After last year’s well-received and well-attended conference onJohann Sebastian Bach, we wondered aloud how we couldsustain the momentum. In a meeting with Kantors Resch and

Hildebrand and Dean Grime about how we can top Bach, someoneblurted out: “Let’s do death. We’ve never done death. Let’s do death.”I looked over at the Kantors, and I could see the musical wheels spinningwith requiems, hymns, and all sorts of other possibilities. What is morevital for pastors, musicians, and deaconesses than how we proclaim to thesaints what we believe about death? We all agreed that there was no moreperfect topic to follow Bach than how we celebrate life in the midst ofdeath, especially at a Good Shepherd Institute conference held duringAll Saints weekend. Yes, we all agreed, it is time for us to “do death.”

From Co-DirectorArthur A. Just Jr.

THE GOOD SHEPHERDI N S T I T U T E

Pastoral Theology andSacred Music for the Church

March 2010Volume 5 - Number 1

VOICEHIS

Kantor Resch always comes up with the greatesttitles, taking our theme from the great William Ironshymn: “Sing with All the Saints in Glory: TheTheology of the Christian’s Death in Rite and Song.”One of the highest moments of ritual activity in thechurch’s life is when one of the saints crosses theboundary from life to death. Crossing that boundaryis tenuous, anxious, even frightening. When peopleface death they feel “in betwixt and in between,”something every pastor and deaconess understandswhen they call on the sick and the dying. These areheightened moments of great tension, for they arefilled with suffering, grief, and loss.

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When the news is bad and we are taxed beyond our means, Lutheran liturgy and hymnody,learned and held in the memory by a lifetime of worship, often is the only way we are ableto survive the crippling emotions felt during these liminal moments. Here our life of worshipbecomes our great friend and support. The sign of the cross upon the forehead, the smell ofanointing oil, familiar psalms and readings, familiar hymns and chants and music, the liturgyof the Lord’s Supper, the Lord’s Prayer, the Aaronic Benediction—these rituals provideenormous comfort for those who are entering the significant moments when life meetsdeath. This is why, at these moments of great change, where emotions are charged andpeople are on edge, our natural tendency is to reach for rites and songs that help us negotiatethese significant boundaries. The liturgical and musical traditions at death proclaim to thecommunity again and again its confession about how Christ has changed the way we look atlife and death. They proclaim the faith of the church at this critical moment so “that youmay not grieve as others do who have no hope” (1 Thess 4:13b).

Since many come to the GoodShepherd conferences for themusic, let’s start there. Sundayevening, Bálint Karosi, Ministerof Music at First LutheranChurch, Boston, Massachusetts,will be our organ recitalist, andthe Seminary Schola Cantorumwill sing Johannes Brahms’sEin Deutsches Requiem(mvmts I, IV, and VII) at the AllSaints Choral Vespers. Thechildren’s choir of HopeLutheran Church of St. Louis,Missouri, under the direction ofRev. Kantor Stephen Rosebrock,will assist us in Evening Prayeron Monday, and we will onceagain follow our banquet with ahymn festival by the SeminaryKantorei, Kevin Hildebrandserving as organist andproviding new arrangements andcompositions.

On Monday of the conference, Rev. William Cwirla, pastor of Holy Trinity Lutheran Churchin Hacienda Heights, California, and president of Higher Things, will begin our conferenceby speaking about what we believe and what we proclaim as Christians about life and death.Pastor Cwirla always brings fresh perspectives, and his reflections as a theologian and pastorwill show how our theology of life and death is always done through the pastoral acts.

Rev. Dr. Paul Grime, Dean of our Chapel and Project Director of Lutheran Service Book,will show how this is true in his plenary on the theology of the rites associated with dyingand death. Our most pastoral moments are in the rites that assist the saints to depart inpeace. Who better to show us the way than the man who knows more about LSB thananyone else in Synod.

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The theological and pastoral issues at the end of life will be addressed in the final plenary ofthe day by our own Rev. Prof. John Pless, author of A Small Catechism on Human Life,and a member of the LCMS Committee on the Sanctity of Human Life. Many have heardhim speak on this topic at gatherings of “Lutherans for Life.” He will be joined by PamelaBoehle-Silva, a Registered Nurse for the past twenty-four years with a wide range of nursingexperience, including home health and caring for hospice patients. She brings fifteen yearsof experience in preparing people for death as a parish nurse for Holy Cross LutheranChurch in Rocklin, California.

