s Vocation through the Life and Work of Paul Manz
by Paul Westermeyer
On First Hearing Paul Manz Play don’t remember when I $rst heard Paul Manz play. It may I have been at a chapel service during the summer of 1966 at the Schola Cantorum at Con- cordia Seminary in St. Louis. I do remember what I immedi- ately thought. It was the same thing I always thought when hearing an exceptionally $ne musician: “Westermeyer, why are you in this business at all?” I had learned by then, however, and have continued to learn and tell my students: “It’s not your job to be Paul Manz. It’s your job to be who you are and to use whatever talents you have as well as possible. You can learn from Paul Manz. Now, knock it o, and get busy.”
Editor’s Note: Paul Westermeyer gave this ad- I think that Manz is one of the clearest dress at the Manz Tage (Manz Days) at Mount Olive Lutheran Church in Minneapolis, MN, representatives of what church musicians on Oct. 29, 2016. Paul O. Manz (1919–2009) served Mount Olive as director of music and are called to do—to use God’s gift of youth ministries and then cantor from 1948 to 1983. As a noted 20th-century organist and music with humility and gratitude in the composer, Manz continues to influence music and liturgy around the world. Manz said, service of the gospel. “The music may woo the people, but it is the Word who will win them.” 1 The Manz Tage conference honors his ministry and seeks to All photos courtesy Papers of Paul Manz continue Manz’s legacy of music and worship. Collection, Concordia University, St. Paul.
Spring 2017 CrossAccent 5 COUNTER POINT L !at $rst impression quickly evaporated, the intersections. But most of us are part of a sys- but the one that came next did not go away: tem with two mutually exclusive tracks. “What is he doing? !is is not business as usual. !is means that musically we live in the So what’s going on here?” shadow of the 19th century that still calls the musical shots for us. Music is perceived to be Business as Usual what trained professional or semiprofessional artists do as popular or classical performers either !e training of pastors and church musicians by themselves alone or in ensembles of various generally happens in two tracks. Pastors are kinds—or, in our period, with recordings. !is trained in seminaries or programs of theolog- is out of reach for most people, so they only lis- ical study, and musicians are trained in music ten to what the virtuosos serve up. !at is a $ne departments or programs of musical study. !e and worthy situation until it becomes the only two tracks often do not intersect. !ere are ex- thing and obscures or shuts down everything ceptions where fruitful exchanges and sharing else. Church choirs and church organists—and happen, and there are individuals who work at certainly singing congrega- tions—are at best second-class citizens in this system unless they are among the few virtu- osos who perform music at the highest professional level. Both pastors and musicians share the same presupposition here: music is about technical skill. !at is what justi$es it. !is system, especially with our professional record- ings, sets up music as the production of artifacts of high quality, however that quality is de$ned. Musicians are primed to look down on what happens musically in the church, just as pastors are primed to call mu- sicians out-of-touch elitists. !is produces two separate sets of evaluative judgments. !e practical result is control by power plays, or—in an attempt to avoid those—any music in any condition becomes ac- ceptable. In short, the divide between theology and music creates what Erik Routley al- ready half a century ago called “at best ... patronage from church to music” together with “tentative moralisms from mu- sicians to musicians.” 2
6 Spring 2017 CrossAccent www.alcm.org COUNTER POINT L Music in the Service of the Gospel The New Song For Paul Manz, music in worship was an event where the new song was being sung. Technical skill, music worth doing, and music worth do- ing well were very important, but he was not engaged in a performance where music was a pre- packaged artifact from the past or the present, justi$ed by virtuosic technique and perfection like a recording with all the mistakes edited out. Such a recording is to be celebrated and has an important place as study material, high-level rec- reation and pleasure, a technological exercise, or something like that; but neither it nor any per- formance of music as a perfect artifact is church music. Music in the service of the gospel is al- Of course, pastors and musicians know that ways a lively new song, sung and played in the music is more than notes and their proper execu- %esh here and now by the actual human beings tion. Most pastors and musicians know very well who are present, with all of the contingencies that music cannot be reduced to technique. Mu- that brings with it. sic’s relationships to devotion, contemplation, !e new song that the psalms summon us and emotion with religious or quasi-religious to sing is not the culture’s de$nition of what themes are imbedded in our culture since the was written yesterday or today. It is rather the 18th century. 3 An inner necessity and historical new song in Christ, the living voice of the gos- inertia push the church to sing and use music. pel in the moment. !is joins the new creation But in the absence of theological re%ection or of the church in Christ—the group that is sing- knowledge that any such re%ection even exists, ing—to God’s gift of music itself, which is new there is no way to determine what music $ts or every time it is a live phenomenon. !e music doesn’t $t the church’s worship or why music is may have been written centuries ago or yester- there at all. Business as usual tends toward mu- day, but it will never before have been sounded as sic gravitating to technical facility and then to it is sounded in this time and place, because this the culture’s tendency to use that facility in the particular time and place never existed before service of selling things—all in the context of a and because music’s character is to pass through general religious or quasi-religious musical haze. time and be gone. !e song of the church is al- It was clear to me that Paul Manz represent- ways new in this musical sense and always new ed a high level of technical skill and performance in Christ in a theological sense. practice, but the justi$cation for—as well as the context and content of—what he was doing did not $t the system of business as usual. So what Music in the service of the gospel is always a was going on? What was he doing? I think that Manz is one of the clearest representatives of lively new song, sung and played in the flesh what church musicians are called to do—to use God’s gift of music with humility and gratitude here and now by the actual human beings in the service of the gospel. who are present, with all of the contingencies that brings with it.
Spring 2017 CrossAccent 7 L COUNTER POINT
Paul Manz understood this and so he im- that the goodly heritage taught in an attentive provised, as has been common among church appreciation for the moment, for what was be- musicians for centuries. But, as for church musi- ing sung, for those singing now with his help, cians before him who understood their craft, this using his skills and his ears. Improvisation prob- improvisation was not a murky glue of mean- ably points most obviously to that whole mix, ingless sounds, ground out in thoughtless slabs but the speci$city of improvisation is not the is- of incoherent nonsense. It was the $nest craft, sue here. !e issue is the perspective that drives carefully disciplined by the church’s message, what the church musician does. Manz impro- history, and wisdom, by Manz’s own practice, vised, but he also played the church’s musical and then lived into the moment. It broke out in literature. In his dedicatory recital of the organ the freedom and high adventure that disciplined here at Mount Olive, 5 he played a wide swath craft makes possible. of literature from across the church’s history. He When I was writing a biographical sketch of did this with a sense that was expressed to me re- Walter Buszin recently, I discovered that Manz cently in an apt image that makes the point very had written Buszin a letter of appreciation when well. Yuko Maruyama, one of Luther Seminary’s Buszin retired. He said to Buszin, “As an un- master of sacred music graduates, said, “When dergraduate student ... I heard your lone voice I practice hymns for the service, I feel that I am ... speaking out in behalf of the goodly musical opening a new jar (like strawberry or blueberry heritage which is ours.” 4 !at goodly musical jam). Even if I had played the same hymn thou- heritage taught Manz. Like Jan Bender—the sands of times, I always feel that I am practicing church organist and composer from the Neth- the hymn for the $rst time, just like opening a erlands who taught in this country at a number new jar.” Manz was always opening a new jar of Lutheran colleges and seminaries—Manz saw with the new song, whether improvised by him music as rooted in the past but growing and de- or with the written music the church has deemed veloping in the present. worth keeping—of which there is a wealth, as !e present meant for Manz applying all he knew.
8 Spring 2017 CrossAccent www.alcm.org L COUNTER POINT Perspective Word ,” 7 which he knew !e issue here is the perspective that drives is the Living Incarnate Neither Luther nor Manz what the church musician does. If you listened Word that transcends to Manz play, lead a congregation, and direct all of our words. were lone rangers. They !ere is a lot packed a choir, you realized pretty quickly that he was were servants of the church, not engaged in the culture’s musical business as into those brief com- usual. Even if you could not articulate what was ments. Manz did not wise enough to know that going on and did not know about the new song, get “this concept” of you knew that something was dierent here, the church’s music out the goodly heritage was a something associated with the life and witness of nowhere. In typi- of the church. If you happened to come across cal Lutheran fashion solid foundation on which the foreword Manz wrote for Lawrence and Fer- he derived it from the guson’s book, you would have discovered that goodly heritage of the they could build and from Manz had in fact thought this out. He did not church catholic through whose mistakes and pretend to be a theologian. !at was not his vo- a Lutheran lens and the cation, the same as the theologian’s vocation is accumulated wisdom successes they could learn. not that of the musician. But as a church musi- this heritage gives us. cian he was in touch with the church’s theology, as theologians are called to be in touch with the The Goodly Heritage church’s music. Manz held up the musical part of I can’t count how many times I’ve heard things this “fruitful partnership” in the body of Christ, like the following from speakers who are re- “bound together” with “penitent gratitude” in its garded as authorities and from a wide range of “common humanity” and “glorifying God,” to individuals in casual conversations. “Everybody which Erik Routley pointed so well. 6 knows,” so the saying goes, that Martin Luther Manz explained what church musicians are was the $rst person to introduce congregational called to do—something that he understood singing into the church, that he stole his hymn as complementary to what ordained clergy are tunes from bars, and that he thought the devil called to do. Like the clergy, he said, musicians had all the good tunes. In short, Luther is pop- “preach ..., teach ..., comfort the bereaved and ularly seen in and out of the church as a lone help sustain the weak ..., counsel the troubled ranger who set out to junk everything the church ..., and ... assist at the distribution of the sac- had bequeathed to the 16th century and start rament.” !ey do this, however, not from the from scratch. Nothing could be farther from the pulpit and altar, but from the “choir loft or the truth than these modern urban legends. organ bench.” !ey “communicate the Word ... !e 16th century church received from its in a largely nonverbal manner,” and the “spiritu- predecessors al”—the “Geist”—that is present here “involves biblical readings each individually and all corporately as the psalms hearts of people pray, praise and give thanks,” canticles singing the Te Deum with all the saints. Manz what /aul called +psalms# hymns# and spir made clear that “it is precisely this concept of itual songs church music that welcomes musicians into the responsorial psalmody between readings service of the church.” And then he explained hymnic poetry “this concept” in connection with what it is not. music to go with all of that “It is one thing,” he said, “to dispense carefully sequences prepared music to the church; it is quite anoth- sequences with texts that stimulated more er to oer carefully prepared church music! !e hymns and tunes dierence lies not only in the appropriateness polyphony and the choral music that came but in the basis for all church art, namely, the with it
Spring 2017 CrossAccent 9 L COUNTER POINT vernacular hymns like Leisen to countless anonymous poets and musicians, the beginnings of music for the organ and it comes through such people as Philipp Nico- the )ass and prayer oces to which all of lai who, following Luther’s example, wrote both this related and which were sung( hymns and their tunes; through those who !is is a wealth of both congregational wrote hymns, such as Paul Gerhardt, Martin and choral texts and music, related to the wor- Franzmann, and Jaroslav Vajda; and through ship of the church. Along with it came thought those whose vocation was a musical one, such about music from such writers as Augustine and as Heinrich Schütz, Johann Crüger, J. S. Bach, Boethius. Felix Mendelssohn, and Hugo Distler. !is is Ulrich Zwingli and Zwinglians obliterat- the heritage Paul Manz, like Martin Luther, re- ed this heritage. John Calvin and Calvinists ceived and learned from. Neither Luther nor restricted it to unison congregational metrical Manz were lone rangers. !ey were servants of psalmody and the word and table sequence of the church, wise enough to know that the good- the Mass, but not the Mass itself. Martin Luther ly heritage was a solid foundation on which they and Lutherans took the whole works, ran with could build and from whose mistakes and suc- it, and developed it further in both its congrega- cesses they could learn, and which helped to tional and choral genres with cleaned-up Latin propel them in continuing faithful service to and German vernacular versions of the Mass. the church and to the world they were called to Lutherans expanded the already huge musical serve. repertoire the church had by adding, and con- tinuing generation after generation to add, more The Lutheran Contribution hymns, more hymn tunes, more choral music, !e goodly heritage of music has many facets, more organ music, and more quite extensive related to the many ways the church catholic has thought about music in the life of the church. regarded its song. !ese include music’s connec- !at included Luther’s admonition to “take spe- tion with praise and thanksgiving, with prayer, cial care to shun perverted minds who prostitute with the story of God’s faithful mercy, and with this lovely gift of nature and art with their erot- the proclamation of the word. !e church, when ic rantings.” 8 it sings, cannot avoid and has not avoided any Much—probably most—of the music from of these facets, but dierent parts of the church both before and after Lutherans arrived on have emphasized dierent ones. For example, the scene has had little staying power beyond Roman Catholics and Calvinists can be under- its time and place. !e church learned from stood to emphasize prayer; Methodists can be it, however, and has kept what has borne rep- understood to emphasize the story. Lutherans etition. !is whole mix is the goodly heritage have characteristically emphasized the procla- that the Lutheran church and its musicians re- mation of the word—though prayer, praise, and ceive right to the present moment. In addition thanksgiving are present also. 9 It is no accident that the description of John Schwandt’s organ recital, which duplicated the music Manz played yale institute of sacred music announces at the dedicatory recital, said that this organ has helped to “preach” the gospel. And it is no acci- When Dancing Turns to Mourning dent that Paul Manz pointed to the word and its Worshiping God in the Face of Violence grace as the “basis for all church art.” !ere are many complicated theological is- ecumenical conference sues that attend music’s relationship to the word, for pastors, musicians, and other parish leaders as Miikka Anttila explains in Luther’s !eology of Music. 10 It was not Manz’s job to unpack them; June 13 – 15, 2017 • Yale University that is the theologian’s task. !at he was aware of Information and registration: ismcongregations.yale.edu this theological undergirding and that it infused
