His Voice - Volume 6, Number 1

From Co-DirectorArthur A. Just Jr.

THE GOOD SHEPHERDI N S T I T U T E

Pastoral Theology andSacred Music for the Church

April 2011Volume 6 - Number 1

VOICEH I S

Why such a hardy response to follow funerals with weddings? Well, they do go together,and, even more, you’ve heard the oft-cited opinion of many pastors and musicians: we’drather do a funeral than a wedding. Weddings are fraught with all kinds of pastoral andmusical issues, from what to do if couples are living together before the wedding to therequest I received for my first wedding in Middletown, Connecticut in 1980: “Can wesing Roberta Flack’s ‘First Time Ever I Saw Her Face’ for the processional song?” Soa coming together around what a Christian wedding and marriage look like was warmlyembraced by those we surveyed.

Our conference title is “What God Has Joined Together: The Theology and Practice ofChristian Marriage in Rite and Song.” Our own Dr. James Bushur will deliver the majorkeynote address on a theology of marriage, particularly what it means to be male andfemale in biblical and church tradition. We invited some pastors who regularly doweddings to share with us their understanding and experience of a Christian marriage.Dr. Scott Bruzek, of St. John Lutheran Church, Wheaton, Illinois, will approach marriageas holy ground. Jesus’ presence at our weddings changes everything, as did His presenceat that wedding in Cana of Galilee. You can be sure that from both Doctors Bushur andBruzek we’ll hear how those married in Christ are “icons of the Gospel.”

We’ve also invited Pastor David Fleming, of Our Savior Lutheran Church in GrandRapids, Michigan, to approach the more difficult pastoral problems. Kantors Resch andHildebrand will address the music of weddings and the often bizarre challengesencountered in choosing appropriate music. I’ll do for weddings what I did for funerals lastyear, considering our marriage process as a rite of passage. Dr. Paul Grime will take usthrough the wedding rites of Lutheran Service Book. All of our speakers will serve on apanel at the end of the conference to join our collective wisdom to yours as we help eachother come to see what makes a marriage Christian, an act of God joining together a manand a woman in holy matrimony.

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After the 2010 Good Shepherd Institute conference on death andfunerals, which drew more people than the 2009 Bach conference,we weren’t sure which way to go with the conference for 2011:

weddings, which naturally go with funerals, or Baptism, the beginning oflife in Christ, in contrast to funerals, the end of life. For the first time inGSI history we surveyed about two dozen of our most faithful attendeesand the overwhelming response was weddings—so weddings it is!

HIS Voice • April 2011 2

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As always, the music will be sublime, featuring Dr. Craig Cramer as our organ recitalist,and our own amazing Kantor Kevin Hildebrand leading us in a Hymn Festival. The ScholaCantorum will sing Bach cantata movements that sing of the bride and the Bridegroom.Please put on your calendars November 6–8, 2011 for another memorable Good ShepherdInstitute conference.

Organist Workshops 2011Concordia Theological Seminary is pleased to announce we will once again offer a series of organistworkshops in the summer of 2011. For additional information concerning the workshops, fees, orregistration, visit www.ctsfw.edu/Organist, e-mail [email protected], or phone 260-452-2224.

Organist Primer: June 20–24, 2011Organ Instructor: Kantor Kevin HildebrandTheology Instructor: Kantor Richard Resch

This beginning workshop is designed for organists whodo not use pedals, who use only one foot, or who wish tolearn more of the basics of service playing. It will includeinstruction about fundamental music understanding andorgan vocabulary. Kantor Hildebrand will demonstrateappropriate and easy service music for the Lutheranorganist. A daily study of Lutheran theology will betaught by Kantor Resch.

Level I: June 27–July 1, 2011Organ Instructor: Kantor Richard ReschTheology Instructor: Dr. Paul Grime

Each day participants will have a one-hour session withDr. Grime on Theology of Worship. Kantor Resch willteach service playing, hymnody, the church year, musicfor weddings and funerals, and the pastor/musicianrelationship. He will work with the individual organist athis or her current skill level. This workshop is designedfor organists who have taken the Organist Primerworkshop or are using both feet in their playing.

Instructors:Paul J. Grime, M.M., M.Div., Ph.D.Associate Professor of Pastoral Ministryand MissionsDean of the ChapelConcordia Theological Seminary,Fort Wayne, Indiana

Kevin J. Hildebrand, M.M., M.A.Associate KantorConcordia Theological Seminary,Fort Wayne, Indiana

Richard C. Resch, M.Mus., M.Div.Associate Professor of Pastoral Ministryand MissionsKantorConcordia Theological Seminary,Fort Wayne, Indiana

Financial AssistanceA limited number of tuition grants are available throughThe Good Shepherd Institute. Applicants should ask theirpastor to send a letter of recommendation to be consideredfor a grant. Send the request and the letter to ConcordiaTheological Seminary, ATTN.: Organist Workshops, 6600N. Clinton Street, Fort Wayne, Indiana 46825.

Attendees who are members of congregations in theIndiana and Ohio Districts of The Lutheran Church—Missouri Synod may be eligible for financial assistancethrough their districts. Visit www.ctsfw.edu/Organist orcall 260-452-2224 for more information.

Matthias Flacius Illyricus, How toUnderstand the Sacred Scriptures:From Clavis Scripturae Sacrae,trans. Wade Johnston (Magdeburg Press, 2011), 120pp. ISBN 978-0-9821-5862-3.[$9.99]

The Croatian disciple of Martin Luther, MatthiasFlacius Illyricus (1520–1575), known for his feistyopposition to Philipp Melanchthon’s compromises,provided Lutherans with their first hermeneutics,Clavis Scripturae Sacrae. Now English-speakingLutherans are given access to this book, which wasstandard fare throughout the period of LutheranOrthodoxy. Jack Kilcrease provides a fineintroduction to Flacius’s life and his theology._______________________________________

Erika Geiger, The Life, Work, andInfluence of Wilhelm Löhe: 1808–1872,trans. Wolf Dietrich Knappe (Concordia PublishingHouse, 2010), 296 pp. ISBN 978-0-7586-2666-0.[$39.99]

Erika Geiger narrates Pastor Wilhelm Löhe’s storywith accuracy, sympathy, and vigor. Avoidinghagiographic impulses, she paints a picture of Löhethat allows readers to see his humanity in themultiple scenes of his life: a boy saddened by thepremature death of his father, a struggling student oftheology, a disenchanted pastor wondering if he hada place in the church, a grieving widower, anenergetic preacher, a caring shepherd, a determinedorganizer of missions, and an aging and somewhatbroken old man yet living in Christian hope. Thisfirst, full-length biography, in English, of a keyplayer in Lutheran history is accessible to layaudiences and will be appreciated by scholars. Thevolume includes an extensive bibliography ofEnglish-language works on Löhe._______________________________________

Lutheran Spirituality: Life as God’sChild, ed. Robert C. Baker(Concordia Publishing House, 2010), 304 pp. ISBN978-0-7586-2734-6.[$14.99]

With chapters on God’s Word (John Pless), Prayer(John Kleinig), Confession/Absolution (John Pless),Cross and Suffering (Holger Sonntag), Witness(Detlev Schulz), Vocation (Chad Hoover),Community (Naomichi Masaki), and Promise(William Cwirla), readers are given an introductionto essential dimensions of Lutheran theology as itrelates to life in God’s Word and within His world.Each chapter includes both extensive citations fromthe Lutheran Confessions and a set of “SpiritualExercises,” making the volume useful for an adultBible class._______________________________________

PASTORAL RESOURCESby JOHN PLESS


Bo Giertz, Christ’s Church:Her Biblical Roots, Her DramaticHistory, Her Saving Presence,Her Glorious Future,trans. Hans Andrae (Resource Publications [Wipf andStock], 2010), 208 pp. ISBN 978-1-60899-703-9.[$23.00]