Sectionals will give pastors an opportunity to reflect on preaching at funerals,with Rev. Dr. James Bushur, our new patristics scholar who recently receivedhis doctorate from the University of Durham (UK), and Rev. Peter Cage, pastorof St. Paul’s Lutheran Church in Fort Wayne, who has presided over manyfunerals, both as a pastor and as a military chaplain. For musicians, KantorsResch and Hildebrand will discuss music for the Christian funeral with thetheme “Crying and Sighs Give Way to Singing.” Perhaps nothing means morefor people at a funeral than the music that allows them to “sing with all thesaints in glory.”

On Tuesday the conference turns to the church’s care of the dying and thosewho are grieving the loss of loved ones. The first plenary will explore howpastors and deaconesses work together in preparing the saints to be with Christ.For many years in my teaching I have used the concept of “rite of passage” todescribe the process of death and dying. Pamela Boehle-Silva’s experience asparish nurse and deaconess student will help show how deaconesses are a vitalpart of this process.

Rev. Christopher Esget, pastor of Immanuel Evangelical-Lutheran Church in Alexandria,Virginia, will bring our conference to a close with the topic “My Friend When I Am Dying:Psalms, Hymns, and Spiritual Songs at Life’s End.” Many people know Christopher’s blog(esgetology.com), and he will help us all rejoice in the rich gifts God has given His churchto help at the time of death.

Please mark your calendars for November 7–9, 2010, and plan to attend another memorableGood Shepherd Institute conference.

Lowell C. Green, The ErlangenSchool of Theology: Its History,Its Teaching, and Its Practice(Lutheran Legacy Press, 2010).

This book fills a vacuum in English-speakingscholarship as it narrates the story of theconfessional Lutheran renaissance associated withthe University of Erlangen, beginning in the mid-nineteenth century and reaching well into thetwentieth century. Here one can read the fascinatingstories of von Hoffmann, Harless, Loehe, Delitzsch,Seeberg, Zahn, and others at the headwaters of theErlangen School in the nineteenth century. Evenmore interesting are the accounts of twentieth-century theologians Elert, Althaus, Procksch, Sasse,Preuss, Mauer, von Loewenich, and Kuenneth, asGreen studied with many of these scholars from1952 to 1955. Green’s telling of their stories isdelightfully punctuated with personal remembrancesof his own as well as pointed and provocativeapplications to contemporary Lutheran theology,liturgy, and church life. It is a welcome introductionto an important part of recent Lutheran history and awonderful supplement to his earlier book,Lutherans Against Hitler:The Untold Story._______________________________________

Bo Giertz, The Knights of Rhodes,trans. Bror Erickson (Wipf and Stock, 2010), 244pp. ISBN 978-1-60899-333-8; 1-60899-333-7.[$27.00]

Bishop Bo Giertz knew that faith itself is adventureinto unknown territories on paths uncharted. Thisnovel, set in the turbulence of an emerging newworld in the sixteenth century, is a saga about theresilience of faith, a faith that “overcomes destiny.”It is a potent story unadorned by shallowsentimentalities that invites readers to ponder thegoodness of a God who engages human beingswith all of their frailties and foibles as instrumentsof His service._______________________________________

Matthew Harrison, A Little Bookon Joy: The Secret of Living a GoodNews Life in a BadNews World(Lutheran Legacy Press, 2010), 212 pp. [$9.99]

“Where Christ is there is joy,” says Luther. ChristJesus is with us all the way—even in the sewer,Luther was bold to assert. Joy flows from the heartof a Father who rejoices in the repentance of asolitary sinner and permeates every aspect of theChristian’s life in this world. With self-effacinghumor and keen attentiveness to the HolyScriptures, Pastor Matthew Harrison is a wonderfultour guide to the places where the Good Lordshows up, bringing with Him joy in the midst ofsadness. Harrison demonstrates that Lutherantheology is a theology of joy—unbridled and freeon account of Christ._______________________________________

PASTORAL RESOURCESby JOHN PLESS

Recommended

HIS Voice • March 2010 4

John C. Jeske, Treasures OldandNew: Daily Readings fromtheGreek andHebrew Scripturesand the Lutheran Confessions(Northwestern Publishing House, 2009), 390 pp.ISBN 978-0-8100-2259-1; 0-8100-2259-1. [$24.99]

Prepared by a veteran Old Testament professor atWisconsin Lutheran Seminary, this book lends itselfwell for daily meditation by seminarians andpastors. There is a brief (1–3 verses) excerpt froman Old Testament text in Hebrew and a NewTestament text in Greek, with grammatical notes,and a short reading from the Lutheran Confessions._______________________________________

Oswald Bayer, “Preaching the Word,”Lutheran Quarterly 23 (Autumn 2009): 249–69.

