On Psalms, Hymns, and Spiritual Songs: Sacred Music for the Visitation of the Blessed VirginO wondrous interchange! The Creator of mankind,
taking upon Him a living body, vouchsafed to be born of a pure virgin. — Antiphon for the Common of the Blessed Virgin Mary
In the history of sacred music, it is difficult to pinpoint which text outside of the Psalms has been more frequently set to music: the Mass or the Magnificat. The appeal of the Mass (Kyrie, Gloria, Credo, Sanctus, and Agnus Dei) lies in the catholicity and continuity of the text, since it is being sung somewhere around the world at every second of every day. The Magnificat, however, is not far behind the Mass in Christian devotion. The miraculous story of the infancy narrative in Luke 1 and 2, the uniqueness of Mary’s place in the story of salvation, and the rich vocabulary in the Magnificat have given it a rightful and prominent place in the story of sacred music.
On Psalms, Hymns, and Spiritual Songs: Sacred Music for the Nativity of St. John the BaptistFrom the womb of one aged and barren was brought forth John, the Forerunner of the Lord.
— Antiphon for the Nativity of St. John the Baptist
In an article entitled, “Praying the Psalms with Jesus and His Body,” Thomas W. Winger makes the intriguing observation that the Codex Alexandrinus, the most important Greek manuscript of the fifth century, follows a common pattern of appending canticles to the 150th Psalm. These additions include the canticles of Luke 1 and 2: Benedictus, Magnificat, and Nunc Dimittis (CTQ 84:1-2, p. 123). The inclusion of Lukan canticles at the end of the Psalter suggests (or does it prove?) that the canticles of Luke 1 and 2 are part and parcel of the referent of St. Paul’s admonition to sing “Psalms, hymns, and spiritual songs” (Col 3:16; cf. Eph 5:19). In simple terms, the canticles of Luke 1 and 2 are part of our “A List” hymns, not to be neglected. In our ongoing exploration of Psalms, hymns, and spiritual songs, the Nativity of St. John the Baptist (June 24th, six months before Christmas) gives us a chance to focus on the Benedictus (St. Luke 1:68-79).
Cantatas Over Coffee: J. S. Bach Cantata 129, “The Lord, My God, be Praised”And the catholic faith is this, that we worship one God in Trinity. . . .
— The Athanasian Creed
Helmuth Rilling, one of the most respected conductors, scholars, and teachers of the music of J. S. Bach (1685-1750), describes the importance of Bach’s cantatas: “J. S. Bach’s church cantatas are the center of his lifework . . . to know Bach, one must study his cantatas” (quoted in the Foreword to Melvin P. Unger, Handbook to Bach’s Sacred Cantata Texts). This is most certainly true. The passions and oratorios were performed for festive occasions, but Bach was obligated to provide (not necessarily compose) a cantata for every Sunday and feast day of the church year, except for a few Sundays in Lent and Advent. In the interest of exploring the vast treasure of Bach’s 200 extant cantatas (another 100 were lost), I am pleased to introduce my occasional column, “Cantatas Over Coffee,” beginning with Cantata 129, “The Lord, My God, be Praised,” originally written for Trinity Sunday.
On Psalms, Hymns, and Spiritual Songs: "The Lord Is My Shepherd" (Psalm 23)There would I find a settled rest, while others go and come,
No more a stranger or a guest, but like a child at home. — Isaac Watts
Psalm 23 is perhaps the most beloved and well known of all psalms. Martin Luther summarizes the content of this Psalm:
Rediscovering Changeless Things“For I the Lord do not change; therefore you, O Children of Jacob, are not consumed.” —Malachi 3:6
Things change. Sometimes this is good. Wisdom is earned with age and experience. It can’t be downloaded straight into our brains. In the same way, we teach the young people to put off childish things to prepare for the responsibilities of adulthood. Anthony Esolen in his recent book, Nostalgia, calls this “organic change” or changes that unwrap and unveil the full potential of one of God’s creatures. It’s change that delights in a baby taking her first steps, for instance. But when change attacks God’s gifts of life, like the institutions of the family and church, it is evil. This is change that tears down creation, despises God’s work of redemption, and stains God’s work of sanctifying our souls.
"Blessed are the Dead" : Sacred Music for All Saints & The End TimesFor the faithful who have gone before us and are with Christ,
Let us give thanks to the Lord: Alleluia —Liturgy of Evening Prayer
All Saints’ Day is the most comprehensive festival among days of commemoration. Indeed, the Feast of All Saints encompasses the entirety of the great cloud of witnesses with which we are surrounded (Heb. 12:1). It holds before our eyes a great multitude which no man can number, of every nation, tribe, and language, who have come “out of the great tribulation [and] washed their robes . . . in the blood of the Lamb” (Rev. 7:9, 14). All Saints’ Day shares with Easter Sunday an emphasis on the resurrection. It overlaps with Pentecost in its emphasis on the ingathering of the church in its universality. Finally, and especially fitting for church year from November 1st through the Last Sunday in the Church Year, it shares with the last three Sundays of the church year an end-times focus on the life everlasting. This connection between All Saints’ Day and the end of the church year has not been lost on the great composers for the church. Three sacred choral works, arranged in biblical order, are fitting for the Bride on All Saints’ Day and through the end of the church year.
Hymns of the Reformation: “Salvation Unto Us Has Come”Buxtehude + Bach + Brahms
Faith clings to Jesus’ cross alone / And rests in Him unceasing.
—Paul Speratus (1484–1551)
The text of the hymn “Salvation Unto Us Has Come” hails from Paul Speratus. In a progression that is remarkably similar to Luther’s life, Speratus was forced to leave two parishes in Roman Catholic territories for preaching the right doctrine of justification by grace through faith in Christ. He received his doctorate from a major university and later became one of the first priests to openly marry. Speratus was condemned by the Catholic faculty at Vienna, imprisoned for a time under King Ludwig, and in 1523 came to Wittenberg, where he assisted in the preparation of the first Lutheran hymnal. It is no surprise, then, that the first Lutheran hymnal, the Achtliederbuch (“Eight Song Book”), contains the earliest hymns of both Luther and Speratus
"Hail, Michael, Prince of Heaven:" Sacred Music for St. Michael and All AngelsThe Lord, the King of Archangels: O come, let us worship Him
— Invitatory for the Common of Holy Angel
The name of the archangel St. Michael means “Who is like God?” He is mentioned in the book of Daniel (12:1), Jude (v. 9), and Revelation (12:7). He serves as the angelic helper of Israel in the battle against all forces of evil. The narrative in the Epistle for The Feast of St. Michael and All Angels (hereafter “Michaelmas”) describes Michael’s final casting down of Satan, the enemy of God’s people, an end-times victory made possible by Christ’s victory on the cross. St. Michael is often associated with Gabriel and Raphael, the other chief angels who surround the throne of God, although only Michael is specifically described in the Scriptures as “the archangel.” Since Michael and all angels are “charter members” of the heavenly choir, there is no shortage of sacred music for Michaelmas, including choral works by Bach, Mendelssohn, and Willan.
Three Key Texts on What Christians Say About DeathSt. Paul says that we do not grieve “as others do who have no hope” (1 Thess. 4:13). Our Lord lives. Death and grave, our old enemies that used to devour everything, have been put under his feet (1 Cor. 15:25). The nature of our hope and what we can say about our Christian friends and family who have died in the faith is the subject of this brief article. There are three passages that I want you to know and with which I want you to become familiar. Knowing them will help you think and speak about death as a Christian. You won’t have to utter the same empty platitudes about “going to a better place.” You’ll be able to speak an articulate hope founded on the Scriptures and made real by Jesus’ victory over the grave.
A Trumpet in the Darkness: Sacred Music at the Death of a ChildA voice was heard in Ramah, lamentation and bitter weeping, Rachel weeping for her children, refusing to be comforted for her children, because they are no more.
