CROSSACCENT PRELUDE. 2 Editorial Comment Jennifer Ollikainen TAKENOTE. 3 A New Life and New Hope: The Center for Church Music.

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1 vol 23, no 1 SPRING 2015 CroAccent i publihed three time per year by the Aociation of Lutheran Church Muician. Subcription i included with memberhip in ALCM. Librarie may ubcribe at $60 per year by contacting the Buine Office. Copyright 2015 Aociation of Lutheran Church Muician. The view expreed on the page of the journal are thoe of the author and do not reflect official poition of the editorial board of the journal or of the Aociation of Lutheran Church Muician. Thi periodical i indexed in the ATLA Religion Databae, a product of the American Theological Library Aociation, 300 S. Wacker Dr., Suite 2100, Chicago, IL 60606, USA. atla@atla.com, ISSN Editor: Jennifer Phelp Ollikainen Muic Editor: Lara Wet Book Editor: Paul Grime Copy Editor: Anne-Marie Bogdan Graphic Deign: Kathryn Hillert Brewer Editorial Office Jennifer Phelp Ollikainen, Editor 1127 Magazine Road Green Lane, PA croaccent@alcm.org Editorial Board Kent Burreon Paul Frieen-Carper Joeph Herl Nancy Raabe Stephen Roebrock Advertiing Office Cheryl Dieter, Advertiing Coordinator 810 Freeman St. Valparaio, IN ad@alcm.org ALCM Buine Office Cheryl Dieter, Buine Manager Aociation of Lutheran Church Muician 810 Freeman St. Valparaio, IN office@alcm.org The Aociation of Lutheran Church Muician i a ervice and profeional organization that work to trengthen the practice of worhip and church muic of all North American Lutheran. Memberhip i open to any peron or intitution whoe interet are in harmony with the Aociation goal. Addre all change of addre, ubcription, and buine correpondence to the ALCM Buine Office. CROSSACCENT journal of the aociation of lutheran church muician PRELUDE 2 Editorial Comment Jennifer Ollikainen TAKENOTE 3 A New Life and New Hope: The Center for Church Muic Nancy Raabe COUNTERPOINT 5 Seek the welfare of the city where I have ent you : Worhip and Civic Fetival Mark Oldenburg 11 Horn, Heart, Muic, Word: Hannah Song and Venice after the Interdict of 1606 Paul Frieen-Carper 21 Faithful Chritian, Concientiou Citizen: Independence Day and Aembly Song Chad Fothergill THANKYOU 26 Thank you to our donor! CHORUS 28 The Reaon Why We (Should) Sing! Lamont Anthony Well BOOKREVIEWS 31 The Anwering Voice: The Beginning of Counterpoint and Melodiou Accord: Good Singing in Church, by Alice Parker Matthew Machemer 33 Innovative Warm-Up for the Volunteer Choir: Concept to Improve Choral Sound, by Michael Kemp Jonathan Buarow 34 Managing Muic Minitry: Beyond Note and Chord, by Stephen Petrunak and Randall R. Phillip Nicole Buarow SOUNDFEST 35 New Muic POSTLUDE 52 From the ALCM Preident-Elect Julie Pott Grindle Cover art: Childe Haam, Jut Off the Avenue, 1916 ALCM OFFICERS Preident: Anne Krentz Organ Preident-Elect: Julie Pott Grindle Secretary/Treaurer: Kevin Barger Region 1 (Northeat) Preident: John Weit Region 2 (Southeat) Preident: Sarah Hawbecker Region 3 (Midwet) Preident: Linda Martin Region 4 (Wet) Preident: Kim Cramer Director at Large: Scott Hylop, Thoma Schmidt Spring 2015 CroAccent 1

2 PRELUDE The Rev. Dr. Jennifer Phelp Ollikainen Editor, CroAccent We hold two realitie in tenion. Chritian worhip exit in a particular time and place, ituated within human culture. And Chritian worhip trancend time and place, proclaiming the grace of God in Jeu Chrit beyond human limitation. We tretch thi tenion whenever our cultural and civic holiday or commemoration coincide with worhip or when the community i truggling through political iue that have an impact on the member of our community and, therefore, the aembly gathered for worhip. In the midt of thee tenion we mut make choice about the content of worhip. Thee are not eay choice becaue of the reality of our human brokenne and truggle. What do you ing in Sunday worhip the weekend your community celebrate American Independence Day? Will you ing African American piritual born out of a hitory of and the ongoing reality of cultural oppreion in a community that ha not truggled under the weight of that oppreion? Ha our muic for worhip been co-opted by political diagreement or church politic? We do bet to hold the tenion and to practice intentional reflection let we proclaim the brokenne of humanity louder than we proclaim the grace and widom of God that tranform our worhip with alvation grace. We ing the hymn with patriotic image while recognizing that God doe not how preference to one country. We celebrate the vocation of parent while reiting the cultural tendency to idolize the unattainable ideal of entimental greeting card. We ing the muic of culture other than our own in an effort to include the breadth of muical gift in the church while truggling with the cultural realitie of the oppreion that undergird thee tyle and in which we often participate. Thi iue of CroAccent explore the truggle of preparing Chritian worhip in the meine of human culture. Mark Oldenburg ugget five categorie of civic obervance and examine how each category may or may not be preent within the worhip of the Chritian community. Paul Frieen-Carper oberve how the Song of Hannah wa ued in the 17th-century Venetian church a a partner in the dance of authority between the government and the church. Lamont Anthony Well illutrate a practice that hold the tenion when African American piritual and ong born out of oppreion are utilized cro-culturally in congregation that have not experienced that oppreion. Chad Fothergill offer a practical guide for chooing hymnody acro three lectionary year for the firt week of July, a time when mot American congregation grapple with the tenion between gopel and patriotim. A Oldenburg point out, the incarnational reality of Jeu Chrit call u to live redeemed in a broken world being tranformed by God grace. Our ong of worhip often both proclaim gopel and reveal cultural biae and truggle. Together we are called to intentional reflection, converation, and careful practice o that in the end the grace of God in Jeu Chrit may tranform our world, breaking it open with forgivene, reconciliation, jutice, and life. 2 Spring 2015 CroAccent

3 A New Life and a New Hope: The Center for Church Muic TAKENOTE by Nancy Raabe All it take to change the world, or a mall corner of it, i omeone with a viion and the conviction to follow it through. In 2010 the Center for Church Muic (CCM) wa etablihed at Concordia Univerity Chicago (CUC) by two major gift: Richard Hillert entire library of manucript and publihed compoition and Carl Schalk extenive collection of American Lutheran hymnal. Both were houed in the univerity rare book and manucript room. Although the room wa open to the public during library hour, relatively few took advantage of the opportunity to view and tudy thee collection. Thi puzzled Barry L. Bobb (a CUC graduate with additional degree in church muic and ytematic theology), who began dreaming about what the Center could become. Step by tep, hi viion of a wide array of electronic and print reource uniting all American Lutheran church bodie ha come to life. With upport for the Center from the univerity and from donor acro the country, Bobb aumed the role of voluntary (unpaid) executive director in May Soon after, an adviory group wa etablihed and a new webite launched. Today the Center ha taken wing a a remarkable reource through which the general public can become engaged with the vibrant legacy of Lutheran church muic in America and with the force and peronalitie that continue to hape it. Emily Barrett, Concordia Univerity Chicago Emily Barrett, Concordia Univerity Chicago Facet of the Center currently include: an expanding collection of manucript and paper that now include thoe of Carl Schalk, Jarolav Vajda, Paul Manz, Walter Pelz, and Ralph Schultz, along with Paul Manz entire collection of tape documenting hi hymn fetival through the year; a erie of monograph (publihed in partnerhip with Lutheran Univerity Pre [LUP]) on people and ubject of great ignificance that long have been overlooked or never before properly repreented in print; larger book are being releaed a well in collaboration with LUP and MorningStar; an expanding array of important book and reference work devoted to church muic; and the digitization (in partnerhip with Hymnary.org) of the vat Schalk hymnal collection; phae I i now complete (ee the CCM webite Publication ection for Center for Church Muic Director Barry Bobb and compoer Carl Schalk at the ceremony in June, 2014, marking the permanent loan of Schalk manucript to the Center. Spring 2015 CroAccent 3

4 TAKENOTE Concordia Univerity pat preident John Johnon, Gloria Hillert, and Carl Schalk cut the ribbon to launch the Center for Church Muic in October a link at the bottom to a page with coding by which thee volume may be located on Hymnary.org). The Center webite ( about-concordia/center-for-church-muic/) addree every apect of the Center activitie and include uch ection a: Profile in American Lutheran Church Muic, a growing number of video interview with leading muician and cholar; thi area alo feature a erie of eay by Victor Gebauer on foundational figure in American Lutheran church muic hitory; two ongoing et of eay, Reflection by Paul Wetermeyer and Perpective by Carl Schalk; Converation, video of noteworthy keynote peeche and preentation; Dicoverie, edited by Scott Hylop, which point reader to reource that are off the beaten track but that other have found to be ueful tool for planning worhip and muic in Lutheran churche; and a continuing erie of Devotion on the Hymn of the Week by a divere array of writer. Emily Barrett, Concordia Univerity Chicago Emily Barrett, Concordia Univerity Chicago From all thi one can ee that growing i a key word. Thing are contantly being added to all component of the Center, Bobb aid, and more exciting plan are on the drawing board. Repreentative of thi dynamic expanion i the idea currently being explored for an open ource digital initiative to can and upload compoer manucript o they can be viewed and tudied online from any location. To learn more about the Center for Church Muic, invetigate it webite, ubcribe to it electronic newletter, and follow it Facebook page ( Alo, make plan to attend the in-depth workhop on the Center being preented by Linda Kempke at ALCM biennial conference July in Atlanta. Nancy Raabe i Aociate in Minitry at Luther Memorial Church, Madion, WI. ALCM member Nancy Raabe and Linda Kempke erve on the Center adviory group. 4 Spring 2015 CroAccent

5 Seek the welfare of the city where I have ent you : 1 Worhip and Civic Fetival by Mark Oldenburg Firt of all, two dreadful torie about time I have worhipped on a Sunday morning, July 4. Dreadful tory #1: At the end of a communion ervice at which I wa a upply preacher, what eparated the bleing from the dimial wa the proceion of four member of the youth group, dreed a if member of the armed force of the United State and carrying American flag, while the congregation ang, My Country, Ti of Thee. Following the ervice, the organit noted that I hadn t ung along and aked why. I aid that I knew myelf well, and that there were a number of thing my wife and my country foremot among them that I loved o deeply that I needed contantly to work to make ure I feared, loved, and truted God above them. It wa clear that that notion had never occurred to her. Nor, of coure, had the notion (which I did not mention) that My Country, Ti of Thee i for mot of it length a hymn about worhipping a god other than God, and that inging uch a hymn in worhip i a practice for which Chritian have died rather than be forced to carry out. The church hould not identify the gopel with any particular ocial caue not love of country, not the value of labor, not parenthood. Thee good are God-given and God-bleed, but they are not God. They can, however, eaily be treated a if they were, if we are not careful. Childe Haam, The Fourth of July, 1916 COUNTERPOINT Spring 2015 CroAccent 5

6 COUNTERPOINT Dreadful tory #2: The town in which we vacation every year i a Norman Rockwell dream, and we look forward to being there on Independence Day. The town parade conit of everal hundred children (from birth to age ten) riding their bike and troller decked out with red, white, and blue bunting following the volunteer fire truck, while the ret of the reident cheer from the idewalk. After enjoying free now cone on the larget lawn in town, people catter for picnic and gather again later to watch the next town firework diplay. Thi particular July 4th fell on a Sunday and, before going to the parade, my wife and I (and everal toddler already porting red, white, and blue T-hirt) attended a church ervice in which Independence Day wa completely ignored: no mention in the preaching, the prayer, or even the announcement. Both of thee are dreadful torie about time in which the churche concerned fell into inappropriate practice but in very different way. Both practice are at leat wateful and at wort idolatrou. Both ignored the advice of Jeremiah to the exile in Babylon (Jeremiah 29:1-23), from which come the title of thi eay. Jeremiah commanded the exile neither to be completely aimilated into Babylon nor to ignore the place where they had been ent by God but rather to ettle in a reident alien, preerving their identity but praying for the welfare of the city where they were. We can and hould do no le! Dreadful tory #1 i dreadful becaue it tempt the church to give up it identity, to enter into idolatrou worhip of the city. Oberving a national holiday in uch a way within a church ervice implie that there i no difference between God and nation and certainly no poibility of conflict. It make of the tate and it ideal (a beloved and generally beneficial a they are) a god that cannot be differentiated from the God we know in Jeu Chrit. Not to mention the effect of that practice on any member of the aembly who are or were citizen of other countrie. It make omething other than the pachal mytery the tory of the death and reurrection of Jeu the center of our worhip. It i dreadful not becaue it i tacky but becaue it i idolatrou. Childe Haam, Jut Off the Avenue, 1916 Dreadful tory #2 i dreadful not becaue it i idolatrou but becaue it i docetit. Docetim denie the full, true humanity of Chrit, attempting to remove him from the material world and attempting to remove the gopel from it cultural expreion. That congregation did not take eriouly it context. By ignoring Independence Day in the prayer depite the fact that people were, in fact, pending the day attending to their country and it benefit the aiting miniter guaranteed that the prayer were not the prayer of the people. Becaue the ermon omitted any reference to how people would be pending the ret of the day, the preacher mied a golden opportunity to connect an important, valued expreion of the people love on the one hand to God love for them on the other. It i dreadful becaue it i a wate. How might a congregation, then, lip between thi devil and that deep blue ea? How to avoid both idolatry and docetim? That ha been a truggle, and not jut for our generation and nation. For ome the truggle i light, while for other it i painful. I ve categorized civic fetival into five group and offered ome uggetion for worhip planning, recognizing that different ituation can move a particular obervance from one category to another. 6 Spring 2015 CroAccent

