For the faithful who have gone before us and are with Christ,
Let us give thanks to the Lord: Alleluia!
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.
I.
The reader might be surprised to read about the sacred music of the Russian composer, Sergei Rachmaninoff (1873–1943), who is best known for his orchestral works and had at best minimal formal association with the Eastern Orthodox Church. His vast output, however, is not without some gems for the church musician, including The Liturgy of St. John Chrysostom and the work from which this first selection is drawn, the All Night Vigil (1915), his last and greatest work for the church. The text of the complete fifty minute work includes a few texts that are alien to the Lutheran tradition, including the Eastern equivalent of the Ave Maria. But musicians who explore the All-Night Vigil will not be disappointed. Therein the reader will find glorious settings of the Song of Simeon, the Gloria, the Magnificat, numerous texts on the resurrection, and of course a few Psalm settings.
The Psalm that I have chosen to recommend for All Saints is the third of fifteen movements. As with most movements in this lush and romantic work, the melodic lines are adapted from various forms of chant, resulting in stepwise movement and sensitivity to the text. The use of the refrain on “Alleluia” unifies the work, allowing the performer and the hearer to detect a clear melodic line and a gradually evolving theme. As someone said, “One must hear for oneself how simple, artless chant can be transformed in the hands of a great artist” (Telarc CD 80172 liner notes, p. 3). The stunning images of Russian Orthodox churches in the following video serve as a powerful reminder of the blessings of over 1,000 years of Christianity in Russia, where there is no shortage of martyrs for the sake of the gospel.
The Psalm that I have chosen to recommend for All Saints is the third of fifteen movements. As with most movements in this lush and romantic work, the melodic lines are adapted from various forms of chant, resulting in stepwise movement and sensitivity to the text. The use of the refrain on “Alleluia” unifies the work, allowing the performer and the hearer to detect a clear melodic line and a gradually evolving theme. As someone said, “One must hear for oneself how simple, artless chant can be transformed in the hands of a great artist” (Telarc CD 80172 liner notes, p. 3). The stunning images of Russian Orthodox churches in the following video serve as a powerful reminder of the blessings of over 1,000 years of Christianity in Russia, where there is no shortage of martyrs for the sake of the gospel.
| Blessed is the man who does not walk in the counsel of the wicked. Alleluia. The Lord knows the way of the righteous, and the way of the wicked will perish. Alleluia. Serve the Lord with fear and rejoice in Him with trembling. Alleluia. Blessed is he who puts his trust in Him. Alleluia. Arise, Lord, save me, my God. Alleluia. The Lord is the Savior of the people of His blessing. Alleluia. Glory to the Father and to the Son and to the Holy Spirit, now and ever and forever more. Amen. Alleluia. Glory to You, God. (Psalm 1 [excerpts] with sevenfold Alleluia and the Gloria) |
II.
Felix Mendelssohn (1809–1847) wrote his familiar Elijah oratorio in 1845 for the Birmingham Festival, which he was scheduled to conduct the following summer. He replied to the request with enthusiasm, writing, “Since some time I have begun an oratorio, and hope I shall be able to bring it out for the first time at your Festival; but it is still a mere beginning, and I cannot give you any promises as to my finishing it on time” (Telarc 2CD 80389 liner notes, p. 4). Though other commitments weighed heavenly on him at the time, he finished the dramatic oratorio in time to be premiered on August 26, 1846, before making several revisions (including an English edition) and then conducting six performances with different choral societies in four cities in April 1847. Coincidentally, this was the same month that the Lutheran Church—Missouri Synod was founded on this side of the Atlantic. Since it was Mendelssohn who revised the music of J. S. Bach, it seems fitting that Lutherans might return the favor and continue to explore the choral treasures from Mendelssohn, including this setting of excerpts of Psalm 112.
A Blessed are the men who fear Him, they ever walk in the way of peace.
B Though darkness riseth, light to the upright.
C He is gracious, compassionate, compassionate. (Adapted from Psalm 112:1, 4)
After a brief orchestral introduction, the sopranos intone the first theme (“A”), which is then imitated in the other voices. At 1:26, a second theme (“B”) emerges to depict the darkness (listen for the minor chords), over which the light of the righteousness of Christ will prevail. At 2:00 in this clip, the voices sound in triumphant textual unison and the dynamic climax of this movement, “Gracious! Compassionate!” Now listen closely at 2:18 as the A and B themes come together, overlapping and interlocking to depict the good news that those who walk in the way of peace are blessed with the light of Christ. Finally, at 3:26, the choir sings, “Blessed! Blessed! Blessed!” —a fitting beatitude for all of God’s saints.
B Though darkness riseth, light to the upright.
