Each year around the All Saints Sunday weekend the Good Shepherd Institute hosts their annual conference which features fellowship, recitals, a hymn festival, and a number of presentations for pastors and musicians.  The conference that is presently underway is entitled “Sing With All the Saints in Glory.”  In March 2010, Dr. Just remarked in their newsletter how the staff determined the conference theme.

After last year’s well-received and well-attended conference on Johann Sebastian Bach, we wondered how we could sustain this momentum. In a meeting with Kantors Resch and Hildebrand and Dean Grime about how we can top Bach, someone blurted out: “Let’s do death. We’ve never done death. Let’s do death.” I looked over at the Kantors, and I could see the musical wheels spinning with requiems, hymns, and all sorts of other possibilities. What is more vital for pastors, musicians, and deaconesses than how we proclaim to the saints what we believe about death? We all agreed that there was no more perfect topic to follow Bach than how we celebrate life in the midst of death, especially at a Good Shepherd Institute conference held during All Saints weekend. Yes, we all agreed, it is time for us to “do death.”

While I haven’t attended one of the conferences, my thoughts and prayers are with them as I see what they’re doing a few time zones away.  A highlight for me, while not a substitute for being there, is the eventual publication of their annual journal that features the presentations from the conference.  These journals provide some good reading (and lifelong re-reading) material.  My personal favorite is Volume 2 – Christ’s Gift’s in Liturgy.  Normally the journals are about $20.00 apiece, but since Volume 2 is out of print, they have kindly made it available for download (no charge) as a PDF.  If you are a church musician with a love for sacred music, hymnody, worship, and theology, you definitely will want this.  While you’re at it, take a look at their semi-annual newsletter with some great recommendations on articles/books, sheet music (organ and choir), and recordings.  Yes, your pocketbook will be a little lighter, but you will have some worthwhile additions to your library.  Kantor Hildebrand’s recommendation of Partita on Lord, Thee I Love With All My Heart by J. Wayne Kerr, was a great addition to both of my All Saints Sunday services.

If you’re not familiar with the resources for church musicians from Concordia Theological Seminary, do check them out.  They have been a blessing to me.  Perhaps they will be for you as well.

Thanks for reading Church Musicians & Concordia Theological Seminary.

I won’t go into all the details, since they are amply noted in other blog posts.

1. 2007 – Kantor School (aka Organist Workshop)
2. 2008 - Organist Workshops
3. 2009 – Church Music Workshops @ CTSFW

However, in a past post I referenced something that Kantor Resch wrote that bears repeating once again.

Thanks for reading 2010 Summer Organist Workshops.

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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The music world today is making wide use of the chorale preludes written by the Lutheran masters of the 17th and 18th centuries. We are convinced that this is not merely a passing fad, but rather an indication of the rapid rise of musical standards in America and a recognition of the superiority of this music for worship purposes. From a purely musical point of view one may rightfully refer to the chorale preludes of the Lutheran masters as tone poems in miniature; from a liturgical and ecclesiastical point of view, however, they are more than tone poems, for their real purpose, as intended by their composers, was to incite people to worship and to create an atmosphere of worship in services of worship.

On the whole, a more uplifting atmosphere has been maintained in the services of worship conducted by church bodies which recognize the values of a well-ordered and dignified liturgical service of worship. Nevertheless, while the music used in these churches may have been churchly, it was often not the best worship music available. Thus in the Lutheran Church it was soon discovered that not the compositions of the great Lutheran masters, but the works of the rather inferior nineteenth and twentieth century composers were used. This music did not militate at all times against good taste; it was, on the whole, churchly, but it was at the same time quite uninspiring; it was not written by composers who possessed the genius, skill, talents, and spirit of men like Walther, Pachelbel, Buxtehude, Zachow, various members of the Bach family, and others. In fact, the music of the really great Lutheran masters was quite unknown to Lutheran church musicians until recent times, and there are still many serving as organists who are not acquainted with their real great heritage.

The present collection has been prepared and published not only to acquaint organists with works by the Lutheran masters, but also to encourage organists to use music of this type in services of worship. Since it is the intention of the editor to prepare for this series a volume which will include only works by Johann Sebastian Bach, compositions by this great master have not been included in the present volume. It is hopes that thereby attention will be called to the undeniable and important fact that the musical heritage of the Lutheran Church in particular, and of the Christian Church in general, is great even without the works of the greatest composer of organ music the world has ever known.