7 1. Churchy: Thee are fetival that have origin in the church and have obviou continuing connection with it. They would include, for intance, Thankgiving and Martin Luther King Day, a well a St. Patrick Day. Depending on how it oberved, New Year Eve could alo fit into thi category, epecially in The Lutheran Church Miouri Synod and the Wiconin Evangelical Lutheran Synod, where not only leon but a nicely edifying hymn ( Acro the Sky the Shade of Night [LSB 899; CW 60]) are included in recent hymnal. Thi category i an eay one for planner of worhip ince the obervance of thee fetival fit o eaily with the worhip of God and the commemoration of the faithful departed. The obervance of thee [churchy] fetival fit o eaily with the worhip of God. 2. Sale: Thee are obervance that provide many people with day off from work or chool but that do not generally have powerful reonance, even outide of the church. No matter their original intent, they eem preently primarily to be excue for automobile dealer and other merchant to take out advertiement. Preident Day i a prime example, a i Columbu Day in many place and year. Thi category i alo generally an eay one for planner of worhip, ince thee holiday can be eaily and afely ignored. There are time and ituation, however, when thee obervance might move out of thi category. Attention to the effect of European migration on the earlier reident of the America, for intance, would lift Columbu Day into the Mythic category conidered below (although it focue on lament rather than celebration). In other place, ince Columbu Day gained national recognition a a way for Italian and Spanih immigrant to claim their own COUNTERPOINT Itock/pamela moore Spring 2015 CroAccent 7

8 COUNTERPOINT obervance doe not eem to be problematic. Thi i not true, however, of the final two categorie. Itock/yaruta place in the tory of American origin (rather than be marginalized by the dominant Puritan/ Anglo tory incarnated in Thankgiving), there may be context in which that original purpoe would move the holiday into the Mythic category a well. 3. Developing: There are a number of obervance that are gaining trength and that may oon cry out for incluion in the church worhip. Earth Day and the Remembrance of the Holocaut are certainly two of thee, and International Women Day and International AIDS Day would alo belong in thi category. Patriot Day (oberved in ome New England tate on April 19, the anniverary of the battle of Lexington and Concord) would not eem to belong, but April 19 i a date intentionally ued in recent year for terrorit attack by ome antigovernmental group. (It wa originally thought that the Boton Marathon bombing in 2013 fell into thi category, although it now eem that that wa coincidental.) Day in thi category might be oberved with pecial ecumenical or interfaith ervice and certainly hould be included in building the prayer of interceion, but their 4. Vocational: Thi category of obervance include thoe day dedicated to particular calling in the world. While ome of thee (Grandparent Day, Nure Day) eem imply to be excue to purchae greeting card, there are everal that are profound enough to command attention from preparer of worhip: Labor Day, Mother Day, and Father Day. Here we have the firt example of civic fetival powerful enough in their popularity to tempt planner to focu worhip on omething other than the pachal mytery. Thee are alo fetival that run the danger of wounding thoe who are marginalized by them. They deerve to be treated, therefore, with ome care. Firt, of coure, they deerve a place in the general prayer. Prayer of thankgiving for the vocation of parent (and not only biological parent) or of occupation are mot certainly in order. But o are thoe for healing in relationhip (for Mother Day and Father Day) and for the unemployed and underemployed (for Labor Day). Patoral enitivity will dictate how one might include thoe who deire children but are not parent. There are, no doubt, petition poor enough o that ilence would be preferable, but thee hould be edited, not omitted. Second, I would not recommend departing from the lectionary for thee occaion. Nor hould thee be reaon to depart from the planner normal way of chooing hymn, anthem, and other muic pleae God, a mean of proclaiming the gopel and epecially thoe facet of the gopel lifted up by the ervice Scripture reading. A alway, however, pre- and pot-ervice muic i often le obviouly connected to thi tak than muic within the ervice itelf. Third, a alway, the context of the day (of which thee fetival are very much a part) will be part of the len through which the preacher exegete the text. She or he will undoubtedly be enitive to way in which the theme of occupation or parenthood are preent in or illumine the reading. And finally, the figure in the fetival (mother, 8 Spring 2015 CroAccent

9 COUNTERPOINT Jean-Françoi Millet, The Gleaner, 1857 father, worker) may appropriately erve a an icon rather than a idol. That i, rather than be a ditraction from the pachal mytery, that figure could very well be a metaphor exactly for that mytery. For intance, it i unarguable that each of u i alive becaue a woman gave birth to u, at coniderable rik to her own health and even to her own life. Thi i true even if we have never had any further connection with her or if the relationhip ha been trained. While it i not a perfect parallel to Chrit, we undertand Chrit elf-emptying minitry to u better becaue we have received a imilar minitry from our biological mother. An icon, of coure, mut be a broken metaphor that i, one that i obviouly inufficient but an icon will erve a a window into a greater love rather than erve a a competitor with that love. Thu we can appropriately We are faithful reident, placed here by God to work for the benefit of our neighbor in thi place. ue human concept to undertand God, and many of thee father, mother, advocate, builder, healer, teacher, and o on are particularly appropriate on vocation fetival. An additional vocational civic occaion that receive le attention than it deerve, both inide and outide the church, i Election Day, a quinteential tewardhip fetival. Would that it had the cultural power of Mother Day! And would that churche would take the occaion, on the Sunday previou to election, to Spring 2015 CroAccent 9

10 COUNTERPOINT pray for widom and to reflect on our tewardhip of power within our political ytem. And perhap even upport thoe who vote often in our building with tranportation and further prayer. 5. Mythic: I m not uing myth here in it popular meaning, a a tory that i not true. Rather I m uing it in it trict, profound ene: a tory that make ene of the world and which, in fact, create the ocial contruction of the world in which we live. Thee fetival are one that make u who we are. Such fetival would include not only Independence Day but alo Memorial Day and Veteran Day. 2 In different part of the country and in different ubculture there would be additional Mythic fetival, Mardi Gra and Juneteenth, for intance. Mythic fetival could be treated in many of the ame way a vocational fetival. Certainly they belong in the prayer. Certainly they would not require changing the lectionary, although they would erve a lene through which to hear and to proclaim the aigned reading. And mot certainly they would need to avoid the temptation to idolatry. Even the ort of icon to which Mythic holiday lend themelve may be imilar. Memorial Day and Veteran Day both celebrate thoe who, like biological mother, acrificed time, convenience, and even life itelf for our benefit. Thu the figure they celebrate can erve a icon of Chrit. And on Independence Day one might be careful about the hymn one ing: O Beautiful for Spaciou Skie i a ung prayer to God about America wherea My Country, Ti of Thee i a ung prayer to the nation itelf. And one might include in proclamation a clarification of the different meaning liberty and freedom have in Scripture and in Luther writing than they do in popular uage (aided, providentially, by the reading aigned in mot year to the cloet Sunday). What one would not want to do, however, i to aert that love of our country and it ideal i either identical to or incompatible with love of the Triune God. We are reident alien who have here no permanent city. But we are faithful reident, placed here by God to work for the benefit of our neighbor in thi place, deriving afety and properity from it tructure. We are called to give thank for it and to ue the influence we have to improve it, even if we can never make it perfect. To ignore it fetival would be rob u of opportunitie to give thank and to deepen our experience of the gopel. The trick i to celebrate them in uch a way a to proclaim the only true God. Our tak i the one W. H. Auden called u to in the lat line of hi 1944 poem For the Time Being : Love Him in the World of the Fleh; / And at your marriage all it occaion hall dance for joy. 3 Note 1. Jeremiah 29:7 (nrv). Mark Oldenburg i dean of the chapel and Steck-Miller Profeor of the Art of Worhip at Lutheran Theological Seminary at Gettyburg, PA. 2. In recent year thee lat two holiday eem to have been recued from being imply ale holiday (in the cae of Memorial Day, marking a change of eaon) into actual occaion of ignificant depth. It i unfortunate that both focu on military ervice, not becaue uch ervice i unimportant, but becaue there eem to be a popular equation of uch ervice and patriotim, a if no other ervice i patriotic. Thi identification i in tark contrat to Alexi de Tocqueville Democracy in America. In pre-civil War America, apparently, the height of patriotim wa the willingne to volunteer for ervice on town council and other ort of municipal reponibility. 3. For the Time Being (New York: Random Houe, 1944). 10 Spring 2015 CroAccent

11 COUNTERPOINT Jan Victor, Hannah Giving Her Son Samuel to the Priet, 1645 Horn, Heart, Muic, Word: Hannah Song and Venice after the Interdict of 1606 by Paul Frieen-Carper Muic i a ervant of the Word. Thi i a maxim Lutheran church muician will often repeat. (And rightfully o!) The core of our calling i to attend to the Living Word a it peak to the aembly and to facilitate, enrich, and embolden that aembly hearing. On the one hand, thi i daunting. No matter how piouly we approach muic-making in the church or how earnetly we eek to purify it, we are imply unable to make muic only erve the Word. Our fallibility a leader, added to the cultural and experiential preumption that our aemblie bring to worhip, make for a mey reality in which muic in the church erve many mater. Any attempt to correct or deny thi multiplicity i an exercie in fantay. (If you have any doubt, jut ak your muic committee to make election for a Sunday that fall on Mother Day or July Fourth.) On the other hand, when we hear the maxim a decribing our ituation (intead of Spring 2015 CroAccent 11

12 COUNTERPOINT Our fallibility a leader, added to the cultural and experiential preumption that our aemblie bring to worhip, make for a mey reality in which muic in the church erve many mater. precribing it), we are free to trut that muic will erve the Word. Becaue of thi freedom, then, we can trut the Spirit to work through the church muic, teadying u a we urf the wave of other demand for it ervice. Let u be clear: thi ituation in not unique to muic. It i the ame in every other apect of church life: Chrit i with u a we engage the practical with an eye to the eternal. In the pirit of thi freedom I offer one tory of the church ong riding wave of political motion. I tumbled acro thi tory a I wa looking for a way to bridge my muical interet with a form-critical and hitorical analyi of Hannah Song (1 Samuel 2:1-10, My heart exult in the Lord ). When I reearched etting of thi text I found a cluter of eight Latin motet publihed in Venice and Rome between 1608 and In contrat, there were jut two etting from elewhere around the ame time 2 and le than a dozen prinkled from 1680 to the preent. 3 In comparing the etting, I realized that not only the muic but alo the text differed. My interet piqued, I earched out an explanation for the brief blooming of etting of verion of thi text. What I found uggeted that thi ong wa tied to the political context of the day. The tory connect the general ue of muic in religio-civic propaganda, the pecific interet of Venice during and after the interdict of 1606, and the live and muic of the compoer who et thi text. Ritual, Muic, and the Myth of Venice The Song of Hannah function for Venetian hitory a a upport for what cholar call the Myth of Venice. A the fortune of the Venetian empire peaked in the 14th and 15th centurie, and epecially a thoe fortune began to wane in the 16th and 17th centurie, the Myth of Venice wa a concerted and pervaive effort to cultivate Venice image a a paragon of citie. Thi idea i eential to any undertanding of the city culture. In a recent brief hitory of the city, a prominent cholar of Venice devote an entire chapter of her book to the way Venetian propped up claim that the city wa encapulated in timele tability [and] that the entire community offered unquetioned loyalty to the city, that the city alo enjoyed pecial favor: from God and from St. Mark [and] further that Venice wa bleed with excellent ruler and uperior intitution, and finally, that by providence, thi ideal city and it immaculate ruling cla were detined to endure forever. 4 Petrarch oft-quoted word quinteentially decribe Venice a a city rich in gold but richer in renown, mighty in work but mightier in virtue, founded on olid marble but etablihed on the more olid foundation of civic concord, urrounded by the alty wave but ecure through her altier council. 5 Literature, architecture, art, and muic all fed thi myth. It mot conitent reiteration wa the cycle of ritual celebrating the religio-civic occaion that liberally alted it calendar, thu putting the order and virtue of Venetian ociety on diplay. The center of thi ritual life wa the Piazza San Marco, where the palace of the doge (Venice elected leader for life) and the Bailica San Marco exited phyically and ymbolically ide by ide. The liturgie that were included on thee occaion uually took place inide the bailica. Muic wa an integral part of thee celebration, both a part of the church official liturgie and a part of the aociated proceion. The Bailica San Marco with it ditinctive muic wa a howpiece for the doge and for Venice. One ee thi depicted metaphorically in the Loggetta, a mall building decorated with tatue that tand prominently at the bae of the campanile of San Marco. One of thee tatue i explained a follow: [Apollo] ignifie the Sun, and the Sun i truly one, unique ; thu thi Republic 12 Spring 2015 CroAccent

