— Antiphon for the Common of the Blessed Virgin Mary
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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.
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— 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).
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— The Te Deum
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​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.
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— The Athanasian Creed
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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 during his Leipzig tenure, 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.
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By Thy glorious resurrection and ascension;
And by the coming of the Holy Ghost, the Comforter:
Help us, good Lord.

— from The Litany
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​As the church concludes 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 J. S. Bach’s B Minor Mass that address the Holy Spirit, the church, and the sacramental and eschatological gifts given therein.

As the church enters the Pentecost season, most of us will probably sing the hymn, Veni Creator Spiritus, usually known in English as “Come, Holy Ghost, Creator Blest” (LSB 499), along with its German version, Komm Gott Schӧpfer (LSB 498):

​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
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Psalm 23 is perhaps the most beloved and well known of all psalms. Martin Luther summarizes the content of this Psalm:

The Son of man must be delivered into the hands of sinful men
And be crucified and on the third day rise.
                                                                                                -- St. Luke 24:7

As the Church transitions from the forty penitential days of Lent to the Fifty Great Days of Easter, the word of the resurrection once again rings true: "Alleluia! Christ is risen! He is risen indeed! Alleluia!" Perhaps in no other sacred choral work do they ring more clearly or gloriously than in the Et resurrexit ​movement of Bach's Mass in B Minor. 

— Paul Gerhardt (1607-1676)
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On this Holy Saturday, the Faithful remember the connection between the incarnation (Christmas) and the cross (Good Friday). Christ cannot redeem what He has not assumed, as we see in the following exploration of two complimentary movements in The Mass in B Minor by J. S. Bach (1685-1750): Et incarnatus (“And was incarnate”) and Crucifixus (“And was crucified”).
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With the inclusion of the hymns “Now, My Tongue, the Mystery Telling” (Lutheran Service Book 630) and “Thee We Adore, O Hidden Savior” (LSB 640) in the 2006 hymnal of the Lutheran Church—Missouri Synod, it would appear that St. Thomas Aquinas (c. 1225-1274) is gaining a foothold in his contribution to Lutheran sacramental piety. Still missing from our hymnic repertoire, however, is perhaps his finest contribution, “O Sacred Feast”: