His Voice - Volume 6, Number 2

From Co-DirectorRichard C. Resch

THE GOOD SHEPHERDI N S T I T U T E

Pastoral Theology andSacred Music for the Church

September 2011Volume 6 - Number 2

VOICEH I S

The project started prior to Synod’s last convention, whenthe LCMS Commission on Worship had funds set aside forsome form of organ instruction for the church. Theyapproached Kantor Hildebrand about producing a set ofvideos demonstrating the organ techniques that have beentaught for years at the CTS Organist Workshops. He said“yes,” and asked Tyler Black, the cinematographer forSinging the Faith: Living the Lutheran Musical Heritage, tohandle the filming and production. Tyler also said “yes,” andthe result is amazing. Please help spread the word about thisoutstanding new learning resource for Lutheran organists.

Our Administrative Assistant, Yohko Masaki, is moving on to a full-timetranslating position in the business community. We congratulate her on thisexciting new position and certainly wish her all the best. She will be dearlymissed, for she loved what the Institute was about and gave her all to herwork with us.

But we are pleased to announce that the experienced and efficient Annette Gardis now working for The Good Shepherd Institute and the Music Department atthe same number (260-452-2224). We heartily welcome Annette.

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By September a wonderful new resource will be available atour Good Shepherd Institute website. It is a professionallyproduced set of organ instruction videos with our own

Kevin Hildebrand as the teacher/player in Kramer Chapel. Sixtwelve-minute videos cover the basics of hymn and serviceplaying in a concise and understandable way.

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A new Easter CD by the Seminary Kantorei will be releasedand available in time for the November Good ShepherdInstitute conference. It is entitled “He Is Risen Indeed!Alleluia!” and includes resurrection choral works by Bach(4), Mendelssohn (2), Brahms, Goss, Scarlatti, Jennings,Grechaninov, Hildebrand, Thompson, Lock, and Payton.It is a compilation of selections from Easter tours of theKantorei that go back to 2004. I am very pleased with thequality of this new CD and am eager for its confident andjoyous Easter proclamation to be given to the church.

Some additional details about our November conference:

The All Saints’ Choral Vespers will include music on two themes:

1. The Bride of ChristJ. S. Bach, Cantata BWV 1 (Movement 1):“How Brightly Shines the Morning Star”

Jan Bender, “How Brightly Shines the Morning Star,”the last stanza of Nicolai’s hymn

2. All Saints’ DayJohannes Brahms,“Let Nothing Ever Grieve You”in a beautiful new resurrection translation by Mark Preus

Donald Busarow, “Nunc dimittis”

Our new Seminary President, Dr. Lawrence Rast Jr., will serve as preacher.

We encourage you to submit your church’s wedding manual to Annette Gard at The GoodShepherd Institute office. We intend to have a display, and possibly a compilation of greatideas from resources received, for all to view in November.

Steven D. Paulson, Lutheran Theology,(T & T Clark, 2011), 293 pp.ISBN 9780567482723. [$80.00]

Martin Luther did not so much set out to reform thechurch as he did to reform preaching. StevenPaulson gets to the heart of Lutheranism—not as adenomination nor as a movement, but as thepreaching of Christ crucified for the justification ofsinners. Tracing the trajectory of Luther’s preachingin subsequent centuries, noting how it bumps upagainst attempts to domesticate its assertiveness orground its doctrine according to one worldview oranother, Paulson is persistent in following Luther’sown evangelical logic in making the necessarydistinction between Law and Gospel, God hiddenand God revealed, to provide contemporary readerswith a vigorous introduction to the loci of Lutherantheology. With the Epistle to the Romans as hisframework, Paulson deftly gives an account ofLuther’s confession of Jesus Christ, and withprecision and literary craftsmanship identifies theuse (and misuse) of this theology in the church thatbears his name._______________________________________

Worship 2000: Papers Presented at theCongress on the Lutheran Confessions,Itasca, Illinois, April 27–29, 2000,ed. John A. Maxfield and Jennifer H. Maxfield(Luther Academy, 2010), 165 pp.ISBN 9781935035046. [$15.95]