10 Spring 2017 CrossAccent www.alcm.org L COUNTER POINT
We will not be well served by regarding Paul Manz or J. S. Bach or any human being, no matter how able, as the only way to do some- thing. They … teach us that we are to employ our par- ticular competencies and skills in the contexts of and with the people we serve. his vocation are what need to be understood. of how music is regarded and pursued. Under- And that he was responsible to his particular tra- standing the various traditions and their work dition within the whole church catholic needs to as gifts to the whole church catholic and to the be emphasized—as well as his realization that his world is not only for our good and the good of particular tradition and its emphasis were part the neighbor but much closer to what they really of a larger catholic whole that includes prayer, are. Our $nitude makes it impossible for any one praise, and thanksgiving with all the saints. community to embody the whole. Musicians !e church’s larger catholic whole in rela- have probably realized both denominational and tion to music to which Manz attended might ecumenical issues more than any other group in be summarized something like this. !e church the church. !is is not because they are better has characteristically been organized in local as- or worse than anybody else. It is because, if they semblies and groups of these assemblies. In our are faithful to their vocation, they encounter the period we call these congregations and denom- rich tapestry that church music inevitably brings inations. !ere is always a temptation to make with it. Paul Manz was faithful to this vocation. closed cliques out of these clusters and to pit them !e Lutheran musical contribution to the against one another in battles. Closed cliques are song of the whole church centers around the the antithesis of the church. Dierences are im- word and its proclamation. !at has infused Lu- portant. We learn from them, and they need to theran congregational and choral singing, the be explored and discussed, but using them in in- organ’s playing, and the whole proclamatory grown ways as weapons does not square with the progression of biblical readings with interve- Commandments or Jesus’ summary of them. nient psalmody, gospel acclamation, preaching, And in fact, the various communities actually and the cantatas and concertatos this progres- serve to highlight dierent aspects of the Chris- sion has stimulated. !e chorale has been the tian faith—for our topic here, dierent aspects musical center. !e chorale and its related music
Spring 2017 CrossAccent 11 L COUNTER POINT have nourished and formed Lutherans and led them to a large and remarkable repertoire gener- ation after generation. Lutherans, among them Paul Manz, have contributed this to their broth- ers and sisters in other confessional groups just as other groups have contributed their resources to Lutherans. What needs to be noted here is that nei- ther Lutherans nor the whole church and world are served by avoiding or forgetting the good- ly Lutheran heritage, just as other groups do not serve themselves or others well by avoiding or forgetting theirs. Paul Manz did not forget. Communities do not develop and do good in the world as generalized mush. !ey have a speci$ci- ty that relates to the speci$city of the incarnation and their vocation. !e Lutheran chorale heri- Because we avoid the joined wisdom of tage, what it stimulated and still stimulates, and theological and musical insights, once technique what Paul contributed to it are signi$cant specif- is taken for granted we gravitate to questions of ic formative contributions to the whole church musical style determined by whatever we think catholic, to be prized among us for our good and will further our own particular interests. When for the good of our neighbors. !is brings into this becomes, as in our period, what has been play questions about style. called “missional,” it reveals yet another version of works righteousness where we by our works Style think we can get people into God’s presence. So our worship wars in recent years have been char- Let’s suppose that you knew nothing about Paul acterized by assaults on one another to further Manz. You skimmed Scott Hyslop’s book about our own private opinions, after which we retreat Manz, !e Journey Was Chosen ,11 including the behind stylistic barricades once we have $red chapter there by David Cherwien, which is ti- enough rounds of our automatic weapons. tled “Symbolism” but is about much more. Or Styles are important. I have tried to de- you glanced at James Freese’s biography of Manz tail some of these and their attendant issues with Cherwien’s foreword and its parenthesis on in Church Musicians: Re"ection on !eir Call, the $rst page about the combination of a 32' reed Craft, History, and Challenges. 14 I do not want to with a 1' %ute. 12 You would know immediately downplay their importance. But to reduce our that the goodly heritage and its particular Lu- conversations or lack thereof to matters of style theran insights did not only live in the realm of is to avoid central matters. It leads us not only to theoretical thought for Manz: they took musical a generalized mistake but to idealizing certain shape. !at shape, however, was not a legalis- practitioners on one or another side of these bat- tic repristination of some sort, nor was it some tles in our cultural star-studded system. presumably new, brilliant, and idiosyncratic With someone like Paul Manz that means invention that our age likes to champion as “out- we are tempted to take precisely what he did as side the box.” It learned from and used the formal the way all church musicians should do every- and syntactical musical structures derived from thing. He would probably be the $rst to warn the church’s heritage through its Lutheran in- us against this sort of idolatry. I have heard in- sights, lived into and with ears attuned to our formed discussions by able church musicians time and place. Or, in Cherwien’s words, Manz’s where there were disagreements about any num- hymn festivals “were an interesting juxtaposition ber of issues, such as a tempo Manz took or the of the known with the unexpected.” 13
12 Spring 2017 CrossAccent www.alcm.org L COUNTER POINT space he left between stanzas of a hymn or run- program with St. Olaf College. His most recent ning around the circle of $fths. Every time I books are Church Music in the United States: heard one of these conversations I thought that 1760–1901 (Fenton, MO: MorningStar, 2014), if Manz himself had been present he would have with David W. Music, and Church Musicians: joined the discussion with a point of view that Re%ection on !eir Call, Craft, History, and took into account what was being said without Challenges (St. Louis: MorningStar, 2015). dismissing it, though he would have had and would have expressed opinions about it—kindly. Notes He was kind enough to encourage even organists &( /aul )anz# foreword to oy "( *awrence and ohn like me and to see that we had something to con- 9( Xerguson# A Musician’s Guide to Church Music tribute. !e conversations I had with him about @ew orkQ /ilgrim# &Z&^# vii( church music generally beyond any speci$c or- _( "rik 4outley# Church Music and Theology @/hiladel gan playing were always thoughtful, gentle, and phiaQ )uhlenberg# &Z;Z^# &&( characterized by a reluctance to criticize harshly <( >ee )iikka "( 9nttila# Luther’s Theology of Music even if he had been treated badly, though he had Spiritual Beauty and Pleasure @erlinQ de 3ruyter# _&<^# &( de$nite and carefully thought-out opinions. ( irby *( oriath# Music for the Church: The Life and I think this is quite important to note: we Work of Walter E. Buszin @Xort ayne# Q 3ood will not be well served by regarding Paul Manz >hepherd nstitute# _<^# &\( or J. S. Bach or any human being, no matter how ;( /aul )anz played the dedicatory recital of the able, as the only way to do something. Manz )ount live >chlicker organ on ctober _# &Z\\( and Bach teach us all sorts of things that include n >unday# ctober _# _&\# prior to the )anz styles and techniques along with the craft that age on ctober _ and _Z# ohn >chwandt# associ ate professor of organ at the =niversity of klaho is required of church musicians. But they also ma >chool of )usic @orman^# reprised the recital# teach us that we are to employ our particular enclosed within a vespers service( he recital was a competencies and skills in the contexts of and historical and crosscountry spread from 3uillaume with the people we serve. !ey both wrote “oc- ufay in the &;th century through Xlor /eeters in casional” music for the occasions, people, and the _th( places in which they worked. Judgments about \( 4outley# &&( style and what does and does not $t are not only ( he quotations in this paragraph are from and sum local ones, of course. !ese come from across the marize the three paragraphs that make up )anz8s foreword to *awrence and Xerguson# vii–viii( church’s history with its wisdom, as Bach and ( )artin *uther# +/reface to 3eorg 4hau8s Symphoni- Manz both teach us. !ey also teach us that we ae iucundae, in Luther’s Works # 9merican ed(# are not in their circumstances, as they were not vol( ;<# Liturgy and Hymns, ed( =lrich >( *eupold in ours. As they in their circumstances did what @/hiladelphiaQ Xortress /ress# &Z\;^# <_( >ee /aul they were called to do, so we in ours have the estermeyer# Te Deum: The Church and Music same call to music in the service of the gospel. @)inneapolisQ Xortress /ress# &ZZ^# &;# for context( Let us each $gure it out in the places where we Z( >ee 9nttila# &–&&( work, in connection with the help of our past and present colleagues—Paul Manz among &( bid(# Z–&_( them. And, like Paul, let us do this with all of its &&( >cott yslop# The Journey Was Chosen: The Life and duty and delight. Work of Paul Manz @Xenton# )Q )orning>tar# _^( &_( ames ( Xreese# Paul O. Manz: The Enduring Paul Westermeyer is Legacy of the Hymn Festival @)inneapolisQ *utheran professor emeritus of church =niversity /ress# _&^# ;( music at Luther Seminary in &<( bid( St. Paul, MN, where he served &( /aul estermeyer# Church Musicians: Reflection on as cantor and directed the Their Call, Craft, History, and Challenges @>t( *ouisQ Master of Sacred Music degree )orning>tar# _&;^# ;Z–&(
Spring 2017 CrossAccent 13 L COUNTER POINT Doctor, Lawyer, Poet, Mayor ... and Cantor? Early Lutheran Church Musicians and Vocation
by Chad Fothergill
pon the death of !omaskantor Johann Kuhnau in June 1722, Leipzig city chron- U icler Johann Salomon Riemer registered an entry that began: On June 5 died Mr. Johann Kuhnau, Direc- tor musices [“musical director”] at the two principal churches of St. !omas and St. Nicholas, and the same in St. Paul’s Church of the University, and no less Cantor at the St. !omas School, aged 62 years and 2 months, a learned man, expert in art, who not only had a good understanding of Hebrew, Greek, Noblemen, from Das Ständebuch (“Book of Trades”), 1568 and Latin but also, in addition to his music, was a $nished mathematician, and no less, before he became Cantor, had been a well- Cantors of the 16th, 17th, and 18th centuries learned lawyer. 1 At $rst glance, Riemer’s brief vita for Kuh- were involved in an array of disciplines nau seems to extend far beyond the musical and beyond music, including law, philosophy, pedagogical quali$cations and responsibilities typically associated with Lutheran cantors of mathematics, medicine, literature, and the post-Reformation generations. When used in this speci$c historical-theological context— poetry—a panoply reflective of their dierentiated from, say, the work of cantors in Jewish and Roman Catholic assemblies today— humanist training in classic liberal arts the term “cantor” usually summons images subjects through the Protestant of Kuhnau’s successor, a dutiful and diligent Bach dancing eortlessly across organ pedals educational model established and plumbing the depths of his art to the re- frain of Soli Deo Gloria . Kuhnau’s credentials by Luther and Melanchthon. also eclipse less-romanticized, matter-of-fact “textbook” de$nitions that, in addition, draw
14 Spring 2017 CrossAccent www.alcm.org L COUNTER POINT
Cantors’ approaches were shaped by awareness of their roles as visible public figures and stewards of the word in their respective communities.
Martin Luther and Philipp Melanchthon, as portrayed in the windows of St. Matthew Lutheran Church, Charleston, SC. attention to the Lutheran cantor’s customary by bullet-point job descriptions tailored to the teaching responsibilities: whims of individual congregations (even though [the German cantor] was in charge of the application, examination, and hiring procedures selection of the music and its proper per- were highly legislated aairs) but by awareness formance (like the music director in an of their roles as visible public $gures and stew- American church). In Germany the musical ards of the word in their respective communities. head of an educational establishment with a !eir sense of vocation was rooted in the church choir-school or Kantorei attached to a church was called the cantor. He was subject to a rec- yet could take on any number of dierent ex- tor, the principal of the school. 2 pressions: teacher, singer, composer, pastor, rector, godparent, or citizen. 3 However, a broader view of the train- ing, activities, associations, and publications of Accordingly, a wide-angle view of the Lutheran cantors in the post-Reformation gen- Lutheran cantorate must account for its prac- erations suggests that Kuhnau’s extra-musical titioners’ activities beyond purely musical endeavors were not as exceptional as they $rst concerns as well as their engagement with pre- seem from our retrospective, 21st-century view. vailing intellectual and aesthetic movements of Like Kuhnau, cantors of the 16th, 17th, and the time. !e following paragraphs endeavor to 18th centuries were involved in an array of disci- reassemble several fragments of this long and plines beyond music, including law, philosophy, variegated tradition into three broad areas: @&^ the direct in%uence of *uther and )el mathematics, medicine, literature, and poetry— anchthon in recruiting and placing learned a panoply re%ective of their humanist training cantors# in classic liberal arts subjects through the Prot- @_^ nonmusical activities of cantors in their estant educational model established by Luther communities# and and Melanchthon. @<^ the challenges posed by the expansion of In short, the Lutheran cantorate of the pe- specialized musical labor—particularly the riod was not some monolithic constant typi$ed division between cantor and organist— by Bach’s Leipzig tenure but was as diverse as that took place in the latter half of the &th the personalities, interests, and abilities of those century( who occupied the oce. Broadly speaking, Rather than a “master narrative” that pur- cantors’ approaches were not shaped so much ports to de$ne a single history of the cantorate,
Spring 2017 CrossAccent 15 L COUNTER POINT
Broadly speaking, cantors functioned as stewards of words—usually Scripture—in written, spoken, and sung form. Many were responsible ... also for curating their local histories by maintaining written records of events, prayer intentions, and deaths in their respective communities.