Bayer discusses the place of the sermon as part ofthe Divine Service. Drawing on a lifetime ofextensive Luther research, he demonstrates how theChristian sermon is a “speech act” narrating thepromise of Jesus Christ to bestow the unconditionalgift of the Gospel on hearers: “Only if the word ispromise and gift, is faith really faith” (254)._______________________________________

Mary Jane Haemig, “Prayer asTalking Back to God in Luther’sGenesis Lectures,”Lutheran Quarterly 23 (Autumn 2009): 270–95.

Examining Luther’s treatment of Genesis 15:2–6,17:17–22, and 19:17–22, Haemig shows howLuther “deepened and expanded his catecheticalteaching on prayer by using the concrete examplesof Abraham and Lot” (287). Prayer for Luther wasnot a mere repetition of fixed formulas but an“honest inquiry, trust in the benevolent God”marked by “bold conversation, forthrightpresentation of need, and a willingness to arguewith God when that seemed appropriate” (290–91).There is much in this article that would be usefulfor an adult Bible class on prayer._______________________________________

John T. Pless, “Helmut Thielicke(1908–1986),”Lutheran Quarterly 23 (Winter 2009): 439–64.

Prolific author of numerous books in ethics,historical theology, and systematic theology,Helmut Thielicke is perhaps best known for hispreaching, his sermons being frequently translatedfrom German into English in the 1960s and ʼ70s.This article sets Thielicke in his historical contextand elucidates key themes in theological andpastoral work._______________________________________

V. F. Thompson, “Preaching theJustification of Zacchaeus,”Lutheran Quarterly 23 (Winter 2009): 465–79.

Drawing on the work of Gerhard Forde and OswaldBayer, Thompson explores the art of preachingjustification using the story of Zacchaeus (Luke19:1–10) as a case study. Noting that “conditionaltheologians,” ever theologians of glory, compromisethe Gospel by latching on to what Zacchaeus did,preachers of the Gospel will proclaim theunconditional gift of Jesus, who comes as friend ofsinners. No doctrine of justification in Luke’sGospel? Read this article!_______________________________________

PASTORAL RESOURCES continued

Recommended

HIS Voice • March 2010 5

Wilhelm Löhe: Erbe undVision,ed. Dietrich Blaufuß (Gütersloher Verlagshaus,2009), 384 pp. ISBN 978-3-579-05781-1.[EUR 59.95]

This volume contains papers presented at themeeting of the International Löhe Society inNeuendettelsau in July, 2008 on the 200thanniversary of the Bavarian pastor’s birth. Theessays range from treatments of Löhe’s pastoraltheology, missiological and liturgical work, to thehistorical context of his work and his influence inthe twentieth century. Authors include ManfredSeitz, Thomas Schattauer, Christian Weber, KlausRaschzok, John T. Pless, Wolfhart Schlichting,Dietrich Blaufuß, Jobst Reller, Lothar Vogel, HansSchwarz, Jürgen Albert, Theodor Strohm, CraigNessan, Dean Zweck, and Martin Lohrmann._______________________________________

Dietrich Bonhoeffer,Berlin: 1932–1933, Dietrich BonhoefferWorks, vol. 12,trans. Isabel Best and David Higgins, ed. LarryRasmussen (Fortress Press, 2009), 704 pp. ISBN978-0-8006-8312-2. [$55.00]

The latest addition to Bonhoeffer’s Works spansletters, essays, and sermons from late autumn 1932to October 1933. Pastors will find especiallyinteresting a number of Bonhoeffer’s sermons fromthis period as well as a liturgical order for aChristmas service utilizing classic Lutheran hymns.The sermon on Exodus 32 contrasting the “churchof Moses” with the “church of Aaron” is one ofBonhoeffer’s most potent and profound examples ofpreaching. Seminarians will appreciate a devotionalreflection entitled “What Should a Student ofTheology Do Today?” (432ff)._______________________________________

