Each year as we revisit Palm Sunday we are confronted by a paradox in the hymns, the scripture readings, and the sermon. Appearances are deceiving. The Savior we want is not necessarily the Savior we need. Nagel writes,

Jesus’ words to the Greeks, as ever with His words, exactly met their seeking and their need. He tells that He is the Messiah, then declares that the hour of His glory is come. What earthly glorious pictures those words must have called up in the minds of the disciples. They were flushed with the glory of the palms and hosannas of Palm Sunday. This, they thought, was the real Jesus, the royal Jesus. This was Jesus coming into His own. The kingdom was about to be established. (p. 106)

As we celebrate Palm Sunday, there is a tension of the joyful hosannas and the journey to the cross. Musically, I sometimes struggle trying to balance this tension as I prepare for the worship service. It’s easy to play the loud and joyful settings of “All Glory, Laud, and Honor” and “Hosanna, Loud Hosanna” with instrumental fanfare — almost like Easter has come a week early. Yet, as Nagel notes, “The hour of Jesus’ glory was to be the hour of His death, for He took our sins on himself . . . This was Jesus’ glory—that through His death there might be full, assured, and cheerful life of those who are God’s own” (p. 107).

Increasingly, I’m appreciating the complexity of the hymn “Ride On, Ride On in Majesty” (LSB 441) in understanding the paradox of Palm Sunday. Each stanza begins with “Ride on, ride on in majesty!” — causing an expectation of something regal, at least to human eyes and ears. Yet, we see the foreshadowing that this is a different sort of ride – “In lowly pomp ride on to die.” ”The angel armies of the sky Look down with sad and wondr’ing eyes To see the approaching sacrifice.” This is a bit of contrast from the angelic proclamation on Christmas Eve. But there is the expectation of triumph through this death and mortal pain. Each year as I accompany the singing of this hymn I try to lead with a restrained and solemn joy — interpreting the paradox from the organ bench and perhaps making this text come alive.

A few years ago I came across a new setting of “Ride On, Ride On in Majesty” by John Ferguson. Fittingly, he entitled his hymn tune “Paradox”. Here is a recording of Ferguson’s setting sung by the St. Olaf Cantorei. The choral score can be purchased from Lorenz. If you do not see the embedded music file, click here to hear the audio.

As Jesus goes on this trek to the cross, we too go with Him.

In the days when bridges were not so plentiful, there were strong men whose task it was to carry people across otherwise impassable rivers. That was the occupation of St. Christopher. He strapped people to his back and plunged in, bearing them through the water to the other side. Just so we are borne through death to life on the other side strapped to Christ. His going through death must be our going through death so we may arrive with Him to life.

On Good Friday, when you see Christ dying on the cross, being cut off from God for sin, say, “That is my death for my sin.” When Christ rises out of the whelming waters of death to life, say, “That is my rising to life.” “I am crucified with Christ; nevertheless I live; yet not I, but Christ liveth in me: and the life which I now live in the flesh I live by the faith of the Son of God, who loved me, and gave Himself for me” (Gal 2:20). (p. 107-108)

Thanks for reading Palm Sunday Paradox.

If you’ve never heard In Christ Alone, you can listen to it here.

Starke’s post reminded me of a post at Boundless Line (a Focus on the Family blog for young adults) entitled Modern Worship: All About Me.  In that post Thomas Jeffries provides a reflection of the songs being used in evangelical churches.  Jeffries admits “that many evangelicals today have unwittingly embraced songs about themselves at the expense of those focusing their gaze upon Him.”  The solution he provides is the need to consistently focus on Christ in their song and hymns.

In a recent interview in the Leadership Journal, Keith Getty (co-author of In Christ Alone) and Kristyn Getty provided this refreshing perspective of church music:

If I’ve got non-Christian friends coming to church, I’d far rather give them four verses of comparatively heavy theology with some theological words which explains the gospel, than give them twenty repeated words that could be said about your pet horse or your girlfriend.