Christ’s Church demonstrates the resilient vigor ofBo Giertz’s literary work. First published under thedark clouds of an erupting world war in 1939,Christ’s Church has not lost its power to convict andcomfort. If anything, the vitality of Giertz’s book iseven more potent in our day of pluralism, doctrinalindifference, and inbred suspicion of all religiousinstitutions. Confident of the church’s oneness inChrist, built secure on the foundation of theapostolic Word, Giertz sees the church as a livinglegacy of God’s faithfulness. This is a book thatspeaks with clarity and conviction to seasonedChristians at home in the Father’s house as well asto those who stand outside but peep in the window,seeking a glimpse of life lived in God’s family._______________________________________

AHammer for God: Bo Giertz,ed. Eric Andrae (Lutheran Legacy Press, 2011),344 pp.[$19.95]

Essays on various aspects of Bo Giertz’s life,ministry, and theology given at symposia in St.Louis and Ft. Wayne in celebration of the centennialof Bo Giertz’s birth in 2006 comprise the first partof this book. The second part of the book containsdevotional addresses, sermons, and short articles byBishop Giertz on a variety of pastoral themes.Those unfamiliar with Bo Giertz will find thisvolume a helpful introduction to his work. Pastorswill especially appreciate Giertz’s suggestions forthe deepening of their devotional life._______________________________________

Wilhelm Löhe, Seed-Grains of Prayer:AManual for Evangelical Christians,trans. H. A. Weller and Benjamin T. G. Mayes(Emmanuel Press, 2010), 228 pp. ISBN 978-1-934328-02-6.[$15.00]

This prayer book by the Bavarian pastor WilhelmLöhe was written in 1854 and first appeared inEnglish translation in 1912. This attractive, newedition of a Lutheran devotional classic will be asturdy resource for the prayer life of both pastorsand laity._______________________________________

Lutheran Ecclesiastical Culture,1550–1675,ed. Robert Kolb (Brill, 2008), 531 pp. ISBN 978-90-04-16641-7.[$182.00]

The chapters in this collection cover a variety oftopics ranging from political aspects of the period ofconfessionalization, devotional practices, education,and church life. Irene Dingel provides an excellenthistorical introduction to the years leading up to thepublication of the Book of Concord in an essayentitled “The Culture of Conflict in theControversies Leading to the Formula of Concord(1548–1580).” Mary Jane Haemig and Robert Kolbco-author an article on Lutheran preaching in thisperiod. Gerhard Bode contributes an article oncatechetical instruction after Luther’s death.Christopher Boyd Brown offers a discussion of the“Devotional Life in Hymns, Liturgy, Music, andPrayer.” Robert Christman examines the connectionbetween pulpit and pew in the formation of lateReformation piety. These and other chapters, allwritten by notable scholars, will provide pastors andchurch musicians with well-researched andinsightful investigations into a Lutheran past thatcarries much promise for contemporary church life._______________________________________

PASTORAL RESOURCES continued


Seed-Grains of Prayer

A Manual for Evangelical Christians

By Wilhelm Loehe Lutheran Pastor

“

SyaayrraPfoofarraG-deeS

reeysnsiinaai

aMA

rotsaPnarehtuLheoLmlehliWWiyBB

acileganvEEvroffolaun

yaayrraPfoof

eh

sanitsirhCla

reey

DorotheaWendebourg, “Traveled theFull Extent of Rome’s Erroneous Path?”Lutheran Forum 44 (Winter 2010): 18–33.

Dorothea Wendebourg is professor of Reformationchurch history at Humboldt University in Berlinand is a notable voice in ecumenical discussions inGermany and beyond. In this article, originallypublished in German in 1977 with the subtitle,“On the Current Discussion of Martin Luther’sLiturgical Reform,” Wendebourg challenges manylate twentieth-century ecumenical and liturgicalproposals critical of Luther’s reform of the Mass.Over and against the ecumenical abandonment ofthe distinction between “sacrament” and“sacrifice,” Wendebourg offers a strong and well-documented argument for the theological necessityof Luther’s basic insight that Christ’s testament isnot to be confused with the eucharistic action ofthe congregation._______________________________________