these paragraphs are oered as a constellation of entry points for further investigation, a tapestry woven with considerations of biography, lan- guage, poetry, literature, occupations (and their Book Printer, from Das Ständebuch (“Book of implications of class and social status), politics, Trades”), 1568 patronage, confessional con%ict, war and fam- compositions—was called the “cantor” ( Kan- ine, the dissemination of ideas in print, and the tor ). In his “Appeal to the Councillors of All role of university centers. It is a complicated and Cities of the German Nation” ( An die Ratsher- labyrinthine story resistant to generalization yet ren aller Städte deutschen Landes ) of 1524, Luther oers a fascinating glimpse into the formative seems to have assumed that cantors would be years of a still-vital tradition, a “high and holy learned $gures who possessed %uency in other calling” 4 that continues to nurture the voice of subjects of the quadrivium , writing that students the church. should ideally “learn music alongside the whole of mathematics.” 6 Like the liturgical reforms of !e Cultivation of Learnedness in the his Formula missae of 1523 and Deutsche Messe Luther–Melanchthon Circle of 1526, Luther did not “invent” a new litur- Recognizing the in%uence of his own late- gy pattern or musical oce out of nothing but medieval schooling, Martin Luther worked with structured the ideal cantor upon a well-estab- his Wittenberg friend and colleague Philipp lished model from the Roman Catholic church. Melanchthon to fashion a distinctly German !e $rst instances of an oce $lled by some- and Lutheran educational system founded on one called “cantor” can be traced to 6th-century linguistic and mathematical categories of the monastic communities where, in addition to classic liberal arts codi$ed in the 5th century: a singing, the incumbent may have also served three-subject trivium (language arts) consisting as a reader or librarian. Broadly speaking, can- of grammar, logic, and rhetoric, and a four-sub- tors functioned as stewards of words—usually ject quadrivium (mathematical arts) consisting Scripture—in written, spoken, and sung form. of arithmetic, geometry, astronomy, and music, Many were responsible not only for the record- the last of which emphasized ratios and propor- ing and retelling of the gospel story through the tions of tones and harmony as expressions of a seasons and feasts of the liturgical year but also divinely ordered world. 5 In the Lutheran model, for curating their local histories by maintaining the individual tasked with the administration, written records of events, prayer intentions, and teaching, and leadership of music—a burgeon- deaths in their respective communities. As noted ing repertoire of chorales and chorale-based by Christopher Page in his magisterial survey of
16 Spring 2017 CrossAccent www.alcm.org L COUNTER POINT Christian singers through the $rst millennium, with a wide range of extra-musical respon- the early history of the church musician is, in sibilities and an extensive local network of essence, a “history of communication.” 7 Just as patrons; his coat of arms is preserved on his function could vary from location to location, so seal attached to a number of letters patent. In 1457 he became supervisor of the watch on too could title: various synonyms used for “can- one of the city gates. 11 tor” between the 6th and 12th centuries include !e scholarly and administrative inclina- lector , carminis , canendo , modolante , precentor , tions of medieval cantors often were augmented psallare , and armarius , the last of these speci$- by their literary endeavors, as was the case for cally referring to the librarian in a monastery. 8 Magister Konrad von Mure, who served as the In many of these early references, cantors are un- “$rst cantor at the Grossmünster at Zurich and, derstood as scholars and historians, learned men it is said, [was] the $rst scholar attached to it who and women ( cantrix ) whose ability to read and wrote books.” 12 Included among von Mure’s writ- write proved useful in a vast ecclesiastical bu- ings was a laudatory and biographical poem on reaucracy. 9 As explained by Walter Salmen: the life of Rudolph I, $rst ruler of the Habsburg During the course of the entire medieval period, esteemed cantors repeatedly rose to dynasty. !roughout the later medieval period, high positions, even becoming bishops. In organists and other musicians employed by con- the year 806, for example, the cantor palatii gregations were often expected to acquiesce to [“palace cantor”] Johannes became bishop of the dictates of the cantor, whose authority “was Cambrai, while in the year 1505, Philipp von based upon the assumption of his superior eru- Rosenberg (?–1513) was elevated to bishop ditio [intellect and wisdom], both in theological 10 and cantor of the cathedral of Speyer. matters as well as in general knowledge.” 13 Another example is given in the life of the Closer to the Reformation, a number of composer Hermann Edlerawer, who is listed as a Luther’s own contemporaries also embarked cantor at St. Stephen’s, Vienna, near the middle upon multifaceted and learned careers where- of the 15th century. According to one biographi- in music was just one of many parts. Take, for cal entry, instance, Conrad Celtis, Nikolaus Decius, Mar- legal documents and payments of expenses tin Agricola, Georg Rhau, Johann Walter, and suggest that [Edlerawer] was a civic dignitary Sebald Heyden. Celtis, crowned Poet Laureate of the Holy Roman Empire by Frederick III, Procurator (Lawyer), from Das Ständebuch was instrumental in establishing curricula at (“Book of Trades”), 1568 such major European universities as Ingolstadt and Vienna. Records of his lectures and pub- lic addresses display a desire for a synthesis of disciplines from poetry to mathematics to mu- sic. !ough Celtis never held a cantorate and died well before Luther’s reforming movement, his odes in Greek meters were used as teaching Heyden used metaphors from arithmetic to illustrate musical concepts, even to the point of comparing performers who change the basic pulse ( tactus ) of a musi- cal work to “carpenters who construct buildings without measuring tools.”
Spring 2017 CrossAccent 17 L COUNTER POINT materials in Protestant Latin schools ( Latein- Kunst Musica ) of 1538 that arranged Luther’s schulen ) during the 16th and 17th centuries and views of music in meter. Heyden also was a poet likely in%uenced a number of later cantors and and had received a master’s degree at Ingolstadt Lutheran hymn writers. While Luther’s direct where, approximately 30 years before, Celtis had knowledge of Celtis’s activities remains un- outlined his plans for a “synthesis of poetics, known, the reformer’s correspondence and other rhetoric, philosophy, historiography, geography, written works perpetuated the poetic, linguistic, mathematics, and music” (Flood, lxxxviii). His aective, rhetorical, and cultural aims that char- major theoretical work, “!e Art of Singing” ( De acterized the elder scholar’s in%uence. 14 arte canendi ) of 1540, bore traces of his training Likewise, the careers of Decius, Agricola, in the classic liberal arts. Like Luther’s joining Rhau, Walter, and Heyden—all cantors at one of mathematics and music in his 1524 “Appeal point—are marked by scholarly engagement to the Councillors,” Heyden used metaphors that stems from contact with Luther and Mel- from arithmetic to illustrate musical concepts, anchthon, and from their associations with early even to the point of comparing performers who Lutheran intellectual centers at Wittenberg and change the basic pulse ( tactus ) of a musical work Leipzig. After receiving baccalaureate degrees to “carpenters who construct buildings without in both arts and law at Leipzig, Decius—to measuring tools.” 16 Heyden’s subsequent tenure whom we owe the chorale “All Glory Be to God as a cantor, then rector, in Nuremberg engaged on High”—served as provost of a Benedictine both his musical and literary talents to the extent monastery near Brunswick before moving to that the city council called upon him to “orga- Wittenberg in 1523 in order to study with Lu- nize the meetings about the Reformation held ther. !ough self-taught, Agricola wrote music there in 1525.” 17 Like their forebears of the early treatises in German that connected metrical medieval period, these earliest Lutheran cantors proportions to everyday mathematics, as well as functioned not just as musicians but as commu- writing odes that “were sung between classes” 15 nicative agents for whom musical expression was by the students at Magdeburg where he taught. one element in an array of divinely bestowed Several of his works were published by Georg abilities. Rhau, who $rst worked as an apprentice in his uncle’s print shop at Wittenberg before a brief Astronomer, from Das Ständebuch (“Book of Trades”), 1568 tenure as cantor at the (then still Catholic) St. !omas Church in Leipzig; there, he also lec- tured in music theory at the university. Rhau’s reform sympathies led to his dismissal from Leipzig in 1520, after which he brie%y served as a private tutor before returning to Wittenberg in 1532, where he remained active as a publisher. Walter, too, attended the university at Leipzig before assuming the cantorate at Torgau, where he also wrote poetry, notably “In Praise of the Noble Art of Music” ( Lob und Preis der löblichen
Crüger’s vita in particular points to the continued expansiveness of the cantor’s involvement in civic, academic, and ecclesiastical circles.
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Nicolaus Stenger, who took a master’s degree in philosophy at Erfurt, also moved through the ecclesial ranks, serving as an organist, next a cantor and teacher, then deacon, then pastor—all in less than a decade.
century later. !e Luther–Melanchthon in%u- ence also stretched to Passau through the work of Leonhard Päminger, whose studies in Vienna (1505–16) also would have overlapped with the tenure of Celtis. Päminger’s erudition is noted by his biographers: he was held in high esteem by his contem- Parson, from Das Ständebuch (“Book of poraries and was closely associated with Trades”), 1568 in%uential $gures of the Reformation includ- ing Martin Luther and Philipp Melanchthon. An additional $gure of note is Georg Forster At Passau he came into contact with theolo- who, like Heyden, was an Ingolstadt alumnus gians, physicians and philosophers. In this and recipient of instruction and professional as- milieu he established a reputation not only as 19 sistance from Melanchthon. !ough Forster is a composer, but also as an author. not de$nitively recorded as having held a cantor- Päminger’s career in Passau began with ate, his vita is re%ective of the learned attributes service as schoolmaster until he was promoted of musicians who moved within the orbit of the to rector in 1529. However, he was stripped of Luther–Melanchthon circle. After studying this position in 1557 because of his Lutheran medicine at Ingolstadt, Forster lived in Witten- sympathies. berg between 1534 and 1539, where he explored literature with Melanchthon and was a dinner One Vocation, Many Forms: companion of Luther, who reportedly “encour- Cantors in !eir Communities 18 aged him to compose settings of biblical texts.” !roughout the remainder of the 16th century, In the aforementioned 1540 treatise by Heyden, Lutheran cantors continued to engage in extra- Forster is further described as a scholar of litera- musical pursuits that re%ected the humanistic ture, medicine, and music. ideals of the Luther–Melanchthon circle. While Before his death in 1560, Melanchthon also their training continued to manifest itself in procured a cantorate for Johannes Zanger, who learned and administrative occupations, poetry had come to Wittenberg after serving on the gradually became a signi$cant creative outlet as law faculty at Cologne, as well as a pastorate for well. For instance, Johann Steuerlein was $rst Johann Walter, son of the elder Johann Walter trained at Magdeburg in the tradition estab- who was Luther’s colleague and musical editor lished by Martin Agricola, then at Wittenberg, of the early Wittenberg hymnals. Melanchthon and from 1569 to 1589 served as clerk, organ- also may have encountered David Wolkenstein, ist, and cantor at Wasungen, near Meiningen. who arrived in Wittenberg in 1555, $ve years be- After 1589, Steuerlein “served as chancellery sec- fore Melanchthon’s death, and who later went on retary to the Elector of Saxony at Meiningen to serve as a cantor and teacher of mathematics and as such was in 1604 also promoted to notary at Strasbourg from 1568 until his death a quarter
Spring 2017 CrossAccent 19 L COUNTER POINT
One’s occupation was to glorify God and serve the neighbor using divinely given abilities in all spheres of daily life, whether domestic, civil, or ecclesiastical.
public and mayor of the town.” 20 Late in life and following in the footsteps of Celtis, Steuerlein was crowned a Poet Laureate in the Holy Ro- man Empire. Around the same time, Pancratius Crüger was also crowned a Poet Laureate, possibly lau- reated by Paul Schede Melissus, who was himself bestowed with the same title in 1561 at the age of Musicians, from Das Ständebuch (“Book of 22. Both Melissus and Crüger had also served as Trades”), 1568 cantors, the former at Königsberg and the latter Johann Rist. After studying theology, poetry, for a time at Brunswick. Crüger’s vita in particu- law, medicine, and Hebrew at Rinteln, Rostock, lar points to the continued expansiveness of the and perhaps Leipzig, Rist became a physician cantor’s involvement in civic, academic, and ec- pastor at Wedel (just to the west of Hamburg) clesiastical circles. in 1635 and was named Poet Laureate in 1644. In October 1575 he moved to Helmstedt Records of fees collected by Rist from laureation as a teacher of Latin and poetry, and at the inauguration of the university there on 16 applicants and distributed by him to his usual October 1576 he received a master’s degree diploma maker suggest that he may have pro$ted in philosophy. From 24 December 1580 to admirably from the ca. 26–29 poets he laureated 11 April 1581 he was dean of the faculty of during his lifetime (Flood, cxxx). In addition to philosophy and in January 1581 was appoint- working with a number of Hamburg-based com- ed professor of logic. He later became Rektor posers, Rist also engaged the musical talents of of the grammar school at Lübeck. [In] 1589 Zittau organist Andreas Hammerschmidt and Crüger became Rektor at Goldberg, Schwer- the Lüneburg cantor Michael Jacobi. in. From the autumn of 1598 until his death he was professor of Greek at the University Toward the end of the 16th century and into of Frankfurt an der Oder; during the winter the 17th, poet-musicians (cantors and noncan- term of 1598 he was chancellor. 21 tors alike) displayed increasing interest in the !e 17th century saw a vast increase in the rhetorical construction of musical works and number of Poets Laureate honored in the Holy the poetic and aective power of music. !e Roman Empire. What began in the late 15th $gure most frequently cited in this category is century as an honor bestowed by the Holy Ro- Joachim Burmeister, who took a degree in law man Emperor had been taken up by universities at Rostock under the tutelage of well-versed as an academic honor not unlike that of an hon- humanists including the “mathematician and 22 orary doctorate. During the 16th century, Poets professor of medicine Henricus Brucaeus.” Af- Laureate received authorization to bestow the ter serving as cantor at two churches in Rostock same honor upon aspiring poets of their own ac- between 1589 and 1593, Burmeister devoted his cord—sometimes for a fee. For some, it became career to teaching and to exploring the relation- a lucrative practice, as in the case of hymnwriter ship between music and rhetoric in a number