C He is gracious, compassionate, compassionate. (Adapted from Psalm 112:1, 4)
After a brief orchestral introduction, the sopranos intone the first theme (“A”), which is then imitated in the other voices. At 1:26, a second theme (“B”) emerges to depict the darkness (listen for the minor chords), over which the light of the righteousness of Christ will prevail. At 2:00 in this clip, the voices sound in triumphant textual unison and the dynamic climax of this movement, “Gracious! Compassionate!” Now listen closely at 2:18 as the A and B themes come together, overlapping and interlocking to depict the good news that those who walk in the way of peace are blessed with the light of Christ. Finally, at 3:26, the choir sings, “Blessed! Blessed! Blessed!” —a fitting beatitude for all of God’s saints.
III.
Of the three composers explored in this article, only Heinrch Schütz (1585–1672) would be considered a Lutheran composer through and through. It is just a coincidence that his birth year roughly corresponds with that of Martin Luther (b. 1483) and Johann Sebastian Bach (b. 1685), making the “Class of ’85” across three centuries a magnificent trio for the Lutheran theology of sacred music. Readers who have explored and experienced the sacred music of Schütz will probably agree that he deserves a place alongside Luther and Bach. Outside of Lutheran circles, he is generally regarded as the most important German composer before Johann Sebastian Bach, as well as one of the most important composers of the 17th century. Most of his music we have today was written for the Lutheran church, primarily for the Electoral Chapel in Dresden.
The following setting of the Beatitude from Revelation 14 is a 17th century motet (from French mot, “word”), a musical form in which each voice has “equal rights” to the text. As the music changes to reflect each phrase of the text, each voice sings the motif in its own range. In the following performance, try to follow the progression of themes, delineated by the five lines in German, along with an English translation.
The following setting of the Beatitude from Revelation 14 is a 17th century motet (from French mot, “word”), a musical form in which each voice has “equal rights” to the text. As the music changes to reflect each phrase of the text, each voice sings the motif in its own range. In the following performance, try to follow the progression of themes, delineated by the five lines in German, along with an English translation.
| Selig sind die Toten, / Blessed are the dead die in dem Herrn sterben von nun an. / which die in the Lord from henceforth. Ja, der Geist spricht, / Yea, saith the Spirit, Daß sie ruhen von ihrer Arbeit; / They rest from their labors; denn ihre Werke folgen ihnen nach. / And their works follow them. |
The tenors intone the first motif, “Blessed are the dead,” followed by an imitative section on the words, “which die in the Lord.” At 1:40, the voices come together to proclaim, “Yea, saith the Spirit.” “They rest from their labors” is depicted with an equally peaceful motif at 2:02. Finally, starting at 2:47, the tenors begin a more animated theme on the words, “And their works follow them,” with all other voices subsequently following the tenor motif. The composer briefly returns to the text “They rest from their labors,” resulting in a composite picture of the good news that the saints in heaven rest from their work on earth, and yet their legacy lives on among the saints on earth.
In his essay, “On the Remembrance of the Dead in the Divine Liturgy,” Hermann Sasse says, “If one can come to know a church through its cemetery, then one can rightly say that there has never been a church as animated by the resurrection faith as the church of the catacombs” (Letters to Lutheran Pastors, Volume III, p. 39). Sasse notes, for instance, that the congregation at Smyrna frequently gathered at the tomb of their protomartyr, Polycarp (ca. 69—ca. 156), in order to remember those who endured the battle and to strengthen those who were still on earth. To be sure, Polycarp was not invoked, nor was any prayer offered to any saint. Rather, the congregation gave thanks for those who had gone before them and finished their course in the faith, especially Polycarp. And they prayed for strength to face their own martyrdom, should it come for the sake of Christ and His cross. This second century form of remembrance corresponds to All Saints and the theology of the end times the Lutheran way. This salutary remembrance is beautifully captured in the historic Collect for All Saints:
In his essay, “On the Remembrance of the Dead in the Divine Liturgy,” Hermann Sasse says, “If one can come to know a church through its cemetery, then one can rightly say that there has never been a church as animated by the resurrection faith as the church of the catacombs” (Letters to Lutheran Pastors, Volume III, p. 39). Sasse notes, for instance, that the congregation at Smyrna frequently gathered at the tomb of their protomartyr, Polycarp (ca. 69—ca. 156), in order to remember those who endured the battle and to strengthen those who were still on earth. To be sure, Polycarp was not invoked, nor was any prayer offered to any saint. Rather, the congregation gave thanks for those who had gone before them and finished their course in the faith, especially Polycarp. And they prayed for strength to face their own martyrdom, should it come for the sake of Christ and His cross. This second century form of remembrance corresponds to All Saints and the theology of the end times the Lutheran way. This salutary remembrance is beautifully captured in the historic Collect for All Saints:
| O Almighty God, who hast knit together Thine elect in one communion and fellowship in the mystical body of Thy Son Jesus Christ, our Lord : grant us grace so to follow Thy blessed saints in all virtuous and godly living, that we may come to the unspeakable joys which Thou hast prepared for those who unfeignedly love Thee; through Jesus Christ, our Lord. Amen. |
(The Brotherhood Prayer Book, p. 533)
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