13 COUNTERPOINT Giovanni Bellini, Corpu Chriti Proceion in St Mark Square, Venice. c by virtue of the contitution of it law, it unity, and it uncorrupted liberty, i unique in the world, ruled with jutice and with widom. In addition, it i known that thi nation take natural delight in muic, and therefore Apollo i repreented to ignify muic. And ince from the union of it Magitrate joined together with inexpreible temperament iue extraordinary harmony, which perpetuate thi admirable government, Apollo wa therefore depicted. 6 Muic upport of the myth i alo evident in the 1527 procurement for the bailica of the era mot famou compoer, Adrian Willaert, and in the development of a dream team that urrounded him. Similarly well-known muician followed, the bet-known being Andrea and Giovanni Gabrieli, Claudio Merulo, Aleandro Grandi, and Claudio Monteverdi. The virtuoi, inger and intrumentalit, employed at the bailica alo erved the variou tate occaion. The plendor and renown of Venetian Let u be clear: thi ituation in not unique to muic. It i the ame in every other apect of church life: Chrit i with u a we engage the practical with an eye to the eternal. muic reached it apex in the firt year of the 1600, and an increaing number of viitor publihed unabahedly laudatory account of the muic. 7 The myth wa built not only by the name of the muician of the bailica but alo by the muic itelf. The polyphonic tyle that flowered in Renaiance muic found pecial expreion in double-choir muic, epecially that of the Gabrieli, that made ue of the double balconie and vocal force unique to Bailica San Marco. A tyle born here, known a muic pezzatta, ued different group of voice, intrument, or both to create variation in timbre, range, and volume that enriched the le-complicated and more-undertandable text etting preferred after the Spring 2015 CroAccent 13

14 COUNTERPOINT Exultavit cor meum 1 a Exultavit cor meum in Domino, b et exultatum et cornu meum in Deo meo. c Dilatatum et o meum uper inimico meo d quia laetata um in alutari tuo. 2 a Non et anctu ut et Dominu: b neque enim et aliu extra te, c et non et forti icut Deu noter. 3 a Nolite multiplicare loqui ublimia gloriante. b Recedant vetera de ore vetro: c quia Deu cientiarum Dominu et, d et ipi praeparantur cogitatione. 1 a My heart ha exulted in the Lord, b and my horn i exalted in my God. c My mouth ha been enlarged over my enemie, d for I have rejoiced in your alvation. 2 a There i none holy a i the Lord. b For there i no other beide you, c And there i none trong like our God. 3 a Do not multiply to utter lofty thing, bragging. b Let old thing depart from your mouth, c for the Lord i a God of knowledge, d and to him are thought prepared Table 1: Setting of Exultavit cor meum publihed in Italy, (by date of compoition) Compoer Publication Likely Employment Vere et Intrumentation Key Meaure place, date compoition during (Variation from date compoition primary text) Giovanni Venice, Organit, Vere 1 2 SAATTB One flat 63 Gabrieli (publihed San Marco, (1c: eto and w/ bao eguente pothumouly) Venice m. 18 cor 1d: laetatu and alutari meo) Ceario Venice, Organit, Vere 1 2 SATB x2 One flat 86 (counting Guago Santa Maria (1d: alutari meo w/ unpecified infonia delle Grazie, Brecia 2b: aliud) intrument twice) Raffaele Rome, Singer, Arezzo Vere 1 Soprano & ba No flat 38 Bartei or Rome (1b: cor meum w/ bao eguente or harp 1c: cor meum) Ivan Venice, Student of Finetti Vere 1 Tenor & ba No flat 64 Lukačić in Venice? w/ bao continuo or harp Stefano Venice, 1624? 1622 Maetro di Capella, unknown 8 voice unknown 65 Bernardi Verona Cathedral w/ unpecified intrument Girolamo Rome, 1627 Sometime Organit of the Vere 1a c Tenor No flat 37 Frecobaldi before 1627 Capella Giulia of (1a: exultavit w/ bao continuo or harp S. Pietro, and other 1b: exultatum) work for noble and churche Heinrich Venice, Student in Venice, Vere 1 2 Soprano, two One flat 148 Schütz on extended leave violin & from Kapellmeiter bao continuo dutie in Dreden Giovanni Venice, Vice Maetro di Vere 1 3 Two oprano One flat 85 Rovetta Capella, San Marco, (or tenor) Venice & bao continuo 14 Spring 2015 CroAccent

15 Counter-Reformation council. It i worth noting that thi tyle wa o connected to Bailica San Marco that long after it had gone out of vogue in the ret of Italy it ue (even into the 18th century) wa till a requirement for thoe grand tate occaion that the doge attended and during which the magnificent, golden altarpiece the Pala d oro wa opened. The ervice were lavihly adorned with muic. Bailica San Marco muician wrote contantly. Motet on acred text and intrumental muic proliferated in the church ervice and were ued a antiphon or in addition to them. While thi practice wa common in Italy, it found pecial abundance in Venice. The Interdict of In 1606 Pope Paul V impoed an interdict (the denial of acrament and other eccleiatical privilege derived from, but hort of, excommunication) on Venice. It wa the culmination both of papal aertion of power in Italy that came in the wake of the Counter Reformation and of the emphai on ecular authority in Venice. Pope Clement VIII had recently tried to rein in the Venetian church, which enjoyed a ignificant amount of freedom: near complete autonomy at the bailica, meaured authority over the clergy of the region urrounding Venice, law againt elling property to the church, and relative religiou tolerance. The conflict peaked oon after Clement died and the legalit, domineering new Pope Paul V wa elected. The matter came to a head when Venice tried, convicted, and punihed two priet. In With thi hitorical ketch we can ee the tumultuou jumble of religiou, civic, and political agenda that contextualize thee motet etting. We can ee the ue of both pre and ritual a political tactic. repone the pope put Venice under threat of interdict. The Venetian did not balk, arguing that a prince wa directly reponible to God for the good of the people and not to God intermediary. The interdict went into effect jut before St. Mark day and Corpu Chriti, a calculated papal tactic to curb civic pride and to convince the Venetian public their government wa willing to deprive them of the acrament. The Venetian argued in turn that the interdict wa invalid becaue the pope had overreached by uing hi piritual authority in ecular matter. The war of word began and oon pamphlet flew from the pree in Rome and Venice. Corpu Chriti wa an important obervance for the Venetian. Civic and religiou leader took part in the occaion together, diplaying Venetian civic piety and clerical loyalty to Venice. Ma wa celebrated with great pomp in the bailica. In the accompanying proceion, group carried float with tate-veru-church logan, uch a Render to Caear the thing that are Caear, and to God the thing that are God, and My kingdom i not of thi world. Float alo portrayed uch cene a Doge Doná alongide St. Franci and St. Dominic (whoe order defied the interdict) upporting a crumbling church. Venice defiance won out, owing to both public and foreign upport: in 1607 ecret negotiation ecured the end of the interdict. Afterward the matter wa officially quieted, and Venetian returned to cultivating the myth of Venice uperior religiouity through good interaction with the Roman church. Over the next 20 year relation were motly quiet. In 1628, however, there wa a war in which Venice joined antipapal interet to keep the pope temporal power circumcribed. The pope wa defeated but war brought plague, and in 1630 a third of Venice population perihed. With thi hitorical ketch we can ee the tumultuou jumble of religiou, civic, and political agenda that contextualize thee motet etting. We can ee the ue of both pre and ritual a political tactic. In addition we can begin to make ene of not only the number but alo the variation of the motet etting we encounter. COUNTERPOINT Spring 2015 CroAccent 15

16 COUNTERPOINT The wet facade of St. Mark Bailica in Venice The Motet Giovanni Gabrieli Gabrieli etting wa publihed a part of a collection of hi work. Giovanni ucceeded hi uncle Andrea in 1585 a organit and compoer at Bailica San Marco, where he remained until hi death in 1612 and thu wa the organit during the interdict. Though the motet i not a double-choir piece, it i written in the tyle of muic pezzatta. The vere of the text that Gabrieli et focu on two apect: the exultation and alvation of the inger and the incomparability of God, topic that ring with the rhetoric of the interdict. The motet may even have been written for Corpu Chriti in A number of coincidence point in that direction. Firt, the verion from the Ode (a Perhap Hannah voice i the voice of Venice itelf, predipoed to aertion of purity and inviolability. deuterocanonical collection of canticle from the Old and New Tetament found in ome Greek manucript) i known a the Canticle of Anne and wa uppoedly ung upon the birth of Mary. Add thi to it imilarity to the Magnificat of Mary and a ditinct Marian connection appear. Further, add Mary ue a a repreentation of the city in Venetian art with her virginity a metaphor for the city and Hannah Song could take on a different tory. Perhap Hannah voice i the voice of Venice itelf, predipoed to aertion of purity and inviolability. Wikimedia 16 Spring 2015 CroAccent

17 Thu Cor meum ( my heart ) i now Venice heart and civic pride. Cornu meum, the uplifted horn, belong to the doge, whoe corno ducale ( ducal horn ) wa the ymbol of hi office. Now Venice mouth, opened over her enemie, echoe public entiment. Gabrieli etting ugget we might not be far off in making thee connection. The image of the lifted horn i particularly emphaized by Gabrieli etting of the word et exultatum et cornu meum. He build our expectation by breaking the polyphonic texture and giving et exultatum et to three voice in acending, parallel, inverted triad that are immediately imitated by the other three voice. Polyphony reume before a cadence that clearly communicate the word cornu meum. Gabrieli text read alutari meo, letting the inger claim her alvation intead of making it God alvation: God now provide Venice with her alvation. The text non et anctu ut et Dominu receive emphai a well, a the rhythm get longer and the texture uddenly become much more homophonic. Homophony alo emphaize aliu extra te. The duration of icut Deu noter i twice that of any other ection. Thee three aertion of God incomparability eaily could have been among float from the Corpu Chriti proceion. None i holy like the Lord aert divine priority over papal authority even in piritual matter. There i no other beide you implie that allegiance belong to God rather than to the pope. None i trong a our God forecat the end of the interdict going in Venice favor. Certainly it would have been a quick job to go from the announcement of the interdict to a full piece four week later written for the Corpu Chriti celebration. Perhap that account for thi piece mere ix voice when compared to the etting in the ret of the collection in which it appear, mot for eight or twelve voice but going up to nineteen. One might think that uch mall force repreented the maller cale of Bailica San Marco in Gabrieli early day, but the adventurou ue of chromaticim ugget otherwie. Poibly thi allowed the compoer to complete hi tak for ue in the bailica. Or perhap ix voice reflected the reource of the religiou confraternity Gabrieli erved a organit and wa ued in their portion of the proceion. In either cae, it eem that thi piece wa event-pecific. Ceario Guago While it i likely that the maetro di capella at Santa Maria della Grazie remained in Brecia to upervie hi own church Corpu Chriti celebration, new of the Venetian interdict pread quickly and urely would have reached Guago ear. Hi etting wa likely a repone to the interdict either a a how of upport or imply a a mean of adapting the trendetting Venetian practice. In either cae, it i clear from Guago other publihed muic that he wa greatly influenced by the homophonic and multichoral tyle of Giovanni Gabrieli. The text he et i practically the ame a Gabrieli and hi etting ha emphae imilar to Gabrieli. He ue the highet note of the piece on the word cornu and voice it with the A doubled in four octave and an E and a C# near the top. Auming thi motet wa ued a a replacement or upplemental antiphon in worhip, it likely wa meant for the ame purpoe a Gabrieli, ince both etting hare one flat in the key ignature. It wa included with a few other motet at the end of a collection of Guago intrumental work publihed to trade on Brecia pretige a an intrumental center while alo promoting Guago choral writing. Raffaele Bartei Not much i known about Bartei except that he wa the nephew of the more-famou Girolamo Bartei. Born in Arezzo in 1592, he ang a a treble there, then moved to Rome and ang contralto at St. John Lateran from 1609 until hi death ometime before Thi motet and one other are all we have of hi work, and we know them becaue of their incluion in hi uncle publication. A a young muician looking to make hi mark, Bartei likely aw in Hannah Song an opportunity to ue political movement to hi advantage. Bartei etting ue a verion of the Song of Hannah that ubtitute cor for both cornu COUNTERPOINT Spring 2015 CroAccent 17

