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Concordia Theological Quarterly Concordia Theological Quarterly Volume 76:1-2 Januaryj April 2012 Table of Contents What Would Bach Do Today? Paul J. Grilne ........................................................................................... 3 Standing on the Brink of the J01'dan: Eschatological Intention in Deute1'onomy Geoffrey R. Boyle .................................................................................. 19 Ch1'ist's Coming and the ChUl'ch's Mission in 1 Thessalonians Charles A. Gieschen ............................................................................. 37 Luke and the Foundations of the Chu1'ch Pete1' J. Scaer .......................................................................................... 57 The Refonnation and the Invention of History Korey D. Maas ...................................................................................... 73 The Divine Game: Faith and the Reconciliation of Opposites in Luthe1"s Lectures on Genesis S.J. Munson ............................................................................................ 89 Fides Heroica? Luthe1" s P1'aye1' fo1' Melanchthon's Recovery f1'om Illness in 1540 Albert B. Collver III ............................................................................ 117 The Quest fo1' Luthe1'an Identity in the Russian Empire Darius Petkiinas .................................................................................. 129 The Theology of Stanley Hauerwas Joel D. Lehenbauer ............................................................................. 157 Theological Observer ...................................................................................... 175 Faithful Lutheran Pastor Defrocked: Active Persecution by the Church of Sweden A Whole New Can of Worms: A Statement of the Faculty of Concordia Theological Seminary on Religious Liberty Book Reviews ................................................................................................... 182 CTQ 76 (2012): 3-18 What Would Bach Do Today? Paul J. Grime Johann Sebastian Bach (1685-1750) was arguably the greatest com­ poser of all time. Certainly that is true of the music that he composed for the church. That we Lutherans are able to claim him as one of our own should be a big deal. And so, we fete him from time to time, especially when significant anniversaries roll around, such as the one that marked the 250th anniversary of his death in the year 2000. In the interim, we promote the music of Bach, all the while recognizing that much of it remains out of reach of the skill level of musicians in most of our congregations. Beyond the vast oeuvre that Bach left to us, what else, if anything, does the great master have to offer to the church today? What can we learn from his life, his interactions with others, and his insatiable desire to improve his craft? Far from being an out-of-touch model for the 21st century musician, this paper will demonstrate that we have much to learn from Bach, not so much through imitation but rather by way of inspiration. I. The Landscape of Bach's World To begin our inquiry, we must first consider the times in which Bach lived. Born in Germany in the final quarter of the 17th century, Bach entered a world that was finally beginning to recover from the devastation of the Thirty Years' War. Economic development coincided with the expansion of trade throughout Europe, with Saxony at the crosshairs of trade routes that would develop into an extraordinary exchange not only of commerce but also of information and ideas. 1 The implications for the development of musical styles will be considered later. Among the many consequences of the Thirty Years' War was a religious realignment in Germany. Whereas the Peace of Augsburg in 1555 had brought about the protection of Lutheranism in those territories that were ruled by Lutherans, the Peace of Westphalia that signaled the end of the Thirty Years' War granted official recognition to Calvinism and also opened up the possibility of rulers converting to a differing confession without requiring their subjects to convert with them. The practical effect 1 Christoph Wolff, Johann Sebastian Bach: The Learned Musician (New York: W.W. Norton and Co.,2001),16. Paul J. Grime is Associate Professor of Pastoral Ministry and Missions and Dean of the Chapel at Concordia Theological Seminary, Fort Wayne, Indiana. 4 Concordia Theological Quarterly 76 (2012) of this arrangement was an increase in religious pluralism and tolerance. 