. . .

It is important, of course, that these preludes be played in the spirit in which they were written and in the spirit of a beautiful and dignified service of worship. This spirit, however, I am unable to communicate to others through the medium of words, numbers, or other signs. The spirit of music is intangible and will come to those who wholeheartedly dedicate themselves, their ability, and their musical talent to the Giver of every good and perfect gift. From Him will come the spirit of consecration and genuine musical understanding.

– Walter E. Buszin

Thanks for reading Walter Buszin on the Lutheran Masters.

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.

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.

If you order, make sure you use the code: MANZB20

In Singing the Faith: Living the Lutheran Music Heritage by the Good Shepherd Institute, the study guide says the following about Manz.

In a way that has not been surpassed in the late twentieth and twenty-first centuries, Manz improvised hymn introductions and accompaniments that underscored the meaning of the hymn texts, thus enlivening the proclamation of the Gospel in hymn singing at both liturgical services and in hymn festivals.  Manz published and recorded many such improvisations for the use of organists and for the listening pleasure of all who love hymns and organ music.  Younger generations of Lutheran composers and organists who have been inspired by Manz include (to name only a few) Jeffrey Blersch, Michael Burkhardt, David Cherwien, John Ferguson, Kevin Hildebrand, and Robert Hobby.

Thanks for reading Paul Manz at 90.

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.

The article spread begins with this “teaser” to draw us in:

“I am constantly getting calls from pastors, especially pastors in our smaller parishes, who have no organist,” says Rev. Jon Vieker, assistant director of the LCMS Commission on Worship. “They tell me their organist is 85 and can’t play for services anymore, and there’s no one to take her place. Now what are they going to do?”

Future church musicians are nurtured when the congregation gives children the opportunity to serve.  This means the congregation has to actively support and offer opportunities – children’s choirs, handbells, instrumental music, and possibly even scholarships for lessons.  These can take a lot of time and money, but have far greater rewards.  If your congregation has a budding child or teen that has an inkling for the organ, take a genuine interest and encourage them.  While that child may eventually move away, you are nurturing and giving a gift to the church at large.  Who knows what God may have in store for him.

The Lutheran Witness noted that a DVD caled Children Making Music” produced by the LCMS, WELS, and ELS will be sent to 10,000 churches and schools.  Paul Grime, now Dean of the Chapel at Concordia Theological Seminary in Ft Wayne, noted that “If the DVD is shown in just half of our congregations and schools, and if it provides the needed encouragement to only a couple students in each of those institutions, that would ultimately mean several thousand additional musicians who might one day be leading our congregational song.”

I think back to when I first started playing the organ nearly 17 years ago (because the “real” organists either died or moved away and I could play the piano).  That small church was quite gracious as I “learned” to play the organ.  They plodded along as I sometimes dragged (or zipped) through a hymn or hit wrong notes, but they were always forgiving and thanked me for serving.  I’ve grown quite a bit as a church musician since then, but I’m thankful for the opportunities that they gave me.

Thanks for reading Nurturing Future Church Musicians.

In his book, Herl provides an interesting read with some unexpected conclusions on the worship life of the Lutheran church in Germany during the 16th to 18th centuries.  I was initially surprised to learn, that on the whole, during the time of Luther and for a number of years thereafter, the Lutheran church was not necessarily the “singing church” we may idyllically imagine.  The churches did not spontaneously erupt in congregational song — they had to be coaxed, prodded, and reprimanded to sing — and congregational singing, at least initially, was second fiddle to the choir.

Now to the hymn board.  Herl writes that ”In Lubeck, number boards were hung in 1701 because the hymns could no longer be recognized from the organ prelude.”  Evidently the organist’s hymn introductions had little semblance to the hymn tune.

It seems that hymn boards have become an unnecessary church fixture since bulletins are printed (or yes, even projected via Powerpoint).  But let the hymn board be a visual reminder to the church musician and the congregation:

• The church musician shall clearly introduce the hymn so as to invite the congregation to sing.
• The congregation shall kindly accept the invitation and sing vigorously since the hymn number is prominently displayed.
• If either the church musician or the congregation fails to do the above items, the other party is welcome to remove the hymn board and bring it to the other party as a reminder of the covenant between musician and congregation.

Thanks for reading Hymn Boards and Their Use in Early Lutheranism.