Tag Archives: Buszin

Walter Buszin on the Lutheran Masters

Earlier this week the Concordia Publishing House music department celebrated the 60th anniversary of hiring its first full-time head of the music department – Edward Klammer.  That hiring happened at the recommendation of Walter Buszin.  During the 1940′s, Buszin, in the midst of his other teaching responsibilities,  organized the music department catalog, served as an editorial consultant, and finally recommended that CPH appoint Klammer as head of the department. (For more information on Buszin, get the biography published by The Good Shepherd Institute).

In 1948 CPH published an “Anthology of Sacred Music – Chorale Preludes by Masters of the XVII and XVIII Centuries” selected and edited by Buszin.  It is the Foreword of this volume that I’d like to share with you.  First, it provides insight into what CPH was publishing at that time.  Second, it gives some guidance for parish musicians today.  Third, it will provide a segue into another piece I’ll be posting in a few days.

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Gregorian Chant in Worship

When most people think of Gregorian chant they likely think of Roman Catholics or cloistered monks (with their cowl) chanting in a dimly lit church.  This past Monday on Issues, Etc. Dr. Ben Mayes provided an interesting discussion on the history of Gregorian chant and its relevance to today’s Reformation Christians as part of our Lutheran heritage.  I’ve embedded the audio for your listening ease.

If you take only one thing away from the discussion, I think this should be it:

Gregorian chant lets the text of scripture and its quiet power shine through without forcing an emotion on it. (paraphrased from my listening notes)

A few years back I acquired a long out-of-print volume of Introits for the one-year lectionary set to Gregorian chant tones (edited by Walter Buszin and published by CPH in 1942).  Buszin provided these reasons for the use of Gregorian chant (referring specifically to the Introits, but logically extrapolating to chant in general):

  1. They are truly liturgical in character.
  2. They are simple and may be sung by any type of church choir and be transposed to other keys.
  3. They are churchly, giving prominence to the text and relegating the music to the background.
  4. They are undramatic and objective and yet possess great beauty.
  5. They have stood the test of time and have become a part of the Lutheran heritage.

Whether you choose to explore Gregorian chant further, it does make you think how music affects and has the potential to overpower the text.

More info about Gregorian chant from a Lutheran perspective can be found at the Lutheran Liturgical Prayer Brotherhood website.  Dr. Mayes also edited the Brotherhood Prayer Book.

Pre-Bach: Shaping the Tradition

It seems fitting that on the eve of the commemoration of J.S. Bach’s death that I have just finished reading “Music in Early Lutheranism: Shaping the Tradition (1524-1672)” by Carl Schalk. (As a side note: CPH is having a phenomenal sale on books. I picked up Schalk’s book for only $15.00 (normally $32.00) and both volumes of Sasse’s Lonely Way for only $10.00 each (normally $21.00)).

Schalk’s premise is that while Bach is often considered the culmination of Lutheran church music in the 18th century, there was a period of 150 years before Bach that paved the way for the climate that he encountered. In other words, Bach did not just arrive on the scene and say “I have arrived.”

Schalk reviews the life and musical works of seven influential Lutheran musicians in the 150 years after the Reformation.

  • Johann Walter: First Cantor of the Lutheran Church
  • Georg Rhau: Printer of Early Reformation Music
  • Hans Leo Hassler: Herald of the Transition to the “New Style”
  • Michael Praetorius: Conservator of the Chorale
  • Johann Hermann Schein” Cantor of St. Thomas, Leipzig
  • Samuel Scheidt: Musician of Halle
  • Heinrich Schuetz: Tone Poet of Saxony

While I knew a little bit about Walter, Rhau, and Schuetz, it was enlightening to understand their background and the roots of Lutheran music and see the kinds of music they composed. For example, during the Thirty Years War Schuetz’s compositions became simpler — just a couple vocal parts, several instruments, and basso continuo to account for more limited musical resources and financial support.

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Buszin on Church Musicians

I’m in the process of rereading the essays by Walter Buszin in the “Music for the Church” published by the Good Shepherd Institute.  It’s a great book and the essays, though written about 40-50 years ago, are still fresh and speak to our times today.

The following selection has resonated with me over the weekend.   Buszin reminds us that the musical aptitude is not as important as the musical and theological attitudes of the church musician.

The work of communicating the Gospel should emanate, therefore, not only from the pulpit, the cathedral, and the classroom, but also from the organ and the choir loft.  All unite to serve and disseminate the Word.  The task of the organist, choirmaster, and cantor has in many respects the same purpose as that of the preacher, the missionary, the teacher of religion, and the professor of theology.  Even for this reason great care should be exercised by congregations in selecting and appointing their choirmasters and organists.  It is more important that the church musician have the mind of the church, possess the necessary liturgical knowledge, and give unquestioned evidence of a salutary approach to the problems of Christian (Lutheran) worship than that he be an organist and/or choirmaster of superior ability. (Theology and Church Music as Bearers and Interpreters of the Verbum Dei – Walter Buszin)

Walter E. Buszin – Wise Counsel for Today

Buszin BookI was unfamiliar with the name Walter Buszin until the summer of 2007 when I discovered that one of the most enduring choral collections of the 20th century – 101 Chorales Harmonized by Johann Sebastian Bach – was edited by Buszin. Prior to this, I had a dear friend from church who had told me on a number of occasions about a treasured book from her younger choral years – a book of Bach chorales. She evidently was talking of the Buszin edition.

Over the last two weeks I have been reading “Music for the Church: The Life and Work of Walter E. Buszin” by Kirby L. Koriath with 10 essays by Walter E. Buszin. As a brief summary, Buszin (1899-1973) was a Lutheran theologian, church musician, music editor, hymnologist, teacher, and liturgical scholar whose scholarly output is quite amazing. In some respects his work was more widely known outside of the Lutheran Church Missouri Synod (LCMS) despite being a professor at Concordia Seminary, music editor at Concordia Publishing House, and being on the Synod’s Commission on Worship, Liturgics, and Hymnology for 26 years.

This book presents today’s generation of pastors and church musicians with wise counsel on church music and liturgy. Buszin’s life shows a “mission of restoration and renewal in Lutheran church music and worship” (pg 27). He was deeply concerned that his church, the Lutheran church, had abandoned its fine heritage and replaced it with an unworthy and substandard successor. His life and words are still timely because he dealt with many of the same issues we encounter today – quality of hymnody, liturgy, choral and instrumental music.

As I read the book, I realized how I, as a church musician, have been shaped by Buszin without really knowing it. Buszin promoted the use of the chorale in hymnody, choral music, and organ music and seemed to be instrumental in bringing the sacred works of the “Golden Age of Lutheran Music” (16th – 18th centuries) to light. Besides relying extensively on this era of music for my weekly service playing, I have been shaped by my favorite modern Lutheran composers who write music on the chorales — Benjamin Culli, Kevin Hildebrand, Jeffrey Blersch, Kenneth Kosche, John Behnke, Michael Burkhardt, and Paul Manz. And finally, the Organist Workshops and Good Shepherd Institute at Concordia Theological Seminary introduced me to the thoughts of Buszin and helped me better understand and live my vocation as a church musician.

I hope that I might reflect, if only a glimmer, the passion that Buszin had for Lutheran church music and worship.