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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+ 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.
B Minor Basics: God the Father, God the Son
In [this confession of faith] we shall appear before the judgment throne of Jesus Christ,
by God’s grace, with fearless hearts and thus give account of our faith …
by God’s grace, with fearless hearts and thus give account of our faith …
— Formula of Concord
On Trinity Sunday (June 11th), the church will confess the Athanasian Creed, which focuses on the doctrine of the Trinity and the two natures in Christ. J. S. Bach (1685-1750) did not write a musical setting of the lengthy Athanasian Creed, so we will be content to explore the first three movements of Bach’s setting of the Nicene Creed in The Mass in B-Minor, which focus on God the Father and God the Son:
B Minor Basics: The Lord and Giver of Life
By Thy glorious resurrection and ascension;
And by the coming of the Holy Ghost, the Comforter:
Help us, good Lord.
And by the coming of the Holy Ghost, the Comforter:
Help us, good Lord.
— from The Litany
As the church celebrates the Fifty Great Days from Easter Sunday to the Feast of Pentecost, the focus of the Gospel lessons gradually shift from the resurrection appearances of our Lord to His discourses on the Holy Spirit. This seems to be a fitting time to focus on the portions of Bach’s B Minor Mass that address the Holy Spirit, the church, and the sacramental and eschatological gifts given therein.
B Minor Basics: Gloria, Part II
To Your Royal Highness I submit in deepest devotion the present small work
of that science which I have achieved in musique, with the submissive prayer
that Your Highness will look upon it with most gracious eyes …
of that science which I have achieved in musique, with the submissive prayer
that Your Highness will look upon it with most gracious eyes …
— J. S. Bach, from the dedication of
Kyrie-Gloria Mass, 1733
Kyrie-Gloria Mass, 1733
On Easter Sunday this month, the Gloria of the Divine Liturgy will return after its omission for the penitential season of Lent. This seems to be a fitting time for another installment in our “B Minor Basics” series, focusing on the last four movements of the Gloria.
B Minor Basics: The Incarnation and Crucifixion of the Son of God
God is man, man to deliver,
And the Son / Now is one / With our blood forever.
And the Son / Now is one / With our blood forever.
— Paul Gerhardt (1607-1676)
The relatively late date for Easter in 2017 places Ash Wednesday on March 1st, which means that the entirely of the month of March will be devoted to the Lenten discipline. As the connection between the incarnation (Christmas) and the cross (Good Friday) gradually unfolds in the church year, it seems fitting to focus on two corresponding movements in The Mass in B Minor by J. S. Bach (1685-1750): Et incarnatus (“And was incarnate”) and Crucifixus (“And was crucified”).
B Minor Basics: Gloria, Part I
Behold, the Lord, the Ruler hath come:
And the kingdom and the power and the glory are in His hand.
And the kingdom and the power and the glory are in His hand.
— Historic Introit for Epiphany Day
The relatively late date for Easter Sunday 2017 facilitates a lengthy Epiphany season. As the Gloria (“Glory be to God on high”) returns after its absence during Advent, it seems fitting to focus on the Gloria in this installment of “B Minor Basics”. The Gloria of Bach’s Mass in B Minor comprises eight movements. For the sake of length, I will divide it into two columns, addressing the first four movements in this issue, and the final four movements in the forthcoming April 2017 column.
Tomorrow Shall Be My Dancing Day
Everything that happens with Christ forms a prefiguration for the church.
— Martin Luther
As the season of Epiphany begins on January 6th, many parish choirs will hopefully sing the traditional carol, “Tomorrow shall be my dancing day,” which tells the entire story of salvation in the voice of Christ.
The Seven Great "O" Antiphons
Drop down, ye heavens, from above
And let the skies pour down righteousness.
And let the skies pour down righteousness.
— Historic Introit for Advent IV
As the church celebrates Advent, a season of hope and expectation, many of us will hopefully pray and sing the seven Great “O” Antiphons, which lend a seasonal theme to the Magnificat at Vespers. The following translation of the antiphons is from Lutheran Service Book (LSB), with scripture references from Oremus: A Lutheran Breviary by David Kind:
The Reformed Decree of Johann George at 400 Years: Test Your Liturgical IQ
During the late 16th century, the debate between Lutherans and the Reformed became polarized after the territory of Anhalt-Dessau, under Joachim Ernst and his son, Johann Georg, began to introduce Reformed liturgical customs into a traditionally Lutheran territory. Wolfgang Amling, the leading theologian in Anhalt, set things off by trying to remove the baptismal exorcism in 1590, and the ensuing Anhalt Controversy climaxed in 1616 with a 25-point declaration from Johann Georg, Margrave of the Silesian duchy of Jägendorf. A translation from Joseph Herl’s book, Worship Wars (p. 111), has numbering added by the present writer to facilitate easy reference in a liturgical IQ test.
The Original "Elite Eight:" Reflections on the First Lutheran Hymnal
Many false masters now hymns indite
Be on your guard and judge them aright.
Where God is building his church and word,
There comes the devil with lie and sword.
Be on your guard and judge them aright.
Where God is building his church and word,
There comes the devil with lie and sword.
— Martin Luther, Preface to the Babst Hymnal
Fans of the NCAA Basketball Tournament are familiar with the field of 64 teams and the nick names associated with the final weekends of the tournament: The Sweet Sixteen, The Elite Eight, and The Final Four. This process of numerical reduction also conveniently applies to the first Lutheran hymnal (1524), usually known as the Achtliederbuch (“Book of Eight” or, moreliterally, “Eight-Song-Book”). As faithful sons of the Reformation approach the 500th anniversary of the Reformation, just one year away, it seems fitting to survey the contents of our first hymnal to help us understand why Lutherans sing what they sing. Stephen Crist of Emory University sets the stage.
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.