20 Spring 2017 CrossAccent www.alcm.org L COUNTER POINT of publications, including Hypomnematum mu- Toward the end of the 16th century sicae poeticae (1599), Musica autoschediastike (1601), and the famous Musica poetica (1606). and into the 17th, poet-musicians (can- Later in the 17th century, a number of Lutheran Poets Laureate and hymnwriters penned his- tors and noncantors alike) displayed tories, analyses, and recommendations for the increasing interest in the rhetorical art of emotionally moving readings through verse; poetic handbooks of note include Martin construction of musical works and the Opitz, Buch von der Deutschen Poeterey (1624); Johann Heinrich Alsted, Encyclopedia (1630); poetic and affective power of music. Georg Philipp Harsdörer, Poetischer Trichter (1647); August Buchner, Poet (1665 posth.); and Sigmund von Birken, Teutsche Rede-bind- und decades before assuming a pastorate in nearby Dicht-Kunst (1679). Dahlenburg; he was also admitted to the “Order Secondary literature also makes mention of of Elbe Swans” ( Elbschwanenorden ), an associa- other cantors who joined the humanistic and lit- tion of poets founded by Rist, at which time he erary endeavors of their fellow musicians, but adopted the nom de plume “Philanton” (Flood, for whom details are signi$cantly lacking. !e 263). 27 Nicolaus Stenger, who took a master’s de- Oxford Music Online entry for cantor Paulus gree in philosophy at Erfurt, also moved through Bucenus notes that he was “an educated human- the ecclesial ranks, serving as an organist, next a ist and that he was held in high regard,” 23 even cantor and teacher, then deacon, then pastor— though many of his works have yet to be exam- all in less than a decade (1629–38). By 1654 he ined. Similarly, an entry in the same source for had returned to Erfurt as a professor of philoso- Philipp Friedrich Buchner notes that he was the phy and then assumed a theology professorship grandson of “the Poet Laureate and Kantor Hul- in 1661. Careers could also move in the opposite drich Buchner of Wertheim.” 24 Presently, the direction, as shown by the life of Martin Jahn, only other known musical reference to the elder whose several positions were the result of shift- Buchner is a short biographical entry in a survey ing confessional alliances in the Silesian region of Poets Laureate from the period: where he was active. It has been suggested that Buchner, born in 1560, came from Schön- between 1648 and about 1682 he served as an berg, a village near Lauf an der Pegnitz. In itinerant musician and pastor, then cantor, then 1582 he obtained his Master of Philosophy cantor and headmaster, then pastor, and then degree and then became a soldier. Later he cantor again. 28 became cantor at Wertheim. He died on 12 Most cantors were of course also actively en- May 1602. (Flood, 258) gaged in the schools connected with towns and In his survey of church orders and liturgical individual congregations. Cantor Jacob Pag- practices in early Lutheranism, Joseph Herl has endarm at Lübeck is a representative example in observed that, during the 16th century and into the late 17th century, third in the school’s hi- the 17th, the Lutheran cantorate often served erarchy after the rector and subrector. Having 25 “as a stepping stone to the pastorate.” !is was received a university education, Pagendarm “was the case for Erhard Bodenschatz, a former pupil responsible for teaching Latin and religion to the of !omaskantor Sethus Calvisius, who held a second and third classes and music to the entire cantorate in Naumburg before pastorates in Re- school,” 29 a task that merited an annual salary hausen and Gross Osterhausen. His compilation more than four times the remuneration he re- of motets, Florilegium Portense , is acknowledged ceived as cantor. During the period of the 16th for the window it oers into the compositional to 18th centuries a number of cantors also moved 26 activities of cantors in the early 17th century. through the administrative ranks of schools. For Likewise, Anton Burmeister served the Lüne- example, Abraham Schadaeus was $rst a teach- burg Michaeliskirche as a cantor for three er at Meissen, then a cantor at Bautzen, a rector
Spring 2017 CrossAccent 21 L COUNTER POINT at Speyer, a cantor at Torgau, then Konrektor around Joachimsthal, Christopher Boyd Brown (“deputy principal”) and $nally rector again at has observed that “the calls of several Joachims- Bautzen. Likewise, Pancratius Crüger—men- thal cantors to pastorates elsewhere illustrate the tioned earlier as a Poet Laureate—served as a close association between these positions and rector in Lübeck, while Konstantin Bellermann the political and educated elites.” 31 In this sense, served in Minden as a cantor, assistant rector, the humanistic training model established by and rector between 1719 and 1742. !e Dan- Luther and Melanchthon served later cantors as ish musician Matthias Henriksen Schacht also a means of social mobility and security. moved from a cantorate to a post as rector. In this latter capacity he is recorded to have “served Musical Specialization also as town musician and carried on scholarly and Its Challenges investigations into a wide range of subjects, in- During the second half of the 17th century, cluding castles in Hungary, the topography of changes in musical tastes and styles—larger Gotland, zoology, botany, mathematics and his- performance forces, operatic in%uence, multi- tory.” In addition, Schacht “published papers on movement cantata forms, and the like—began learned Danish women and on antiquities on the to adversely aect the amount of attention can- island of Fyn.” 30 tors could devote to learned pursuits as they had !e range of activities undertaken by can- done across previous generations. Accordingly, tors of the period was part of the wide-ranging the interests and abilities of musicians on the humanist view of vocation ( Vokation ) that whole became more specialized, prompting can- stemmed from Luther’s early writings on the tors to advance toward larger cantorates rather subject: one’s occupation was to glorify God and than to pastorates and other administrative posi- serve the neighbor using divinely given abilities tions as seen in many of the preceding examples. in all spheres of daily life, whether domestic, civ- According to Joyce Irwin, this shift was accom- il, or ecclesiastical (Tranvik, 83). What might panied by a new set of professional challenges seem like major career reversals to us in the 21st within civic and ecclesiastical hierarchies. century were little more than various paths that !is is not to say that cantors no longer were began at the font and ended at the grave. Yet it fully committed to the church—far from also should be noted that church vocations were it—but there is increasing evidence of ten- accompanied by certain sociopolitical advantag- sion between pastors and cantors, and there es not unlike those enjoyed by those who sought was strong resistance in some circles to those admittance to the roster of Poets Laureate. As singers who were hired on the basis of vo- summarized by Arnfried Edler: cal ability without regard to religious belief. thus the cantor, as an elevated member of the Furthermore, organists were often perceived church and school hierarchy, enjoyed numer- to be showing o their prodigious skills ous freedoms from the routine obligations to rather than enhancing the worship of the 32 which the municipal and rural population congregation. were subject. As was the case with pastors, Her observations match an earlier sum- cantors did not have to earn the rights of cit- mary given by John Butt, a scenario applicable izenship, and they were also automatically to Bach’s eventual disputes with the Leipzig exempt from military service as well as watch consistory. duty. (Edler, 73) !is trend toward the specializing musician As products of formalized education, can- can be traced back to the seventeenth centu- tors also moved in dierent social strata than ry with the metamorphosis of certain cantors musicians who learned their craft through ap- into the Director Musices , and the tendency prenticeships, such as organists and various for more active musicians to turn away from types of town musicians including minstrels, their traditional academic duties. (Butt, 189) tower musicians, and pipers. In his study of mu- By the turn of the 18th century, clashes sicians, pastors, and social structures in and between cantors and their colleagues or
22 Spring 2017 CrossAccent www.alcm.org L COUNTER POINT
As products of formalized education, cantors also moved in different social strata than musicians who learned their craft through apprenticeships, such as organists and various types of town musicians including minstrels, tower musicians, and pipers.
his rector, possessed a “poisonous, blasphemous tongue.” 34 In Danzig, organist Paul Siefert and cantor Kaspar Förster quarreled because “Siefert refused, as a composer, to assume a subservient position to the non-composer school cantor” Organist, from Das Ständebuch (“Book of (Edler, 74). And in Lüneburg during Bach’s time Trades”), 1568 as a pupil there, cantor Johann Heinrich Arnold supervisors—organists, rectors, and town coun- arranged for the termination of three headmas- cils—had become commonplace enough for the ters at the school during a two-year span and was German theorist Johann Philipp Bendeler to notorious for severe and violent forms of punish- compile summaries of their causes, legal proceed- ment for students who made mistakes or were ings, and resolutions in his Directorium musicum disobedient. !e fourth headmaster, Johann of 1706. 33 As in the dispute between Bach and Christoph Kiesewetter, “was forced eventual- the !omasschule rector Johann August Ernes- ly to sack Arnold, to whom he referred as pestis ti, many of these con%icts seemed to result from scholae, scandalum ecclesiae et carcinoma civita- a clash between the humanist understanding of tis (the plague of the school, the scandal of the music upheld in the Luther–Melanchthon circle church and the cancer of the city).” 35 !e poor and the emerging Enlightenment aesthetic, one behavior and decline in quality of training for that increasingly saw music as an “optional lux- cantors was a theme that also appeared in litera- ury” (Butt, 184). !at church and civic authori- ture of the period, especially the satirical novels ties sought to impose checks and balances on the of Johann Beer, who often “depicted cantors as power of musicians—whether political or emo- ignorant thugs who did not merit their place in tional—was not a Baroque, or even Renaissance, the hierarchy of town ocials.” 36 phenomenon: Christopher Page has traced legis- From the array of activities surveyed in this lation directed toward music and musicians as whirlwind tour of post-Reformation cantorates, far back as a 4th-century gathering of bishops at it is clear that a comprehensive view of their sense Laodicea! (Page, 90). of vocation must extend beyond the usual mark- !is is not to say, however, that cantors were ers of compositions and writings to larger social, innocent bystanders in a period of changing intellectual, literary, and scienti$c currents of taste, for many were instigators of the problems their time. Yet even without all of the puzzle that made them famous (or infamous, as the case pieces in place, we can gauge that their sense may be). Cantor Clemens Stephani is recorded as of call and contract was much broader than we a “dicult, quarrelsome man, who was unable tend to assume from our standpoint in a cultural to obtain a settled professional position and even milieu that routinely seeks to divide church voca- spent some time in prison,” and, in the words of tions into such tidy compartments as pastor and
Spring 2017 CrossAccent 23 L COUNTER POINT musician, traditional and contemporary, or— engert# Pastors, Bishops: Public Ministry for the among musicians—into specializations in vocal, Reformation and Today @)inneapolisQ Xortress# _^ and )ark ( ranvik# Martin Luther and choral, and keyboard pro$ciencies. Instead, their the Called Life @)inneapolisQ Xortress# _&\^( approach might best be understood not so much ( 9ssociation of *utheran hurch )usicians# +he as a speci$c job description or station but rather 4ole of the antor poster# httpsQ www(alcm(org as a philosophy—a vocation—steered by a desire marketplace poster( to serve both God and neighbor, both in and be- ;( Xor discussions of the role of music in the yond the walls of the church. quadrivium # see especially alvin )( ower# +he ransmission of 9ncient )usic heory into the Chad Fothergill is a Ph.D. )iddle 9ges# in The Cambridge History of Western Music Theory # ed( homas hristensen @ambridgeQ student in musicology at ambridge =niv( /ress# _&^# &&–_# and# in the Temple University, Philadel- same volume# atherine olan# +)usic heory and phia, PA, where he researches )athematics# __–<( the Lutheran cantor tradition \( rans( and quoted in ( 9ndreas *oewe# +¡)usica in both its Reformation-era est ptimum8Q )artin *uther8s heory of )usic# and present-day contexts. In addition to his Music & Letters Z# no( @ecember _&<^# ;( >ee graduate studies, he remains active as an organist also 4obert 4osin# +*uther on "ducation# in The Pastoral Luther: Essays on Martin Luther’s Practical and harpsichordist in solo, collaborative, and Theology # ed( imothy ( engert @3rand 4apidsQ liturgical settings, and has performed or presented "erdmans# _Z^# &&–<( at meetings of the American Guild of Organists, ( hristopher /age# The Christian West and Its Association of Lutheran Church Musicians, the Singers: The First Thousand Years @ew avenQ ale Haydn Society of North America, and the Society =niversity /ress# _&^# &<( for Christian Scholarship in Music. ( )argot "( Xassler# +he ffice of the antor in "arly estern )onastic 4ules and ustomariesQ 9 /reliminary nvestigation# Early Music History ; Notes @&Z;^# <( &( rans( and quoted in ans ( avid and 9rthur Z( wo notable surveys about the role of female )endel# eds(# The New Bach Reader: A Life of Johann cantors in the medieval period include 9nne Sebastian Bach in Letters and Documents, rev( and agnall ardley# Performing Piety: Musical Culture exp( hristoph olff @ew orkQ orton# &ZZ^# in Medieval English Nunneries @ew orkQ /algrave ZZ( )acmillan# _\^# and atie 9nn)arie ugyis# _( erbert uechterlein# +antor# in Key Words in +Xemale )onastic antors and >acristans in Church Music # rev( and enl( edition# ed( arl X( entral )edieval "nglandQ Xour >ketches# >chalk @>t( *ouisQ oncordia# _^# &( t is now in Medieval Cantors and Their Craft: Music, understood# however# that ach @and some of his Liturgy and the Shaping of History, 800–1500 # ed( contemporaries^ favored the Director musices and atie 9nn)arie ugyis# 9( ( raebel# and Kapellmeister models before that of cantor# prioritiz )argot "( Xassler @>uffolkQ ork )edieval /ress# ing the composition and performance of liturgical _&^# &;&–\Z( and occasional music ahead of his teaching duties &( alter >almen# +he >ocial >tatus of the )usician in the homasschule( >ee 3ünther >tiller# Johann in the )iddle 9ges# in The Social Status of the Sebastian Bach and Liturgical Life in Leipzig # trans( Professional Musician from the Middle Ages to the erbert ( 9( ouman# aniel X( /oellot# and il 19th Century # ed( alter >almen# annotated and ton ( swald# and ed( 4obin 9( *eaver @>t( *ouisQ trans( erbert aufman and arbara 4eisner @ew oncordia# &Z^# &Z& ff ( oward ( ox# +ach8s orkQ /endragon# &Z<^# &( onception of is ffice# Bach _# no( & @>pring &ZZ^# __–< and ohn utt# Music Education &&( an 4umbold# +"dlerawer ¢"delawer# "rdelawer# and the Art of Performance in the German Baroque "dlerauer£# ermann# Oxford Music Online # @ambridgeQ ambridge =niv( /ress# &ZZ^# &–&( accessed < uly _&;( <( Xor *uther# Beruf @+vocation^ encompassed the &_( ohn *( Xlood# Poets Laureate in the Holy Roman whole of the baptized person8s existence in relation Empire: A Bio-Bibliographical Handbook, vol( & ship to others# not just her or his station# office# @erlinQ de 3ruyter# _\^# lviii–lvix( or occupation( >ee especially 3ustaf ingren# &<( 9rnfried "dler# +he >ocial >tatus of rganists in Luther on Vocation # trans( arl ( 4asmussen *utheran 3ermany from the >ixteenth through @/hiladelphiaQ )uhlenberg# &Z;^ imothy ( the ineteenth entury# in Social Status of the
24 Spring 2017 CrossAccent www.alcm.org Professional Musician # ed( alter >almen# annotated _;( oseph erl# Worship Wars in Early Lutheranism: Philosophers and trans( by erbert aufman and arbara Choir, Congregation, and Three Centuries of Conflict 4eisner @ew orkQ /endragon# &Z<^# \( @xford and ew orkQ xford =niv( /ress# _^( &# >ee especially imothy /( ost# Renaissance _\( tto 4iemer and lytus 3ottwald# +odenschatz# Humanism in Support of the Gospel in Luther’s Early "rhard# Oxford Music Online # accessed _< 9pril Correspondence @9ldershotQ 9shgate# _&^( _&\( &;( 9nna )aria usse erger# +9gricola ¢>ore£# )artin# _( >ee also 3eorg arstädt# +*üneburg# Oxford Music Oxford Music Online # accessed _; uly _&( Online, accessed &; 9pril _&\( &\( 4uth ( eXord# +>ebald eyden @&ZZ–&;\&^Q he _( Xritz Xeldmann# +ahn ¢an# anus£# )artin# Oxford Xirst istorical )usicologist¤ in Music’s Intellectual Music Online, accessed _< 9pril _&\( History # ed( ¥dravko lazekovic and arbara obbs _Z( erala ( >nyder# Dietrich Buxtehude: Organist in )ackenzie @ew orkQ 4épertoire nternational de Lübeck, rev( ed( @4ochester# Q =niv( of 4ochester *ittérature )usicale# _Z^# ;( /ress# _^# Z<( &( §ictor ( )attfeld# +aidenQ @&^Q >ebald eyden# <( ohn ergsagel# +>chacht# )atthias enriksen# Oxford Music Online # accessed & )ay _&\( Oxford Music Online, accessed < uly _&;( &( urt 3udewill# +Xorster# 3eorg# Oxford Music <&( einrich ( >chwab# +he >ocial >tatus of the Online # accessed &; 9pril _&\( >imilar biographi own )usician# in The Social Status of the Profes- cal information is reported in an entry for Xorster8s sional Musician from the Middle Ages to the 19th arrangement of Vom Himmel hoch in arl X( >chalk Century, ed( alter >almen# annotated and transl( and illiam ( raun# eds(# Lutheran Choral by erbert aufman and arbara 4eisner @ew Anthology: The 16th Century @>t( *ouisQ oncordia# orkQ /endragon# &Z<^# ( _&^# <( <_( oyce rwin# +¡>o Xaith omes from hat s &Z( thmar essely and alter reyszig# +/aminger eard8Q he 4elationship between )usic and 3od8s ¢/äminger# /anninger£# *eonhard# Oxford Music ord in the Xirst wo enturies of 3erman Online # accessed & )ay _&\( *utheranism# in Resonant Witness: Conversations _( alter lankenburg# +>teuerlein ¢>teurlein# between Music and Theology, ed( eremy >( egbie >teurlin£# ohann ¢ohannes£# Oxford Music Online # and >teven 4( 3uthrie @3rand 4apidsQ "erdmans# accessed _< 9pril _&\( _&&^# ( _&( ngrid >chubert# +rüger# /ancratius# Oxford Music <<( 3eorge ( uelow# +endeler# ohann /hilipp# Online, accessed &; 9pril _&\( Oxford Music Online # accessed &; 9pril _&\( __( enito §( 4ivera and )artin 4uhnke# +urmeister# <( ans aase# +>tephani ¢>tephan# >tephanus£# lem oachim# Oxford Music Online # accessed &; 9pril ens# Oxford Music Online, accessed _< 9pril _&\( _&\( <;( ohn "liot 3ardiner# Bach: Music in the Castle of _<( alter lankenburg# +ucenus ¢ucaenus£# /aulus# Heaven @ew orkQ nopf# _&<^# &\Z–( Oxford Music Online # accessed _< 9pril _&\( <\( >tephen 4ose# The Musician in Literature in the Age _( ohn ( aron# +uchner# /hilipp Xriedrich# of Bach @ew orkQ ambridge =niv( /ress# _&&^# Oxford Music Online # accessed _< 9pril _&\( &_–_&(
Spring 2017 CrossAccent 25 L THANK YOU Thank You to Our 2016 Donors!