Although originally presented over a decade ago,these essays have just now been published and forthe most part remain relevant to issues still currentin the life of American Lutheranism. Essayists arePaul Grime (the LSB), John Stephenson (Luther onliturgical reform), John T. Pless (liturgy andcatechesis), Steven Briel (worship and the OldTestament), Timothy C. J. Quill (the influence of theRoman Catholic liturgical movement on Lutheranworship), Fredrik Sidenvall (two Swedish bishopson the liturgy), Matthew C. Harrison (the LutheranConfessions on liturgical uniformity), and KurtMarquart (on the “worship wars”)._______________________________________

Soundings in the Theology of Psalms:Perspectives and Methods inContemporary Scholarship,ed. Rolf A. Jacobson (Fortress Press, 2011), 197 pp.ISBN 9780800697396. [$32.00]

An ecumenical array of Old Testament scholarsreflects on theological aspects of the Psalter, rangingfrom the function of the imprecatory psalms toGod’s faithfulness as expressed in the prayer andpoetry of this canonical book. The volume, amongother things, is a sampler of contemporaryapproaches to the study of the Psalms._______________________________________

PASTORALRESOURCESby JOHN PLESS


Bruce K. Waltke and James M.Houston, The Psalms as ChristianWorship: A Historical Commentary,(Eerdmans, 2010), 626 pp. ISBN 9780802863744.[$28.00]

The title is a bit misleading as this book is not acommentary on each of the individual psalms.Rather it is an interesting examination of severalkey psalms (1, 2, 3, 4, 8, 15, 16, 19, 22, 23, 51, 110,and 139) in light of patristic, medieval, andReformation interpretations. The authors wish toshow how these psalms were prayed in Christianworship. The first section of the book (over ahundred pages) is a helpful overview of the historyof interpretation from the pre-Nicene tocontemporary, critical biblical scholarship._______________________________________

Werner Klän, “The ‘Third Sacrament’:Confession and Repentance in theConfessions of the Lutheran Church,”Logia: A Journal of Lutheran Theology 20 (HolyTrinity 2011): 5–12.

This issue of Logia is devoted to Confession andAbsolution. The lead article by a professor at theseminary of the SELK in Oberursel, is especiallynoteworthy as a fine study rich with historical detailand theological insight concerning the practice ofConfession and Absolution in light of the doctrineof repentance._______________________________________

Oswald Bayer, “What IsEvangelical? The ContinuingValidity of the Reformation,”Lutheran Quarterly 25 (Spring 2011): 1–15.

This is a fine exposition of the heart and centerof the Lutheran Reformation. Arguing that theReformation is more than a historical phenomenon,Bayer maintains that the Reformation has abidingtheological significance to the end of time, for itdeals with the ultimate question: “What can westake our life on with utter certainty in life and indeath?” (1). Bayer shows that Luther answers thisquestion with the promissio that is given by Christalone, whose office it is to make God certain. Thisis an article that preachers would do well to readand ponder before stepping into the pulpit on thelast Sunday in October._______________________________________

Perspectives on the Sabbath:Four Views, ed. Christopher John Donato(B&H Academic, 2011), 420 pp.ISBN 9780805448214. [$24.99]

Four scholars, representing four different views(seventh-day Sabbath, Christian Sabbath, Luther’sradical reading of the Sabbath Commandment, andthe Sabbath fulfilled in Christ) of the significance ofthe Sabbath for New Testament Christians, provideessays and respond to each other. Charles Arand, ofConcordia Seminary, St. Louis, provides the Lutheranperspective, offering a fine study of Luther’scatechetical treatment of the Third Commandment._______________________________________

PASTORALRESOURCES continued


Johannes Heckel, Lex Charitatis: AJuristic Disquisition on Law in theTheology of Martin Luther,trans. and ed. Gottfried G. Krodel (Eerdmans,2010), 566 pp. ISBN 9780802864451. [$35.00]

This is a classic text on Luther’s understanding ofthe law, first published in Germany in 1953 andnow, thanks to the labors of the late GottfriedKrodel, available to an English-speaking audience.Arguing against the view of Rudolph Sohm thatsince the essence of the church is love and freedomthere is no place for ecclesial law, Heckel showshow Luther understood law as both “sacred andsecular” and still binding in the outward life of thechurch in the created world. While this is not aneasy read, a careful study of this book will beimmensely helpful as practical theologians thinkthrough matters of structure and governance.Unfortunately, it appeared in English too late toserve the thinking of those involved withrestructuring in the LCMS._______________________________________

Oliver K. Olson,Matthias Flacius andthe Survival of Luther’s Reform,2d ed. (Lutheran Press, 2011), 428 pp.ISBN 9780984535101. [$69.99]

Oliver Olson has devoted his career to the study ofthe Croatian Lutheran reformer, Matthias Flacius(1520–1575), whose multifaceted contributionswould save the Lutheran cause fromMelanchthonian compromises, even though itwould earn him the reputation of the “most hatedman in Germany.” Olson tells Flacius’s story withcareful attention to historical detail and a keen senseof the dynamics of the doctrinal issues at the heartof the controversies. It was Flacius who observedthat liturgical change “will be the window throughwhich the wolf will enter the evangelical fold”(138). Lutheran Press has released this revisededition of Olson’s 2002 book in an exquisitelyhandsome format and at a much more reasonableprice than the earlier edition. It is highlyrecommended to all who are concerned aboutliturgical change in the Lutheran Church._______________________________________

B&H Academicwww.bhpublishinggroup.com/academic

T & T Clarkwww.continuumbooks.com

Eerdmanswww.eerdmans.com

Fortress Presswww.fortresspress.com

Luther Academywww.shop.logia.org

Lutheran Presswww.lutheranpress.com

PASTORALRESOURCES continued



The responsibilities of most church musicians typically include workingwith instrumentalists of many ability levels—from professionalmusicians who are members of the parish, to dedicated volunteers who

enjoy playing regularly, and numerous junior high, high school, and collegestudents. Recruiting, encouraging, and rehearsing with these players is achallenging but ultimately rewarding part of the church musician’s work.

Working withInstrumentalists in the Parish

by KEVIN HILDEBRAND

In this issue of HIS Voice, I turned to threecolleagues whose work with instrumentalists I haveseen and heard, and asked them to share theirinsights, particularly on working with students.Following this summary are reviews ofrecommended works for instruments and keyboard.

Stephen P. Johnson is Kantor at Blessed SaviorLutheran Church, New Berlin, Wisconsin. KantorJohnson has found that building a good rapport withpotential players has helped him recruitinstrumentalists for Sunday morning. “Teachingseventh-grade confirmation class helps me knowwhich students are in band,” Johnson relates. “Oneof the biggest difficulties is to get a young studentto play the first time. Ask them repeatedly,” he adds,“even if they say no the first time you ask.” Pairinga less experienced player with a stronger player(adult or peer) or within a larger ensemble isanother helpful technique. Kantor Johnsonrecommends establishing contact with students’band directors, both to inform the teacher aboutchurch repertoire and also to find a possible solo orensemble selection the student already knows thatmay be appropriate for service music.

Christina Roberts is Kantor at Our Savior LutheranChurch, Grand Rapids, Michigan (whose children’schoir sang at last year’s Good Shepherd Instituteconference), and takes care with beginning playerswho need time to adapt to playing church musicrepertoire. “Playing in church, accompanied withorgan or piano, is different than playing in the bandroom or in marching band. There’s more flexibilitywith church music,” she remarked. Kantor Robertsrecommends simple hymn melodies for beginningplayers, even adapting an organ chorale prelude,with an instrument playing the cantus firmus. “Keepit technically simple,” she suggests. She oftenadapts an organ prelude, for example from theConcordia Hymn Prelude Series, by having aninstrument play the melody line and the organ playthe remaining parts.

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WORKINGWITH INSTRUMENTALISTS continued

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Martin Dicke, Cantor at Trinity Lutheran Church,Peoria, Illinois, is blessed with a stronginstrumental music program in the local highschools. He has tapped into that resource, usingmembers and occasionally non-member students,to cultivate an active instrumental program atTrinity, which includes both brass and woodwindensembles that rehearse weekly. I enjoyed hearingsome of these high school players at a recent eventat Trinity, and I asked Cantor Dicke, “What’s thesecret to get so many students to play?” His reply:“Ask them…really, the first step is inviting.”Dicke goes on to say that student instrumentalistsare “an untapped resource in many churches.Many students—both in Lutheran and publicschools—are in band. This can get them involvedwith the musical proclamation in the church.” Headds that having a strong instrumental programthat utilizes student musicians to play hymns,liturgy, and hymn-based church music is a strongalternative to the non-traditional worship styles sooften intended to “reach out to the youth.”