I would qualify his comment to include that as Lutherans, Lutherans should be singing texts that reflect and are in harmony with Lutheran theology.  Other Christian groups may have “heavy theology”; it just might not be compatible with Lutheran theology.

Thanks for reading In Christ Alone.

These are all well worth listening to.  And if you haven’t decided to have “God’s Own Child, I Gladly Say It” sung at your funeral service, I think you’ll be convinced that you might want to add it.

Here are the links to each part of the Issues Etc series.

1. God’s Own Child, I Gladly Say It (Pastor Wil Weedon)
2. Thy Strong Word (Dr. Arthur Just)
3. Lord, Thee I Love With All My Heart (Rev. Paul McCain)
4. The Church’s One Foundation (Dr. Arthur Just)
5. My Hope Is Built on Nothing Less (Pastor Bill Cwirla)

Thanks for reading Issues Etc. – Top 5 Hymns.

When I think of Bach and his death, the first thing that comes to mind is the closing chorale to his St. John Passion.  He closes this Passion with the final stanza of Martin Schalling’s hymn text “Lord, Thee I Love with All My Heart.” (Starts at 8:58 in the YouTube video).

Lord, let at last Thine angels come,
To Abr’hams bosom bear me home,
That I may die unfearing;
And in its narrow chamber keep
My body safe in peaceful sleep
Until Thy reappearing.
And then from death awaken me,
That these mine eyes with joy may see,
O Son of God, Thy glorious face,
My Savior and my fount of grace.
Lord Jesus Christ, my prayer attend,
my prayer attend,
And I will praise Thee without end. (LSB 708, st. 3)

Bach’s setting has endeared me more and more to this hymn.  It is a hymn of trust, of hope, of comfort, and of joy for the Christian who looks to the gracious face and work of Christ in the midst of their own death and eventual resurrection.  For good reason, this hymn has accompanied many on the journey to their Savior.  At nearly every funeral I’m the organist for, I’ll play either the Walther or Krebs (usually both) organ settings of this hymn as pre-service music (along with pieces by Bach).

So today I thank God for the work and faith of Bach and the treasures he left behind that have enriched us (for me particularly the organ chorales and sacred choral music).  Here are several posts from the archive vault on Bach and one of my favorite musical pieces.  Soli Deo Gloria.

• J.S. Bach: Kantor for Today
• Bach in Today’s Parish: Still the Evangelist

Thanks for reading J.S. Bach: The Music Lives On.

Movie soundtracks are not random bits of music to cover dialogue or video sequences, but are often composed specifically to complement the action on the silver screen. John Williams, the movie composer, (not John Williams, the classical guitarist) is a master of this, weaving themes and variations throughout the two or so odd hours of film and then providing the continuity between the prequels and sequels. Who can forget the opening to Star Wars or the menacing Darth Vader theme? (Side note: If you happen to be a fan of movie soundtracks, the classical radio station in Portland, OR has a weekly program devoted to the music behind the movies — The Score.)

And yet, do Luke Skywalker or Darth Vader even know that there is a soundtrack backing up their lives? In the case of Darth Vader, it was a soundtrack that accompanied his entire life from birth to death. What is your soundtrack?

If you read Pastor Peters’ blog Pastoral Meanderings, you may remember his post from last week on the Liturgical Life in Leipzig and Clarksville. If you don’t read his blog, you should. Pastor Peters briefly compared the time of Bach when the music of the church was literally their accompaniment to daily life to today when “Lutheran” music (if even used) could be limited to an hour or so on Sunday morning. While Pastor Peters didn’t specifically state the question like this, I think he would concur with asking, “What is your soundtrack the rest of the week?”

Why does it matter, you ask? (That kind of sounds like Yoda, don’t you think?) It’s not an academic question. It turns out to be very practical. What we hear, just like what we read and see, influence and teach us. Does what we listen to help to sustain us in our journey from birth to death or does it conflict, muddle, or provide little value? In “Hymnody as Teacher of the Faith” Kantor Richard Resch emphasizes that music is not harmless or innocent or just entertainment. It is a powerful teacher for both good and bad, especially theology in the church. This article is particularly interesting as it discusses children and music and teaching the faith through the use and teaching of our hymnals.

I think there is merit in centering our daily soundtracks with our hymnals. As a church musician and Lutheran, next to the Bible and catechism, Lutheran Service Book is a constant companion. Whether it be singing hymns, reading hymns, humming hymns, playing hymns, playing pieces based on hymns, or listening to choral or instrumental hymn based recordings — most of it all comes back to the hymnal. The words and tunes become hardwired to the soul so that even when I don’t have a hymnal, iPod, CD, or computer, my soundtrack still works.  The words of comfort, the words of reproof, the words of joy are always there.  And I hope they remain fixed in my life as long as I live.

I understand that musicians may have an unfair advantage in this respect since we can read the notes on the page and create/play our own music. Yet, whether or not we are musically inclined, there are a number of edifying gifts that we have in both hymn and non-hymn based choral and instrumental recordings.

If you’re looking for some suggestions to build (or supplement) your soundtrack, here are a few suggestions. Pastor Peters alluded to some of his favorite recordings: the Paul Manz CDs and collection of Bach. Nathan at Southern Lutheran Kantor compiled a list of recommended church music recordings (with a few of my suggestions). While I can’t say my CD collection is the definitive or even complete collection for a Lutheran soundtrack, it might be of interest to those wanting to start one.  If you’re interested, you can find my list here.  You can also find a list of several online streaming sacred music programs here.

I’d like to end with one last thought: My intent isn’t to be legalistic and demand that we only listen to sacred music. I also listen to and support my local classical radio station and I enjoy classical, folk, Celtic, and Nordic music. What I would encourage, though, is an intentional choice in what we listen to and a recommendation to have sacred music at its core.

What is your soundtrack?

Thanks for reading Soundtrack of Life.

All of the information in these indexes is already in LSB — these indexes will just minimize some page flipping going back and forth to cross reference hymn numbers.  They answer two primary questions: What tune does a hymn use? What hymns use this tune?  Who knows, some of you might find these useful.  If you do, I’d be interested to know – please leave a comment.

1. LSB Hymn Names, Number, and Tune sorted by Hymn Name
2. LSB Hymn Names, Number, and Tune sorted by Hymn Number
3. LSB Hymn Names, Number, and Tune sorted by Hymn Tune
4. NEW FEATURE!: A spreadsheet with the LSB Hymn Names, Numbers, and Tunes

Thanks for reading LSB Resources: Additional Indexes.

I was caught off guard when “Hail to the Lord’s Anointed” was introduced on the program.  At church this morning we sang this hymn (LSB 398) with the usual tune (FREUT EUCH, IHR LIEBEN) that has been used in at least 4 generations of LCMS hymnals.  The setting on Sing for Joy was set to ES FLOG EIN KLEINS WALDVOGELEING (the tune used for the Gloria in Excelsis, LSB Setting 4).  And it was the Gloria that came to my mind when the hymn began.

Hymn texts and tunes are often intimately connected in a worshiping community.  The tune helps to carry and reinforce the text and make the text more memorable. Moreover, singing helps us to inwardly digest the hymn text.

Unfortunately, sometimes a tune is deemed “too hard” so a worthy text is disliked or not sung at all.  Conversely, a lacking text might be overused because the tune is appealing.  Consider Luther’s “From Depths of Woe I Cry to Thee.” While it does not have an easy hymn tune, the tune superbly supports and interprets the text.  I can’t imagine singing that text to a different tune.  When possible, a choir or small ensemble can introduce and assist in difficult hymns.  And yes, it is OK sometimes to choose an alternate tune if needed, but please don’t pick another tune with the same meter before checking it out.  The lilting tune ALLEIN GOTT IN DER HOH (tune for All Glory Be to God on High) has the same meter as AUS TIEFER NOT (tune for From Depths of Woe), but doesn’t fit the spirit of the text.