18 COUNTERPOINT and o, making vere 1b c read and my heart i exalted in my God. My heart i enlarged over my enemie. While it might be tempting to write thi off a a mitake, the horn prominence in Guago and Gabriel etting make it abence conpicuou here. In fact, the text ound exactly like the Roman rhetoric about the interdict. Giovanni Antonio Bovio, an important papalit writer during the interdict explained it thi way: Politic ordain the whole body of the republic under an earthly prince, religion order both the entire republic and it head under the upreme Head and Lord God. Politic rule and govern earthly thing, religion direct them to the eternal. Politic i occupied for the mot part with what pertain to the body and to corporal thing, religion with that which concern the alvation of oul. 8 It i the heart or oul that i raied up over Rome enemie rather than the horn or doge that i raied up over Venice enemy. Additionally, Bartei et only the firt vere of Hannah Song, thu avoiding any comment about whether ultimate allegiance wa owed either to God or to the pope. It i poible that the text abbreviation i a matter of liturgical ue rather than political intention. A one-vere motet, epecially with uch a mall requirement of force, might have been meant for ue a an antiphon for Wedneday Laud in the penitential eaon of Lent and Advent when it wa the appointed text. Laud wa a ervice motly for cleric and monatic, however, and there would have been little demand for a fully compoed antiphon. It make more ene to undertand the piece a a rebuttal to the Venetian etting of the text, made by tripping it of alluion to the doge and by avoiding any challenge to papal authority. A a young muician looking to make hi mark, Bartei likely aw in Hannah Song an opportunity to ue political movement to hi advantage. Lukačić, Bernardi, Frecobaldi, Schütz, and Rovetta A ummary of the remaining etting how that the thread of the interdict remained connected to thi motet. Lukačić etting i that of a Roman-educated maetro working and tudying in Venice. Depite it ue of bao continuo, a central Italian element till omewhat novel to Venice, it publication in Venice and it affinitie with Gabrieli etting (i.e., the muical emphai on cornu and the length of the work) ugget it may have been written for Venetian ceremonial uage. Bernardi etting i imilar to Guago and eem to weigh in on the Venetian ide. Frecobaldi, the foremot Italian keyboard compoer of hi time, included the motet in hi firt choral output, publihed during hi tenure a organit at the papal bailica. Sharing a key ignature and a comparatively hort length with Bartei etting, it i certainly Roman, but the text i corrected and the compoer eem more intereted in making a tatement about the muician virtuoity than about politic or piety. Schütz, a tudent of Gabrieli from 1609 to 1612, included thi motet in a collection publihed during hi econd viit to Venice. The etting temper the polemical emphae of hi teacher, reflecting the conciliatory attitude of Venetian leader toward Rome at the time. Hi emphatic etting of the econd vere, however, might betray a Lutheran kepticim about abolute mediator of divine authority, namely the pope. Rovetta etting, publihed while he erved a Monteverdi aitant at Bailica San Marco, while till probably meant for the ducal chapel, left behind the pomp of it predeceor and wa the only one to include the third vere. Perhap after war and plague thi unprecedented incluion repreent a call to give up the polemic that originally inpired the ong etting. It certainly provide a fitting concluion to thi tory. Concluding Thought on the Motet Up to thi point I have argued that political context wa part of each compoer intent. But till I wonder: were the compoer really politically motivated? Did the firt audience really hear the 18 Spring 2015 CroAccent

19 Did the firt audience really hear the ong a protet ong? I have no perfect window into the compoer or hearer oul. COUNTERPOINT I can tell the tory o that we who make muic in the church can ee ourelve alongide Gabrieli and the other in the complicated reality in which muic happen. ong a protet ong? I have no perfect window into the compoer or hearer oul. For that matter, compoing i not a graceful weep from purity of conception to clarity of expreion. Rather it i a long log through variouly ugly compromie. Even after that, compoer have no real control over how their work i received. What thi tory make clear, at leat, i that Rome and Venice had competing interet in different kind of etting of Hannah Song. The motet that came out of thi competition would have given litener divergent view of the interdict and of early 17th-century Venetian politic, were they to liten carefully. Servant Muic Muic i a ervant of the Word. Can thi maxim till apply to thee motet mired in their political context? Thi i not a quetion that can be aked or anwered academically. I may laud the way ome of the motet upported the retiring of interdiction and I may criticize the appropriation of worhip for civic or national goal, but I cannot pretend to be ure that God agree with me. What I can do i trut that God, who The double balcony at the Patriarchal Cathedral Bailica of Saint Mark. Spring 2015 CroAccent 19

20 COUNTERPOINT promied to be with u alway, wa at work for God people even in the political me of the interdict. I can tell the tory o that we who make muic in the church can ee ourelve alongide Gabrieli and the other in the complicated reality in which muic happen. Muic i powerful. It turn idea into belief. It unifie and divide people. Song take on unpredictable meaning becaue of who ing it and how and where it i ung. It elevate the everyday into the realm of the mythical. Thi i why muic erve the powerful, faith-creating, unifying, dividing, unpredictable, ennobling Word. Thi i alo why it ervice i o ought after. So, church muician, if I may be o bold a to offer u advice: pay attention to the word, to the world, and to the Word! Learn the hitorie of what you play and ing. Know what expectation and connection your aembly bring to worhip. Liten to the way God i working through muic in your aembly. Paul Frieen-Carper i a church muician, compoer, inger, and multi-intrumentalit erving Trinity Lutheran Church in Richmond, MI. He hold an MA in theology from the Lutheran School of Theology at Chicago (IL) and a BA in muic from Valparaio Univerity (IN). Note 1. Thee are by Ceario Guago (Venice, 1608), Raffaele Bartei (Rome, 1609), Giovanni Gabrieli (Venice, publihed pothumouly, 1615), Ivan Lukačić (Venice, 1620), Stefano Bernardi (Venice, 1624?), Girolamo Frecobaldi (Rome, 1627), Heinrich Schütz (Venice, 1629), and Giovanni Rovetta (Venice, 1635). A YouTube playlit of everal of thee piece may be found at com/playlit?lit=plwqqo7ofqdwqagdqmin45i- 80vUDrh9IEi. 2. Thee are by Han Leo Haler (Nuremberg, 1601) and Orlando Gibbon (London, 1623). 3. Thee are by Marc-Antoine Charpentier (France, 1680), Franci Girout (France, 1777), Daniël de Lange (Netherland, 1883), and F. Jean Read (England, 1894). There are alo a handful of etting from the econd half of the 20th century to the preent. 4. Joanne M. Ferraro, Venice: Hitory of the Floating City (New York: Cambridge Univerity Pre, 2012), Quoted in Ellen Roand, Muic in the Myth of Venice, Renaiance Quarterly 30 (1977): Ibid., Ferraro, Quoted in William J. Bouwma, Venice and the Defene of Republican Liberty: Renaiance Value in the Age of the Counter Reformation (Berkeley: Univerity of California Pre, 1968), Spring 2015 CroAccent

21 COUNTERPOINT Itock/meinzahn Faithful Chritian, Concientiou Citizen: Independence Day and Aembly Song by Chad Fothergill During Time after Pentecot, the text of Lectionary 14 (Proper 9) will fall on a Sunday between July 3 and July 9, a range that include the American national holiday doubly known a Independence Day and the Fourth of July. On thi Sunday many pator and muician feel compelled to chart a middle coure through the entitie of church and tate that interect when celebrating citizen come to worhip (I ue middle coure intentionally, for our baptim into the death and reurrection of Chrit make it impoible to eparate Chritian worhip from Chritian living). A with planning for any Sunday, quetion about what to ay, ing, and pray hould be guided by uch prompt a thee from one of the Evangelical Lutheran Worhip companion volume: I a hymn or prayer able to be voiced by the whole community uing it, or doe it narrowly decribe an individual experience? Doe it give the impreion that our work will gain u favor with God? Doe it glo over the reality of the world uffering? Doe it repreent only a theology of glory, or i there a theology of the cro? Doe it exclude anyone in the aembly? Quetion like thee help u dicern wiely text that can truly carry the aembly proclamation, and they help u enure a healthy balance of emphae in all the expreion that are ued on a given day. 1 Spring 2015 CroAccent 21

22 COUNTERPOINT On the Sunday cloet to Independence Day an intance when civic and Chritian identitie are both brought into relief we are often aked to conider, in addition to the quetion above, the appropriatene of including national or patriotic muic in worhip. Should we ing patriotic hymn? Doe praie and thankgiving alone glo over the uffering around u? What will define any American expreion ued on thi day: hared geographic border or hared value? What are thoe value? What are the implication of offering ervice muic by only American compoer? What doe a healthy balance of emphae between Independence Day and Lectionary 14 look like? Thee type of quetion, in turn, teer pator and muician toward a larger, highly nuanced dialogue that Peter J. Gome once propoed in a ermon about patriotim at Harvard Memorial Church: What i it that will help u to be both concientiou citizen and faithful Chritian? Are the two mutually excluive, or i it poible, omehow, to live reponibly in the tenion between thoe two claim? 2 A with any other Sunday, planning hould begin with the day Scripture reading. Broadly viewed, the text for Lectionary 14 can, in fact, be een a a erie of vignette about national behavior toward both God and individual. Rarely, though, are nation and citizen behaving reponibly. For example, God commiion of the prophet Ezekiel i intended for a nation of rebel whoe decendant are impudent and tubborn (Ezekiel 2:3-4); the palmit lament their oppreion (Palm 123) and offer thank for deliverance from captor (Palm 66); Jeu i rejected by the reident of hi native community We are free to love one another, free to agree and to diagree, free to work for jutice and peace, free to care about thi remarkable creation God ha given u, free to care about the common good. at the end of hi Galilean minitry (Mark 6:1-6); and Paul write an indictment of worldly widom, a conglomerate of ocial, economic, political, and military interet what Marcu Borg and John Dominic Croan call imperial normalcy 5 that tand oppoed to God viion of a new creation (Galatian 6:1-17). Yet even in the midt of tribulation, the voice of the prophet, palmit, and evangelit point beyond their context to God a overeign ruler of all nation, promoting God viion of jutice, healing, and peace in the world, regardle of hardhip or danger (Palm 145; Luke 10). Their word comprie a tark, neceary reminder that earthly machination by nation and citizen will never outmaneuver or outlat God eternal kingdom where, in word of Walter Brueggemann, God regal power i mobilized to care for the otherwie uncared for. 6 Paul, too, dwell upon larger communal concern, encouraging the Galatian to et aide elf-interet and intead work for the good of all (Galatian 6:10). Taken together, thee paage model the tenion embodied by God people a dual citizen of a temporary earthly kingdom and an eternal heavenly kingdom, forerunner of Luther two-kingdom worldview in which mutual cooperation (even ymbioi) between one Theme in the Lectionary 3 Lectionary Year B Sixth Sunday after Pentecot 5 July 2015 Ezekiel 2:1-5 Palm Corinthian 12:2-10 Mark 6:1-13 Lectionary Year C Seventh Sunday after Pentecot 3 July 2016 Iaiah 66:10-14 Palm 66:1-9 Galatian 6:[1-6] 7-16 Luke 10:1-11, Lectionary Year A Fifth Sunday after Pentecot 9 July Zechariah 9:9-12 Palm 145:8-14 Roman 7:15-25a Matthew 11:16-19, Spring 2015 CroAccent

23 citizenhip and one faith i far more valuable than mutual excluion. In Luther and the Hungry Poor Samuel Torvend remind u that even by the 1520 the reformer own writing on buine practice erved a a cogent argument for Chritian engagement in ocial and economic quetion, adding that, while other reformer would attempt to tranform ociety into a Chritian tate or etablih a holy community eparately, at the margin of ociety, Luther conitently labored for another poition: Chritian engagement with ociety. 7 However, an honet Chritian engagement with ociety require u like Ezekiel, Paul, and other voice in Lectionary 14 to articulate the harh realitie of the world around u, down the treet, acro town, throughout the nation. Thi i the very eence of patriotim (from the Latin patriota, or countryman ), the etting aide of elf-interet in order to name communal problem and arrive, by way of compromie, at equitable reolution. Unfortunately, patriotim i often conflated with nationalim, wherein alternative or unpopular view of a nation character are diuaded or ilenced, often through vicioune and violence. Put imply (chillingly) by Steven Groby, profeor of religion at Clemon Univerity, nationalim eek to weep aide the many complication that alway are a part of life a it actually i, all the while promoting a ytematic, uncompromiing, and unrealitic view of the world. 8 Nationalim unchecked ow the eed for exceptionalim and empire a bation for the imperial normalcy decribed by Borg and Croan where the hunger for power and pretige by one group invariably erve a a catalyt for injutice and inequality toward other. If you re wondering by now what any of thi actually ha to do with aembly ong for Lectionary 14, it i thi point made by Paul Wetermeyer: When the emperor take on God-like power that preume it i legitimate to cruh anyone who ha whatever the empire want, the church, like ancient Irael, i called to object. It may be that today church muician are called to articulate thi objection mot boldly and to remind u that the proud are cattered in the imagination of their heart. 9 Independence Day in the United State i a celebratory occaion and rightly o: a a nation we have much to be thankful for and hould render our praie and thankgiving to God for the bleing of peace, freedom, properity, and a landcape of vibrant beauty. But thee gift are not hared by all, and failure to acknowledge the intolerance, arrogance, narciim, dihonety, and injutice of our pat and preent in voice, prayer, or ong only perpetuate the ame captivity and exile of the Iraelite and the rejection of Jeu by the Nazarene. We become the impudent and tubborn people whom Ezekiel i commiioned to warn, and we hy away from the hand-on pattern of Chritian engagement modeled by Luther. Wetermeyer remind u that a dual citizen we are bleed with civic and Chritian freedom and not jut a elf-intereted freedom from omething we don t happen to like, but a freedom for action: We are free to love one another, free to agree and to diagree, free to work for jutice and peace, free to care about thi remarkable creation God ha given u, free to care about the common good, free to turn away from our elfih and ingrown motive to live for other. 10 Theme for Aembly Song While hymn for the nation and other national ong (Evangelical Lutheran Worhip [ELW] , Lutheran Service Book [LSB] , Chritian Worhip [CW] ) may be appropriate for Lectionary 14, our dual role a concientiou citizen and faithful Chritian encourage u to look beyond ourelve and pat hymn of mere platitude toward text that can reinforce the theme of jutice, ervice, and God overeignty that are woven through Lectionary 14. In chooing hymn, writing a newletter column, or compiling muic note, pator and muician may conider: inging about the freedom we have through our baptim into the death and reurrection of Chrit; COUNTERPOINT Spring 2015 CroAccent 23