Fortress Presswww.fortresspress.com

Gütersloher Verlagshauswww.guetersloher-verlagshaus.de

Lutheran Legacy Presswww.lutheranlegacy.org

Northwestern Publishing Housewww.nph.net

Wipf and Stockwww.wipfandstock.com

PASTORAL RESOURCES continued

Recommended

HIS Voice • March 2010 6

CHORAL MUSICby KEVIN HILDEBRAND

Recommended

Christ, Mighty SaviorKurt von KampenSATB, Congregation, OrganCPH 98-3990, $1.75

There are few settings of this relatively new hymn,and Kurt von Kampen’s setting fills a need. Thechoral writing includes one stanza for SA and onestanza for SATB, each with gentle writing, milddissonance, and a good fit for the voices. After thefinal stanza, with its tender descant, a broad organcoda concludes the hymn._______________________________________

Evening andMorningStephen RosebrockTwo-part, Keyboard, FluteCPH 98-3988, $1.75

Stephen Rosebrock provides a well-written settingfor children’s choir of an excellent Paul Gerhardthymn. If the choir knows the hymn melody already,a simple descant is all that remains to be learned. Instanza two the flute “sings” the melody while thechoir embellishes it with a descant. The settingconcludes with two-part choir singing both melodyand descant._______________________________________

Lord, Thee I Lovewith All My HeartMichael BurkhardtSATB, Treble Choir, Congregation, Organ, BrassQuartet, opt. Flute and Oboe, opt. TimpaniCPH 98-3985, $2.10

This new setting of a classic Lutheran hymn wasperformed at the 2009 GSI conference.An extended introduction sets the tone for thehymn. Warm, enjoyable writing predominates,especially in stanza two, set for oboe, flute,children’s choir, and SATB (a solo treble couldsubstitute for children if necessary). The final stanzacomes to life with the addition of a brass quartetand timpani._______________________________________

Your Hand, O Lord, in Days of OldMatthew MachemerTwo-part Treble or Mixed, Piano, FluteCPH 98-3987, $1.75

A talented young composer provides the churchwith a useful setting of this hymn. Animpressionistic piano part with rich arpeggiosaccompanies the choral writing. There is some two-part writing for voices, both in harmony and incanon. Delicate flute writing completes the setting._______________________________________

In All Our Grief and FearWe Turn to YouThomas KeeseckerTwo-part Mixed, PianoAugsburg Fortress 9780806697352, $1.60

This text and tune (FREDERICKTOWN) appeared inHymnal Supplement 98 (no. 847). This hymn isgiven a very accessible setting for two-part mixedvoices and piano. Some creative ideas areincorporated: stanza two is written in (mostly)canon, and stanza three, with its references toChrist’s death on the cross, is partnered with “OSacred Head, Now Wounded.” Its recurring refrainof “Lord, have mercy, Christ, have mercy…” andeasy writing make this ideal for any choir to learnquickly, perhaps for use at funerals as well._______________________________________

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CHORAL MUSIC continued

Recommended

For Builders BoldWhose Vision PureWilliam BraunSATB, Congregation, Organ, Brass, PercussionNorthwestern Publishing House 28N6101, $1.90

Herman Stuempfle’s text is coupled with thetraditional Irish tune (vividly named FLIGHT OF THEEARLS), which is found in the recent ChristianWorship Supplement (no. 775). Use of this hymnfor church dedications and anniversaries is obvious,but the writing is not so specific to limit its use onlyto those events. As the hymn unfolds, it sings ofWord and Sacrament and their timeless power. Onehopes that this interesting and soaring tune finds itsway to other texts as well._______________________________________

When in theHour of Utmost NeedScott HyslopSAB, Congregation, E-flat Alto Saxophone, OrganNorthwestern Publishing House 28N6063, $1.50

Yes, the saxophone can be used well with qualitychurch music. Scott Hyslop (a saxophonist himself)gives us a good example in this setting of WENN WIRIN HÖCHSTEN NÖTEN SEIN. (It is worth mentioningthat a discerning sax player, who can adjust to amore mellow tone, gives a more satisfactory result.)The SAB choral writing of stanza four is of highquality, and a pleasure to sing. The translation of thetext in this setting differs from Lutheran ServiceBook and other hymnals, but it would be easy tomake the text changes in the score in order to matchyour congregation’s worship book._______________________________________

What GodOrdains Is Always GoodJohann Pachelbel, arr. Dale GrotenhuisSATB, Congregation, Trumpet, OrganNorthwestern Publishing House 28N6062, $1.50

