Tag Archives: Hildebrand

Pipe Organs: Q&A with Grime and Hildebrand

So how does the pipe organ work? Paul Grime, Kevin Hildebrand, and the multimedia crew at Concordia Theological Seminary have put together an introductory YouTube video on the pipe organ and answer 5 or so common questions. The content is geared for both organists and non-organists. Listen closely and you can hear the nice reverberation in Kramer Chapel.

So what did I learn from the video? That I should pull out the ladder to the organ chamber and go blow on some pipes! (The video did not explicitly suggest this, but I extrapolated it as a reasonable experience to get to know my organ better.)

O Sing of Christ

Some of you may be familiar with O Sing of Christ (LSB 362) by Stephen Starke – a wonderful Christmas hymn text that will be new to many, but coupled to the tune Forest Green (sometimes sung to O Little Town of Bethlehem).

While listening to my Christmas iPod playlist, I came across a recording of a delightful hymn setting of O Sing of Christ that I discovered a few years back.  After a little bit of Internet research I found the source of it — Outer Rim Territories.  The setting is by Kevin Hildebrand and is a rehearsal recording of one of the seminary choral groups.  You can even sing along if you like.

Bethlehem's RoseAs a hint to the organists out there, Hildebrand’s instrumental introduction has been set for organ in his volume of Christmas music — Bethlehem’s Rose.  Though, I’m not sure how many “average” organs have a Flute 2′ in the pedal division (unless you couple a 3rd manual with a 2′ stop to the pedal or you are playing the Kramer Chapel organ).

Todd Wilken with Issues Etc interviewed Stephen Starke about this hymn on December 21, 2006.  The interview is archived here — just ignore all the references to supporting Issues Etc. via KFUO and the Reformation Club — to support Issues Etc., go here.

O Lord, Open My Lips

These familiar words from Psalm 51 – “O Lord, open my lips and my mouth will declare Your praise” – prepare us as we pray through Matins and Vespers. It is good to pray these words since our sinful nature does not have the words or desire to praise God.

In a short article I recently acquired, Kevin Hildebrand reflects on the import of these familiar words.

We are by nature sinful and unclean. Therefore we ask with the psalmist, “O Lord, open my lips,” as we cannot open our own dead, sinful lips. Only with lips that have been touched with the words of absolution, drenched with the waters of Holy Baptism, and quenched with the Blood of the chalice can we then say with confidence, “and my mouth will declare your praise.”

** An excerpt from “The Organ Also Sings: Some Brief Thoughts to Introduce an Organ Reading Session” in the 2004 journal of the Good Shepherd Institute – Singing and Preaching the Close of the Year: “Zion Hears the Watchmen Singing)

Our praise is a result of the great gifts God gives us through His word and sacraments. Thanks be to God!

Sneak Peak – New Organ Music @ CPH

For you organists (and choir directors) out there, it looks like Concordia Publishing House is starting to unveil their 2008 new organ music (and choral) collections. On first glance there are a couple of editions that look enticing — primarily because I’m already familiar with these composers:

  • 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.

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.