24 COUNTERPOINT Hymn Suggetion for Lectionary 14 and Independence Day All Who Love and Serve Your City (ELW 724) Come to Me, All Pilgrim Thirty (ELW 777), epecially for Matthew 11 in year A Come unto Me, Ye Weary (CW 336), epecially for Matthew 11 in year A Eternal [Almighty] Father, Strong to Save (ELW 756, LSB 717, CW 517) Forgive U, Lord, for Shallow Thankfulne (LSB 788, CW 482), epecially for Galatian 6 in year C Forth in the Peace of Chrit We Go (LSB 920, CW 518) Here, O Lord, Your Servant Gather (ELW 530) Hope of the World (LSB 690) In Chrit There I No Eat or Wet (ELW 650, LSB 653, CW 539) Let Stream of Living Jutice (ELW 710) Lift Every Voice and Sing (ELW 841, LSB 964) Lord, Help U Walk Your Servant Way (LSB 857) Magnificat etting (e.g., Canticle of the Turning, ELW 723; Tell Out, My Soul, the Greatne of the Lord, LSB 935; and My Soul Now Magnifie the Lord, CW 274) My Hope I Built on Nothing Le (ELW 596, 597, LSB 575, 576, CW 382) Not unto U (LSB 558, CW 392) O God of Every Nation (ELW 713) O God of Light (ELW 507, LSB 836) O God of Love, O King of Peace (ELW 749, LSB 751, CW 519) 13 Rie, Shine, You People! (ELW 665, LSB 825, CW 556) The Church of Chrit, in Every Age (ELW 729) The Son of God, Our Chrit (ELW 584, CW 525) Weary of All Trumpeting (CW 527) What I the World to Me (LSB 730, CW 477) Your Hand, O Lord, in Day of Old (LSB 846, CW 520) uing uch etting a Native American melodie (e.g., Lac qui Parle, Many and Great, ELW 837), a Japanee melody (e.g., Tōkyō, Here, O Lord, Your Servant Gather, ELW 530), or African American piritual, all of which encourage u to remember that American nation-building i not a one-ided glory tory but ha come at ignificant cot to our iter and brother once thought (till thought by ome) to be a danger, a commodity, or an other ; celebrating the diverity of muical tyle brought to the United State by immigrant, including the major wave of Lutheran immigration to the Delaware Valley in the 17th century and the Midwet in the 19th century; chooing text that lift up the miion of the church in the world a a mean of retoring God jutice, uch a a etting of the jutice-themed Magnificat; electing text that make deliberate ue of the holiday aociated imagery and keyword uch a God Who Stretched the Spangled Heaven (ELW 771), Lord of All Nation, Grant Me Grace (ELW 716, LSB 844, CW 521), or the Taizé chant, Sing, Praie, and Ble the Lord People! Nation! ; 11 inging a hymn text by Franci Scott Key, Before You, Lord, [Before the Lord] We Bow (ELW 893, LSB 966, CW 618); or ome of the additional hymn uggetion printed above. 24 Spring 2015 CroAccent

25 Worhip leader may alo wih to conult ynodical reource for miion a a reminder of the many place where ocietal engagement may bring hope, awarene, compaion, light, and love; webite linked to government office and relief organization uch a advocacy, and www. wel.net/aom/chritian-aid-and-relief may be particularly ueful. Each aembly gathering of coure will be haped by it own tradition, phyical environment, and abilitie. Whatever we ing, we hould remember that we are after all only tenant and teward reident alien of God creation. The local, tate, and national identitie we ubcribe to are ephemeral and, a made plain by the American evangelical theologian Ruell Moore, there will come a day when Old Glory yield to an older glory, when the new republic uccumb to a new creation. 12 Chad Fothergill hold an MA in organ performance from the Univerity of Iowa, where he ha alo completed reidency requirement toward a PhD in muicology. He currently erve a cantor at Univerity Lutheran Church of the Incarnation, Philadelphia, PA, and i a viiting faculty member at the Univerity of Delaware, where he teache undergraduate and graduate coure in muic hitory. Note 1. Lorraine S. Brugh and Gordon W. Lathrop, The Sunday Aembly, Uing Evangelical Lutheran Worhip, vol. 1 (Minneapoli: Augburg Fortre, 2008), Peter J. Gome, Patriotim I Not Enough, in Strength for the Journey: Biblical Widom for Daily Living: A New Collection of Sermon (New York: HarperCollin, 2003), The text referenced here are drawn from the complementary erie of the Revied Common Lectionary wherein the Old Tetament reading and palmody relate to the econd leon and gopel. All biblical quote are from the New Revied Standard Verion. 4. In 2017, Lectionary 13 will fall much cloer to Independence Day than Lectionary 14. Attentive worhip leader may wih to examine thee text Matthew gopel thi day i, after all, a meage of welcome for theme that hold civic and Chritian claim together. 5. Marcu J. Borg and John Dominic Croan, The Firt Paul: Reclaiming the Radical Viionary Behind the Church Conervative Icon (New York: Harper- Collin, 2009), Walter Brueggemann, The Meage of the Palm: A Theological Commentary (Minneapoli: Augburg, 1984), Samuel Torvend, Luther and the Hungry Poor: Gathered Fragment (Minneapoli: Fortre, 2008), Steven Groby, Nationalim: A Very Short Introduction (Oxford: Oxford Univerity Pre, 2005), Paul Wetermeyer, Rie, O Church: Reflection on the Church, It Muic, and Empire (Fenton, MO: MorningStar, 2008), Ibid., In Jacque Berthier, Taizé: Song for Prayer (Chicago: GIA, 1998). 12. Dougla Wilon, Lia Velthoue, and Ruell D. Moore, Should Churche Diplay the American Flag in Their Sanctuarie? Chritianity Today 56, no. 7 (July/Augut 2012), 82; Thinking of lighter work typical for many ummer choir, thi text i alo available a Prayer for Peace, a two-part mixed anthem with optional aembly et by David Cherwien and publihed by MorningStar (MSM ). COUNTERPOINT Spring 2015 CroAccent 25

26 THANKYOU Thank you to our 2014 Donor! The following made contribution between January 1 t and December 31 t 2014 to upport ALCM Annual Fund, Biennial and Regional Conference, and the Cantor Connection: Columbu chapter. One individual became a lifetime member. Contribution made in honor of (IHO) and in memory of (IMO) individual are o noted. We are grateful for the upport thee gift provided ALCM lat year. SPECIAL GRANTS Metropolitan New York Synod of the ELCA - $15,000 Thrivent Financial - $10,000 LIFETIME MEMBER Nancy Raabe ANNUAL FUND DONORS $1,000-$1,250 Beth & Kevin Barger Robert & Linda Kempke St. Luke Lutheran Church, Park Ridge, IL $251-$500 Lorraine S. Brugh Kim Cramer Michael & Linda Krentz Wanda L. Krentz Linda Martin Rev. John D. Morri Mark W. Oldenburg Anne Krentz Organ Our Saviour Evangelical Lutheran Church IHO Barbara Kudirka David C. Ritter Thoma & Kathy Schmidt Etate of Florence L. Sponberg John Weit $101-$250 Alice Caldwell Carol H. Churchill Norman & Ethel Geit Thoma A. Gerke Sarah Hawbecker Eunice Kanning Ronald E. Koch Margaret McMillan Virginia & Mark Meyer IMO Ida Meyer Gregory & Ann Peteron Jame & Stephanie Rindelaub Brian Wentzel Kathryn Zita Weyland $51-$100 Kate Adelman Mary Anna Anderon Karen J. Anderon Steven C. Berg David L. Beyer Patrick J. Bier Karl & Daniele Bruhn Pamela Carlon IHO the taff & anctuary choir of Mount Calvary Lutheran David Cherwien Marilyn Comer Sandra D. Deiter Cheryl E. Dieter Betty & Philip Gehring Julie Grindle Judith A. Holden Cynthia Holden Amanda Huberg Martha J. Irael Helen Iveron-Metzger Beverly Jedynak Carolyn Jenning J. Scott Jone George F. Joyner Karol K. Kimmell IMO Don Buarow, teacher Barbara Kudirka Gordon W. Lathrop Marcia C. Lofdahl Lowry Family Trut Sylvia Lueken Luther Memorial Church IHO Bruce Bengton Linda L. MacNamara Martin E. & Harriet J. Marty Marian Meton June Miller Frederick A. Niedner Mark W. Pinnick Donald A. Reinerten Tony P. Roof Mark Sedio John A. Seet Martin A. Seltz Rev. Robert & Joyce Strobel Marion K. Talley Luke Tegtmeier IMO Dorothy Herman Edward & Hildred Tornberg Nancy Verba IMO Ronald A. (Ronnie) Nelon Paul D. Weber David Wertz IHO Tom White Deborah Zudell-Dickey 26 Spring 2015 CroAccent

27 THANKYOU $26-$50 Ruth M. Adam Daniel Aune Robert & Dorothy Becktrand IMO their daughter, Lia Becktrand David Beecher Lani Beuerman Carolyn Bli IMO Ronald A. Nelon Harold & Anita Bontekoe Suan R. Briehl Virginia Cateel Alan C. Collyer Karen Couturier Daniel Dauner L. George Detweiler Paul E. Elener Rev. Loren & Shirley Epeland Martha Fiher Joyce E. Frigm Suan L. Gerrard Martha S. Gregory Alan L. Hair Arthur Halbardier Carole Metzger Hedrick Jame Heidecke Jame Hild Jame Honig Karron G. Lewi Darryl Miller Marcu & Katherine Miller Kirten K. Olon Martin Ott Pipe Organ Company Jeffrey & Linda Pannebaker William A. Pach Dorothy Richterkeing Kritin Rongtad A. Lee & Sarah Rupert David A. Schack Connie & Dan Schmalz Robert & Virginia Schoenike Daniel E. Schwandt Sharmyn Thompon IMO parent Leter E. & Marjorie Thompon Rev. Gwenn L. Trout Paul & Sally Wetermeyer Kathleen Rife White Dorothy H. Whiting $5-$25 Jennifer L. Baker-Trinity John P. Bernthal Wendy Bett Timothy Braband June L. Cheelman IHO Kevin Barger Larry A. Chritenen Charle Cohen Karla Devine Dale Elmhaeuer Barbara W. Foter Jame & Diane Gladtone Zebulon Highben Linda Hoch Loi J. Hoger IMO huband Rev. Donald Hoger Ryan Hotler Scott M. Hylop Donald Jackon Helen Jean Johnon Shirley Lewi Anne Mangeldorf Elaine F. Mann Linda Maule Joan Nordtrom Rev. Loui & Gloria Nuechterlein Michael L. Olon Paul R. Otte Bärbel Otto Marilyn M. Patteron IMO parent George and Irene McCutcheon Walter L. Pelz David Anderon and Joanna Pretz-Anderon Carl Schwertz Milton Snyder Meredith A. Stone Helen M. Strahl Lella C. Wake IHO Kevin Barger Chri Wallhauer Steven F. Wente Wayne Wold Deborah Schultz Wood Margaret R. Zobel NATIONAL CONFERENCE DONORS Linda Kempke Michael & Linda Krentz REGION 1 CONFERENCE DONOR John Weit CANTOR CONNECTION: COLUMBUS DONORS* R. & J. Croue Thoma A. Gerke Brenda S. Noe Thrivent-Wet Franklin County Chapter *Cantor Connection: Columbu i a chapter of the Aociation of Lutheran Church Muician. Spring 2015 CroAccent 27

28 CHORu Itock/dlewi33 The Reaon Why We (Should) Sing! by Lamont Anthony Well I remember inging piritual and gopel muic at a predominantly white Lutheran congregation everal year ago. After worhip, ome of them would ay that it wa a fun experience. Intrigued by their repone, I aked them to decribe what made it fun. I wondered whether they undertood the meaning of the muic. Their repone uggeted that they experienced great paion with ue of high tempo, repetition, and volume but declared no engagement with the meage content. I encouraged them to liten again and be open to the narrative tory and meage content of the muic declaring grace in the midt of oppreion. The ue of African American muic by White communitie without confeion and acknowledgement of engine of oppreion doe no jutice to the meaning and purpoe of the muic. African American piritual and gopel hymn expre the way African American have come to know the preence of God in time of oppreion. If the African American piritual and gopel hymn i ung only a a relic of hitory or a fun then that rendition denie the relevance to the modern moment where the problem of injutice and oppreion are till felt by many people. A with any cro-cultural muical expreion, one mut remember the context from which the ong came. African American piritual are ong that were written or ung (from the oral tradition) in a time of ugly form of oppreion. Thee ong were compoed to cope with and deal with the action of oppreive lave mater. Jame H. Cone, in hi book The Spiritual and the Blue (New York: Seabury, 1972; reiued Maryknoll, NY: Orbi Book, 1991), ak ome key quetion to conider in preparing to interpret and ing Black piritual and gopel hymn: What did it mean to teal away to Jeu 28 Spring 2015 CroAccent