he following made contributions between January 1 and Decem- ber 31, 2016, to support ALCM’s annual fund, 30 th anniversary T appeal, regional and biennial conferences, and the Cantor Con- nection: Columbus chapter. Contributions made in honor of (IHO) and in memory of (IMO) individuals are so noted. We are grateful for the support these gifts provided ALCM last year. Please address any ques- tions or corrections to the ALCM oce at o[email protected] or by phone at 800-624-2526.
SPECIAL GIFTS/ everly edynak Xrederick iedner "unice anning ancy lson GRANTS >ylvia *uekens avid ( /riebe *uther )emorial hurch @)adison# 4obert and §irginia >choenike )ark and athy elge «&# in ^ ancy 4aabe arroll >haddock support of a fulltime executive director une )iller >cott >kinner r( illiam 9( and ancy )( 4aabe oly rinity *utheran >anctuary hoir oyce )oon >trobel «;# toward expansion of the @ershey# /9^ 9lan air rinity *utheran hurch 4aabe /rize )ark ldenburg ) erman 3( @*ynnwood# 9^ >tuemp%e# r( erey and *inda /annebaker $5-$49 9( *ee and >arah 4upert ANNUAL FUND )ichael 9lbert homas "( >chmidt endy etts DONORS ohn 9( >eest *ani euerman /atsy >nodgrass $1,000 >usan riehl /aul eber and Xlorence owers 4onald och ¥ita eyland on >trommen ampbell on _; years of faithful service as 4oy ( arroll church musician at 3ood >hepherd $50-$99 arol arver *utheran hurch @3ilroy# 9^ "ldon alko §irginia asteel *inda )artin )ark ender harles ohen avid *( eyer 9lan ( ollyer $500-600 arolyn liss ) 3erhard artford avid unfer ulie 3rindle udith olier §ictor al /ozzal athryn >aylor aren outurier /atti arlisle andrea illiam *( and 4ose )( eager aniel auner heryl "( ieter ( avid ertz 9drienne ong $100-$200 /aul "lsener arbara upler oyce "( Xrigm exter eikel hrista )( "ven orma 9amodtelson ) her Xrederick ( 3able husband# >teve elson )artha Xisher >usan 3errard aniel 9une *ucille 3ill >cott yslop >teven ( erg )artha >( 3regory im ohnson /aul ( ier arole edrick ohn 4( rueger ames obb *inda and hristopher och oshua *indgren the _& iennial an ouser eresa owers onference >teering ommittee arl and aniele ruhn homas uener )arcia *ofdahl 9manda usberg eth urns )ary *owry atherine rosier elen verson)etzger 9nne )angelsdorf onald ackson /hilip 3ehring *inda )aule orman and "thel 3eist 4oland ank# r( )usic elebrations and Xaith ourneys 9lix )( enkins
26 Spring 2017 CrossAccent www.alcm.org L THANK YOU arron 3( *ewis $500 >hirley "speland ) her husband# *oren "speland 9dvent *utheran hurch @)orton# *^ 9rletta 9nderson avid Xienen arlos )esserli 3ary and *orraine rugh enneth )ichnay 3retchen Xrank ) her friend# im ramer onnie >hubert /aul tte >arah awbecker 3ail 3assaway ärbel tto )argaret )c)illan ancy 3oodrich )arilyn )( /atterson 9nne rentz rgan ( ulian 3ordy arryl )iller maldo /erez =nity "vangelical *utheran hurch ynthia olden ) etty ( 4ice @elor# )^ he 4ev( 4obert ( ittler aniel >chwandt ohn eit 9*) oard of ur >avior *utheran hurch oyce X( >haw ) her parents# irectors @§ero each# X*^ lanche and (( Xloyd im and 4oyce ubert "lizabeth >oladay $250-$350 *incoln 9( oecker 3ary and 4ita >teenhagen ruce engtson ristin 4ongstad ames >toebe /aul ( ouman oanne and )artin >eltz )eredith 9( >tone >usan 4( riehl ) her friend# *uke egtmeier elen )( >trahl im olloway 4ichard ietjen >hari >hull# )arilyn addey 9lice aldwell organist and deacon )arion ( alley avid *( larke ack >wanson8s 3wenn rout hris allhausser <_ years as organist at ormandale >cott eidler avid erth *utheran hurch @"dina# )^ rian entzel 4obert heeler etty o ouch ( avid ertz athleen 4ife hite >andra ( eiter ayne *( old >usan 3obien $50-$99 )elvin and anice ounger ulie 3rindle eborah ¥udellickey ¥ebulon ighben 4uth 9dams onald ackson avid earn and aren 9dams in memory and in honor >t( /aul8s *utheran @ashington# of the life# teaching# and ministry of ^# for many years of support and r( alter 4( ouman 30th ANNIVERSARY mentoring elen 9ilabouni arolyn ennings ennifer akerrinity APPEAL on and >hireen *evsen avid eecher erey and *inda /annebaker anet ampbell $5,000-$6,000 im and >tephanie 4indelaub 4oy and ancy arroll ) elores 4obert and *inda empke homas ( 4uhe ) the 4uhe family ruchanon and r( ohn arbara lingsick and )ichael rentz# director of 9( Xerguson# both of whom were music at hrist hurch teachers# mentors# and friends @9llentown# /9^ udith ollier $2,000-$3,000 eth ana evin and eth arger *( 3eorge etweiler arol hurchill ) olores eine $100-$200 heryl ieter )ichael and *inda rentz )ary 9nna 9nderson irstie Xelland aren ( 9nderson >haron ( Xreude >usan ( )ark /( angert 3amber# retired from 3race $900-$1,500 *inda ( echler *utheran @hester# §9^ ( )arshal owen and enise §an¥ago 4ichard irk azz >unday 4obert 3oodwin homas 3erke arolyn liss )argaret arms# imothy "( 3uenther 9nne ( and he 4ev( erbert *ohr anadian colleague and collaborator 9lan air ) their aunt# )arian *ohr /amela arlson amille "lise ( oermann §irginia and )ark )eyer uddecke# accompanist )ichael and >tephanie oracek ohn )orris avid herwien evin arger for his ministry of 3regory and 9nn /eterson )arilyn omer music avid 4itter atherine rosier ) her husband 4yan ostler homas >chmidt and former 9*) member# elen verson)etzger athryn ¥ita eyland arl rosier avid unfer
Spring 2017 CrossAccent 27 L THANK YOU arol inard immell her father# >usan agner artney REGIONAL arl ( inard# *utheran church avid 4( earn musician CONFERENCE DONORS >usan egberg ing of 3lory *utheran hurch *inda )artin *inda och @ewbury /ark# 9^ >t( *uke8s *utheran hurch @/ark *ois oger ) her husband# 4ichard rueger 4idge# *^ "ndowment Xund /astor onald oger illiam X( uhn >weetwater >ound# nc( vonne ohnson Xloy )( *aquidara elen ohnson udith 9( *ove >ondra 9( oten NATIONAL orothea )artin ) her parents# ennis ( *arson Xred and sabella artz CONFERENCE DONORS 9nnette *indal illiam )owson 9rletta 9nderson )ary *owry *ouis and 3loria uechterlein >usan 4( riehl erdeen )anteufel 4ev( el livier ulie 3rindle 4aymond ( )artin ennifer llikainen 4obert and *inda empke *inda )artin illiam 9( /asch )ichael and *inda rentz 4hoda )oelter 4ev( avid 9nderson and oanna raig )ueller and "rnest §asseur /retz9nderson oan ordstrom r( illiam 9( and ancy )( 4aabe "vangeline *( 4imbach udy lson /aul 4( tte 4ev( harles 4omanowski udith CANTOR CONNECTION: *ove8s _th anniversary# irector of )arilyn )( /atterson ) her parents# )usic# >t( )ark @/ennsburg# /9^ 3eorge and rene )cutcheon COLUMBUS DONORS* onald 4otermund arolyn /ayne >usan riehl and homas 9( 3erke udy >cheidt her text for the ;th anniversary oyce )( )mari and idan "( )cao 4eformation hymn ecky >chultz alter *( /elz risti §an oorn ) her parents# 4ev( onald and ean utenshorn eth 9( /erry >teven X( ente illiam ( 4emele# r( /aul and >ally estermeyer 4odney ( 4iese orothy ( hiting arold 4utz )arilyn >chempp )iriam >chinnerer $5-$49 rian >choettler illiam eermann )ark >chroeter ) r( onald na erkey usarow# his organ professor at erey lersch oncordia ollege# )ilwaukee imothy raband @now oncordia =niversity# isconsin^ illiam raun ) r( heodore eck# his college theory teacher 4alph ( >chultz arol rowning aniel >chwandt my friend and colleague# )ark angert 3aye *( hristensen >hari >hull *inda lark )ilton >nyder ayne >outhwick ool 4osalie >oodsma 4ocky raft "lizabeth 4( >proul avid are 4ev( evin *( >trickland arla evine "*9 orship >ta heryl ieter avid >usan onnie Xrederick *ois aara )arge Xreeman hris allhausser )arillyn Xreeman arol 9( altz ) her husband# 4eid Xroiland 4( *ee altz onna 3arzinsky avid ammer ames ( 3ladstone >usan ilson eborah 3ovenor *Cantor Connection: Columbus is a 3ay ¥immerman chapter of the Association of Lutheran ymples "( ammer Church Musicians. enneth art$el
28 Spring 2017 CrossAccent www.alcm.org L COUNTER POINT Communal Singing: More Than Meets the Ear
by Lorraine Brugh
!e thing that surprised me most was just Making music together—especially using how dierently I felt before choir vs. after choir. I had never really thought about my the voice—may lead us to something mood before and after until I was asked to step back and really think about how I felt transcendent, a deep kind of knowing that before and after. 1 there is more going on in this world than we have no doubt that singing is good for us. Good for our bodies, our minds, our spir- normally acknowledge. I its. I’ve known the exhilaration of directing a choral piece that broke out of the bounds of our ordinary world and glimpsed a $ner beauty. !e group attracts students interested in that I’ve known the comfort of a congregation sing- kind of rigor and intensity—there are easier ing for me at my father’s funeral. I’ve known the ways to get the credit. deep pleasure of leading others in song from the keyboard. Making music together—especial- The Invitation ly using the voice—may lead us to something In January 2016 I invited members of the Kan- transcendent, a deep kind of knowing that there torei to participate in an informal study on is more going on in this world than we normally communal singing. I hoped to track the bene- acknowledge. Do others recognize that too? $cial spiritual and physical eects singing has At Valparaiso University I direct our chapel on a person’s overall well-being. Without the ex- choir, the Kantorei. !is is an auditioned group pertise to conduct a scienti$c study, I designed a of around 30 members. Our primary role is process for students to take a self-reporting sur- providing leadership for worship in the Chapel vey over a period of weeks, observing changes in of the Resurrection. We also lead o-campus their responses over that time. workshops, worship, and festival occasions. For At an introductory dinner to explain this their eorts and enrollment, students receive project and invite their participation, I explained one credit hour each semester. that the project would require a short survey of !e Kantorei schedule is rigorous, rehears- well-being at the beginning and end of each re- ing 3–4 times per week and often singing on hearsal at selected times through the semester. Sunday morning for worship. We are togeth- Participation was voluntary and would not af- er between 5 and 8 hours each week. !us it fect their grade. All but one person participated requires both a large time commitment and a in the study. willingness to be liturgical leaders in worship.