Other wisdom from these parish musicians includes:

� It takes time (for the Kantor) and commitment(by the congregation) to value instrumentalmusic as part of the proclamation of the livingvoice of the Gospel (the viva vox evangelii),championed by the Lutheran Reformation.

� Don’t be intimidated about working withinstrumentalists if you are not an instrumentalistyourself. Technical questions can be referred toadult/more experienced players or the localband director. Even simple fixes like betterposture or rhythmic accuracy don’t requireinstrumental expertise!

� Find out from your current players who elseplays—whether it’s an adult who could easilydust off an instrument, or another band studentin the parish that you don’t know yet.

� Cooperate with your youth director inarranging rehearsals or getting to knowpotential student musicians.

� Don’t discount saxophones. A discerning playercan play with a mellow tone and can blendwithin either brass or woodwind ensembles.

REPERTOIRE FOR INSTRUMENTSby KEVIN HILDEBRAND

Fourteen Pieces forTreble Instrument and OrganAllan MahnkeCPH 97-6547, $12.50

These easy to easy-medium pieces include both athrough-composed prelude as well as a hymnharmonization. The hymn harmonization is a basicentry-level composition; the prelude is morethrough-composed, but still appropriate forbeginning players. Parts for C and B-flatinstruments are included._______________________________________

With Music CrownedDonald BusarowCPH 97-7324, $40.00

Now under one cover, these settings were originallypublished in four small volumes in the 1980s. Thewriting is useful, enjoyable, and very good for organand instruments alike. Part 2 consistently plays thechorale melody, making it ideal for a less confidentor beginning player. Part 1 typically has some easycountermelody or other harmonic material. Parts forC and B-flat instruments are included withpermission to reprint the instrumental parts. Part 2also provides for bass clef instruments in C._______________________________________

Four Chorale Meditations forOrgan and Solo InstrumentCharles CallahanMorningStar 20-864, $21.00

Although only four tunes are provided(HERZLIEBSTER JESU; HERZLICH TUT MICH VERLANGEN;LIEBSTER JESU, WIR SIND HIER; LOBE DEN HERREN),parts for almost any instrument (except bassinstruments) are included (even less commoninstruments such as viola, English horn, altosaxophone, and guitar). These settings will be verypractical for almost any school or church._______________________________________

Organ Plus! Five Pieces for Organ + 1or 2 Instruments, volumes 1 and 2Charles CallahanMorningStar 20-810 and 20-811, $27.00 and $21.00

These settings are slightly more technicallydemanding than the previous collection, and noneare based on hymn tunes; most are baroque,classical, and romantic repertoire (Corelli, Dubois,and Vierne are among the composers represented).The Vierne Prelude, originally a piano work,transcribed here for organ and instrument, is lovelyand quite easy (although careful attention toaccidentals on the part of the organist is a must). Anaria by baroque composer Domenico Zipoli is alittle more challenging, with ample syncopatedrhythms and thirty-second notes (although playedLargo). These settings would be better forintermediate and advanced instrumentalists._______________________________________

Lord, Let Your Angels Shelter MeHans Leo Hassler, arr. Mark ScottOrgan and Brass QuartetMorningStar 20-841, $9.50

Yes, the title is a poor translation—it’s “Lord,let at last Thine angels come,” a transcription ofthe classic chestnut choral piece for doublechoir on HERZLICH LIEB HAB ICH DICH, O HERR

(LSB 708). The brass plays “Choir I,” and theorgan plays “Choir II.” In concert C Major, andwith lots of quarter note rhythms, this is goodwriting for a volunteer brass ensemble. Use iton All Saints’ Sunday before you travel to TheGood Shepherd Institute conference!_______________________________________

Four Advent Pieces forFlute and OrganRobert J. PowellMorningStar 20-061, $10.00

A good high school player or decent adult volunteerwill find these settings useful and interesting. Theflute typically plays the hymn melody, but in adecorated and ornamented fashion. The organ partis also very accessible._______________________________________


REPERTOIRE FOR INSTRUMENTS continued

Preludes for Flute and Organ (TheChurch Year and Other Occasions)Charles CallahanMorningStar 20-606, $29.00

The flute is a popular instrument, so there’s a needfor lots of flute repertoire, written idiomatically forthe instrument, such as this collection provides.Callahan’s neo-romantic flair is evident in thesesettings. The Easter setting of LASST UNS ERFREUEN

coupled with VICTIMAE PASCHALI is particularlydelightful for the ears._______________________________________