29 when one had been tolen from Africa and enlaved in America? What did it mean to work on a building that i a true foundation or to hold up the blood-tained banner for the Lord when one had no building to call one own and one own blood wa tained with lavery? What did it mean to be child of God a a Black lave in a predominantly White ociety? Thee quetion help u to go deeper into the power of narrative often een in the performance of gopel muic and piritual and hymn. Cone key quetion enable u to interpret thi African American cultural muic, moving u to claim the dignity and undertanding that it deerve. There are thoe who maintain oppoition to White congregation inging piritual and gopel muic, arguing that it i an act of cultural theft and direpect. Thi view, however, fail to recognize the cro-cultural revelation in the worhip life of all culture. The danger of avoiding ethnic-pecific muic in largely homogeneou worhip tradition perpetuate a ene of cultural eparation that doe not honor the God-given diverity of the church. Yet the other ide of the danger i when we ing piritual that came from the experience of oppreion a a diconnected experience without recognizing or empathizing with the original context. In ome congregation it may be that few can peronally relate to the awful ytematic oppreion the muic decribe o well. However, African American piritual and gopel hymn peak to many who have been and are marginalized becaue of ethnicity, ocioeconomic tatu, immigration tatu, and more. The authenticity of inging the piritual and the gopel hymn doe not come from creating a fale equivalence in claiming another truggle a our own but by opening the heart to be challenged and healed by the muic and word. With honet confeion of the brokenne of our humanity that i experienced around diviion between people and around power imbalance leading to oppreion, the tranformative and reconciling relationhip between divere people of God grow deeper and more powerful. Thi happen through our vulnerability itting with, recognizing, and truggling with the emotional and hitorical legacy that produce that diviion and oppreion. In thi way, the reconciliation of the gopel i revealed. Hitorically, piritual and gopel muic played an important role in the truggle for civil right. Thi muic ha helped to heal and oothe the pain caued when countle people of color needlely lot their live. At the funeral of Dr. Martin Luther King Jr., Mahalia Jackon punctuated that emotional moment with a powerful rendition of Thoma Dorey Preciou Lord, Take My Hand. In recent time gopel muic ha been able to provide comfort, hope, and trength in the face of the killing of Trayvon Martin, Michael Brown, Eric Garner and many other: we ing the gopel meage of jutice, peace, grace, mercy, and God righteoune. It the tranforming and trancending meage of hope in gopel muic that help convey ound INSPIRATION Riedel enhance the worhip experience by inpiring the dynamic expreion of peech and ound. By blending art, cience and kill, we help enrich the fullne, preence and clarity of peech and muic, a well a ilence unwanted noie. SCOTT R. RIEDEL & ASSOCIATES, LTD. 819 NORTH CASS STREET MILWAUKEE, WI (414) conult@riedelaociate.com CHORu hear the difference. Acoutical Deign & Teting Organ Conultation & Inpection Organ Maintenance & Tuning Sound & Video Sytem Deign, Evaluation & Training Spring 2015 CroAccent 29

30 CHORu through it delivery that the freedom from police brutality and violence and the achievement of equal right may be jut a important to many a knowing Jeu. So how might a largely non-african American congregation ing African American piritual and gopel ong, honoring the cro-cultural revelation of God with heart open to the truggle of oppreion that till reverberate in our culture today? Embrace and celebrate the paionate, voluminou, theatrical, and experiential emphai of gopel muic. Don t be rigid. For the authentic gopel interpretation, learn to include the rhythmic tyle, move, and geture in the inging and in it accompaniment. Seek training. There are trainer that ait with the methodology of gopel inging. Many offer a cience-baed and practical application for the voice/choir. The leading work of Jeanette Lovetri ( Dr. Jame Abbington (Candler School of Theology, Atlanta, GA), and Dr. Lia Allen-McLaurin (the Interdenominational Theological Center, Atlanta, GA) i often noted a key in training and workhop for gopel ound. Liten, practice, and repeat. The vocal ditinction often occur in the power of the voice and the way one hold one mouth (miling/broad), often more naal with a higher laryngeal hift. The quality of the ound produced differ from typical claical low larynx, long mouth, and vowel tyle. The conitent practice and repetition allow the mucle to develop that allow for breath- and pirit-filled hift between regiter that help create the gopel flow and ound. The ue of African American muic by white communitie without confeion and acknowledgement of engine of oppreion doe no jutice to the meaning and purpoe of the muic. Include ome information about the imagery in the ong or about the hitorical context of the muic when uing African American piritual or gopel muic. Two reource are Jame Weldon Johnon, The Book of the American Negro Spiritual (New York: Viking, ; reiued Cambridge, MA: Da Capo, 1969), and Melva Wilon Coten, African American Chritian Worhip, rev. ed. (Nahville, TN: Abingdon, 2007). Thee practice may be a challenge for ome. However, the value of cro-cultural inging i an eential part of our growth in Chrit. It i an entryway into God-given diverity that enriche all part of the body of Chrit. I hope thoe who are not comfortable inging thee ong would take a moment to attempt to enter into the experience empathetically. Undertanding and uing the African American piritual and gopel hymn i a way to tand in olidarity with thoe who repeatedly truggle in oppreive tructure that often eek to diminih their humanity and divinity. Lamont Anthony Well i director for evangelical miion in the Metropolitan New York Synod of the Evangelical Lutheran Church in America. He hold an MA in church muic and homiletic from the Interdenominational Theological Center in Atlanta, GA. He i a former adviory council member of the men choru of the Gopel Muic Workhop of America. 30 Spring 2015 CroAccent

31 BOOKREVIEW Alice Parker. The Anwering Voice: The Beginning of Counterpoint. Chicago: GIA, xii, 128 pg. ISBN-13: $21.95, ppbk. Alice Parker. Melodiou Accord: Good Singing in Church. Chicago: GIA, ISBN-13: viii, 114 pg. $7.95, ppbk. Alice Parker ha been an incredibly influential voice in American choral muic for over half a century. A world-renowned conductor and compoer, Parker worked alongide Robert Shaw for many year. Her contribution to the choral genre have been recognized by univeritie and organization acro the country. Thee two recent book erve to continue her legacy of teaching and equipping educator and choriter around the world. It i no ecret that we live in a pot-inging culture. Communal muic-making i no longer a norm in our ociety or in our chool. For many people, the only place they may encounter corporate inging on a regular bai i in their church, and the thought of joining in the communal ong of their congregation i alien and frightening. In Melodiou Accord Parker explore the topic of good inging in church, offering imple and practical olution to encourage a more beautiful and robut ound in the congregation. Church muician are challenged to ee their muic program a communally focued and not performance driven, to expect good inging from their entire congregation, to conider how bet to teach nonmuician new hymn and liturgie, to tudy each ong before preenting it to the people, and to view hymnal a treaurie of time-teted melodie for their people to ue. Parker alo offer encouraging thought for other muician, for clergy, and for parihioner, aking them to repect the profeional opinion of their muician, to work in collaboration with their muician toward better congregational muic-making, and to evaluate the quality of the anctuary for group inging. In The Anwering Voice Parker tackle the topic of compoing and arranging for choral voice. She pend the majority of the book teaching how to write a functional and beautiful anwering voice or countermelody. Parker argue that when a melody i ung beautifully and in character, the echoing voice will repond with the ame beauty and character. The repone will be drawn from the melody and will play with that melody in a way that i appropriate to it intention, whether plaintive or exuberant. Parker begin by outlining the bai for choral improviation. She peruade the reader that the bet choral arrangement are actually inufficient attempt to capture the beauty and nuance of real live melodic interplay between Spring 2015 CroAccent 31

32 BOOKREVIEW improviing voice. The firt half of the book decribe the importance of the text and it natural rhythm and how defining thi rhythm i eential to creating an excellent anwering voice. At the concluion of the firt half he highlight the trength and weaknee of creating a countermelody in variou modal and tonal context, including uing uch influence a claical, jazz, blue, piritual, and world muic. After thi brief and delightful intermezzo, Parker then delve into the actual proce of arranging for voice. She i careful to how that the bulk of the proce happen long before pencil i ever put to paper. Parker encourage the muician to imagine the poibilitie of performance, arguing that the goal of arranging i to enviion muic that will be ung and not merely exit on paper. She alo encourage the arranger to eriouly analyze the melody, giving pecial emphai to the rhythmic apect of the tune, exploring it form and textual origin, and conidering the form of the whole arrangement. Finally he provide ome baic rule for compoing the anwering voice. Only after all thee thing are conidered can the arranger be prepared to begin writing. Parker argument i imple: once thi big-picture work i completed the tree of arranging are leened coniderably, and the reult i a more ingable and pleaing end product. Thee book are recommended for any practicing church muician. Both volume are eay to read they could be read to cover to cover in the coure of a few hour but offer inight that we all need to hear repeatedly throughout our career. Parker voice i imple and profound, initing that the act of inging and the power of melody i a common bond that all the people of our churche hare. Becaue of thi belief, her writing convey a genuine concern with continuing the practice of excellent inging in our churche and choir while undertanding that many choir conductor work with amateur muician. In addition, Parker advice i practical and achievable. Melodiou Accord erve a a reminder that our larget choir i the congregation. Quality inging from the pew hould be every church muician goal, but oftentime we forget thi and focu olely on thoe muician who make up our enemble. Parker imple advice can help u lovingly encourage our member to ing again and experience the joy of communal muic-making in church. The Anwering Voice offer church muician effective way to arrange worthwhile piece for their own church inger. Throughout the book Parker elaborate on thi imple concept: Make your repone to the melody reflect what you jut heard. It not literal but it built from thoe element that vibrate in your ear (The Anwering Voice, 107). Thi belief permeate Parker entire philoophy of counterpoint. Her uggetion are traightforward enough to encourage the novice arranger in hi craft and thoughtful enough to be of aid to the eaoned compoer. Thee volume are geared toward anyone who lead choir and churche in ong. They are not overly technical and will be of little ue to thoe who are looking for a college-tyle text on inging or compoing. However, for thoe of u who are looking for a practical handbook that foter good inging within our churche, thee volume would be an excellent addition to any library. In thee book Alice Parker continue to teach u all about excellent inging in way that are both philoophical and practical. Matthew Machemer Aociate Kantor Concordia Theological Seminary Fort Wayne, IN 32 Spring 2015 CroAccent

33 Michael Kemp. Innovative Warm-Up for the Volunteer Choir: Creative Concept to Improve Choral Sound. Chicago: GIA, Director edition: xii, 66 pg. ISBN-13: $17.95, ppbk. Singer edition: 36 page. ISBN-13: $5.75, ppbk. BOOKREVIEW Many rehearal tend to include the ame vocal warm-up time after time. Some of them become o predictable that the director need neither not ay a word nor play a note and the choir already know which warm-up will be next. The purpoe of a warm-up hould be to vocally prepare intrument while pecifically addreing the muical objective for the rehearal. Thankfully there are reource uch a thi book to encourage director to utilize a new warm-up repertoire. In addition to a very nice forward by Helen Kemp, the author mother, the book contain a narrative to director about warm-up objective, general how-to comment, and thought on working with a group of volunteer. A one would aume, the majority of the book conit of warm-up. Thi collection begin with twopart exercie; then move to four-part; and end with four-part canon, which the author ha edited to better erve thi context. One will note that the vat majority of exercie in thi volume are written for at leat two part. The author alo provide everal four-part example. While the reward of four-part inging in warm-up are valuable, thi could be a challenge for a volunteer group. Each exercie ha a tated objective at the top of the page and follow with a paragraph explanation of how and why one could utilize thi particular example. The author i to be praied for utilizing the minor mode, mixed meter, and inging in multiple part throughout. Kemp encourage the volunteer choir to ing thee warm-up a cappella. Purchaer of thi book hould note that there are no keyboard reduction for thee warm-up; therefore if one i to lead them from the piano, it i neceary to be able to read open core in up to four part. Innovative Warm-Up for the Volunteer Choir i not the only warm-up reource you will need for your work with a volunteer group. And that i not the point of thi volume. You will find that thi book include everal warm-up that will help your enemble improve their choral ound, and that i alway a worthy invetment. Jonathan Buarow Artitic and Executive Director Fort Wayne (IN) Children Choir Spring 2015 CroAccent 33