Spring 2017 CrossAccent 29 L COUNTER POINT The Surveys Kantorei Community Beginning already at that initial evening, the !e Kantorei is unapologetically a religious students were clearly interested in this project. and spiritually oriented choir. Our repertoire When presented with a draft of the survey, they is entirely sacred choral music, and most of it is oered feedback and suggestions for the survey, suitable for worship. While there are no religious modifying some questions and adding others. commitments needed to qualify to be a member, !e $nal survey was a composite of their ideas our work happens in a religious environment. and mine. !e students are required to participate in the !e students took the survey of well-being musical presentations and in the leadership the during four designated weeks over the time of group provides. Students have the option of par- the spring semester. Two of the test weeks were ticipating in the prayers, communion, and other typically low-stress weeks in the academic calen- religious actions in which the Kantorei sings. dar, early in the semester. Each rehearsal begins with prayer. Clearly, the students !e other two weeks for !e Kantorei forms a community over the accepted and welcomed a surveying were typical- year. At the beginning of each academic year ly high-stress weeks, just we spend a weekend overnight at a retreat cen- structure for reflection before midterms. I was ter away from campus. Much of our time there is curious to see if there spent sorting out what it means to lead worship when given one but were dierences for the in a Lutheran university chapel. !ey are invit- students between the ed into as much of the chapel life as they wish. wouldn’t have done that beginning and end of re- On the retreat they naturally form friendships as hearsals and between they eat meals together, share rooms with oth- kind of work on their own. low-stress and high-stress er members, and enjoy time away from campus weeks. Each survey week, together. then, would include 8–10 surveys per week, de- Over the years I have found that it has also pending on the performance schedule. been necessary to lead the students in what it !e surveys arrived on their computers or means to live and work together as a community. phones 45 minutes before each rehearsal and Many students have never experienced the com- again 10 minutes before the end of the rehearsal munity of a church family, an extended family, or service. !ey were instructed to complete the or even a nuclear family. We spend some time $rst survey before they came into the rehearsal, on the retreat learning repertoire and building and I often gave them a couple minutes at the our communal sound, but we spend quite a bit end of rehearsal to do the post-rehearsal survey. more time in nonmusical community activities: Students usually completed the survey in 1–3 morning and evening devotional-style worship; minutes. walking a labyrinth together; playing noncom- I think that these surveys have been a help- petitive games that require group cooperation. ful way to re%ect on my day and really think I didn’t notice a dierent pattern between about how I am feeling. I noticed that I was the $rst and second two weeks. I did notice more in tune with my emotions and feelings the continual pattern of feeling dierent af- after taking these surveys as well. ter choir when compared to before choir. I During both the $rst and second two-week will attribute this non-dierence between period I continued to feel less stressed out af- the two weeks to the fact that I already knew ter a rehearsal, no matter where my stress level a majority of the members of the choir and began. My stress level was signi$cantly lower already had an established community with during the $rst 2-week period, however I still them. It would be interesting to see the num- felt less stressed out after a rehearsal. When bers from the newest members of the group my stress level was higher, during the second to see if they developed that community as period of surveys, my stress level almost al- the semester progressed. ways decreased after a rehearsal as well. While I use the word “community” when I
30 Spring 2017 CrossAccent www.alcm.org L COUNTER POINT I did notice that I observed people in Kan- torei more as a family than ever before with the help of this re%ective survey. I have become a lot more aware of how I am feeling—both as an individual and as a member of a larger community.
Spiritual Connections in the Survey !e survey question relating to spiritual connection presented an opportunity for students to consider the impact of a reli- gious group on their lives. !is question was intentionally left open, inviting students to describe spirituality from their perspective. While most students come from a Christian background, we have had, to my knowl- edge, Jewish, agnostic, and atheist students. While I attempt to create an openness to all regardless of religious perspective, the overt sacred purpose of the Kantorei is unavoidable. Probably the category with the most %uctuation between the start and end of rehearsal has been spirituality, which has improved during the course of all rehearsals. !at’s something I’ve really struggled with throughout my life. Last year, transitioning to Valpo with its pro- found and welcoming services made me feel very spiritual, and really helped me get through freshman year. !is year, the majesty has worn o, and I often begin rehearsal feeling sort of indierent about God. Even services are losing their eect on me because I am a church music ma- jor, and I spend so much time critiquing KantoreiKa nt or ei membersm em be rs them. However, singing in Kantorei gives gather informally at me a chance to focus on God in a way that the annual retreat to balances criticism that is necessary to im- get to know each prove the music, and yet the peace that other better. comes from being in chapel. !is was the only question that included a talk about the Kantorei, the students most of- response choice of “neutral,” to allow for anyone ten describe the Kantorei as “family.” In their who didn’t relate to that aspect in themselves. overly stimulated electronic world, virtual com- Only one student regularly selected that option. munities of social networks often leave them still !e rest interpreted it for themselves, $nding feeling isolated. I believe many of them have some kind of identi$cation and way to measure missed the deep pleasure and satisfaction of hu- their own sense of spiritual connectedness. man community, completely unplugged.
Spring 2017 CrossAccent 31 L COUNTER POINT Reflective Pauses in the Study noting a sense of community that the an torei provided( At two points during the study students were asked to oer some re%ections on their experi- I noticed for the most part feeling more re- ence with an additional form. !ese re%ective laxed and prepared to focus on the tasks at pauses asked open-ended hand that I would need to get done after re- Students noted lower hearsal was done. Rehearsal provided a set questions rather than mul- period of time where I didn’t have to focus on anxiety levels after tiple-choice questions, thus anything but singing and that is so helpful. allowing the students the Extended re%ections focused more on stress chance to respond in a freer rehearsals, whether in levels. !e students freely shared about constant format. !e $rst pause was feelings of stress, adding their own descriptive lower- and higher-stress at the midpoint of the study, words such as “anxious,” “depressed,” or “ner- with the $nal one at the end vous,” when describing themselves. weeks of the semester. of the study. !e questions I have noticed that after choir I always feel asked them to describe: a larger sense of community, more uplift- what had they noticed about themselves in ed, and generally less anxious/stressed out. I taking the surveys¤ don’t think I ever noticed this about myself what surprised them over the time of the before having to take surveys before and after survey¤ rehearsal each day. had they noticed any patterns about their It was fascinating to learn about myself be- answers before rehearsal vs( after rehearsal¤ fore and after singing with a group. I didn’t know that communal singing had such an ef- !e students were free to answer none, fect on how I was feeling. I always knew that I some, or all of the questions. Most took the time felt better after singing, but quantifying that to write thoughtful responses, and a few wrote dierence was enlightening. I’ll be interested full paragraphs. Responses converged around to see the numbers across the board to see if the following self-re%ective observations: my feelings are shared by the rest of the choir. noting the dierence of simple selfaware One student coined the phrase “re%ective ness caused by the process of taking the pauses” and noted that they “were way more survey helpful than I thought they’d be.” Clearly, the Kantorei noting that there was an appreciable dif students accepted and welcomed a structure for members model ference between the ways they answered re%ection when given one but wouldn’t have done their new questions from prerehearsal to postre that kind of work on their own. !ey seemed Kantorei shirts. hearsal and
32 Spring 2017 CrossAccent www.alcm.org JON HENDRICKS, VALPARAISO UNIVERSITY While I have always thought of Reporting on the Experience Five students were selected to present the study’s community as a by-product of $ndings with me at a workshop at Ascending a choir, I now see it as equally Voice IV, an international symposium at Pep- perdine University (Malibu, CA) in May 2016. important to our musical !e $ve students chosen to present with me were balanced between men and women, music and responsibility. non-music majors, sophomores through seniors; three were science majors, two were music ma- genuinely surprised to discover that they really jors. One of the music majors was a church music enjoyed the process of intentional re%ection. major. !e three science majors (nursing, meteo- Participating in the singing study gave me insight into my own thoughts and feelings rology, and physics) were interested in turning about singing in a choir. I was able to see how our data into comparative graphs. !e humani- positive of a dierence choir makes in my ties (music) majors were interested in developing daily life and how important it really is to my narratives to explain their own and the group’s overall well-being. It helps me mentally re- experiences. We developed our presentation to charge and is a fun way to relax at the end of alternate between these diering aspects of the my class day. I have realized that choir gives study. me the opportunity to let go of a lot of what !e graphs reveal that some survey questions happened during the day and I feel like I have a fresh start when I leave. demonstrated positive changes over time. For in- stance, students noted lower anxiety levels after
Spring 2017 CrossAccent 33 L COUNTER POINT a clear correlation between the numbers the sur- vey students reported and the comments they made: students were consistently more cheer- ful and calm after rehearsal. !ey were also less stressed and less anxious. I have noticed that the act of singing has sig- ni$cantly helped my stress levels throughout the semester. !e survey has also helped me re%ect more on the eect that singing has on me. When working through strategies for dealing with my anxiety and depression, I often feel like singing, particularly in a com- munity, is what really helps me feel better. It gives me something to focus on. !e responses about frustration, indier- ence, sadness, and excitement did not show clear correlations in this study. While we can’t know why there was less consistency there, part of the reason could be the dierences of interpreta- tion of the question itself. Is it better or worse to be more excited before rehearsal than after re- hearsal? Is frustration a natural part of the choral rehearsal or were those responses related to other factors? Does indierence indicate a detachment from a previous tension or a reaction to the re- hearsal situation? Future study could clarify these areas. While not quanti$ed in this survey study, an unintended by-product of the survey process was the development of conversation among the Kantorei members. Students left rehearsals tak- ing their surveys and telling each other about their day. While I was not privy to conversations before rehearsals, I suspect some also talk- ed about the pre-rehearsal surveys. !e survey process seemed to allow a level of vulnerability students don’t normally share, and I believe they experienced more bonding than other Kantorei groups. !e most surprising aspect of this process was becoming aware of how much being in choir aects me. It provides a large sense of com- munity and gives me a sense of purpose that I don’t think I realized prior to taking the sur- JONHENDRICKS, VALPARAISO UNIVERSITY veys. I have created lasting friendships with rehearsals, whether in lower- and higher-stress a diverse group of people that I would have weeks of the semester. !e students’ narratives probably never interacted with if it wasn’t for revealed similar anecdotal observations. While choir. I was surprised to notice that my sense the science students didn’t believe there was of belonging is the strongest when I am in choir and around members of the Kantorei. enough data to make $rm conclusions, there was
34 Spring 2017 CrossAccent www.alcm.org The simple act
L COUNTER POINT of taking time to always thought of community as a by-product of a choir, I now see it as equally important to our be reflective is musical responsibility. valuable. Beyond College to the !e process of compiling and sharing the Congregation results of the surveys deepened the experi- !e process of intentional self-re%ection in ence. Many members expressed a real curiosity vocal groups gathered for sacred song is not a about the connection between their responses process exclusively for college students. !e self- and those of others; they were very interested in re%ective process ultimately directed the stu- what we found and what was presented at the dents to a communal experience and deeper symposium. spiritual re%ection. Using similar processes, our I have become a lot more aware of how I congregational choirs and musical ensembles am feeling—both as an individual and as a will more clearly orient themselves beyond indi- member of a larger community. viduals to the community and toward God. !ere are several ways we as church musi- Moving Forward cians can develop a more intentional sense of community in our choirs. Because of this study, As I plan for a new semester with a new Kantorei, some of the ways I am experimenting with this new music to learn, new services to design, I’m year are: musing on what we all experienced and learned including deep breathing exercises in each last semester. !e most lasting insight is that the vocal warmup period process itself of taking surveys created a struc- tured process of self-re%ection. Many students taking more time for physical stretching and loosening when sense times of high had simply not noticed the bene$cial impact of er stress participating in a community gathered around supporting the church’s song. Moving forward, I taking time# not just at the beginning of hope to change my rehearsal practices to encour- rehearsal# to talk about the spiritual and age students to be more self-re%ective, both at liturgical meanings of the music we are the beginning and end of rehearsal, and to help singing them discover the many ways communal singing $nding periodic times where we can spend positively impacts them at many levels. social time together and !is study con$rmed that students report- working on a common cause unrelated to ed higher anxiety during predictably stressful the choir8s musical role—this could be a so times. Knowing this, as director, I will plan add- cial action ministry of the parish# a local ed calming and breathing techniques during food pantry# or organizing care for a choir those weeks. In a parish setting, stressful times member( can dier from family to family and from person Rehearsal time is precious to most of us, to person. Oering members time to de-stress, and there is no immediately observable eect without undue emphasis on what any one person in making time to build community. However, is experiencing, may help to focus the group to- I believe that, over time, we are helping create ward the singing goals of the rehearsal. a fabric of community that can be as strong as I have known for some time that college stu- our singing identity. It is the invisible side of the dents are seeking community. I suspect that this choir, the part choir members may not even real- is increasingly true for any age of choral group we ize consciously, as the students reported. direct, whether in our churches or schools. Isola- !e simple act of taking time to be re%ective tion is a societal problem; broken family systems is valuable. We could ask members to re%ect on don’t allow for deep connections. While I have what an anthem meant to them, from the time
Spring 2017 CrossAccent 35 L COUNTER POINT
JON HENDRICKS, VALPARAISO UNIVERSITY of learning it to the presentation of the piece in Lorraine Brugh is professor worship. In our Internet age, we could form a of music and director of chapel choir blog, inviting members to re%ect on the music at Valparaiso Universi- impact that singing in the choir has on them. ty, Valparaiso, IN. She is also We can also share our understanding of our University Organist and holds vocation as church musicians. In so doing, we the Frederick J. Kruse En- invite members into the deep tradition of serv- dowed Chair in Church Music. Brugh received ing the assembly as a corporate assisting minister her Ph.D. in religious studies in the joint program and into the privilege of proclaiming the word in at Garrett Evangelical !eological Seminary and worship. We can close rehearsals with a few deep Northwestern University in Evanston, IL.She has breaths and a short word or prayers. been involved in the development of Lutheran !e ways to deepen our faith experience music and worship practices for many years and as musicians are endless once we believe in the serves as executive director of the university’s importance of building community. After all, Institute of Liturgical Studies, which annually gathered in a particular choir room on a partic- brings church leaders across the country together ular day, we are blessed to be members of the to study and re"ect on worship practices. whole body of Christ beyond our particularities. We may not always be aware of what is hap- Note pening, but we are experiencing the gift of the &( ndented texts are comments students wrote on promise of Christ. their reflection surveys( 4esults were compiled anonymously(
36 Spring 2017 CrossAccent www.alcm.org BOOK REVIEW