Luther’s Works: Sermons V,ed. Christopher Boyd Brown,Luther’s Works, American Edition, vol. 58(Concordia Publishing House, 2010), 489 pp. ISBN978-0-7586-1387-5.[$49.99]

This most recent addition to the American Editionof Luther’s Works contains the Reformer’s latersermons preached between 1539 up through justdays before his death. The last sermon is fromFebruary 7, 1546. The sermons cover a variety oftexts and occasions including Epiphany, Easter,Lent, Christmas, and the Sundays after Trinity. Thereis a sermon on St. Michael and All Angels. Thesesermons allow us to hear Luther preach on Baptismand on the rededication of a church in Leipzig._______________________________________

Oswald Bayer, “The Ethics of Gift,”Lutheran Quarterly 24 (Winter 2010): 447–68.

Retired from a rich and productive teaching careerat Tübingen, Oswald Bayer continues to teachthrough his many books and articles now beingtranslated into English. His latest contribution,“Ethics of Gift,” is the culmination of thirty years ofthinking about the nature of the Christian life asgift. In contrast to Kant’s categorical imperative,Bayer develops “the categorical gift” asfoundational for a Lutheran understanding of bothethics and liturgy, especially the Lord’s Supper._______________________________________

Kim A. Truebenbach, “Luther’s TwoKingdoms in the Third and FourthPetitions,”Lutheran Quarterly 24 (Winter 2010): 469–73.

Noting that there has been great scholarlyinvestment with both Luther’s understanding of thetwo kingdoms and his theology of the Lord’sPrayer, but a failure to see a reflection of the two-kingdom teaching in the third and fourth petitions,Truebenbach shows how Luther’s catecheticalexposition of the third petition sets out basic themesin his understanding of the kingdom of God’s righthand while the exposition of the fourth petitionclarifies God’s sustaining and guarding human lifethrough His left-handed work._______________________________________

Brillwww.brill.nl

Concordia Publishing Housewww.cph.org

Emmanuel Presswww.emmanuelpress.us

Lutheran Legacy Presswww.lutheranlegacy.org

Magdeburg Presswww.magdeburgpress.com

Resource Publicationswww.wipfandstock.com/resource_publications

PASTORAL RESOURCES continued


CHORAL MUSIC FOR LENT, EASTER, AND BEYONDby KEVIN HILDEBRAND

Behold the Lamb of GodPaul BoumanUnison/Two-part Voices and KeyboardCPH 98-1088, $1.25

This piece is a classic in many ways, and choirs notyet familiar with this piece should strongly considerusing it during Lent. Although it was originallywritten for children’s choir and works very well withchildren’s voices, it could also be used with men’s ormixed voices, alternating phrases between high andlow voices. It concludes with a two-part setting of astanza of “O Perfect Life of Love” (LSB 452)._______________________________________

God So Loved the WorldDonald PeteringTTBBCPH 98-3815, $1.25

The homophonic, rich harmonies of this setting of afamiliar text have made this composition extremelyuseful for the Chapel Choir at ConcordiaTheological Seminary. Written in F Major, itprovides the second basses with some good low Fsto begin the piece, and gently lifts the first tenors toa high A (use your head voice, please, and that noteis no problem). If you have a regular or occasionalmen’s choir in your congregation, this is highlyrecommended. If you don’t have a men’s ensemble,use this piece as an opportunity to form one for aSunday or midweek service in Lent._______________________________________

Now All the Vault of Heaven ResoundsJohn A. BehnkeSATB, Congregation, Handbells, Brass Quintet,Timpani, and OrganMorningStar 60-4020, $1.85

This is an interesting and accessible setting of thishymn, based on LASST UNS ERFREUEN. The brasswriting is within the range of most volunteer brassensembles; likewise, the choral requirements aremild—imitative two-part writing and homophonicfour-part writing, as well as descants that do not goabove the staff (except for one optional high G at thefinal chord). It’s refreshing to have a big setting thateven churches with limited resources can do well._______________________________________

The Strife Is O’er, the Battle DoneMichael D. CostelloSATB, Brass Quartet, Timpani, and Organ, opt.CongregationMorningStar 60-4015, $1.70

