Many books does not make one learned, nor much reading either; rather to read a good thing and to read it often, regardless of how little it is, that makes one learned in the Scriptures.

I think something similar could be said for church musicians in relation to their musical repertoire and libraries. Publishing companies continue to entice us with their latest offerings; yet we still have existing music waiting to be learned or looked at. To buy or not to buy? The related and potentially better question is: What is the Lutheran musician’s core repertoire (besides the hymnal)?

A few weeks back, Paul McCain at Cyberbrethren wrote about The Essential Lutheran Library — a core list of absolute essential reading for every Lutheran.

What about a core list of The Essential Lutheran Library – Musician Edition (aka., TELL ME)? With the abundance of music currently available, it is mind numbing to go through stacks of music or publisher catalogs looking where to allocate scarce financial resources. I acknowledge that each musician has unique gifts and interests, but there seems to be a core to build from.

My personal music library has developed as a result of recommendations (and gifts) of friends and mentors. I would be at a loss without the music of Paul Manz or the Church Organist’s Golden Treasury. But there are others that have become part of my musical personality — Bach, Buxtehude, Behnke, Blersch and Burkhardt — to name a few. I once contemplated this theoretical question – If my entire organ music library was destroyed by fire or flood, or lost by a moving company (which did happen to someone I know), and I only had X dollars to replace it, what would I get? It’s a question that I don’t have an answer for yet. What are the “good things”, as Luther put it?

There you have it. An unanswered question and food for thought. Your comments are welcome and encouraged.

P.S. My music shopping expedition resulted in two volumes of Christmas music by David Cherwien and a collection of hymn harmonizations.

Thanks for reading The Other Essential Lutheran Library – Musician Edition.

Kantor Resch, in an essay in the first journal of the Good Shepherd Institute (which by the way is available as a complimentary download), mentions that Bach’s “unbelievable source of faithful confession, of teaching and admonishing, of prayer, of praise and thanksgiving, and of healing and comfort–has become a hidden treasure.” He goes on to write,

It is time for a sacred music reformation. It is time for coming home to a practice that is just waiting for pastors, kantors, church musicians, choirs, instrumentalists to pick up, learn well, teach lovingly to their people, and begin using again. We need to wake up to what we have! (The Gift of the Church’s Song: Sacred Music as Healing and Comfort, 96).

As a point of reference Resch quotes a selection from an article by Calvin Stapert entitled “Celebrating Bach’s Legacy to the Church: After 250 years, he still preaches powerfully through his music.” This is a worthwhile article to read — applying Bach and his philosophy and practice to our very day.

• Bach chorale harmonizations are without equal. We can make greater use of them than we do.
• Bach’s chorale preludes should be central to church organists’ repertoires. And they need not be limited to organ. Many of them can be arranged for instrumental ensembles.
• Although much of Bach’s vocal music is difficult, it includes movements that can be learned well by choirs of modest abilities.
• Those who compose new music for the church should study Bach’s music intensely. When Mozart first heard one of Bach’s motets, he exclaimed, “now, there is something one can learn from.” If Mozart could learn from Bach, then Bach has something to teach any composer.
• Not only composers can learn from Bach. We all can. Careful, devotional listening to his sacred vocal works–the cantatas, passion, and motets–can be wonderfully nourishing. No other composer wrote music that so vividly conveys the gospel and plumbs its depths of meaning.

Has this whetted your appetite for Bach? Well have the folks at the Good Shepherd Institute got something for you! The topic for this year’s conference is “Bach in Today’s Parish: Still the Evangelist”.

Before you finish reading, I’d like to share two of my favorite pieces from Bach. The first is the concluding chorale from the St. John Passion — Lord, Let at Last Thine Angel Come. The second is the organ chorale prelude on Wachet Auf (Wake, Awake). Enjoy.

http://www.youtube.com/watch?v=TD5N0Ubpvns?t=8m58s

Thanks for reading J.S. Bach: Kantor for Today.

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.

From a practical standpoint, Schalk suggests that examining these Lutheran composers and their theological ideas “may well be the first step to approaching more realistically and faithfully the problems and questions which continue to vex the musical and liturgical life of today’s church” (12). His conclusions show that they still have something to teach us — even if their music has been forgotten by many in the church.

