The tunes are clearly brought out with interesting harmonies and rhythms that don’t tonally stray too far from what is expected while still providing the necessary support for congregational singing.  One of my favorite harmonizations is Manz’s adaptation of his prelude on Jesus Christ is Risen Today for hymn singing with initial accents on the 2nd and 4th beats.

Morningstar Music is offering these at bargain prices of $8.00 and $7.50 respectively.   They are valuable resources that can add some variety to your hymn playing while not provoking your congregation to cast stones at you.  Yes, metaphorical stones can be cast if the harmonization ceases to support the singing.

Thanks for reading Manz Harmonizations for Lent & Easter.

This morning with wide eyes I read the e-mail from MorningStar Music that Paul Manz had entered into eternal glory on October 28, 2009 (MorningStar has more detailed information and Manz resources).  While I had never met Manz or ever heard him in person, he had, through his music on the organ rack and CDs, become a sort of close friend (and at times an irritating one at that!).  It was a friendship that I had to “grow into”.  There are still plenty of pieces awaiting further practice.

His organ works, primarily on hymn tunes, shows the careful interaction between text and tune.  Many of Manz’s works were composed to introduce hymns and reflect on the text — a very practical purpose.  Frank Senn, in an essay in the Manz biography, notes that “when Manz played a solo on a stanza, giving the congregation a rest especially on hymns with many stanzas, what he performed was practically an improvised poem” (158).  He was a leader of the people’s song.

Senn ends his essay with these words:

The responsibilities of the cantor as the leader of the people’s song has been seldom greater than it is today.  Paul Manz has shown the generations following him how to do this job.  May their tribe increase. (164)

In closing, I will let Manz speak for himself:

Thank you for the grace of singing with me across the years in good times and in bad, when our words have stuck in our throats and when our eyes have overflowed with joy. It has ever been a Song of Grace: ‘Love to the loveless shown that we might lovely be.’ I have just been the organist. Thank you for letting me play. (Noted in obituary by Scott Hyslop)

Thanks for reading + Paul Manz + A Retrospective.

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.

The sermon was never preached, although it had been written.  Over the years I’ve read and reread that sermon.  This sermon wasn’t intended to be a “farewell”.  Yet, it has provided me comfort then, as it still does today.

As my dad reflected on the message the angel Gabriel gave to Mary, he wrote:

It is truly wonderful.  God would become flesh.  This “Son of the Most High” would deliver us from the power of sin, death, and the devil, and give to us a kingdom that is forever.  Though King Herod would try to kill this baby Jesus, he would live that he might suffer and die for the whole world.  May our hearts praise God as those of old did.  God be praised for giving us a Savior.

I think my dad would have gladly joined in on that Advent Sunday with these words of Paul & Ruth Manz.

Rejoice in heaven all ye that dwell therein, Rejoice on earth ye saints below, For Christ is coming, is coming soon, For Christ is coming soon!

E’en so, Lord Jesus, quickly come, And night shall be no more; They need no light nor lamp nor sun, For Christ will be their All!

Thanks for reading Fourth Sunday in Advent.

One thing I appreciated about this service was that it was a worship service – not solely a concert.  The choral, handbell, and wind ensemble pieces fit into and reflected on the lessons that were read.  I think that’s a lesson the music folk in congregations need to remember – how does this relate to the service?  We shouldn’t be choosing music just because it’s “fun” or sounds good.

Much like a traditional worship service, the music and texts spanned the centuries and different cultural backgrounds.  That is truly one of the blessings of sacred music — it is not limited to a certain time or place.  As time passes, certain pieces are carried forward as others are left aside.  Hopefully, the church becomes stronger as a result.

My favorite pieces of the evening were F. Melius Christiansen’s setting of Wake, Awake, for the Night is Flying and Paul Manz’s E’en So, Lord Jesus, Quickly Come. If you haven’t heard the Manz piece, take a few minutes to listen (and watch).

Thanks for reading Reflections on a Christmas Chorale.

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.

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.

Thanks for reading Walter E. Buszin – Wise Counsel for Today.