— Jeremiah 31:15
During the past three years as Command Chaplain at Naval Air Station Lemoore, CA, I have had the pleasure of participating in the annual Candle Lighting Ceremony, sponsored by our Pregnancy and Infant Loss Support Group (hereafter “Child Loss Group”). Every October, as part of Child Loss Month, these wounded healers gather in our chapel to light a candle, to tell their intensely personal stories of loss, and to listen to sacred music for the occasion. With my forthcoming transfer to Marine Corps Base Camp Pendleton, my association with this group will soon end. As I look back on all that they have shared with our Navy family, I would like to broaden the audience and pay tribute to them by sharing with you, the reader, the three sacred choral works that I shared with them over the past three years. Each work was originally written as a trumpet in the darkness for those who weep for their children.
On Psalms, Hymns, and Spiritual Songs: "Lord, Thou hast been our Refuge" (Psalm 90) by Ralph Vaughan Williams (1872–1958)He who daily remembers that he will die is one who easily despises all worldly things.
— St. Jerome
Psalm 90 (please see the text below the video link) is the only Psalm attributed to Moses, perhaps written after the people sinned in the wilderness, or possibly at the end of his life. Martin Luther summarizes the theology of this Psalm:
While in God Confiding: Music from the Memorial Service for Dietrich Bonhoeffer (1906-1945)Death is . . . the gateway to our homeland, the tabernacle of joy, the everlasting kingdom of peace.
—Dietrich Bonhoeffer
The reader may recall from the April 2018 issue of “Lifted Voice” that we explored music inspired by the Dietrich Bonhoeffer’s last Sunday (April 7, 1945) before his martyrdom in the death camp at Flossenbürg. Two days later Bonhoeffer was hung from the gallows for his alleged involvement in an unsuccessful plot to kill Hitler. The disposition of his remains is still unknown. Two weeks later the Allies liberated the camp. In another week Hitler committed suicide and the war in Europe was over. His twin sister, Sabine, did not hear about his death until May 31. As late as July 23, Bonhoeffer’s parents, Karl and Paula, had only heard the rumor of Dietrich’s death, although they were aware of the death of their son Klaus. Meanwhile, two pastors and Dietrich’s dear friend, Bishop George Bell, organized a memorial service for brothers Dietrich and Klaus, which was held on July 27 at London’s Holy Trinity Brompton Church (please see the image above). Bishop Bell arranged for it to be “livestreamed” in Germany, which served as confirmation for Bonhoeffer’s extended family that he was dead. Three sacred choral works from this memorial service will serve as the focus of this issue of “Lifted Voice”.
On Psalms, Hymns, and Spiritual Songs:
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Gabriel Fauré, Requiem, Op. 48 |
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+ In all time of our tribulation . . . in the hour of death; and in the day of judgment:
Help us, good Lord. +
Help us, good Lord. +
— From The Litany
Faithful readers of “Lifted Voice” may recall that I recently began an occasional series entitled “Rescuing the Requiem,” which explores musical settings of selected texts from the historic Mass for the Dead (the Requiem) that are fitting in a Lutheran context, especially the Kyrie and the Sanctus. In the present issue, I wish to share with the good reader two settings of the Sanctus that are accessible to the capable parish choir and organist, both from prominent French composers, Gabriel Fauré (1845-1924) and Maurice Duruflé (1902-1986).
“A Mighty Fortress” through Five Centuries
Come, Philip, let us sing the 46th Psalm.
— Martin Luther to Philip Melanchthon
Last year in this column (October 2016), we examined the contents of the first Lutheran hymnal, “The Eight-Song Book.” As Lutherans (and many others) now celebrate the 500th anniversary of the Reformation (31 October 2017), it seems fitting to conduct a brief historical survey of the best known hymn of Martin Luther (1483-1546), “A Mighty Fortress is Our God.”
Rescuing the Requiem: Kyrie from Requiem, Opus 9, by Maurice Duruflé
In all time of our tribulation; in all time of our prosperity;
in the hour of death; in the day of judgment: Help us, good Lord
in the hour of death; in the day of judgment: Help us, good Lord
— from The Litany
The traditional title of the ancient Mass for the Dead is “Requiem,” which hails from the first word of the Introit for this occasional Mass, “Rest (requiem) eternal grant to them, O Lord, and may perpetual light shine on them.” Readers who are not of the Roman Catholic faith may be a bit surprised to encounter a column on a musical setting of the Requiem from a Lutheran writer, but we must be cautious not to throw out the “Lutheran baby” with the “Medieval bath water.” The text of the Requiem omits the Gloria and the Creed, alters the Agnus Dei to include prayers for the dead, and includes numerous texts on the final judgment that are curiously devoid of the Gospel. Two sacred texts remain intact, however, which overlap with the traditional “Sunday” text of the Mass: the Kyrie (“Lord, have mercy”) and the Sanctus (“Holy, holy, holy”). These texts have inspired composers through the centuries, leaving a veritable treasure trove in our ecclesiastical back yard. Welcome to the first installment of our occasional “Rescuing the Requiem” series, which seeks to extract and explore excerpts from the Requiem repertoire, beginning with the Kyrie of the Requiem of Maurice Duruflé (1902-1986).
B Minor Basics: Lamb of God + Grant Us Peace
Mozart shows us the kind of music we might hope to hear in heaven.
But it is Bach, making music in the Castle of Heaven, who gives us the voice of God—in human form.
But it is Bach, making music in the Castle of Heaven, who gives us the voice of God—in human form.
— John Eliot Gardine
In the final movements of The Mass in B-Minor by J. S. Bach (1685-1750), the composer intentionally contrasts large choruses with more intimate arias, with a miniature chiasm around the Benedictus:
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Sanctus – six-part chorus with full orchestra
Hosanna – double chorus with full orchestra Benedictus – tenor aria with chamber orchestra Hosanna – double chorus with full orchestra Agnus Dei – alto aria with limited orchestra Dona Nobis Pacem – four-part chorus with orchestra |
Only the last two movements remain to be considered in this, our final installment of “B Minor Basics”: the Agnus Dei (Lamb of God) aria and the Dona Nobis Pacem (Grant Us Peace) chorus.
B Minor Basics: Sanctus + Hosanna + Benedictus
To Thee all angels cry aloud, the heavens and all the powers therein;
To Thee cherubim and seraphim continually do cry:
Holy, holy, holy, Lord God of Sabaoth!
To Thee cherubim and seraphim continually do cry:
Holy, holy, holy, Lord God of Sabaoth!
— The Te Deum
The Nicene Creed ends with the words, “I expect the resurrection of the body and the life of the world to come. Amen.” In a musical setting of the Mass, the Nicene Creed is followed immediately by the Sanctus, “Holy, holy, holy.” One would normally expect the Creed to end with a whole note, a fermata, and a short break before the Sanctus. In his Mass in B Minor, however, J. S. Bach (1685-1750), ends the Creed with a quarter note with no fermata on the “-men” of “amen,” followed by three beats of rests and a relatively quick transition to the Sanctus. In the Creed, then, the church has confessed her longing expectation for the life of the world to come. And when the new creation arrives in all its fullness, she will be ready to sing the song which will serve as the focus of this issue of “Lifted Voice,” “Holy, holy, holy.” We will also examine its liturgical companions from Psalm 118, the Hosanna and the Benedictus.
Welcome to Around the Word
Around the Word paints a Biblical and joyful picture of teaching and life. We have our Bibles open, and we believe with simplicity what the Lord speaks there. We endeavor to have a thoughtful and generous, historical and current approach to the Lord’s word, understanding that theological integrity is the best way that we can serve the church at large.
We are Lutheran, that is, we let the Law and the Gospel echo in the full voice with which God speaks it, and we are on the lookout for error because we love to hear the truth, the life-giving voice of Jesus. So we care about their families and their neighbors and the world, both in this life and in the life to come.
We are working to recover the joy and delight of doctrine, of the Gospel.
We are Lutheran, that is, we let the Law and the Gospel echo in the full voice with which God speaks it, and we are on the lookout for error because we love to hear the truth, the life-giving voice of Jesus. So we care about their families and their neighbors and the world, both in this life and in the life to come.
We are working to recover the joy and delight of doctrine, of the Gospel.