When I initially made my pre-order 8 months ago, I ordered a standard genuine leather edition for myself and a larger genuine leather edition for my mother.  I thought I had fairly decent eyesight — no glasses and pretty sharp vision.  Fortunately, CPH phased the release of the different editions and sent out the standard hardback edition weeks before the leather editions.  My church library received a hardback edition and I eagerly opened it and found that even for my eyes the study notes and footnotes were kind of small and densely situated on the page — readable, but small.  The font size for the Bible text wasn’t bad.  Hmm.  What should I do?   At just about the same time, Pastor McCain had a blog post about the larger print edition he got for his son.  Maybe the larger print edition would work for me.  Next step:  Called CPH to change my order BEFORE the leather editions shipped AND added two ribbon sets and Gerhard’s A Comprehensive Explanation of Holy Baptism and Lord’s Supper for good measure.

Then it was just a matter of waiting for CPH to ship and FedEx to deliver.

My initial reaction:

This is a BIG Bible (and that is not necessarily bad – keep reading).  8 1/8″ wide x 10 3/8″ long x 2 1/2″ deep and about 5.3 pounds (according to the kitchen scale).   It’s larger than my college dictionary which I thought was big.  BUT, I like it (referring to the Bible, not the dictionary).  There’s something to be said for having an imposing Bible like this in your life.

In my anticipation I was also hoping that the paper used in the leather editions would be a bit thicker than the standard hardback.  The hardback copy I saw had very thin (tissue-like) paper that tended to wrinkle if not handled with care, but it seemed to be durable.  I am VERY pleased with the paper in the leather larger edition – a bit more substantive paper with minimal bleed through.  The thicker paper, though, comes at a cost — a thicker book.

The font size of the Bible text, cross references, and the study notes are comfortable on the eyes — not too big and not too small.  For me at least, the larger print was a welcome trade-off to the larger book size.

What I appreciate most (so far) about this Study Bible is how Christ permeates the entire Bible.  The study notes and book introductions help the reader see Christ and what He has done for us — even in passages where Christ might seem to be absent.  Granted, not every note does this, but note upon note helps build this foundation.

Following with a close second are the quotes from the Church Fathers, reformers, and the Lutheran Confessions sprinkled throughout the study notes.  I suppose you could call it “theological seasoning” — not overpowering, but nuggets selected with care.   It is edifying to read what those who have come before have written.  The Lutheran Study Bible will be instrumental in introducing more people to these historic writings and providing springboards for further study.

A request to CPH:  Please provide a PDF download of the prayers on the front and back covers of the hardback editions — they are missing from the leather editions.

CPH and the associated contributors have provided the Church a wonderful gift in the Lutheran Study Bible.  It’s definitely something to consider for your daily Bible study and prayer life (see the Law/Gospel notes!).  This is ESV++!

So what’s next?  I think I’m going to splurge and get a a custom leather Bible cover from Renaissance Art.  They have made me wonderful leather covers for the pocket Book of Concord and the personal edition of Lutheran Service Book.

Thanks for reading The Lutheran Study Bible: ESV++.

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.

CPH is continuing its series “Musica Sacra” with Volume 7 by Donald Busarow. The Musica Sacra series is a great way to get some easier and quick pieces to prepare that are interesting. I have all 7 volumes and I consistently use all of them, but especially the volumes by Hildebrand, Kosche, and Culli. Just to be aware, I’d guess that roughly half of the compositions in Volume 7 are reprints of previously published pieces. I’m thinking that by the copyright date they are from the Concordia Hymn Prelude series which CPH is now slowly retiring.

The other selection I ordered was Kevin Hildebrand’s “Five Easy Easter Hymn Settings for Organ” . I know Easter is over and I won’t be able to use this set for another year — BUT it has a lovely setting of Duke Street which is appropriate for funerals throughout the year.

If you’re in the market for some sacred music, give the folks at CPH a try. They have an abundance of resources — especially for the Lutheran musician. But if you want Paul Manz, Michael Burkhardt, or some of Robert Hobby’s pieces, you’ll need to head over to MorningStar Music.

Thanks for reading New Music from CPH.

Both are excellent CD compilations of some of the finest Lutheran hymnody and a worthy addition to your audio library.

Thanks for reading CPH Goes MP3.

If you’ve never heard the hymn, here is a video of a setting written by K. Lee Scott.  The setting is available from CPH and performance scores are available for the optional instrumentation.  Enjoy!

Thanks for reading Joy to the Heart.

Ben Culli has composed a series of preludes on six Epiphany hymns entitled Light of Christ (audio and PDF samples available on the CPH website).  I usually find Culli’s compositions challenging, but accessible — meaning I have to spend some quality practice time to reap the musical rewards.

In typical Culli style, his compositions exhibit a rhythmic drive and variety that draws the listener to the music.  The “fanfare” for Jesus Has Come and Brings Pleasure with its pedal points and relatively simple pedal line is a welcome addition to my other frequently used settings of this tune by Kevin Hildebrand and John Behnke.  The setting of Rise, Shine, You People has several motifs and rhythmic patterns that are repeated/echoed throughout the piece which helped to make preparation easier.