This is another big setting of a powerful Easterhymn (tune: VICTORY) that won’t require a great dealof rehearsal. Brass parts are within the reach ofmost moderate-ability players, with hints of “IKnow That My Redeemer Lives” in theintroduction. The SATB stanza takes liberty withthe hymn tune and rhythm, yet results in anaccessible twelve-measure setting. The translationused is common to most hymnals, includingLutheran Service Book, save for a couple ofrevisions that would need to be made to correspondto the hymnal._______________________________________

Rejoice, Praises RenderJohann Ludwig Bach, ed. Michael BurkhardtUnison with Keyboard or InstrumentsChoristers Guild CGA902, $1.85

This aria from BWV 15 (formerly attributed to J. S.Bach, but actually composed by cousin JohannLudwig) is delightfully edited by MichaelBurkhardt in a variety of performance options:accompanied by keyboard, by keyboard and twotreble instruments, or by keyboard and stringensemble (separate keyboard/continuo parts areprovided for each option). A challenging—andenjoyable—distinguishing feature of this aria is along melismatic passage that requires breathing inthe middle of a sustained vowel. The sequentialpassages in the second half of the piece add to theenergy as the pitches ascend. The original Germantext is given, along with two English texts (the firstEnglish stanza is quite good; the second is providedby the publisher as a less specific and generic textand would best be avoided). This setting is usefulthroughout the Easter season._______________________________________


CHORAL MUSIC FOR LENT, EASTER, AND BEYONDcontinued

Our FatherMaurice DurufléUnison and KeyboardDurand 50600003 (distributed by Hal Leonard),$1.60

This is a delightful unison arrangement of Duruflé’srich SATB setting of the Lord’s Prayer.Rhythmically straightforward, and melodicallypleasing, it would be useful for children’s voices,adult unison singing, or as a solo. The Englishtranslation is that of the “traditional” Lord’s Prayer(i.e., “Our Father who art in heaven . . . forgives usour trespasses,” etc.), so there are no textualacrobatics necessary. Duruflé’s setting incorporatesthe text only through “but deliver us from evil” anddoes not include the conclusion (“for thine is thekingdom . . .”)._______________________________________

Laudate DominumJacques BerthierSATB and Unison, Keyboard, Optional InstrumentsGIA G-3374, $1.40

The format of this Taizé arrangement makes ituseful as a choral psalm selection. Verses fromPsalms 117 and/or 100 can be sung eithersimultaneously or in alternation with the choralostinato. At Concordia Theological Seminary, thechoirs have used this as the Gradual for Epiphany inthe Divine Service. In addition to its liturgicalusefulness, the eight-measure format of the ostinatomakes it ideal for teaching part singing to beginningchoirs, especially junior high choirs with maturingvoices—not to mention a very basic introduction tosinging in Latin (only four words: “LaudateDominum, omnes gentes”), although an Englishalternative is also provided. As is typical with Taizé,optional instrumental accompaniments are includedto layer on top of the ostinato. Keep rehearsing thisduring Lent, and use it again as a quick choralpsalm setting in the summer._______________________________________

I Will at All Times Praise the LordDeborah Holden-HollowayUnison and KeyboardSelah 422-901, $1.50

This unison setting of Psalm 34 is melodicallypleasing, and it teaches a number of good vocaltechniques: breath control in long phrases andmaneuvering a glorious octave leap. The composerfittingly writes these techniques into theparaphrased text “the praise of God expands mybreath.” It would work best for children’s voices oras a solo, rather than for a mixed choir sing inunison, as the range extends to high F. The ABAform makes learning the piece easier, as the last twopages simply repeat the opening, with minormodifications at the conclusion._______________________________________

Grant Us Your PeaceFelix Mendelssohn, ed. Carlton YoungSATB, opt. StringsMorningStar 50-9095, $1.75