34 BOOKREVIEW Stephen Petrunak and Randall R. Phillip. Managing Muic Minitry: {Beyond Note and Chord}. Chicago: GIA, xiii, 117 pg. ISBN-13: $ ppbk Thoe who have muical training may feel they have all the kill neceary to be a church muician, but a thoe involved in the field know, there i a lot more to the job than jut muic. Thi book eek to equip church muician with the kill neceary to handle not only interperonal iue but alo other adminitrative and elect muical leaderhip reponibilitie needed in parih muic minitry. Stephen Petrunak draw on hi corporate and muic minitry leaderhip experience while addreing iue common to muic program. Interpered throughout the text, Petrunak priet, Randall R. Phillip, reflect on leaderhip within the gopel. The firt ection of thi book deal entirely with managing people. A chapter each i given to undertanding peronality type, effective communication, dealing with conflict, working with difficult people, being a manager, ervant leaderhip, and motivating volunteer. The econd ection touche on topic the author believe may not have been covered in muic chool: the baic of directing, keeping up morale, rehearal management, teaching new muic, helping the aembly, planning muic for ervice, pirituality of the muic minitry, working with youth, recruitment, and budget. Concerning interperonal iue, Petrunak offer ome excellent inight from the corporate world in term of undertanding people, why they are there, and what they contribute to the minitry. He alo cover how to be an effective communicator and how to reolve conflict. Dealing with people one-on-one, however, i different from working with a group, and everal example he take from hi own minitry are quite poor model for interaction when dealing with a group of parih volunteer. Petrunak doe hit the mark on intructing muical leader to et the climate of a muic program and to be a coach and cheerleader. Wherea Petrunak take reader through a rather thorough dicuion of managing people, the econd ection offer a more curory look into muical and nonmuical topic. When addreing motivating volunteer, planning muic, keeping up morale, or even recruitment, it would have been helpful if Petrunak had addreed the matter of etting an enemble up for ucce by chooing muic that would make the group ucceful. One of the tronget chapter of thi ection i on youth; Petrunak ha utained an active and ucceful youth muic program for over 20 year. Thi book doe not eek to replace proper muical training or even on-the-job training. Reader can glean valuable inight that will help them to become more complete and better leader. A the author acknowledge, thi i what all parih muician want, becaue they undertand what an immene reponibility it i to erve their worhipping communitie. Nicole Buarow Director of Muic Emanuel Lutheran Church New Haven, IN 34 Spring 2015 CroAccent

35 INSTRUMENTAL ORGAN Jame Biery. Journey to the Manger: Hymn Prelude for Advent and Chritma. Concordia ( ), $ Thi i a nice collection of eight hymn prelude on familiar Advent and Chritma hymn. Biery ha paid careful attention to keeping hi etting in tyle with the nature of the hymn tune being ued. The organ part are of medium difficulty, with ome arrangement making ue of a omewhat more active pedal part. The hymn tune included in thi volume are Ca radoti; Divinum myterium; Go Tell It; Helmley; Milwaukee; Sieh, hier bin ich; W Żlobie Lėży and Wo oll ich fliehen hin. Thi i trongly recommended a a refrehing addition to your Advent and Chritma library. MS David Cherwien. Good Friday Reflection: Organ Meditation on Station of the Cro. MorningStar (MSM ), $ Good Friday Reflection feature nine hymn tune etting, one for each tation of the cro. A devotional ervice by Suan Palo Cherwien baed on the tation i provided, including reproducible page for the congregation. The muical tyle i both dionant and dramatic, drawing the compoer into uncharted muical water. Nail are pounded by the full organ. Naty detached chord mock the Chrit. The haunting word of the carol, Nail, pear hall pierce him through, are recalled a the mother keep watch at the cro. The tree in the garden of Shade Mountain i equated with the tree of the cro. Thi i not pretty muic. It a dark and challenging a the firt Good Friday. It require the performer to prepare carefully and to intelligently interpret the complex core. It alo invite the congregation to deeper reflection on the drama of the cro. KO Benjamin M. Culli. Hymn Tune Innovation: 8 Eay Chorale Prelude for All Seaon, Set 2. Concordia ( ), $ While ightreadable or lightly above, thee intelligently written etting will hold the interet of muician of all ability level. Regitration uggetion are given for two-manual intrument. Eight tune are treated, including Gethemane; Ich terbe täglich; Llangloffan; and Komm, Heiliger Geit, Herre Gott. The etting are brief, with many containing a ingle tatement of the hymn tune. Culli creativity with tuneful introduction and interlude, rhythm, articulation, and regitration add up to a veratile, appealing package. CP John Eggert. Partita on Veni Creator Spiritu. Concordia ( ), $ Commiioned by the Wetern Illinoi Univerity Chapter of the AGO in honor of the retirement of Dr. Anita Eggert Werling, thi lively and inventive partita i veratile and highly appealing. There are even movement which, though not explicitly indicated, could be aid to correlate to the even hymn tanza. Each movement can tand on it own, whether a ervice muic or a a olo organ tanza during inging of the hymn on Pentecot. SOUNDFEST Spring 2015 CroAccent 35

36 SOUNDFEST A a complete partita, the movement provide utained interet through a range of compoitional idea. The tune i alway preent not too obviou or obcure with enough variation in meter, timbre, and tempo to invite the litener into the texture. Thi partita alo could be very effective in a fetival hymn ing, alternating between organ and congregation through all even movement/tanza or having the congregation ing a tanza or two after hearing the organ play. DR Hymn Prelude Library: Lutheran Service Book, vol. 4 (Tune F G). Ed. by Kevin Hildebrand. Concordia ( ), $ The collection feature hymn etting (alphabetically on the tune Faithfulne through Gwalchmai) by an array of compoer, including Jeffrey Blerch, Alfred Fedak, Charle Ore, Anne Krentz Organ, and Wayne Wold. The editor preface point to an aortment of tyle, harmony, and regitration, all uitable for ue a prelude, potlude, offering, or hymn introduction muic. Mot etting are ightreadable, making them ideal for ue by tudent, lay muician, or buy profeional. CP J. Wayne Kerr. Muica Sacra: Eay Hymn Prelude for Organ, vol. 9. Concordia ( ), $ Thi i an excellent collection of 14 hymn prelude that are well written and acceible for any organit. The rhythm and pedal part are eay, a promied in the title, but the arranging i well done and worth uing. The tune arranged in thi volume include Ach Gott vom Himmelreiche, Alabaré, Die güldne Sonne, Engelberg, Ewing, Fortunatu New, Houton, Le p ing, Marching to Zion, Min Aynet Fiqir New, Neno Lake Mungu, St. Clement, Shanti, and The Saint Delight. Thi i a noneaonal volume that offer omething to ue at almot any time of the year. MS Ronald Perera. Hymno. ECS (8101), $ Commiioned in honor of organit and choirmater Peter Beardley on hi retirement from Chrit Church Cathedral in Springfield, MA, thi work comprie two movement. The firt movement i baed on Star in the Eat from Southern Harmony, and the econd i baed on Michael and Hyfrydol. Thee three main tune are peronal favorite of Beardley and the compoer. Portion of additional hymn tune are tated throughout. Regitration and rhythmic grouping of eptuplet and octuplet at time give an ethereal effect. Changing and irregular meter are prominent, a well a an array of dynamic. Thi muic will be bet erved when preented on a well-voiced, three-manual intrument by an organit familiar with the intrument, a frequent regitration change are employed. It i uitable for recital, hymn fetival introduction, or other pecial-preentation occaion. CP Loui Vierne. Complete Organ Work, vol. 5, Symphony No. 5, op. 47. Ed. by Helga Schauerte-Maubouet. Bärenreiter (BA 9225), (approx. $32.00). Thi volume feature Vierne 5th Symphony, the larget of hi ymphonie. Editorial aitance 36 Spring 2015 CroAccent

37 wa given by Thierry Ecaich, a tudent of Marcel Dupré. Several error from previou edition have been corrected by uing the original autograph a the principal ource, along with ome handwritten alteration by Vierne. The foreword in thi volume (preented in both French and Englih) i extenive, including photograph of Vierne manucript and a detailed hitorical background of thi ymphony. The layout of the muic on the page i worth noting. The book i in portrait format with an average of about eight meaure per page. The generou pacing between the note improve readability over ome earlier edition. It i printed on paper that may glare under organ lamp. Thi i an excellent cholarly edition of Vierne 5th Symphony. MS Jacob B. Weber. Eater Moaic. Concordia ( ), $ Weber ha already etablihed himelf a a fine, young compoer. Thi book of moaic on Eater hymn hould find wide uage. While they may tand alone for worhip or recital, ome would alo make fetive, ideal introduction for hymn inging. Weber treat both familiar, beloved tune a well a ome newer, leer-known tune. The uggetion for regitration hould be appropriate for mot organ. Of moderate difficulty, they nonethele deerve to be practiced, not ightread. Tune included are Alleluia No. 1, Eater Hymn, Gelobt ei Gott, Ncheu, Orienti partibu, and Salve feta die. Organit will enjoy performing thee work and worhipper will enjoy hearing them. Recommended. JG SOUNDFEST Church Muic Intitute Organ and Church Muic at Shenandoah Conervatory J. Thoma Mitt, Director Summer Organ Academy Week 1 June Featured Artit Maurice Clerc Saint-Bénigne Cathedral in Dijon, France Improviation in the French Manner, Organ Veper Week 2 June Featured Artit Bruce Newick Indiana Univerity Royal School of Church Muic Hymn Fetival, Mater Clae, Choral Evenong Featured Topic Hymn & Service Playing (Baic & Advanced) Keyboard Skill & Improviation (Baic & Advanced) Organ Literature, Regitration & Performance Practice Anthem Literature for the Church Year Morning & Evening Prayer for High School Keyboard Player June Offered concurrently with Church Muic Intitute Week 2 Featured Topic and Activitie Private Leon Hymn Playing & Improviation Exploring the Harpichord Organ Deign & Contruction Viit to Taylor & Boody Organ Shop Evening Program of CMI Recreation CMI i a program of Shenandoah Univerity in Wincheter, VA and may be taken for credit. Viit SU.edu/Conervatory/ChurchMuicIntitute or CMI@SU.edu for more information. Spring 2015 CroAccent 37

38 SOUNDFEST PIANO Charle Callahan. We Are Gathered: 12 Hymn Meditation for Piano. MorningStar (MSM ), $ Callahan giftedne in radiating ublime beauty himmer throughout thi collection of 12 hymn meditation. Original melodic paage complement hymn tune with occaional poignant recating of traditional harmonie. Effective ue of key change, ubtle dynamic, and prominent parallelim provide overtone that are uniquely Callahan. The generally themed etting include well-loved but often overlooked tune, uch a Beecher, Bradbury, Jeu Love Me, Nicaea, and Olivet. Muician who enjoy experimenting with creative ound poibilitie may want to explore the meditation on electronic medium. The etting are at ightreading level or lightly above. A uggeted by the title, the collection i appropriate for quieter, meditative portion of worhip ervice. CP KEYBOARD AND INSTRUMENTS Henry Mollicone. Elegy. B-flat oprano axophone/clarinet, organ. Ione Pre/ECS (7974), $ Commiioned by organit Dougla Cleveland and dedicated to him, thi piece achieve a meditative mood that could be interpreted a mournful longing. A relatively low tempo, colorful harmonie, and oft dynamic marking contribute to thi mood. The axophone carrie mot of the melodic interet, upported by undulating organ line. California compoer Mollicone, bet known for hi opera, ue dionance and chromaticim throughout, which add to the difficulty level. LW HANDBELLS Sandra Eithun. Handbell Praie. 2 octave handbell. Concordia ( ), $30.00 (reproducible). Thi i a wonderfully muical and worhipful collection including the following hymn tune: Bradbury, Cantad al Señor, Eventide, Italian Hymn, Madrid, Siyahamba, and Terra beata. Written for only two octave of handbell, handchime could alo be ued in their place, making thi a very veratile compilation of favorite hymn tune. The benefit to having reproducible muic are endle: pecial marking for every ringer, ability to ue the muic for more than one event, and the ability to copy again and again. The technique ued are thumb damp, mallet (both on the table and upended), mallet roll, hake, wing, ring touch, LV (let vibrate), and mart-lift, and tempo and key change add interet. Level ML Cathy Moklebut. Silent Night. 3 5 octave handbell, 3 5 octave handchime, with optional triangle, finger cymbal, chime tree. Concordia ( ), $4.25. For a level-2 piece, thi arrangement of Stille Nacht really pack a punch. Newer ringer will feel accomplihed while ringing thi lovely rendition of one of our mot beloved Chritma tune. Not only can one include a triangle and finger cymbal and thee mut be in tune for the piece to be effective but the ue of the 38 Spring 2015 CroAccent

39 inging-bell technique i very ethereal. Thi piece can be rung without the triangle, finger cymbal, and chime tree and even without the handchime, but it will be much more enjoyable if you are able to include all of the extra. The ection where the handchime ring actually give the melody to the ba, and that i a rare occaion. Level 2. ML VOCAL CHILDREN S CHOIR Jame Melby. In Thee I Gladne. Adapted by Scott Hylop. Union voice, organ or piano, two flute, hand drum. Concordia ( ), $2.00. Thi energetic anthem i a etting of the tune In dir it Freude. Both the Englih tranlation and original German text are included. Since thi i written in union, it would be appropriate for children, youth, or adult choir. Both the tempo marking and the unique intrumental enemble help the text and muic come alive. Intrumental part are included in the core. It i uitable for the Eater eaon. AW ADULT CHOIR Jeremy J. Bankon. By All Your Saint. SATB, organ, with optional bra quintet, timpani. Augburg Fortre ( ), $1.80. Thi make attendant muic for a tirring All Saint celebration or perhap even a funeral where a large choir i utilized a plendid event indeed. Written for a church anniverary, the etting ha many poible ue, uch a dedication and choral fetival. Soprano are invited to divide on the final doxological tanza and even hare a high B-flat. Good olid part-writing, which choir will enjoy inging. Thi i a fetive arrangement of a known text with a brand new tune. Full core and intrumental part are available eparately at the publiher webite. JG Mark Bender. My Soul, Now Praie Your Maker. SATB, congregation, organ. Concordia ( ), $2.50. Compoed in G major, thi anthem i an energetic etting of the tune Nun lob, mein Seel. Written for SATB choir, tanza 1 and 2 of the anthem are in union. Stanza 3 highlight tenor and bae, then oprano and alto, and finally the whole choir. The final tanza i union with a oprano decant. Reproducible page for congregation are included. Thi anthem i acceible for a wide variety of ability level and can be ung by large or mall choir. It i uitable for general ue or for Lent. AW SOUNDFEST Spring 2015 CroAccent 39

