Organists take note: you might be envious of this practice organ.  He’s playing a 4 manual digital organ running Hauptwerk (a robust software program that “runs” the virtual pipe organ) with touch screen stop jams.  A very versatile instrument.   I’ll remain content with my 2-manual Allen practice organ.

Thanks for reading A Bach Gem From YouTube.

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.)

Thanks for reading Pipe Organs: Q&A with Grime and Hildebrand.

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.

One thing I found very striking in the videos was how people from non-Lutheran backgrounds were drawn to a traditional and liturgical church and their understanding of Lutheran worship.  Pastor Beecroft acknowledges that the church has its own language, is formed by it, and wrestles to understand it.  We constantly hear that the church growth paradigm says this traditional approach should be a “turn off” for “seekers”.  While the people interviewed expressed their initial culture shock, after a time of learning and understanding they had a deeper  appreciation for the traditions and confessional Lutheran faith.  These people seem to have a better grasp on Lutheran worship than many who have been Lutherans all their life.  Catechesis at work!

Thanks for reading A Liturgical and Outreach Oriented Church? Yes!.

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.

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.