The “Noble Art” of Music

Chad Fothergill, Temple University chad.fothergill@temple.edu

ELCA Grace Gathering | New Orleans, LA | 12 August 2016

Summary

An able musician in his own right, Luther understood the power of music to nourish and teach God’s children

of all ages and abilities. Pastors and musicians in his circle and throughout following generations penned texts

and tunes that were rooted in scripture, yet spoke to the diverse experiences of people who sang them at home,

school, and worship. This workshop took a closer look at how music—from Luther’s hymns to global

song—might be incorporated into different congregational contexts in both 2017 and beyond. Using

suggestions in the Reformation 500 Sourcebook as a starting place, additional ideas were offered for seasons and

festivals of the church year, home devotions, and special services such as “The Church’s Journey in Art and

Song” that premiered at the 2015 Worship Jubilee.

Objectives for the Anniversary Year

Consider materials and resources in your context for:

Sundays, seasons, and festivals of the church year Occasions in the congregation’s life Educational offerings Commemorative events such as hymn festivals

Refresh or renew the theology of music in your context by thinking about:

How pastors and musicians of Luther’s time collaborated together How they responded to rapidly changing cultural, political, and economic contexts How they navigated tensions between participation and performance, sacred and secular The ecumenical roots of our worship patterns and materials

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Texts and Music by Luther and His Contemporaries

Occasion Title, Tune, Notes Sources and Examples

Sundays and Seasons of the Church Year

Advent Savior of the Nations, Come NUN KOMM, DER HEIDEN HEILAND Consider adapting the tune for the Kyrie or using st. 6 (ELW) as gospel acclamation throughout the season

ELW 263 LBW 28 Example 1, p. 12 of this handout Example 2, pp. 13–14

Nativity From Heaven Above VOM HIMMEL HOCH Use pairs of stanzas as gospel acclamations for Christmas Eve, Christmas Day, and the First Sunday of Christmas

ELW 268 LBW 51

From East to West A SOLIS ORTUS CARDINE

LBW 64

Now Praise We Christ, the Holy One CHRISTUM WIR SOLLEN LOBEN SCHON

The Hymns of Martin Luther 1

Time after Epiphany The Only Son from Heaven Elisabeth Cruciger, 1500–1535 HERR CHRIST, DER EINIG GOTTS SOHN

ELW 309 LBW 86 See setting in Bach for All Seasons

Ash Wednesday Out of the Depths I Cry to You AUS TIEFER NOT SCHREI ICH ZU DIR Consider adapting a portion of this tune as a psalm tone for the Lenten season

ELW 600 LBW 295 Example 3, p. 15

Lent 5A 2

Out of the Depths I Cry to You AUS TIEFER NOT SCHREI ICH ZU DIR

ELW 600 LBW 295

Holy Week Motet, Non moriar, sed vivam (SATB) 3

Lutheran Choral Anthology: The Sixteenth Century

4

Easter Sunday Christ Jesus Lay in Death’s Strong Bands CHRIST LAG IN TODESBANDEN

ELW 370 LBW 134

Sundays of Easter Christ Is Arisen CHRIST IST ERSTANDEN Consider using st. 3 as a gospel acclamation throughout the season up to and including the Day of Pentecost (“Christ, our comfort” and Spirit, Comforter)

ELW 372 LBW 136 Example 4, p. 16

1 Peter C. Reske, ed., The Hymns of Martin Luther (St. Louis: Concordia Publishing House, 2016), 44–45. 2 RCL assigns Psalm 130. 3 Setting of Psalm 118:17 by Luther; can be used for Sunday of the Passion and Easter Sunday in all lectionary years. 4 Carl F. Schalk and William H. Braun, eds., Lutheran Choral Anthology: The Sixteenth Century (St. Louis: Concordia Publishing House, 2010).