Music for instrument and keyboard by Adrian Mann

Arise and Rejoice! Preludes forTreble Instrument and KeyboardAugsburg Fortress ED004752, $15.00

‘Tis the Season: Preludes forTreble Instrument and KeyboardAugsburg Fortress ED004070, $15.00

Blest Are They: Preludes forLow Instrument and KeyboardAugsburg Fortress ED005185, $25.00

You may not know Adrian Mann, but many of youhave heard him. Adrian is the principal bass playerof the Fort Wayne Philharmonic, and is ourorchestra contractor and bass player for theSeminary’s Choral Vespers. He is also a masterfulcomposer and arranger. These collections ofpreludes for instrument and keyboard arerepresentative of Adrian’s excellent writing. Theyare moderate to moderately difficult in ability level,particularly for the keyboard (most would work beston piano). It is especially welcome to have avolume devoted to low instruments (parts for bassclef in C and B-flat, viola, horn in F, and E-flatinstrument—alto saxophone, for example). Includedin this volume is a very accessible setting of “ThyStrong Word Did Cleave the Darkness” (LSB 578)._______________________________________

Six Chorale Fantasias forSolo Instrument and PianoScott M. HyslopAugsburg Fortress 11-10799, $20.00

Scott Hyslop, director of music at St. Lorenz,Frankenmuth, Michigan, has a wide variety ofhymn tunes represented in this volume—fromDIVINUM MYSTERIUM to BEACH SPRING (a tune forwhich there is a need for more settings!). Musicianscan be very flexible in using these settings, as partsare included for violin/flute, B-flat instrument, E-flat alto saxophone, cello, and oboe._______________________________________

Instruments for All Seasons, ChoralePreludes for the Liturgical YearCPHVol. 1 Flute and Keyboard, Brian Henkelmann,97-7227, $16.00Vol. 2 Clarinet and Organ, Robert Powell,97-7255, $18.00Vol. 3 French Horn and Keyboard, Benjamin Culli,97-7297, $33.00

This series devotes one volume to each instrument,with idiomatic and well-developed writing. Thesettings are generally beyond a basic “let’s playthrough the melody” arrangement, and includesome melodic and rhythmic variations andornamentation. Of particular note is volume three,devoted to the French horn. This instrument is notas common among students and volunteermusicians, but where there is a French horn player,there is a need for good repertoire specificallywritten for the instrument. Ben Culli, also anaccomplished horn player, provides such settingsin this volume._______________________________________


REPERTOIRE FOR INSTRUMENTS continued

In dulci jubilo: ThreeAdvent/Christmas Pieces forBrass QuintetDavid GiardiniereMorningStar 20-210, $35.00

Salvation Is CreatedDavid GiardiniereMorningStar 20-305, $20.00

Unfortunately, many brass ensemble compositionsassume professional or advanced players. However,most student and volunteer players need somethinga little more down-to-earth and accessible, such asthese arrangements by David Giardiniere. Thesesettings are a welcome addition to brass ensemblerepertoire and are highly recommended. “Comfort,Comfort Ye My People” (with harmonizations byGoudimel and Bach), IN DULCI JUBILO (atranscription of the famous R. L. Pearsall choralsetting), and COVENTRY CAROL are included in ThreeAdvent/Christmas Pieces. These settings may bepurchased as a set in hard copy, or individually bydownload from www.morningstarmusic.com.Salvation Is Created is a transcription of thechestnut choral setting by Pavel Tchesnokov. In allof these arrangements, quarter, half, and wholenotes abound, making for ease of note reading. Richsonorities, realistic ranges, and friendly keysignatures predominate. Organ may double the brassparts for extra richness, support, or confidence._______________________________________

Festival Hymns and ProcessionalsVaclav NehlybelHope 750, $40 (score)

This tried-and-true collection has forty-eight well-known hymns scored for brass quartet, withoptional tuba and timpani parts. Each hymn hasthree different settings (A, B, C), which areintended to double or enhance the organaccompaniment. Buying a score and complete set ofparts is a financial investment, but a brass ensemblewill get their money’s worth from this collection._______________________________________

Augsburg Fortresswww.augsburgfortress.org

Concordia Publishing Housewww.cph.org

Hope Publishing Companywww.hopepublishing.com

MorningStar Music Publisherswww.morningstarmusic.com



READINGPaul Westermeyer, “Discernment,”Cross Accent: Journal of the Association ofLutheran Church Musicians 19, no. 1 (2011): 5–16.