2 Thus, in the course of Bach's career, he worked among the Pietists in Mulhausen, the Calvinists in Cathen, and orthodox Lutherans in Leipzig. Simultaneously developing in Leipzig and other places around Germany were the initial evidences of what would soon become a major movement in the world of thought-the Enlghtenment. Leipzig, with its renowned university, was certainly no stranger to the never-ending exchange of new ideas and scientific discoveries that became the hallmarks of this movement. Spending more than half of his professional career in Leipzig, Bach certainly rubbed shoulders with many of those who were es­ pousing these progressive trends in philosophical thought, even though he himself was never a member of the university faculty.3 The significance of Leipzig as an incubator of progressive thought cam10t be over-emphasized. By the end of the 17th century, for example, Leipzig had become the publishing center for all of central Europe.4 Its regular book fairs, held as many as three times a year, drew visitors from across the continent. These fairs were important for the widespread dis­ semination of new ideas. For Bach personally, they were an opportunity for presenting newly composed works that demonstrated his own abilities and forward-looking perspective as a composer. So what does this admittedly brief depiction of Bach's world tell us about what he might do today? Consider, once again, Leipzig, the place where all of Bach's talents coalesced to produce his greatest works. This was a cosmopolitan city, perhaps not unlike New York City or Chicago in our own day. Leipzig was at the forefront of the latest trends, an environ­ ment in which Bach thrived. He was not afraid of being challenged in his professional development in the 18th century, nor would he be, one pre­ sumes, in our time. As for implications for 21st-century church musicians, Bach's example would suggest that they too should be widely read, conversant in the latest developments in philosophical and political thought. Though Bach never 2 Carol K. Brown, "Tumultuous Philosophers, Pious Rebels, Revolutionary Teachers, Pedantic Clerics, Vengeful Bureaucrats, Threatened Tyrants, Worldly Mystics: The Religious World Bach Inherited/' in Bach's Changing World: Voices in the Comlllunity, ed. Carol K. Brown (Rochester, NY: University of Rochester Press, 2006), 39. 3 Wolff, The Learned Musician, 310. See also Gunther Stiller, Johann Sebastian Bach am Liturgical Life in Leipzig, trans. Herbert J.A. Bouman, Luther Po elIot, and Hilton C Oswald; ed. Robin A. Leaver (St. Louis: Concordia Publishing House, 1984), 31-35. 4 Brown, "The Religious World," 49. Grime: What Would Bach Do Today? 5 had the benefit of a university education, his inquiring mind kept him from ever becoming content with his own personal growth and advancement. Such an attitude in our present-day church musicians would certainly be welcome and beneficial. II. The Musical Landscape of Bach's World Designing New Instntments When it comes to the musical world in which Bach lived and moved, here he was even more at the forefront of the latest developments, assimi­ lating and synthesizing musical styles like no one else. Before turning to his musical output, it is instructive to consider a less obvious matter­ namely, the interest Bach took in the musical instruments with which he and his musicians made their music. Bach was a leader when it came to experimenting with the use of a variety of new instruments, especially for use in his cantatas. As the Bach biographer, Christoph Wolff, puts it, "Bach's unbowed spirit of discovery continued to spur his exploration of new instrumental sonorities and combinations."s For example, as soon as he was able, Bach began making use of the new lower voiced oboe d'more and oboe da caccia. He also had his hand in the development of the contra­ bassoon and the viola pomposa. Likewise, from the spring of 1724, Bach made the switch from the ubiquitous recorder to the traverse flute. Consid­ ering that the sound of the recorder had for centuries been in the ears of composers and performers alike, the shift to a new instrument-the precursor of the modern flute-was a significant departure. Bach had very close connections with a number of instrument makers, sometimes serving as a broker who facilitated the sale of instruments to individuals who respected Bach's judgment. He was without peer as an organ consultant, assisting in the design and testing of many new instru­ ments. He played a significant role in the design of the new lute-clavier instruments. And perhaps most significantly, Bach worked with the organ builder Gottfried Silbermann in the design of the first pianofortes-the pre­ cursor to the modern-day piano. After hearing of Bach's critique of his earliest models, Silber mann did not sell any pianos for nearly a decade while he corrected the weaknesses that Bach had identified. 6 Again, the radical contrast between the harpsichord or organ on the one hand and the newly designed pianoforte on the other demonstrates that Bach was not content simply
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