• All were musicians highly trained in their art and craft.
• All were musicians involved, in varying degrees, in the secular musical life of their day.
• All–with the exception of Johann Walter and Georg Rhau–were musicians who wrestled in various ways with the challenges and implications of a “new” musical style for the church.
• All were musicians who found the liturgy and the worship of God’s people to be the most natural and appropriate context for the greater part of their music.
• All of these musicians were influential teachers. (181-183)

What was immediately striking to me in this volume was Schalk’s dedication to Walter Buszin and Paul Bunjes. In Buszin’s biography published by the Good Shepherd Institute, it is noted that Buszin had hoped to publish a collection of eleven essays on the significant composers of the “Golden Age” of Lutheranism from 1524 to 1750 — a collection that bears a resemblance of sorts to Schalk’s book (they would have five composers in common). While CPH had initially agreed with the idea, they abandoned it fearing insufficient sales. CPH — there’s still time to finish the project.

Even though CPH never published the book, it is still possible, by using the Buszin bibliography, to nearly recreate the collection that Buszin envisioned (10 of the 11 articles). With the help of my local library’s interlibrary loan department and some article archives on the Good Shepherd Institute’s website, I was able to acquire all the articles EXCEPT for the one on Heinrich Schuetz, which is unpublished. If anyone happens to have a copy of it, I’d love to add it to my collection.

To sum it all up: It’s a worthwhile experience to study the early Lutheran musicians and their understanding of church music. This could certainly be an opportunity for reflection in our own day.

Thanks for reading Pre-Bach: Shaping the Tradition.

And he is direct. Rule #11 of Elementary Rules of Liturgical Usage – “Churches are not carpeted.”

Dr. Arthur Just presented a paper at the 2008 Good Shepherd Institute – Confident Liturgy: Presiding with Hospitality and Grace that referenced Kavanagh’s “An Approach to Liturgical Style”. While Kavanagh comes from the Roman Catholic tradition and is looking at the role of the presider in the liturgy, I think portions of his list can serve equally well for church musicians.

1. Place yourself in the background.
2. Do things naturally.
3. Know the assembly’s liturgical tradition thoroughly.
4. Do the liturgy with directness and vigor.
5. Beware of particularizing the liturgy.
6. Beware of liturgical fundamentalism.
7. Do not over-ceremonialize.
8. Do not affect a loose informality.
9. Do not explain too much.
10. Strive for simplicity.
11. Do not get too relevant.
12. Learn to live with symbol.
13. Adapt culture to the liturgy rather than liturgy to culture.

For example, church musicians (and architects!) should take item #1 into account. How does the placement of the musicians serve (or distract) from the proclamation of the Word? Does a particular location put more emphasis on the musician rather than the message?

Or take item #3: I would expect a Lutheran musician to make different musical choices than a Baptist or Pentecostal musician. An introit, gradual, or psalm chanting/singing/saying might be foreign to a Baptist (and some Lutherans), but they offer an important insight and reflection on other parts of the Divine Service.

I don’t want to give the impression that this list is a LAW, but I do offer it as an opportunity to reflect on how we provide musical leadership in the worship service. Our actions and choices do make a difference.

Thanks for reading Elements of Liturgical Style.

Wanted: One Outstanding Church Organist.
Music adds much to our worship, but musicians can be hard to find. Well, look no further.

The reality is that many churches have a difficult time finding an organist or even someone who can play the piano for worship services. Enter CPH. They have created Concordia Organist, a 31-CD set of all the hymns in LSB which can be used to accompany hymn singing. CPH is having an “essay” contest (though the Official Rules say it will be a random drawing) to give away a free copy of the Concordia Organist (retail value: $699 with an introductory price of $499) to a LCMS or LCC congregation.

On the plus side, the hymns are played by the very capable Paul Grime, Kevin Hildebrand, and Richard Resch of Concordia Theological Seminary on the wonderful Schlicker organ in Kramer Chapel. Any congregation would be blessed to have either of these organists and/or the Kramer Chapel pipe organ. (As an aside: I have to remind myself to not covet my neighbor’s pipe organ.)

However, I’m a little unsettled on the use of a CD as a hymn accompaniment in congregational worship. I understand that for some churches the Concordia Organist may be the only way that they can have a “church musician” for worship. Singing to a recording, though, lacks the vibrancy of the relationship between the musician and the congregation. On some Sundays, my own hymn playing will take on a new dimension as a result of the energy of the hymn singing. And conversely, the congregation’s hymn singing can be energized by skillful hymn playing. I would hope that these CDs are a last resort and not a substitute for a “live” church musician if one is available.