Four stanzas of this hymn are given differingtreatment. Stanza one states the melody in unison,alternating with men’s and women’s voices, with animitative organ accompaniment. Stanza two is anoriginal four-part setting by Dale Grotenhuis, andstanza three incorporates the familiar setting ofJohann Pachelbel’s motet “On God and Not onHuman Trust.” Here the organ plays theaccompaniment, and the treble voices sing the longnotes of the chorale. A soprano and trumpet descantrounds out stanza four. Even seasoned choirs wouldfind this setting useful, perhaps as a summer choirselection, or as a quickly learned piece for funerals._______________________________________

YeWatchers and YeHoly OnesCharles ThatcherSSATB or SAATB, Two Trumpets, Organ, opt.CongregationMorningStar 60-6003, $1.85

Here is a festive and accessible arrangement thatcould be performed as a stand-alone choralresponse, or as a congregational hymn setting.Stanza three is set for choir, with men singingmostly unison melody and women singing a chorusof three-part alleluias. (Healthy soprano sectionalert—there are numerous high G’s and one highA.) Realistically, you could omit the choral settingfor stanza three and simply use the glorious organand trumpet writing to accompany thecongregational singing._______________________________________

HIS Voice • March 2010 8

CHORAL MUSIC continued

Recommended

The Lord’s My Shepherd, I’ll Not WantPaul BoumanSATB, KeyboardMorningStar 50-7307, $1.70

The familiar hymn paraphrase of Psalm 23 is givena polished, masterful treatment here by PaulBouman (incidentally, now in his ninetieth year).The familiar tune BELMONT is in a lilting 6/8pastorale, set in various ways. Stanza two is acomfortable SATB setting, which gives the bassesthe hymn tune for a portion of the stanza. Followinga stanza for baritone solo (or all men in unison),stanza three is written in a mildly polyphonic motetstyle. Keep this in mind for Easter 4._______________________________________

Holy Spirit, Gift of GodRalph Vaughan Williams, arr. John EggertSAATB (opt. descant), Oboe, Organ, opt.CongregationMorningStar 50-5415, $1.85

This hymn, which appeared in HymnalSupplement 98 (no. 835), utilizes a text by JaroslavVajda (stanzas 1, 7, 8, and 3 from HS 98 are usedhere), with music by Ralph Vaughan Williams. JohnEggert provides a setting for oboe (or other trebleinstrument), SATB choir, and organ. One stanza iswritten for three-part treble voices (although itcould also be sung by SA and solo), and one stanzais set for SATB. (Note for youth choir directors: therange and compass of this hymn tune, THE CALL,make it useful for developing boys’ voices.)_______________________________________

Children of theHeavenly FatherMichael D. CostelloSATB, opt. Unison, Piano, FluteAugsburg Fortress 9780806697093, $1.75

This simple setting of the familiar hymn is a usefultool for teaching developing or less-experiencedchoirs. Plus, it could provide a gentle way to recruitsome extra men into the choir—most of the timethey are singing the melody, with some minoradjustments. The melody is presented in unison ineach stanza, with the exception of two measureswhen the men sing in parallel thirds; another stanzabegins in unison and concludes with five measuresof comfortable SATB writing. The final stanza hasthe men singing the melody, with the trebles singinga very basic descant (one dotted half note permeasure, always moving stepwise, nothing abovethe staff)._______________________________________

Augsburg Fortresswww.augsburgfortress.org

Concordia Publishing Housewww.cph.org

MorningStar Music Publisherswww.morningstarmusic.com

Northwestern Publishing Housewww.nph.net

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HIS Voice • March 2010 10

READINGPerspectives on ChristianWorship:5 Views,ed. J. Matthew Pinson (Nashville: Broadman andHolman Academic, 2009), 368 pp. ISBN 978-0-8054-4099-7; 0-8054-4099-2. [$24.99]

One of the most recently published books on thesubject of Christian worship, this volume hasseparate chapters on liturgical worship (written byRev. Dr. Timothy C. J. Quill of the CTS faculty),traditional evangelical worship, contemporaryworship, blended worship, and emerging worship.What makes the book particularly interesting is thateach author responds at length to the work of eachof the other authors. Thus, the reader obtains variedperspectives on, for example, “emerging” worship.Quill’s chapter (sixty-three pages in length) is verywell done, providing a rich theological explorationof the historic liturgy from the perspective of theLutheran tradition. His generous footnotes direct thereader to a vast network of related literature. Thereader who really mines Quill’s chapter, includingthe related readings, will learn much._______________________________________

“An Interview with Carl Schalk,”Cross Accent: Journal of the Association ofLutheran Church Musicians 17, no. 3 (2009):4–12.