Karin Maag. to an admonition to the Lifting Hearts to the Lord: Worship with communicants that is John Calvin in Sixteenth-Century Geneva. delivered before the dis- Grand Rapids: Eerdmans, 2016. tribution of the bread and xiv, 209 pp. cup on the four commu- ISBN-13: 978-0-8028-7147-3. nion Sundays during the $28.00, paperback. year. Communicants are invited to “lift our spir- his is the fourth in the series !e Church its and hearts on high Tat Worship: Case Studies from Christian where Jesus Christ is in History sponsored by the Calvin Institute of the glory of His Father, Christian Worship at Calvin College and Cal- whence we expect Him vin Seminary in Grand Rapids, MI. Previous at our redemption.” 4 Lu- publications in the series include case studies of ther had also salvaged worship in 4th-century Jerusalem, 1 in 6th-cen- the Sursum Corda in his tury Constantinople, 2 and at a Black Holiness admonition to the com- church in Mississippi from 1895 to 1913. 3 !ree municants in his German Geneva [was in a] more titles are listed as forthcoming, and one Mass. Amazingly, I was hopes there will be more after those because not able to $nd, among precarious political and there is nothing quite like this series in terms of the liturgical materials religious situation as a solid scholarship and accessibility. reproduced in this book, !is volume follows the format of the pre- this particular exhorta- city-state that had vious ones. !e church community, in this case tion, which also contains Geneva in the 16th century, is located geograph- Calvin’s famous words of recently achieved its ically, historically, and culturally with maps, excommunication of un- timelines, and surrounding liturgical landscape. worthy communicants; independence from the !e worshipping community itself—its people, nor could I $nd his text of artifacts, and worship spaces—is described. An the words of institution! I rule of the Catholic anthology of historical descriptions of the wor- guess these texts would bishop in the surrounding ship practices, worship orders, liturgical texts have been used only three and sermons, and other pertinent polity doc- or four times a year in Ge- Catholic Duchy of Savoy. uments is provided. !is volume includes a neva (Christmas, Easter, selection of Calvin’s letters and sermons deal- Pentecost, Fall), although ing with worship issues. !e book is handsomely through no fault of Calvin’s, who would have ad- produced and made accessible to a general read- vocated for a more frequent celebration of the ership with copious pictures, sidebar comments, Lord’s Supper. “A monthly observance pleased glossaries, bibliographies, and study questions. me, but I could not persuade the people, and it !e title, Lifting Hearts to the Lord , derives seemed better to bear with their weakness than from Calvin’s repositioning of the Sursum Cor- to continue arguing stubbornly” (Letter of Au- da (“Lift up your hearts”) from the context of gust 12, 1561, p. 49). the preface dialogue of the eucharistic prayer
Spring 2017 CrossAccent 37 L BOOK REVIEW What comes across to me from this volume the sermon. Another is an eyewitness descrip- is Geneva’s precarious political and religious sit- tion of worship in Geneva by a Catholic staying uation as a city-state that had recently achieved in the city for several months. Of course, he is its independence from the rule of the Catholic critical of what he encountered, but it does pres- bishop in the surrounding Catholic Duchy of ent the view of an outside observer. Testimonies Savoy. Chain barriers were placed across the riv- of pastors indicate how dicult it was to imple- er %owing into Lake Geneva as well as the mouth ment changes and to get people to participate in of the lake itself to keep out invaders who might the singing of the psalms. be travelling to Geneva by water. !e popula- !e Genevan Psalter is one of the most in- tion of this small city of 10,000 swelled with the %uential and enduring liturgical resources to in%ux of Protestant refugees from other places be produced under Calvin’s leadership. He over the years, who sought not only refuge but drew upon the elegant language of the French an opportunity to be taught by Calvin and to poet Marot and the courtly tunes of the French learn the worship practices that had been im- composer Louis Bourgeois, along with their suc- plemented. !e English exiles during the reign cessors on the project, to set the entire book of of Queen Mary, and Psalms to vernacular verse that the congregation Testimonies of pastors their leader John Knox, could sing in church (unaccompanied in unison) were among them. !e and at home (in harmony with instruments). indicate how difficult it was pastors who served the Karin Maag has reproduced sample musical churches of the city pages from Le Forme des Prieres et Chant Ecclesi- to implement changes and were from France, not astiques (1542) and the psalter at the back of the to get people to participate native Genevans, and 1567 Geneva Bible (which included other litur- encountered some re- gical texts to be sung, such as the Lord’s Prayer, in the singing of the psalms. sistance from the native Creed, Ten Commandments, and Nunc Dimit- population. Toward tis). !e full Geneva Psalter was the $rst in a long the late 16th century line of psalters in dierent languages by which Geneva exported pastors to serve Huguenots in Reformed worshippers lifted their hearts to the France. It was the hub of international Reformed Lord in worship. faith and practice. !is volume takes its place along with the As in other communities that adopted the previous ones in the series as a welcome contri- Reformation (Geneva did so later than other bution to the study of the history of liturgy. A Swiss cities: 1536), resources had to be provided tremendous amount of information has been for vernacular worship (in French), while Catho- packed into its 200 pages. Just so, the index lic practices had to be abolished and dismantled. could have been more helpful in $nding infor- It was within walking distance for Genevans to mation if it had included more categories or cross into Catholic territories to have their reli- subcategories under items such as baptism and gious needs met. !erefore great care was taken Lord’s Supper/communion. !e bibliographies by Genevan authorities to remove any practice are very thorough. that seemed Catholic and would encourage Frank C. Senn a continuation of Catholic devotion, such as Evanston, IL praying quietly upon entering the church. !e iconoclasm that occurred in the city’s three Notes churches was aimed at removing any object of &( *ester 4uth# arrie >teenwyk# and ohn itvliet# devotion. One of the fascinating documents in Walking Where Jesus Walked @_&^( this book is a selection of interviews from the _( alter ( 4ay# Tasting Heaven on Earth @_&_^( records of the Geneva Consistory of worship- <( *ester 4uth# Longing for Jesus @_&<^( pers who were brought before it on suspicion of “mumbling” Catholic prayers as well as missing ( ard hompson# Liturgies of the Western Church @levelandQ )eridian# &Z\&^# _(
38 Spring 2017 CrossAccent www.alcm.org L BOOK REVIEW Carl F. Schalk enlivened, empowered, Singing the Church’s Song: Essays & emboldened, and en- Occasional Writings on Church Music. couraged by his faith to Minneapolis: Lutheran University Press, 2015. life his life as a church 272 pages. musician, educator, and ISBN-13: 978-1-942304-06-7. composer to the fullest. $20.00; hardback. !is is intensely personal writing, unapologetically he Center for Church Music at Concor- going back to his bap- Tdia University Chicago has gathered into tism as the mark and this publication essays and occasional writings guarantee of his faith: a on church music by Carl Schalk, distinguished faith nurtured through- professor of church music, emeritus, at Concor- out his life through dia University Chicago. !e writings arise from word—read, preached, a life of service to the church, where college class- and sung—and Sacra- room and congregation met, and the Divine ment—nourishing and Service became the place where his teaching and strengthening him for church practice intersected. It is fascinating to the journey and his life’s see when and where these essays were written and work. presented. Schalk was in high demand across de- !ose of us who nominational boundaries. !e %ow of language were privileged to sit at His encyclopedic knowledge is articulate and approachable, clear and concise. Schalk’s feet as he taught of hymnody is brought Schalk’s points are made with unswerving clar- and to sing in his choirs ity and focus, grounded in rock-solid theology, know that these truths into sharp focus in clear all the while giving a sound rationale for his po- about church music were sition. His encyclopedic knowledge of hymnody at the very foundation of presentations about the is brought into sharp focus in clear presentations his being. As his sainted about the broad sweep of hymnody across the wife Noël once said to broad sweep of hymnody years. me, “He’s still carrying !e book is divided into $ve sections: (1) the %ag.” !e church is across the years. Music as the Church’s Song, (2) Music in Li- indeed grateful for his turgical Worship, (3) !e Lutheran Heritage of continued advocacy for church music within the Hymnody, (4) !e Role of the Composer, and context of the liturgy and a striving for excel- (5) Meditations and Homilies. lence in all aspects of church music. “Nourish” is a word that aptly recurs often !is book should be read by every church within his essays. !e music of the church, as music and seminary student as well as by all a vehicle of the gospel, nourishes the faith. !e those whose ministry involves church music, implications of this word “nourish” are far reach- whether pastor or musician. ing. Feeding is one thing; nourishing goes far beyond to edi$cation and wholeness, strength James Freese and vitality. All of Schalk’s writings are predi- Concordia University Wisconsin cated on telling the story—not singing about the Mequon, WI gospel, but, as he wrote, singing the gospel, mu- sic being the viva vox evangelii , the living voice of the gospel. One sees most clearly in his homilies, which $ttingly come at the conclusion of the book as a culmination to his thoughts, that he is
Spring 2017 CrossAccent 39 SOUND FEST
K2?;/P&*; R?Q*@P>), Slovakia (ČP+ ;P@?+- CONGREGATIONAL /%); and a newer Reformation tradition, Africa SONG (NU?? VX*/2, R?D? QX*QP; TDP/ P;%[*>*++ G;P[*). Composers date back as far as Max Re- AndrewAn Peters. ger, but most pieces are from mid-20th century Come, You Faithful, Raise the Strain. to the present. !e quality of the writing is good, Congregation and/or choir, brass with a length between two and six minutes. quartet, organ, with optional timpani. MorningStar (MSM-20-453), $30.00. Composers include not only old friends like Paul Manz and Flor Peeters but also such newer tal- Congregations that use G¯°²³¯´°µ ents as Aaron David Miller and Benjamin Culli. ¶¯·¸¹³· (also known as A»³ »¸·½¾ »¸·- What a great way to celebrate this year’s Refor- ½¸¿°´) will enjoy this setting. No text is mation anniversary! KO included, so everyone sings from the hym- nal in use (ELW 363, LSB 487, CW 142). LentenLe Postludes. Since there is some rhythmic variation be- MorningStar (MSM- tween hymnals at the $rst two phrase endings, 10-362), $17.00. Peters provides directions for altering the score if needed. !e brass parts are not dicult, but it WhileWh Sundays are is imperative to rehearse the players in advance not technically part to master the nuances and rhythmic challenges, of Lent, postludes so that congregational singing will be supported. in the Lenten season Permission is granted to reproduce the brass and are often quieter and timpani parts. Horn may substitute for Trom- more introspective bone 1. JG than in other times of the church year. Lenten Postludes {lls this niche beautifully . “Out of the Depths” (A2+ /%*'*; N?/) by Johann Kuhnau (1660–1722) with its INSTRUMENTAL | throbbing accompaniment to the chorale is very quiet indeed. It is the only piece in the collection ORGAN that was written by a noncontemporary com- AugsburgAu Organ Library: poser. “When I Survey the Wondrous Cross” Reformation. (R?[V%&
40 Spring 2017 CrossAccent www.alcm.org L SOUND FEST KEYBOARD AND INSTRUMENT
Dallas Blair. Robert J. Powell. Sound the Trumpet! Season- al Music for Trumpet and Prayerful Preludes , Keyboard (Lent/Easter). Set 8. Organ, trumpet. MorningStar (MSM- MorningStar (MSM-20-390), 10-213), $9.00. $31.00.
!is set contains meditative preludes on the !is seasonal collection for tunes B**[D*;, S/. CP/D*;%&*, and W??@- Lent and Easter includes such X?;/D. !e arrangements are of medium familiar tunes as EP+/*; diculty and will serve well as service music for HQ&; H*;>%*I+/*; J*+2; quiet times. Suggested registrations are includ- J2@P+ MP[[PIP*2+; SP>~* '*+/P @%*+; SP>- ed. Powell makes great use of dynamic contrast I2;<; VP>*/ X%>> %[D @%; <*I*&; and W*;* and tonal color to emphasize the emotions that Y?2 TD*;*. Each piece comprises 3–5 variations are associated with the hymns represented. MS on a given hymn tune, with organ interludes be- tween each of the variations. Blair uses changes in tempo, meter, and key as he artfully weaves the cantus {rmus in each selection. With the Ten Voluntaries for structure of each composition, performers could Organ (Manuals easily adapt the trumpet/organ duet to accom- Only). modate varying skill levels. JRB Compiled by Esther Criscuola de Laix. Greenway (GMP002), $25.00. VOCAL | CHILDREN’S !is is a wonderful CHOIR collection of works by John Bennett, William Walond, Maurice Ruth Morris Gray. Greene, and Carl Czerny. !e selections are All #ings Bright and Beautiful. taken from the 18th through the early 19th cen- Two-part choir, piano, with optional #ute. turies and would make excellent service music Choristers Guild (CGA1477), $2.25. or concert literature. !e pieces make use of the typical ornamentation from their eras. !e tem- Gray’s newly composed setting of this fa- po markings of these voluntaries range from miliar text will be embraced by singers adagio to andante. !e music is of medium dif- and listeners alike. Brief modulations and {culty. MS sections of two-part writing elevate this work, and the lively piano part adds en- ergy throughout. !e optional #ute part, included, is within the abilities of a high-schoolhool player. !is piece is part of the Choristers Guild’s Growing Musicians Leading Worship Series. It would be appropriate for general use or for ser- vices focusing on creation. AE
Spring 2017 CrossAccent 41 L SOUND FEST Vicente Chavarria. ADULT CHOIR Be #ou My Vision. SATB, organ. Paul A. Aitken. Augsburg Fortress Was Ever Love Like #ine? (978-1-5064-2196-4), SATB a cappella. $1.80. Paraclete (PPMO1629), $2.20. !is new setting, set AitkenAi uses Samuel Wesley’s text in this to its traditional tune wonderfulwo choral arrangement. !e har- S>P&*, makes a love- mony is close and at times dicult as it ly addition to the SATBB chchurch ch repertoire. AftAfter re#ects the emotions of text. !ere are a brief organ introduction that plays with the often tone clusters when the lyrics are tune’s opening motive, the {rst two stanzas are speaking of the pain and su"ering of sung in unison, the {rst by the tenors and bass- Christ on the cross. !e composition has es and the second by the sopranos and altos, the excellent voice leading, which will make it organ enhancing and supporting the voices. !e easier to sing the dissonant harmonies. !ere is third stanza, for SATB, is essentially unaccom- also great use of dynamic contrasts to add extra panied, the ends of each phrase punctuated by emphasis to the lyrics. !is will be a challenging marcato chords in the organ. After an organ in- piece for the average church choir but one well terlude, the choir returns for the {nal stanza, worth the extra e"ort to learn. MS with the melody in the bass part and a majestic ending to set the {nal phrase, “O Ruler of All.” Good for general use. AE David Blackwell. #e Lord’s My Shepherd. SATB, keyboard. MorningStar (MSM-50-8142), $1.95. David M. Cherwien. To God Be Highest Blackwell uses the text of Psalm 23 as Glory and Praise. found in the Scottish Psalter of 1650. !e SATB, organ. anthem begins with an original melody MorningStar (MSM- sung in unison. !e second section of the 50-5012), $1.95. anthem has the soprano voices singing to the hymn tune C;%Q?&@ while the other !is piece was com- voicesvo continue with the melodic line in- missioned by the troduced at the onset of the composition. !is American Guild of creates a beautiful setting for the psalm. Next, Organists for the 2016 national convention. It Blackwell makes use of the minor mode to re- is therefore no wonder that the organ part is an #ect the solemn section of the lyrics, then returns important part of the piece, using the varied re- once again to the familiar tune C;%Q?&@ paired sources of the instrument with great success. !e with his original melody. !is is a wonderful ar- psalm-like text is based on Daniel 3:5–88. !e rangement of the psalm for the average church tempo is given as “With energy,” and indeed the choir to add to their repertoire and is sure to be- piece is full of energy! Shifting meters and tonal- come a favorite of both singers and listeners. MS ities give the setting a fresh, exciting feel without being too dicult for a well-trained volunteer choir. !e composer does a great job of marrying words to music. Particularly interesting are the #owing eighth notes that set the words “and you, rivers and seas, bless the Lord.” !e piece would be appropriate for any festival occasion. KO
42 Spring 2017 CrossAccent www.alcm.org L SOUND FEST Tom Cleman. Amy Lynne Engelsdorfer. Holy, Holy, Holy. When I Survey the Congregation, SAB, Wondrous Cross. organ, with optional SAB, piano. trumpet. Augsburg Fortress Paraclete (978-1-5064-2220-6), $1.80. (PPMO1635), $2.20. !is is a wonderfully refresh- From the Hymns of ing setting, with a newly Praise Anthem Se- composed melody, of the fa- ries, this is a great miliar text of Isaac Watts. !e setting for when the anthem begins with unison beloved tune N%[P*P singing by the female voices, is sung with its strong, traditional text. It allows followed by the baritone section. !e composer a choir to enrich the assembly’s song by singing adds emphasis to the text by using SAB harmo- the inner stanzas in some fairly challenging part ny and adding dynamic contrast. !e harmony writing. After the choir women sing stanza 2, the includes imitative sections between male and men take the lead on stanza 3, with the upper female voices as well as block chords. It ends qui- voices joining halfway through. Altos are ben- etly, calling attention to the closing lyrics. !is e{ciaries of some lovely phrases, which expand is an anthem of easy to medium diculty that their usual limits. Sopranos will cheerfully soar would help {ll the need for extra music during on their charming descants. Everyone will ben- the season of Lent. MS e{t from the tuning challenges of extra sharps in unexpected places. !e choral stanzas are rich. !e trumpet part is only given in C and can be Alfred V. Fedak. played from a choir copy. JG Spirit, Open My Heart. SATB, keyboard, with optional handbells or treble Richard Bruxvoort instrument in C. Colligan. MorningStar O Christ, (MSM-50-5556). $1.95. Surround Me. Arr. by David Sims. !is lyrical and gentle anthem SATB, piano. on a text by Ruth Duck shows Augsburg Fortress Fedak’s gift for writing beau- (978-1-5064-2210-7), tiful melodies that serve to $1.95. bring out the text’s meaning. A refrain, which appears {rst in unison to open !is is a contempo- the piece, is repeated after each stanza, each time rary hymn in the in a di"erent manifestation. !is piece would be tradition of Irish Lorica prayer. It is based on the good for general use, the season of Pentecost, or tune G;**& T>*;. !e music and text will very for any time the focus is on service. A reproduc- likely resonate with choirs and congregations ible part for handbells or treble instrument in alike. !e 6/8 meter (with a couple of 9/8 mea- C is available for free download at www.morn- sures) #ows gently along, accompanied by a nice ingstarmusic.com (search for product number piano part. !ere is some unison singing, and 50-5556). AE the part singing is very natural; choristers will have no problems singing the prayer. JG
Spring 2017 CrossAccent 43 L SOUND FEST Patricia Hurlbutt. Henry Lebedinsky. LoLove #at Found Me. Jesus Calls Us. SATB, piano. SATB a cappella. AuAugsburg Fortress Paraclete (978-1-5064-2208-4), $1.95. (PPMO1648). $1.70.