2

Day of Pentecost Come, Holy Ghost, God and Lord KOMM, HEILIGER GEIST, HERRE GOTT

ELW 395 LBW 163

Time after Pentecost Now to the Holy Spirit Let Us Pray NUN BITTEN WIR

ELW 743 LBW 317

5

Pentecost 18A 6

These Are the Holy Ten Commands DIES SIND DIE HEILGEN ZEHN GEBOT

The Hymns of Martin Luther 7

Reformation 500 Sourcebook 8

Congregational Life and Daily Prayer

Morning, Evening Anthems, Luther’s Morning Prayer and Luther’s Evening Prayer (SATB) Carl F. Schalk

MorningStar Music Publishers MSM-50-8610 (2011)

Communion O Lord, We Praise You GOTT SEI GELOBET

ELW 499 LBW 215

Baptism To Jordan Came the Christ Our Lord CHRIST, UNSER HERR, ZUM JORDAN KAM

LBW 79 LSB 406 The Hymns of Martin Luther

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Reformation 500 Sourcebook 10

Funeral In Peace and Joy I Now Depart MIT FRIED UND FREUD ICH FAHR DAHIN

ELW 440 LBW 349

11

In the Midst of Earthly Life transl. Susan Palo Cherwien MITTEN WIR IM LEBEN SIND

Come, Beloved of the Maker 12

LBW 350 13

Confirmation, Farewell, Godspeed

Now to the Holy Spirit Let Us Pray NUN BITTEN WIR

ELW 743 LBW 317

5 Translated in LBW as “To God the Holy Spirit Let Us Pray.” 6 RCL assigns Exodus 20:1–4, 7–9, 12–20. 7 Reske, ed., The Hymns of Martin Luther , 62–63. 8 Robert Buckley Farlee, ed., Reformation 500 Sourcebook: Anniversary Resources for Congregations (Minneapolis: Augsburg Fortress, 2016), 119;

translated here as “That Man a Godly Life Might Live.” 9 Reske, ed., The Hymns of Martin Luther , 66–67. 10 Farlee, ed., Reformation 500 Sourcebook , 120. 11 Translated here as “I Leave, as You Have Promised, Lord.” 12 Susan Palo Cherwien, Come, Beloved of the Maker: Hymns of Susan Palo Cherwien, Vol. 2 (Minneapolis: Augsburg Fortress, 2010), 32–33 (text),

84–84 (music), and 121 (notes). 13 Translated here as “Even as We Live Each Day.”

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Luther’s Liturgical Music and Catechism Hymns

THE GERMAN MASS

Planning Considerations 1. Melodies need careful introduction and teaching 2. Pattern should be used for several weeks in a row, e.g. Reformation Sunday to

Christ the King 3. Can be brought back on festival Sundays such as Transfiguration, The Holy

Trinity, and again at Reformation 4. Be sure to indicate in your bulletin the difference between “ELW, p. ___” and

“ELW, Hymn ___” when using chorales as liturgy settings 5. Because the leadership is keyboard-centric and because these chorales are

longer, balance the service with shorter songs that can be led with other instruments, percussion, or be sung a cappella

Sample Bulletin or Newsletter Description Guided by his desire to create a body of vernacular hymns for worship and teaching,

Luther worked with his musical colleagues to create congregational versions of the standard Mass texts that, in the centuries before the Reformation, had been sung to the people by the choir. In compiling his German Mass , Luther took several existing texts and plainsong melodies and fashioned them into chorales that were then sung by the people. Over time and in many locations, a number of Luther’s “catechism chorales” became fixtures in the Sunday service as well.

As part of our Reformation anniversary observance, we will sing the hymns of the German Mass in English as our liturgy setting. The texts and music represent the work of prophets, evangelists, authors, composers, translators, and arrangers across thousands of years! They include a Trinitarian trope , or expansion, of the Kyrie (ELW 409) from a Latin plainsong; a Gloria (ELW 410) fashioned by a sixteenth-century Lutheran composer from the melody of a tenth-century Easter plainsong; Luther’s versification of the Nicene Creed (ELW 411); Luther’s “German Sanctus” (ELW 868) which joins the “Holy, holy, holy” and other passages from the prophet Isaiah’s vision in the temple with music from an eleventh-century plainsong; and, finally, a Reformation-era Agnus Dei (ELW 196) that was probably written by Luther’s friend, Johannes Bugenhagen, for a congregation at Braunschweig.

Kyrie Kyrie! God, Father in Heaven Above KYRIE, GOTT VATER

ELW 409 LBW 168

Gloria All Glory Be to God on High Nikolaus Decius, 1485–1550 ALLEIN GOTT IN DER HÖH SEI EHR

ELW 410 LBW 166

Creed We All Believe in One True God WIR GLAUBEN ALL AN EINEN GOTT

ELW 411 LBW 374

Sanctus Isaiah in a Vision did of Old JESAIA, DEM PROPHETEN

ELW 868 LBW 528

4

Agnus Dei O Christ, Lamb of God CHRISTE, DU LAMM GOTTES

ELW 196 LBW 103

or Lamb of God, Pure and Sinless O LAMM GOTTES UNSCHULDIG

ELW 357 LBW 111

Nunc dimittis Song of Simeon

In Peace and Joy I Now Depart MIT FRIED UND FREUD ICH FAHR DAHIN

ELW 440 LBW 349

Chant Formulas In addition to recommending certain chorales and when they could be sung, Luther’s preface to the German Mass also included formulae for the chanting of introits, the Kyrie, prayers, Scripture readings, and the Words of Institution.

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CATECHISM HYMNS

Planning Considerations 1. May be used with three portions of the Reformation 500 Sourcebook : “A Midweek

Lenten Series Based on Luther’s Small Catechism” (77–82); “Martin Luther, The Catechism, and Music” (113–120); and “Living Out the Small Catechism” (169–172)

2. May be paired with any number of musical or instrumental settings such as those by J. S. Bach in the Clavierübung III of 1739

Commandments Lent 1

These Are the Holy Ten Commands 15

DIES SIND DIE HEILGEN ZEHN GEBOT The Hymns of Martin Luther

16

Creed Lent 2

We All Believe in One True God WIR GLAUBEN ALL AN EINEN GOTT

ELW 411 LBW 374

Prayer Lent 3

Our Father, God in Heaven Above VATER UNSER IM HIMMELREICH

ELW 746, 747

Baptism Lent 4

To Jordan Came the Christ Our Lord CHRIST, UNSER HERR, ZUM JORDAN KAM

LBW 79 LSB 406 The Hymns of Martin Luther

17

Reformation 500 Sourcebook 18

[Confession] Out of the Depths I Cry to You AUS TIEFER NOT SCHREI ICH ZU DIR

ELW 600 LBW 295

Communion Lent 5

Jesus Christ, Our Blessed Savior JESUS CHRISTUS UNSER HEILAND, DER VON UNS

19The Hymns of Martin Luther

20

14 Ulrich S. Leupold, ed., Luther’s Works, Vol. 53: Liturgy and Hymns (Philadelphia: Fortress Press, 1965), 61–90. 15 Versification of Exodus 20. 16 Reske, ed., The Hymns of Martin Luther , 62–63. 17 Reske, ed., The Hymns of Martin Luther , 66–67. 18 Farlee, ed., Reformation 500 Sourcebook , 119. 19 Not to be confused with Luther’s Easter hymn, JESUS CHRISTUS UNSER HEILAND, DER DEN TOD. 20 Reske, ed., The Hymns of Martin Luther , 36–37.

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Translations of Luther’s Chorales

French C’est un rempart que notre Dieu (A Mighty Fortress Is Our God)

LCL 444, 445 21

Des lieux profonds je crie à toi (Out of the Depths I Cry to You)

LCL 509

Dieu, notre Père dans les cieux (Our Father, God in Heaven Above)

LCL 636

Le prophète Ésaïe, en son esprit (Isaiah in a Vision did of Old)

LCL 441

Spanish Castillo fuerte es nuestro Dios (A Mighty Fortress Is Our God)

LLC 403 22

LSB 657 OC 571

23

De Lo Profundo (Out of the Depths I Cry to You) DE LO PROFUNDO

24

OC 787

Sostennos firmes (Lord, Keep Us Steadfast in Your Word)

LLC 399

Leadership of Reformation-Era Hymnody

What do the musical conventions of Luther’s time teach us about assembly song in our own time?

Rhythm and tactus A cappella singing Singing in alternatim : “The verses of the respective Latin chant were sung in alternation with the stanzas of its vernacular partner, the former being sung by the choir, the latter by the congregation.”

25

Season Latin Plainsong Chorale Equivalent

Advent Veni, redemptor gentium attr. Ambrose of Milan

Savior of the Nations, Come NUN KOMM, DER HEIDEN HEILAND

21 Comité liturgique francophone de l’Église luthérinne du Canada, Liturgies et cantiques luthériens (Winnipeg: Éditions de l’Église luthérienne du Canada, 2009); available through Concordia Publishing House, St. Louis.