One particular good tune reassignment in Lutheran Service Book comes to mind: Hark! A Thrilling Voice is Sounding (LSB 345).  In both Lutheran Worship and Lutheran Book of Worship the tune was FREUEN WIR UNS ALL IN EIN.  I like this tune in a minor key, but I suspect it wasn’t used much.  Most other hymnals and now LSB have used MERTON as the hymn tune.  With the new tune in LSB my congregations now willingly sing this text.

An added benefit of the close connection between text and tune is for the parish musician, particularly the organist.  The organ can “sing” a hymn tune as a prelude or postlude.  The congregation, if familiar with the tune, may associate the appropriate text and use it as an opportunity to meditate on the words.  If the text or tune is not familiar, with some forethought the hymn information could be inserted into the service folder for reference.

Back full circle to where I began:  While I didn’t expect to hear “Hail to the Lord’s Anointed” today with a different tune, the alternate tune provided a fresh and satisfying opportunity to sing the text.

Thanks for reading On Texts and Tunes.

It is a hymn full of comfort and devotional thought.  Jesus the bright Morning Star.  God’s blessings in the midst of life’s difficulties.  Those blessings being the gifts God gives us in His means of grace that sustain us.  Then strengthened and nourished, we go forth and proclaim the story as we wait for the feast to come.

O Morning Star, how fair and bright!

You shine with God’s own truth and light, (st. 1)

. . .

Now, though daily

Earth’s deep sadness

May perplex us

And distress us,

Yet with heav’nly joy You bless us. (st. 2)

. . .

Your Word and Spirit, flesh and blood

Refresh our souls with heav’nly food.

You are our dearest treasure! (st. 3)

. . .

Your Son has ransomed us in love

To live in Him here and above:

This is Your great salvation. (st. 4)

. . .

Tell the story!

Great is He, the King of glory! (st. 5)

. . .

Come, Lord Jesus!

Crown of gladness!

We are yearning

For the day of Your returning! (st. 6)

This Epiphany, “Tell the story!” (rather than how much you love to tell the story — that’s a different song).  Tell the story of Christ — the God man who lived, died, and rose for us.  Sing and treasure this hymn of the faith!

Here is an organ setting of the hymn by Pachelbel.

Thanks for reading A Blessed Epiphany.

As I practiced for Sunday worship today (Saturday) I was sight reading some Advent preludes by Michael Burkhardt. The book was familiar and well worn from my yearly use and prior to that of my organ mentor. What struck me, though, had never occurred until today. I was playing Burkhardt’s prelude on “Once He Came in Blessing” and then I noticed the date when my mentor last played it — 10 years ago today.

Most dates wouldn’t mean too much to me.  This one did.  It was the day my dad suffered from cardiac arrest and medical complications which led to his passing a few days later.  This Burkhardt piece reminded me that the church’s song goes on in our communities and congregations around the world — even when we individually are absent from worship.  The prayers and songs of the faithful continually ascend to God and each other.

As night turns to day this Saturday night and Sunday morning, the faithful awake and make their way to their place of worship and sing the church’s songs.  As one song ends in one place, another is started or overlaps with the first.  A massed choir, though separated geographically, united in a common message.  If you’re in an LCMS church on the 4th Sunday of Advent it’s likely we might all be singing the Hymn of the Day “O Come, O Come, Emmanuel.”  There is comfort in the unity of a common hymnody and song.  It is fitting, then, to close with the final stanza of this fine hymn.

O Come, Desire of nations, bind
In one the hearts of all mankind;
Bid Thou our sad divisions cease,
And be Thyself our King of Peace.

Rejoice! Rejoice! Emmanuel
Shall come to thee, O Israel! (LSB 357 st. 7)

Thanks for reading The Church’s Song Goes On.

Here’s a brief selection from Pastor Peter’s post.

We ARE heirs of an astonishingly rich heritage. But what we receive from those who have gone before is not some museum piece but a living faith and a living heritage. From them we learn, to them we add the best of what we have, and through these both we pass on the grand legacy to those whose voices have not yet been added to theirs and ours . . .

Thanks for reading A Case for Hymnody.