In recognition of Carl Schalk’s eightieth year in2009, Victor Gebauer interviewed Carl, and theresult makes for enjoyable and informative reading.Gebauer poses important questions that elicit Carl’stypically thoughtful, theologically informedperspectives on the practice of Lutheran churchmusic. When we think of Carl’s career as a Lutheranchurch musician, his work as a composer of hymntunes and choral music comes immediately to mind.But equally important are his prose writings—hiswork as a historian of Lutheran church music, andhis conceptual work that consistently groundsLutheran musical practice in Lutheran theology. Noone in our time has done this better than Carl, andthis interview reminds us of how much he has doneto shape a sound conceptual basis for the practice ofLutheran church music._______________________________________

LISTENINGChorale Concertos andChorale Variations: Music byThomas Selle, Johann Schop,andHeinrich Scheidemann(Hamburger Ratsmusik, Simone Eckert)[2008, cpo 777 362-2]

The composers and music on this recording werepart of the active Lutheran church music scene inseventeenth-century Hamburg. One composer inparticular, Johann Schop (ca. 1590–1667), maydraw the attention of the twenty-first-centuryLutheran church musician, for Schop’s name is tobe found in Lutheran Service Book: he is thecomposer of the tune WERDE MUNTER (used threetimes in LSB—548, 589, 681) and the tuneERMUNTRE DICH, which is coupled with JohannRist’s Christmas text “Break Forth, O BeauteousHeavenly Light” (LSB 378). On this recording wehave the opportunity to hear another dimension ofthis seventeenth-century composer—selectedchorale concertos by Schop, including his settingsof the chorales “Ich ruf zu dir,” “Allein zu dir, HerrJesu Christ,” and Luther’s great Easter chorale“Christ lag in Todesbanden.”_______________________________________

READING AND LISTENINGby DANIEL ZAGER

Recommended

HIS Voice • March 2010 11

Dieterich Buxtehude,Complete OrganWorks, vol. 3(Hans Davidsson, organist)[2009, Loft Recordings LRCD 1094/1096, 3 CDs]

With the three CDs of volume three, HansDavidsson (Eastman School of Music) completeshis recorded traversal of the complete organ worksof Dieterich Buxtehude. As with volumes one andtwo, Davidsson uses the Schnitger-style organ ofthe Örgryte New Church in Göteborg, Sweden, ascientific reconstruction (completed in 2000) of alate seventeenth-century North German organ.The façade of the Göteborg instrument is areconstruction of the facade completed by ArpSchnitger in 1699 for the Lübeck Cathedral. Thus, itis a nearly ideal kind of instrument for Buxtehude’smusic. As in the previous two volumes, Davidssonprovides a mix of chorale preludes and free works,with an abundance of chorale settings included onthese three CDs._______________________________________

Johann Sebastian Bach,Cantatas, vol. 13(John Eliot Gardiner, conductor)[2009, Soli Deo Gloria SDG 162, 2 CDs]

While I have resisted the urge to highlight in thiscolumn each new recording in John Eliot Gardiner’songoing series of the complete cantatas of JohannSebastian Bach, I must direct the listener to volume13, which includes a particularly wonderful groupof cantatas for Advent. The first CD includes Bach’scantatas (BWV 61 and 62) Nun komm, derHeiden Heiland (“Savior of the Nations, Come,”LSB 332) for the First Sunday in Advent. Amongthe cantatas on the second CD is BWV 147, Herzund Mund und Tat und Leben, the source of thechorale setting popularly known in the English-speaking world as “Jesu, Joy of Man’s Desiring”(that chorale melody being none other than JohannSchop’s WERDE MUNTER). In its earliest form, Bachintended this cantata for the Fourth Sunday inAdvent, 1716 in Weimar. The second CD alsoincludes one of Bach’s most striking cantatas,Wachet! betet! betet! wachet! (“Watch! Pray! Pray!Watch!”), originally intended for the SecondSunday in Advent, also in 1716. This set of twoCDs is truly a treasure trove of Bach’s music forAdvent, expertly sung and played by Gardiner andhis musicians._______________________________________

Broadman and Holman Academicwww.bhpublishinggroup.com/academic

cpowww.cpo.de

Loft Recordingswww.gothicrecords.com

Soli Deo Gloriawww.solideogloria.co.uk

READING AND LISTENING continued

Recommended