Mendelssohn’s arrangement of Luther’s text“Verleih uns Frieden” has found its way to manycongregations as hymn 777 in Lutheran ServiceBook.Mendelssohn’s work can also be found invarious publications and editions (e.g., a very goodedition is found in Augsburg’s Chantry Choirbook),but this stand-alone publication is both well editedand affordable. Mendelssohn sets this strophicprayer in three stanzas: first, by unison men (aperformance option could include children’s voiceshere); second, by two-part mixed choir; and third,SATB._______________________________________


CHORAL MUSIC FOR LENT, EASTER, AND BEYONDcontinued

SanctusFranz Schubert, arr. David WeckSAT and KeyboardHope Publishing SP 767, $1.90

This arrangement from Schubert’s German Mass inF is very good for junior high choirs, with a well-arranged tenor part spanning a diminished fifth (Gbelow middle C to D-flat above). The homophonicwriting makes it ideal for teaching part singing, butit is just as useful for experienced choirs, whichcould easily sight-read this arrangement. Otherfactors make this setting easy to learn: the secondstanza is musically identical to the first, and a goodEnglish translation is provided in addition to theoriginal German._______________________________________

Jerusalem, My Happy Homearr. Russell Schulz-WidmarSAB and 3 HandbellsHope Publishing C 5681, $1.90

This gentle setting of a familiar hymn can belearned quickly by most choirs. The choralrequirements in this arrangement are minimal,although some intervals in the SAB stanza willrequire adequate preparation. Although there areonly three handbells utilized, they are used increative rhythmic variations. A challenge may be forchoirs to maintain proper intonation with the bellsthroughout the piece. The translation of the laststanza in this arrangement varies from somehymnals, but a choir (singing in unison,incidentally) could easily switch over to theirhymnals for the last few measures if desired._______________________________________

Choristers Guildwww.choristersguild.org

Concordia Publishing Housewww.cph.org

GIA Publicationswww.giamusic.com

Hope Publishing Companywww.hopepublishing.com

Hal Leonardwww.halleonard.com

MorningStar Music Publisherswww.morningstarmusic.com

Selah Publishing Companywww.selahpub.com



READINGFrederick K. Gable, “The OtherPraetorius: HieronymusPraetorius of Hamburg,”Cross Accent: Journal of the Association ofLutheran Church Musicians 18, no. 2 (2010):36–49.

Michael Praetorius (1571–1621) was one of themost prolific composers in the history of Lutheranchurch music. Unrelated to Michael wasHieronymus Praetorius (1560–1629)—“the otherPraetorius,” who was one of the leading churchmusicians in the north German city of Hamburg.Frederick Gable has devoted his scholarly life toediting the music of Hieronymus Praetorius and tostudying the history of music and liturgy in latesixteenth- and seventeenth-century Hamburg. Thisvery readable article, intended for the Lutheranchurch musician of the twenty-first century,provides an overview of the Hamburg Praetoriusfamily, music in the Hamburg liturgies, the Latinvocal music composed by Hieronymus Praetorius(polychoral motets, settings of the Mass and theMagnificat), as well as organ music. Where MichaelPraetorius focused primarily on setting Germanchorale texts, Hieronymus Praetorius focused hiscompositional work on Latin texts, Luther havingmade clear his love for both Latin and Germanpolyphony. Gable closes his article by offering aseries of practical suggestions for using this musicin twenty-first-century Lutheran liturgies. Amonghis very helpful appendices are lists of moderneditions, compact disc recordings, and selectedworks by Hieronymus Praetorius categorizedaccording to the church year calendar._______________________________________

David Mennicke, “Heinrich Schütz:Composer for the Word,”Lutheran Forum 44 (Fall 2010): 26–28.

In the first half of this article David Mennicke(Concordia University, St. Paul) very skillfullyprovides a concise introduction to the life and worksof Heinrich Schütz (1585–1672), one of the mostimportant composers to have contributed to the richheritage of Lutheran church music. Having sketchedSchütz’s career, his published compositions, and theeffects of the Thirty Years’War (1618–1648),Mennicke turns in the second half of the article toSchütz’s word-based, rhetorical approach to settingbiblical texts to music. Mennicke conceptualizesSchütz as a “dramatic lector,” in contrast to J. S.Bach, “who frequently injects theologicalinterpretation into his music,” Bach being, inMennicke’s view, more of a preacher. Turning toour twenty-first-century music making in thechurch, Mennicke contends that “Schütz’spredilection for setting pure biblical texts makes hismusic more applicable for modern-day worship.”By way of concluding, Mennicke remarks: “Weshould sing the music of Schütz not because it is oldand historic but because it is beautiful andproclaims the word in ways that other music doesnot. Indeed, Schütz provides us with a cross-culturalexperience . . . the music of the past connects uswith cultures across time” (p. 28). You will not finda better three-page introduction to the church musicof Heinrich Schütz._______________________________________

READING AND LISTENINGby DANIEL ZAGER


Evangeline Rimbach,“Johann Kuhnau,”Cross Accent: Journal of the Association ofLutheran Church Musicians 18, no. 1 (2010):17–22.

Johann Kuhnau (1660–1722) was Johann SebastianBach’s predecessor at the Leipzig Thomaskircheand a highly regarded musician and composer (nomere “minor master”) in his time. Beginning withher 1966 doctoral dissertation at the EastmanSchool of Music, “The Church Cantatas of JohannKuhnau,” Evangeline Rimbach has devoted herscholarly career to editing many of Kuhnau’s vocalworks and to writing about this Lutheran cantor.This article provides a welcome introduction toKuhnau’s life and work and complementsRimbach’s chapter “The Sacred Vocal Music ofJohann Kuhnau” in Thine the Amen: Essays onLutheran Church Music in Honor of Carl Schalk,ed. Carlos R. Messerli (Minneapolis: LutheranUniversity Press, 2005), 83–110. (For a taste ofKuhnau’s vocal music in a superb recordedperformance, see the 1998 compact disc HyperionCDA 67059, Sacred Music by Johann Kuhnau, TheKing’s Consort, Robert King.)_______________________________________

James L. Brauer, “An Interviewwith Robert Bergt,”Cross Accent: Journal of the Association ofLutheran Church Musicians 18, no. 2 (2010):12–22.

One of the featured speakers at the 2009 conferenceof The Good Shepherd Institute was Robert Bergt.A graduate of Concordia Seminary and facultymember there for fourteen years, he now leads theirconcert series “Bach at the Sem.” This extensiveinterview by James L. Brauer, Professor Emeritusand former Dean of Chapel at Concordia Seminary,provides a welcome overview of a figure who hasplayed a significant role for a half century in theteaching and performance of Lutheran church musicin this country._______________________________________

Barry L. Bobb, “AModel TheologicalConference: ‘Toward a Theology ofWorship That Is . . .’”Cross Accent: Journal of the Association ofLutheran Church Musicians 18, no. 2 (2010): 5–11.

In January 2010 The Lutheran Church—MissouriSynod held a theological conference on the topic ofworship. Barry Bobb attended that conference andin this article offers a report and some observations.(The full substance of the various papers andresponses is available at: http://www.lcms.org/pages/internal.asp?NavID=16698.)Bobb’s reporting on the five themes of theconference is substantive and goes beyond meresummarizing so as to draw the reader into the issuesthat were the focus of this conference. His“Observations and Reflections” are even better, forexample: “Over the past forty years ourconnectedness to the church catholic has beendiminished. Our practice does not match ourdoctrine of the church. There is too much in thecurrent state of affairs which is non-denominationalin character, which jettisons anything andeverything from our western catholic tradition fromthe current life of the church. That was not Luther’sapproach; it should not be that of any Lutheranchurch” (p. 10)._______________________________________

READING AND LISTENING continued


Carl Schalk, “Proclamation andPraise: Some Thoughts on Musicand the Church’s Song,”in Jubilate, Amen! A Festschrift inHonor of Donald Paul Hustad,ed. Paul A. Richardson and Tim Sharp, FestschriftSeries, no. 27 (Hillsdale, N.Y.: Pendragon Press,2010), 385–400. ISBN 978-1576471388.[$60.00]