!e text of “Chief of Sinners, Based on the Southern !o!ough I Be” is often sung Harmony tune R*+- during Lent, at Eucharist, or at /?;P/%?&, this lively confession. Patricia Hurlbutt anthem for unaccom- has taken the theme from Ed- panied choir builds vavard Grieg’s Lyric Pieces , op. 57, from unison sopra- and created a haunting choral nos in stanza 1 to full setting. E"ective part-writing includes imitative SATB choir in stanza 3. !e judicious use of phrasing, almost in canonic form. !e text mi- parallel fourths and {fths evokes early Ameri- grates among the voices, as other singers hum, or can harmonies, while chromatic harmonies in sing “oh” (which perhaps will be sung as “ooh” the fourth stanza add further interest. !e {nal depending on acoustical qualities of the worship stanza opens with all voices in unison, moving to space). Both altos and tenors have brief divisi parts, and ends quietly with the repetition of the parts but sing in thirds, which should not cause phrase “serve and love thee best of all.” Good for too many problems. Choirs will grow musically general use, stewardship. AE after learning and performing this haunting ar- rangement. JG RoRobert Lehman. #e Duke Responses. !omas Keesecker. CaCantor, SATB AllAl Shall Be Amen and a cappella. Alleluia.Al MoMorningStar (MSM- SATB, piano. 8080-885), $1.70. MorningStar (MSM-50- 8204), $1.70. RoRobert Lehman has seset Preces from the St. Augustine’s text is a beau- 1928 Book of Com- tiful vision of heaven, inviting momon Prayer . !ese are the listener to “behold our ththe responses that be- end which is no end.” !omas gin morning and evening prayer in the Anglican Keesecker’s anthem interprets tradition as well as in some Lutheran orders of these words with a lovely melody and lush har- worship. Lehman’s harmonies are heavenly, monies. !e choral parts are quite easy. !e at their best reminiscent of the choral work of arpeggiated piano accompaniment provides an Maurice Duru#é. It is writing that cries out for attractive backdrop for the choir. It is dicult a cathedral space with generous reverberation. A to imagine the accompaniment played on an or- keyboard reduction is not included, so the direc- gan. All Shall Be Amen and Alleluia would be a tor or accompanist should be prepared to read great piece for All Saints: “We shall rest and we open score. Accompanying this music in per- shall see and we shall know. We shall know and formance is not an option: the delicate texture we shall love.” KO would be ruined. Finally, two of the respons- es end with a high A for the sopranos in a very exposed situation. However, if a choir is able to pull it o", !e Duke Responses would provide an aura of opulent mystery for worship. KO
44 Spring 2017 CrossAccent www.alcm.org L SOUND FEST DonaldDo McCullough. June Nixon. AhAh, Holy Jesus. O Praise Ye the Lord. SASATB, organ. Congregation, SATB, organ, MoMorningStar (MSM- trumpet. 5050-3480), $ 1.70. Paraclete (PPMO1656), $2.20. !e anthem begins wiwith a baroque-style Nixon is a celebrated Aus- ororgan introduction tralian musician who served fofollowed by the sopra- four decades at Melbourne’s no section singing the St. Paul’s Cathedral. She has opening stanza to newly composed music. !e taken C. Hubert H. Parry’s tenor and bass sections sing in harmony for the strong tune LP2@P/* D?Q%- second stanza. !ere is only a small section of &2Q (from his anthem Hear My Words ) and set it four-part singing, which is followed by a unison for festive occasions. It is an eminently singable ending. !e music calls careful attention to the and powerful hymn concertato, with the choir lyrics by use of dynamic contrast. !e accompa- handling the middle stanzas, and congregation niment will require an organist of average ability on {rst and last, incorporating a key change and to play the baroque-style accompaniment on descant. Lutherans may know the tune with dif- two manuals and pedals. Highly recommended ferent texts: “Rejoice in God’s Saints” (ELW as a Lenten anthem. MS 419) or “Be Strong in the Lord” (LSB 665). !e trumpet part is in the choral score but only as a C part. Highly recommended. JG Eric Nelson. Children of the Heavenly Father. Frank Pesci. SATB, piano. Holy Manna. MorningStar (MSM- SAB, piano. 50-6085), $1.70. ECS (8005), $1.95.
Although there are Every choir needs to learn a many settings of piece with unexpected sur- T;< Spring 2017 CrossAccent 45 L SOUND FEST AndrewAn Peters. on phrasing and clean melismatic singing. It is A Festive Hymn Setting on Ebenezer. suitable for smaller or larger choirs and for any Congregation, SATB, brass quartet, service where the Scripture passages refer to joy organ. or praise. AW MorningStar (MSM-20-621), $25. AnAnother new arrangement from the Con- David Sims. gregational Hymn Settings series provides Come Away to the Skies. creative usage for a beloved tune, often Unison, organ. sung as “Once to Every Man and Na- Augsburg Fortress (978-1-5064-2200-8), $1.80. tion,” or “!y Strong Word Did Cleave the Darkness.” No text is included, ex- Set to its customary early American tune M%@- cept for a choir interlude to be sung after stanza @>*I2;, this is a highly #exible anthem. For 2 with the words, “We would raise alleluia. Hear, unison voices, with optional divisi at the end, O Lord, our humble prayers.” !e last stanza this piece can be sung by various combinations modulates up to F# minor, which requires the of voices, such as dividing stanzas between chil- trumpeters to play many sharps and a few double dren, adults, or soprano/alto and tenor/bass. In sharps. !ere are plenty of triplets, as well. !e addition, Sims suggests that the congregation introduction, {rst two stanzas, and choir inter- could join in the {nal stanza. !e organ intro- lude are in the usual F-minor key. Reproducible duces all four stanzas, each time “bending” the parts for all participants are included (Horn is an straight quarter-eighth note rhythm of the origi- option for Trombone 1). nal tune with the unexpected use of triplets. !is Note: this reviewer had an organ teacher easy anthem is suitable throughout the Easter who loved the text of “What a Friend We Have season. AE in Jesus” but disliked the tune C?&~*;+* that is usually associated with it. He had his congre- gation sing that hymn to EI*&**;. !e choir Reviewers: interlude of Peters’ work would certainly tie in Jean R. Boehler (JRB ) with that particular text. !e brass might over- Cantor whelm, but perhaps using such a strong tune Redeemer Evangelical Lutheran Church, and accompaniment with those familiar words !e Bronx, NY would give it renewed meaning and strength. JG Ann Edahl ( AE ) Choir Director Our Saviour’s Lutheran Church, Fresno, CA Henry Purcell. Sing, Be Joyful. James Gladstone ( JG ) ArArr. by Hal H. Hopson. Retired Cantor, Saginaw, MI Music Assistant, Ev. Lutheran Church of SA, keyboard. St. Lorenz, Frankenmuth, MI MorningStar (MSM-50-6116), $1.70. Karl A. Osterland (KO ) !is paraphrase of Psalm 100 is set to Music Director music composed by Henry Purcell. Origi- Historic Trinity Lutheran Church, Detroit, MI nally known as the secular piece Sound the Mark A. Schultz (MS ) Trumpet and composed in D major, the Minister of Music sprightly tempo and melismatic passages Trinity Lutheran Church and School, Wausau, WI capture the joyful nature of the text. Although the anthem is marked SA, it could also be sung Austen Wilson (AW ) Director of Music as a mixed or men’s piece. On a technical level, Lutheran Church of Our Savior, Haddon{eld, NJ Sing, Be Joyful is an excellent piece for working 46 Spring 2017 CrossAccent www.alcm.org Give a gift that continues giving throughout the year: GOALS OF ALCM I reserve strengthen and renew our utheran liturgical heritage Membership in the I e{ne the role of the musician in the life of the church Association of I rovide opportunities for growth for utheran musicians and Lutheran Church worship leaders Musicians I oster partnership and support within the panutheran musical community I Membership bene{ts include ssist parishes with guidelines for compensation and hiring subscriptions to the journal CrossAcent , I erve both fulltime and parttime church musicians and facilitate published 3 times per year; In Tempo , a placement practical resource for the church I musician, also published 3 times per dvocate for college and seminary courses promoting the year; monthly e-newsletters; unlimited practice of worship and liturgical music use of Members Area free downloadable I trengthen communication between clergy and musicians resources; opportunities for stimulating I reate liaisons between and the worldwide utheran church biennial and regional conferences; and networks to connect members with I oster cooperation between and other associations of other church musicians and related denominational musicians and liturgical artists events in their region. I ncourage creation and publication of quality material For more information, visit us on the Web at www.alcm.org or call us at 800-624-2526. Membership Application: Gift Membership Please provide information about the person giving the gift, Method of payment so that we can notify the recipient: F Check F Credit card (Visa/MasterCard/American Express/Diner’s Card) GIVER’S NAME ADDRESS CREDIT CARD NUMBER EXPIRATION DATE CITY, STATE, ZIP SIGNATURE Category (check one) Recipient’s contact information F Voting member $90.00 NAME F Second member in household $50.00 ADDRESS CITY, STATE, ZIP F Clergy/musician team $160.00 TELEPHONE EMAIL ADDRESS F Student (full-time) $40.00 F Voting member over age 65 $45.00 NAME OF CHURCH OR INSTITUTION POSITION/TITLE F Institution/Congregation $110.00 Church body: F ELCA F LCMS F WELS F ELCIC F Other ______ Send completed application to: Association of Lutheran Church Musicians, 810 Freeman St., Valparaiso, IN 46383 Spring 2017 CrossAccent 47 L POST LUDE Julie Grindle President, ALCM hen I was 13 , my organ studies—rath- teacher did. She was an inspiration to me, as my er, my church music studies—began other (solidly) church musician organ teachers W under a wonderful teacher named have been. I am grateful for their teaching and Mary Schultz. She was a former student of Paul mentorship. Manz, and she emulated his style in many ways When I was 18 and a member of the Val- as she led our congregation’s song so many years paraiso University Kantorei, the same group of ago. Not just a hymn player, she was someone mindful musicians Lorraine Brugh leads today, who read the hymn texts and fashioned what she I was excited to discover that we would sing in would do musically from those texts, just as her Chicago at Paul’s church on the Sunday after Easter, often called “Low” Sunday. I can assure you, there was nothing “low” about that service. While the congregational numbers may have been smaller than usual, his proclamation of the risen Christ through music was often breath- taking (and for those who have sung in the balcony while he uses the Zimbelstern, a bit deaf- ening). It was a powerful and humble voice on a Sunday that often, sadly, can seem the opposite. !ere continue to be wonderful cantors like Mary Schultz and Paul Manz who serve our church today. When you come to the 2017 bien- nial conference in Minneapolis this summer, you and I will meet, talk, and worship with many of them. With the theme “RISE: Remember Well the Future,” we will hear Chad Fothergill and Daniel Schwandt explore and carry our discus- sion forward about the vocation of the cantor in the 21st century. And, of course, we will sing and pray to- gether, proclaiming the risen Christ through song and worship. I look forward to greeting all of you there. 48 Spring 2017 CrossAccent www.alcm.org