22 Libro de Liturgia y Cántico: A Worship Book for Spanish-Speaking Lutherans (Minneapolis: Augsburg Fortress, 2001). 23 Oramos Cantando: We Pray in Song (Chicago: GIA Publications, 2013). 24 The tune has a similar contour to Luther’s melody, AUS TIEFER NOT, though the text in this version has undergone substantial theological

modification. 25 Robin A. Leaver, Luther’s Liturgical Music: Principles and Implications (Grand Rapids, Michigan: William B. Eerdmans, 2007), 229.

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Example 5 (below)

Choir Veni, redemptor gentium, ostende partum Virginis; miretur omne saeculum: talis decet partus Deum.

Come, Savior of nations, display the offspring of the Virgin. Let all ages marvel that God granted such a birth.

All

Savior of the nations, come; virgin’s son, make here your home. Marvel now, O heav’n and earth: God has chosen such a birth.

Choir Non ex virili semine, sed mystico spiramine Verbum Dei factum est caro fructusque ventris floruit.

Not from man’s seed, but by the Holy Spirit’s power the Word of God is made flesh and blooms as fruit of the womb.

All

Not by human flesh and blood, but the mystic Breath of God, was the Word of God made flesh, fruit of woman, blossom fresh.

etc.

Nativity A solis ortus cardine (LBW 64) Coelius Sedulius, fl. 5th cent.

Now Praise We Christ, the Holy One CHRISTUM WIR SOLLEN LOBEN SCHON

Easter Victimae paschali laudes (ELW 371) attr. Wipo of Burgundy, fl. 11th cent.

Christ Jesus Lay in Death’s Strong Bands CHRIST LAG IN TODESBANDEN

Pentecost Veni sancte Spiritus attr. King Robert II of France, 970–1031; Pope Innocent III, 1161–1216; and Stephen Langton, d. 1228, Archbishop of Canterbury

Now to the Holy Spirit Let Us Pray NUN BITTEN WIR

Special Services

Hymn festival outlines by Susan and David Cherwien

Crossings: Meditations for Worship 26

“God In” From Glory into Glory: Reflections for Worship

27

“One Joyful Choir” “The Thousand Voices” “God Has Called Us” (Example 6, p. 17) “Paul Gerhardt, Hymnist” (Example 7, p. 17)

26 Susan Palo Cherwien, Crossings: Meditations for Worship (St. Louis: MorningStar Music Publishers, 2003). 27 Susan Palo Cherwien, From Glory into Glory: Reflections for Worship (St. Louis: MorningStar Music Publishers, 2009).

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“The Church’s Journey in Art and Song” in Reformation 500 Sourcebook (83–86)

Video archive, July 2015, and at “The Church’s Journey” page of ELCA website “Mash-up” concept Diversity of musical styles and leadership that bring together global, ancient, and modern expressions Video or spoken reflections CD-ROM (sample of contents shown below) of Reformation 500 Sourcebook includes Planning Guide that offers several alternate song suggestions, leadership helps for musicians, and contact information for copyright administrators

“‘One Faith, One Baptism, One God’: Developing an Ecumenical Hymn Festival for the Reformation Anniversary” in CrossAccent: Journal of the Association of Lutheran Church Musicians (Summer 2016)

Closer look at ecumenical relationships in the materials and resources used by Lutherans Checklists for planning, logistics, and leadership of hymn festivals Sample hymn festivals for the wider community

“The Church’s Journey in Art and Song” (ecumenical adaptation) “One Hope: Re-Membering the Body of Christ”

28

Evening Prayer (Vespers )

28 Julie K. Aageson, et al., One Hope: Re-Membering the Body of Christ (Minneapolis and Collegeville: Augsburg Fortress and Liturgical Press, 2015).

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Additional Resources

Principles for Worship

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“Music and the Christian Assembly” components as staff or congregational study Reformation 500 Sourcebook

“Hymns for the Anniversary Year” (43–47) presents several other seasonal and lectionary-based suggestions “The Hymn of the Day as Reformation Inheritance” (49–50) “A Midweek Lenten Series Based on Luther’s Small Catechism” (77–82) may be joined with Luther’s catechism chorales “Commemorating 1517 Without Dressing Up as Luther with a Hammer” (99–103) contains a summary of the German Mass and other hymn suggestions for worship that are “indeed of our time and place” Bulletin Insert: “Voices of Lutheranism: Chorales to Alabados” (153)