One of my favorite pieces from the collection was From God the Father, Virgin Born.  Culli took the hymn tune and interweaved it with a Sarabande by Jeremiah Clarke.  He has done this before in his other collections — quoting a section from Vivaldi’s Gloria in Excelsis with All Depends on Our Possessing and quoting Marcello’s Psalm XIX with With the Lord Begin Your Task.

I’m still working on How Good, Lord, to Be Here and hoping to have it prepared by Transfiguration Sunday.  The only thing left is that pesky hand, eye, and feet coordination!

Overall, this collection was a good addition to my music library.  It’s never too early to start preparing for Epiphany 2010!

Thanks for reading Light of Christ – Organ Music Review.

• A new volume by John Behnke in his series Five Preludes of Praise.
• Six Hymn Improvisations Set 7 by Kevin Hildebrand. I frequently use his improvisations in worship services. His collections on Christmas and Lent/Easter hymns are also good.
• Introductions, Harmonizations, Accompaniments, Interpretations, Vol. 5 by Jeffrey Blersch.

I suspect CPH is working on their promotional CDs and will soon be providing audio excerpts. But in the meantime they do have PDF excerpts for most of the music books.

And no, I do not receive any kickbacks from the CPH Music Department for writing this.

Thanks for reading Sneak Peak – New Organ Music @ CPH.

Starke’s paraphrase of this early hymn of praise, with its rich language, and coupled with Gustav Holst’s tune Thaxted is a joy to sing. Granted, Thaxted is best known as the theme from Jupiter in The Planets. However, now when I hear Jupiter on KBPS 89.9, I start singing the Te Deum — I dare say not necessarily a negative association.

If you have never heard (or even if you have) Starke’s paraphrase, I have two audio recommendations for your listening enjoyment:

• Concordia Publishing House has released a festival setting for choir and organ (with optional orchestra) by Mark Bender. CPH has a complete performance with orchestra for listening on their product page. Even if your choir does not sing this setting, I would recommend your organist have a copy of the choral score since the opening organ introduction is alone worth the $1.75 and would be a fitting hymn introduction.
• The Kantorei of Concordia Theological Seminary concludes their CD titled “Te Deum” with a mostly a capella (last verse with organ and brass) setting by Thomas Lock. Full length audio is available for streaming at the Kantorei site. While the Bender setting pulls out all the stops, I would characterize the Kantorei’s performance of the Lock setting as “reverently triumphant”.

Now don’t get me wrong; I’m still fond of the Anglican chant setting of the Te Deum from TLH and will continue to sing it. Yet, Starke’s Te Deum is a worthy inclusion in Lutheran Service Book and I hope congregation’s will take the opportunity to learn and use it.

06/04/09 Update

Another choral setting of Starke’s paraphrase is by Charles Ore.  It is set for SATB, organ, and brass.  You can listen to it at the CPH website.

Thanks for reading Te Deum at Kramer Chapel.

Up until recently I was puzzled why Concordia Publishing House had published so much of Paul Manz’s organ music in the 1960′s, 70′s and 80′s and now MorningStar Music publishes all of the organ volumes (re-edited in topical editions). What would cause the transition of publishers? Especially given the quality of Manz’s music.

I learned the answer, or at least someone else’s explanation, after reading “The Journey was Chosen: The Life and Work of Paul Manz ” by Scott Hyslop and published by MorningStar Music. Hyslop writes,

“For reasons seemingly bizarre and politically motivated, Concordia Publishing House came to a decision that they would no longer print music written by Manz and then started to systematically put much of what he had written out of print. . . In the end the Manzes were able to purchase back all of the copyrights to Paul’s music and move those titles to Morningstar.” (Hyslop, 71)

Reading this biography provided a historical background to the theological and political issues in the American Lutheran churches during the 1960′s-1980′s. And Paul Manz was in the midst of this as he served as a composer, teacher, and performer. Since I was born in the tail end of the 70′s, this is all “history” to me.

I enjoyed this biography because it provided a glimpse into the challenging and creative life of one of the great organists of the 20th century. It adds a dimension of understanding as I practice and listen to his compositions.

When Paul Manz was asked to give one piece of advice to someone venturing into church music, he said, “Love the people you have been called to serve.” These are good words for any church musician.

Thanks for reading Paul Manz – A Life Revealed.

As I recall, Kantor Resch referred to the hymn introduction as an “Invitation to Sing.” If the introduction is “blah”, the singing will be “blah” as well. The “invitation” by the organist gives a foretaste of what is to come. One of the primary responsibilities of the organist is to engage God’s people in song.

Sometimes the introduction will be playing the entire hymn through once. Sometimes it will be the first and last music phrases. For me this can get a bit repetitive and rather uncreative. More often than not I will either improvise an introduction, use an introduction from one of the organ books in my library, or repurpose a portion of an organ piece from another composer.

The idea for this blog post came after a number of people from church over the last week complimented me on the introductions and accompaniments for a number of the hymns. I was told they were creative, engaging, and reflective of the texts. I can’t take credit for them all — some of them were my own improvisations, but a number of them came from the works of Carl Schalk, Jeffrey Blersch, and Kevin Hildebrand. If any of you organist’s out there do not have Hildebrand’s newest organ collection, Bethlehem’s Rose – 12 Easy Chorale Preludes, get it for the 2008 Christmas season.

P.S. I do not work for or get any commissions from Concordia Publishing House. I just happen to use a lot of the organ music that they publish.

Thanks for reading Invitation to Sing.