The “discernment” Paul Westermeyer addresses isthat involved in choosing music for worship. “Whatmusic should we choose?” was the basis for a paneldiscussion at the 2011 biennial conference of theAssociation of Lutheran Church Musicians, forwhich Westermeyer wrote this article as a basis forfurther discussion. Early on in this articleWestermeyer reminds the reader that “music is partof the church’s proclamatory activity” (6), laterobserving “what the church sings follows theBible’s lead and proclaims in song what God hasdone” (12). Westermeyer points out the weakness ofthe unfortunate labels “traditional” and“contemporary”: “Neither is what it calls itself.‘Traditional’ is a euphemism for collapsing into theparody of a past culture, and ‘contemporary’ is aeuphemism for collapsing into a superficiallypopular slice of a current culture soon to be oralready past. Both avoid the call to be in but not ofthe world. Future generations are likely to fault usforcefully for this avoidance” (11). Westermeyerprovides fifteen “suggestions” that have to dospecifically with musical choices (see pages 13–15).There is much wisdom in these suggestions, andLutheran church musicians will do well to read andponder his words._______________________________________

Carl P. Daw Jr., “What DifferenceDoes It Make What You Sing?”Cross Accent: Journal of the Association ofLutheran Church Musicians 19, no. 1 (2011):17–25.

Carl Daw is a well-known writer of hymn texts (cf.LSB 600, 678, 891, 950) and former ExecutiveDirector of The Hymn Society in the United Statesand Canada. This article had its origins as anaddress delivered at the 2009 Vi Messerli Lecturesin Church Music at Concordia University Chicago.Daw chose to focus much of his discussion aroundMartin Franzmann’s text “Thy Strong Word DidCleave the Darkness” and Carl Schalk’s tune NOW.[The former discussion should be supplemented byConstance Buszin Seddon, “Memoirs of theFranzmann Family and the Origins of theFranzmann Hymn ‘Thy Strong Word,’” Journal ofThe Good Shepherd Institute 8 (2007): 139–53.]One of Daw’s most important observations is that “agreat field for developing hymnody [is] new textsbased on the three-year Lectionary” (23–24). Heobserves further that such hymns should “grapplewith all the Lectionary readings for a given Sundayor occasion, not just the Gospel” (24)._______________________________________

READINGANDLISTENINGby DANIEL ZAGER


LISTENINGJohannes Eccard, Choral Works(Norddeutscher Kammerchor,Maria Jürgensen)[2011, Musikproduktion Dabringhaus und GrimmMDG 902 1694-6]

Johannes Eccard (1553–1611) held positions as singerand as choirmaster in Lutheran and in Catholicterritories of the German-speaking lands. From1571–1573 he was a singer in the BavarianHofkapelle in Munich, where he studied compositionwith the renowned Orlando di Lasso (1532–1594).From 1579 he worked in Lutheran establishments, hiscompositional activities focusing on the chorale. HisGeistlicher Lieder of 1597 is perhaps particularlyinteresting to the twenty-first-century Lutheran churchmusician. Eccard’s 1597 collection presents so-called“cantional” style settings, meaning that the composerplaced the chorale melody in the soprano voice (ratherthan the tenor voice) so that it could be heard clearlyby the congregation, the congregation thus beingsupported in their participation in singing chorales.This recording includes seven cantional settings fromthe 1597 collection, including “Vom Himmel hoch”(LSB 358), “Nun bitten wir den heiligen Geist” (LSB768), and “Vater unser im Himmelreich” (LSB 766).The most beautiful and striking to my ear is thesetting of “O Lamm Gottes, unschuldig” (LSB 434).Eccard’s settings remain useful, perhaps for the choirto sing in alternation with the congregation on longerhymns, such as “From Heaven Above” and “OurFather, Who from Heaven Above.” The sixteen-voiceNorth German Chamber Choir delivers exquisitereadings of these chorale settings as well as otherchoral works by Eccard._______________________________________

Musikproduktion Dabringhaus und Grimmwww.mdg.de

READINGANDLISTENING continued

His Voice - Volume 6, Number 2

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