And we need not forget the possibility of a capella singing. You never know when the organ might “blow up” just before the service begins and “Let my prayer rise before You as incense” takes on an entirely new meaning as electrical parts are burning. Singing without accompaniment can add a new dimension to worship that is often hidden when there is always background music.

I suppose, though, that the moral of the story is to encourage our young people to pursue church music – either as a profession or avocation. Our churches are always in need of faithful musicians with a passion for the church’s song. If we had sufficient numbers of church musicians, a product like Concordia Organist wouldn’t have much of a market.

Thanks for reading The Concordia Organist.

“The richer the background in Lutheran doctrine, mores, and music, the more nearly will the musician approach the true ideal of a Lutheran musician and servant of God in church.”  — Hugo Gehrke

Thanks for reading Lutheran Musician Quote.

Thanks for reading Church Music Workshops.

What’s happening this summer?  The Church Music Workshops at Concordia Theological Seminary – Ft. Wayne, IN.  This year there are opportunities for organists, AND choir directors, AND handbell directors/ringers.  In other words, bring the whole crew.

These workshops are an excellent opportunity for fellowship, refreshment, and growth.  I’ve attended twice over the last few summers and they were great experiences.  See my previous reviews here and here.

• If you’re a musician, consider attending.
• If you’re a pastor, ask your musician(s) if they would like to attend.
• If you’re a lay person, offer to send your musician.

The following information is provided by Kantor Kevin Hildebrand:

Our two workshop weeks include our annual Primer Level organist workshop (June 15-19, 2009), designed specifically with the novice organist in mind.

This year we are also offering a new Church Music Week workshop (June 22-26).

Church Music Week is a Level One organist workshop, with the addition of sectionals for choir directors and handbell directors.  The purpose of this new workshop is to provide a practical and resourceful place for all church musicians to study and grow together.  All participants will begin the day with a group class in theology.  The “hands on” part of the day will provide sectionals for organ, choir, and handbells, each with their own instructor.  Regular practice time for organists will be included as usual.

We are hopeful that many organists, choir directors, and handbell directors from the same congregation will attend Church Music Week together in order to foster their musical skills and theological sensitivity.

If you have any questions about you or others participating in this year’s workshops, please feel free to contact me directly.  Please also forward this information to other church musicians both in your congregation and neighboring congregations. I look forward to hearing from you.

Sincerely,

Kevin Hildebrand
Concordia Theological Seminary

Kevin.Hildebrand@ctsfw.edu

Thanks for reading Church Music Workshops @ CTSFW.

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)

Thanks for reading Buszin on Church Musicians.

Schalk had a reflection that was particularly relevant to the Advent season based on Ambrose, the author of the Hymn of the Day for this First Sunday in Advent – “Savior of the Nations, Come” (LSB 332)

As the story goes, Ambrose (340-397), the great Bishop of Milan, was having trouble with the Arians, a heretical sect which denied Christ’s divinity.  When the Empress Justina, who favored the Arians, tried to get Ambrose to open one of the churches–the Basilica Portina–for her adherents, Ambrose adamantly refused.  Fearing reprisal from the Empress, Ambrose gathered the faithful in the basilica, singing psalms and hymns to buoy their spirits in this time of persecution.  When the soldiers sent by the Empress arrived at the basilica, so tremendous was the effect of the people’s song that the soldiers are said to have joined in the singing.  The Empress finally was forced to abandon her plans.

St. Augustine, one of Ambrose’s converts–who as a young man was present with his mother at the Basilica Portina–wrote some years later in his Confession about the moving experience and how the singing had made a profound impression on him.  (p. 17)

Schalk next asks a question that propels this historical situation to our own day: “But where were the children?”  His conclusion, based on Augustine and that society’s lack of child care centers, is that the children, with the whole family, were at the Basilica singing the strong hymns of Ambrose.   The whole church family–young and old–were spiritually nurtured and grew by these hymns.

His encouragement to the church today is to continue (or reinstate, as the case may be) the practice of teaching children the strong and sturdy hymns of the faith — not “Twinkie Tunes with Ding Dong Theology” (title of another reflection).  These hymns can be formative in the faith development of the children.

Why not start with Ambrose’s Advent hymn?

Thanks for reading Ambrose, the Children, and Advent.