Drawing on the Old Testament, the New Testament,and the early church, Carl Schalk clarifies theconcepts of praise and proclamation. Citingnumerous psalms, Schalk demonstrates that praisingGod meant recounting His saving deeds: “It was inthe telling, again and again, and in the calling toremembrance of God’s promise and covenant madeto his people Israel, that God was praised. . . . Thegood news for God’s people in the Old Testamentwas not who God was, but what he had done torescue them; the good news was not to be found inGod’s attributes but in his actions” (p. 389).Similarly, Schalk shows through the New Testamentand through the hymnody of the early church thatthe praise of God always centered on retelling thespecific story of salvation—of God’s rescue of Hisfallen world through the incarnation, perfect life,crucifixion, death, and resurrection of His Son,Jesus Christ. We live in an age of enormousconfusion regarding the church’s praise of God.This chapter by Carl Schalk provides a necessarycorrective and should be required reading for allLutheran pastors and church musicians, indeed forall who “Sing praise to God, the highest good, Theauthor of creation, The God of love who understoodOur need for His salvation” (LSB 819).

LISTENINGBaroque Christmas in Hamburg(Bremer Barock Consort, ManfredCordes)[2010, cpo 777 553-2]

This recording provides vocal and organ music fromearly seventeenth-century Hamburg, including Latinpolychoral music by Hieronymus Praetorius(1560–1629) and organ music by his son Jacob(1586–1651). Organ settings by HeinrichScheidemann (1596–1663), on VOM HIMMEL HOCH,and Samuel Scheidt (1587–1654), on GELOBET SEISTDU, JESU CHRIST, are also included, as well as Latinand German vocal music by Thomas Selle(1599–1663), Matthias Weckmann (1619–1674),and Christoph Bernhard (1627–1692). The BremerBarock Consort is comprised largely of studentsfrom the Hochschule für Kunste Bremen, and,under the direction of Manfred Cordes, they acquitthemselves very well indeed._______________________________________

Samuel Scheidt, Sacrae Cantiones(Vox Luminis, Lionel Meunier)[2010, Ricercar RIC 301]

This recording presents a welcome cross-section ofSamuel Scheidt’s Latin and German compositionsfor the church, from his Cantiones Sacrae (1620)and Geistlicher Concerten . . . dritter Theil (1635),including an extended (twenty-one minute) settingof the nine verses of “Vater unser im Himmelreich”(LSB 766)._______________________________________




“Ich will in Friede fahren”: GeistlicheMusik für Countertenor undGambenconsort/Sacred Music forContertenor and Viol Consort in 17th-Century Germany (Franz Vitzthum,countertenor; Les Escapades)[2009, Christophorus CHR 77305]

A particular highlight of this recording isJohann Philipp Krieger’s (1649–1725) settingof the Nunc dimittis, “Ich will in Friede fahren.”Krieger spent the bulk of his career asKapellmeister in Weissenfels, where he is knownto have composed over two thousand churchcantatas, though fewer than one hundred survive.That fact is lamentable given the sheer beauty ofthis Nunc dimittis setting, exquisitely sung andplayed in this recorded performance._______________________________________

Max Reger, OrganWorks, vol. 10(Martin Welzel)[2010, Naxos 8.570960]

Together with some of Max Reger’s larger, virtuosicorgan works, organist Martin Welzel also includeson this recording fourteen of the “52 Easy ChoralePreludes,” op. 67. Among the settings included hereare those on such well-known chorales as VATERUNSER, VOM HIMMEL HOCH, WACHET AUF, and WIESCHÖN LEUCHTET. The settings average two to threeminutes in duration and are expertly registered andplayed by Welzel on the 1974 Johannes Klais organat Trier Cathedral in Germany. Sample Reger’ssetting of JESUS IST KOMMEN (“Jesus Has Come andBrings Pleasure” LSB 533), about a minute-and-a-half in length and eminently usable as a prelude tothe singing of this hymn!_______________________________________

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His Voice - Volume 6, Number 1

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Transcript of His Voice - Volume 6, Number 1