Sundays and Seasons 2017

Guide to Worship Planning “The Hymn of the Day as Reformation Inheritance” (17) “Music: Chorale Service” (250)

Preaching

“Preaching in Autumn” (232) “October 29, 2017: Reformation Sunday” (273–276)

Principles to Remember

The “noble art” of music transcends time, place, creed, and label, giving voice to our common story—one faith, one baptism, one God—in ways that speak to local contexts and dialects An honest musical commemoration of the Reformation—both in 2017 and beyond—is one that:

Takes a panoramic view of assembly song

The psalmody of our Jewish forebears Roman plainsong of the first millennium Chorales and hymns from Lutheran, Reformed, Anglican, and Episcopal traditions Global traditions including African American spirituals and Shaker hymns Songs from the ecumenical communities at Taizé and Iona

29 Evangelical Lutheran Church in America, Renewing Worship, Vol. 2: Principles for Worship (Minneapolis: Augsburg Fortress, 2002), 24–46.

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The Spirit-led composition of new music today Sparks re-evaluation or renewal of the theology of music in our local contexts

Music in worship as performance or participation Music in worship as active (central) or passive (commodity) Music outside of worship in education, home devotions Training, support, professional development of pastors and cantors Training and development of young musicians through programs such as Lutheran Summer Music

Select Bibliography

HISTORICAL AND CONTEXTUAL STUDIES: LUTHER AND MUSIC IN LUTHERANISM Bodensieck, Julius, ed. The Development of Lutheran Hymnody in America . Minneapolis: Augsburg Publishing

House, 1965. Brown, Christopher Boyd. Singing the Gospel: Lutheran Hymns and the Success of the Reformation . Cambridge,

Massachusetts: Harvard University Press, 2005. Bucher, Richad P. The Ecumenical Luther: The Development and Use of His Doctrinal Hermeneutic . St. Louis:

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History 73.3 (September 2004): 536–565. Butt, John. Music Education and the Art of Performance in the German Baroque . Cambridge: Cambridge University

Press, 1994. Grindal, Gracia. Preaching from Home: The Stories of Seven Lutheran Hymn Writers . Grand Rapids, Michigan: William

B. Eerdmans, 2011. Hendrix, Scott. “Luther.” In The Cambridge Companion to Reformation Theology , edited by David Bagchi and David

C. Steinmetz, 39–56. Cambridge: Cambridge University Press, 2004. Kolb, Robert, ed. Lutheran Ecclesiastical Culture, 1550–1675 . Leiden and Boston: Brill, 2008. Herl, Joseph. Worship Wars in Early Lutheranism: Choir, Congregation, and Three Centuries of Conflict . Oxford and

New York: Oxford University Press, 2008. Kalb, Friederich. Theology of Worship in Seventeenth-Century Lutheranism . Translated by Henry P. A. Hamann. St.

Louis: Concordia Publishing House, 1965. Leaver, Robin A. Luther’s Liturgical Music: Principles and Implications . Grand Rapids, Michigan: William B.

Eerdmans, 2007. __________. “Music and Lutheranism.” In The Cambridge Companion to Bach , edited by John Butt, 35–45.

Cambridge: Cambridge University Press, 1997. __________. The Theological Character of Music in Worship . St. Louis: Concordia Publishing House, 1989. Loewe, J. Andreas. “‘Musica est Optimum’: Martin Luther’s Theory of Music.” Music & Letters 94.4 (November

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McKim, Donald K., ed. The Cambridge Companion to Martin Luther . Cambridge: Cambridge University Press, 2006.

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P. Keefe, 127–167. Cambridge: Cambridge University Press, 2009. Schalk, Carl F. God’s Song in a New Land: Lutheran Hymnals in America . St. Louis: Concordia Publishing House,

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Worship Arts 1 (September 2004): 49–53. Musical Examples

Example 1 | “Savior of the Nations, Come” as gospel acclamation

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Example 2 | “Savior of the Nations, Come” (melody) adapted as Kyrie

13

Example 2 | continued

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Example 3 | “Out of the Depths” as psalm tone for Lenten Sundays

15

Example 4 | “Christ Is Arisen” as gospel acclamation between Easter Sunday and Pentecost

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Example 6 | “God Has Called Us,” a hymn festival outline by Susan and David Cherwien

Example 7 | “Paul Gerhardt, Hymnist,” a hymn festival outline by Susan and David Cherwien

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