40 SOUNDFEST Jame Biery. Holy and Beloved. SATB, organ. Augburg Fortre ( ), $1.95. Jame Biery etting of Coloian 3:12-17 tart with a oft, free choral introduction, You are God choen one, holy and beloved. It i nice to ee a new etting of an underutilized criptural text. Biery muic alway upport the text a he move through key and meter change, building to a fortiimo at the word ing palm and hymn, ing ong of the Spirit with thankfulne in your heart to God. Difficulty level i manageable for mot church choir, with a melodic grace that make the muic ingable for the choir and acceible to the congregation. The compoer return to the introductory material at the end i particularly atifying. Thi gentle muic remind u of St. Paul call to clothe yourelve with compaion, kindne, humility, meekne, and patience (nrv). KO Paul Bouman. Kyrie, God Father. SATB unaccompanied. Tempo 1º Pre (t1p 002), $1.60. Bouman utilize the 9th-century chant Kyrie fon bonitati a the bai for hi unaccompanied four-part choral etting featuring text from Kyrie, Gott Vater. Thu the work i unmetered, with baic rhythm and tepwie motion. Thi worhipful, unhurried piece feature bookend piano dynamic, with a dramatic central ection in forte. A fourpart enemble adept in the nuance of breath control, diction, intonation, and blend will make thi a highly effective addition to a eaonally or liturgically appropriate worhip ervice. CP NEW MUSIC FROM AUGSBURG FORTRESS HAS A NEW HOME! Augburg Muic MUSIC FOR THE CHURCH For over a century, Augburg Muic ha been erving churche acro North America and around the world with beautiful, enriching, and deeply faithful muic for worhip. From adult choir, large or mall, to children choir beginning their muical journey; from organ and piano to keyboard with intrument; from olo vocal to liturgical muic, Augburg Muic ha top-drawer, acceible muic for every church. Preview and order new muic for the Eater cycle at AugburgMuic.org Muic featured at AugburgMuic.org i alo available in PreludeMuicPlanner.org 40 Spring 2015 CroAccent

41 Carol Doran. O Praie the Graciou Power. Arr. by John Ferguon. SATB, treble choir, handbell (2 or 3 octave), bra quartet, organ, with optional congregation. MorningStar (MSM ), $2.25. Thi i a mighty etting of a powerful hymn in concertato form. Ferguon ha arranged it to include a treble choir (children/youth/adult) mot effectively, which i not an option but rather a neceity. The congregation i invited to join the choir for tanza 6 and 7, producing a thrilling concluion. The SATB choir ha ome divii for the women and bae. The tune by Carol Doran i Chritpraie Ray. Thoma Troeger text make thi piece fit for Reformation, evangelim/miion, Eatertide, and ocial jutice. Other edition available from MorningStar are the full core (MSM A, $15) and the intrumental part (MSM B, $25) for handbell and bra quartet, with French horn a an optional ubtitute for Trombone I. The handbell part i playable by 3 4 people. An organ with power will be advantageou, and the organ can actually play the entire accompaniment if the bra quartet i not available. It would be prudent to have both a conductor and an organit for thi concertato. JG SOUNDFEST ORGAN AND CHURCH MUSIC AT VALPARAISO UNIVERSITY CHURCH MUSIC STUDIES Bachelor of Muic in Church Muic Bachelor of Muic in Performance (Organ or Voice) Bachelor of Art 103 Rank Schlicker/Dobon Organ in the Chapel of the Reurrection 6 practice pipe organ CURRICULUM INCLUDES Church Muic, Theology, Liturgical Organ Playing, Conducting, Hitory, Theory, Performance Studie ENSEMBLE OPPORTUNITIES Chorale, Kantorei, handbell, conducting and leaderhip opportunitie FACULTY Joeph Bognar, DMA, Chair, Department of Muic; Aociate Univerity Organit Lorraine S. Brugh, PhD, Univerity Organit/Frederick J. Krue Organ Fellow; Director, Intitute of Liturgical Studie Chritopher M. Cock, DMA, Director of Choral and Vocal Activitie; Director, Bach Intitute at Valparaio Univerity Competitive cholarhip available For more information, pleae contact the Department of Muic or muic@valpo.edu valpo.edu/muic Department of Muic Spring 2015 CroAccent 41

42 SOUNDFEST Charle Forberg. In the Shepherd Keeping. SATB divii a capella, with optional violin. Augburg Fortre ( ), $1.95. A Norwegian folk tune i the bai for thi lovely etting, and there i an optional Norwegian text included for the firt couple page. Performance option are included for the diviion of part and ue of a violin. Thi arrangement will delight inger and litener alike but will require a diciplined approach to learning. The nuance of pianiimo to forte-fortiimo are dramatic. The theme of eternal life, the joy of heavenly (Jeru)Salem, glory, mercy, and grace all permeate thi arrangement, which one hope will find wide ue. JG George Frideric Handel. Jeu, Sun of Life, My Splendor. Arr. by John Leavitt. SAB, organ or piano. Concordia ( ), $1.75. There are other publihed arrangement of thi lovely chorale (Schmücke dich) from Handel Brocke Paion. However, if you do not have a eparate tenor ection, thi practical SAB verion retain mot of the original part-writing while providing a nice, uer-friendly keyboard adaptation of the orchetration. Leavitt ha alo lowered the key to F major and ha modernized the Winkworth Englih tranlation (e.g., replacing thee with you ). Thi piece provide an opportunity for the SAB choir to learn and enjoy a claic communion anthem in a muically atifying etting. DR Hal H. Hopon. O Dearet Jeu, What Law Have You Broken. SATB, piano. MorningStar (MSM ), $1.85. Hopon ue the haunting American work ong Water Boy a the bai for thi anthem for Paion Week, uing a 17th-century text by Johann Heermann. The overall form of thi piece i AB- CBA, with A (the opening call of the work ong) ung by a oloit, accompanied only by open fifth in the piano. The firt B ection preent the melody in union with a more flowing accompaniment. The middle ection i in the pirit of a call and repone, with the oprano beginning each phrae, anwered by the lower voice. The choir here alo act a a countermelody, with the piano playing the melody firt introduced in the B ection. The B ection then return with full SATB choir, forming the climax both muically and textually ( Conquer my heart, now, make love it ole purpoe ). The piece ha been building dynamically to thi point a well, growing from piano to forte with each ection. With the return of the more penive A ection, Hopon alo return to the ofter dynamic and minimal open-fifth accompaniment. That Hopon ue a melody that may have originated a a prion work ong make it a facinating choice for thi text. Thi piece would make a moving addition for Paion Sunday or Good Friday. Medium-eay. AE 42 Spring 2015 CroAccent

43 Hal H. Hopon. With a Mighty Wind and Tongue of Fire. SATB, organ. Augburg Fortre ( ), $1.75. Set in ternary form, Hopon Pentecot anthem begin and end With fire and vigor. An acending flourih from the organ lead into the choir opening fortiimo tatement. Syncopated and dotted rhythmic motive increae the ene of urgency, then the tempo low lightly for the quieter middle ection. Rhythmic interet continue here, with an increaed focu on the text, adapted by Hopon from Scripture. The cloing ection add Alleluia and divii on the final chord. Aide from the fact that the teitura may be omewhat high for alto and bae, the choral part are written in uch a way that they will be eay to learn, with many union paage. Thi would make a tirring addition to a Pentecot worhip ervice. LW Thoma Keeecker. Jeu Said, Come, Follow Me. SATB a cappella, oboe. Augburg Fortre ( ), $1.30. The text i imple, coniting of nothing beyond the word of the title, and the piece i only three page long, but it i an effective reflection on Jeu call. The anthem begin with a olo melody played by the oboe (or other C intrument). The choir enter and ing alone, unmeaured, with dynamic and harmonic variety to add interet to the repetitive text. Another plaintive oboe olo, followed by a brief choir coda, bring the piece to a cloe. Choral range are generally comfortable, with ome divii. A low D i required of the econd bae on the final chord. The choir will need to be able to utain a low tempo. LW Thoma Keeecker. The Sun Wa Bright That Eater Dawn. SATB, organ, trumpet, with optional aembly. Augburg Fortre ( ), $1.95. Thi anthem i baed on a text by the late Dr. Herman G. Stuempfle, Jr., a contemporary pator and hymn writer. The tune Eater Dawn i an original work by Keeecker. The cantu firmu ha a earching, modal quality and i underpinned by olid, four-part harmony. A lightly unconventional 6/4 meter lend a Celtic air to the muic. A balanced enemble will be key to ucceful preentation, but the work hould be acceible to a range of ability level. Thi uplifting anthem include a reproducible page that enable participation by the worhip aembly. A trumpet part may be downloaded from the publiher webite. Keeecker etting will be uitable for ue throughout the Eater eaon. CP Thoma Keeecker. We Praie Your Cro, O Chrit. SATB, piano, with optional guitar. MorningStar (MSM ), $1.70. Thi original anthem ha a haunting melody that focue on the cro. Compoed in C minor, it i a good marriage of text and tune. Although the tempo indication i very low, all of the phrae are hort. A a reult, thi anthem i acceible for a wide variety of ability level and can be ung by large or mall choir. It i uitable for Lent or any ervice where the Scripture paage refer to the cro. AW SOUNDFEST Spring 2015 CroAccent 43

44 SOUNDFEST lutheran ummer muic ACADEMY & FESTIVAL JUNE 21 JULY 19, 2015 a muical training and performance program on the campu of Luther College, Decorah, Iowa Dicover a place where muic and faith meet in upportive community. Accepting application for: Band, Choir, Orchetra, Piano, Pipe Organ, and, NEW for 2014, Compoition! Financial aitance and early application dicount are available. Ue application code ALCM14 to recieve an additional $100 dicount admiion@lutheranummermuic.org Kenneth T. Koche. Now the Green Blade Rieth. Two-part mixed voice, piano. Concordia ( ), $1.75. Thi i an arrangement uing the tune Noël Nouvelet that any maller choir would enjoy inging. The piano part i not difficult and offer plenty of clue for the vocalit throughout the piece. The two part each remain in union throughout. The third tanza i written a a canon with the women taking the lead. The canon occaionally create ome cloe harmonie, but the well-written piano arrangement guide the inger through. The option exit to double the voicing for the lat tanza, with S/T on voice one and A/B on voice two. Thi would create more fullne for the climax. MS Paul Leavitt. Luther Word. SATB divii, piano, with optional flute. $2.95. Leavitt ha baed hi muical work on Martin Luther text, We are not yet what we hall be, but we are growing toward it. The criptural reference i Philippian 3:12. The 157-meaure anthem wa written for a patoral ordination. Straightforward rhythm bring out the talwart character of Luther word. Text i further highlighted with paage of imitation, ground ba, and ome well-placed dionant econd and eventh interval between part. Alo featured i an optional a cappella ection. The upportive accompaniment conit of flowing 16th. While not exceedingly difficult, thi piece nonethele will require ome independence on the part of the choir, both in it ability to effect dionance between part and in the ability to correctly interpret longer-held rhythm. A well-blended choir killed in reading note and rhythm, diction, and dynamic nuance will bring out the bet in thi piece. CP Paul Leavitt. Palm 85: I Will Liten to What the Lord God I Saying. SATB a cappella, rehearal reduction for keyboard. $1.95. Leavitt compoed thi elegant etting of Palm 85:8-13 for a pator intallation. Thi i a perfect piece for choir that enjoy the challenge of inging liturgical muic requiring diciplined reading (it i written with ix harp), a few change of meter, cloe harmonie that are imply elegant, and 44 Spring 2015 CroAccent

45 ome octave leap that mut be performed with great control. The dynamic change are exquiite. Learning thi palm etting will provide the choriter with practical muic theory. Warning to the conductor and the accompanit: do not attempt to ightread thi in rehearal. Go over each voice part before the choir ever ee it and know exactly where the challenge lie. Learning the muic with ectional would be wie (SA and TB). The inger will be thrilled with the ethereal qualitie of thi arrangement. Leavitt ha other SATB work available on hi webite, and a few for TTBB a well. Highly recommended. JG Paul Leavitt. Palm 121: I Lift Up My Eye to the Hill. SATB a capella, rehearal reduction for keyboard. $1.95. The cloe relationhip between the word and rhythm in Leavitt etting help to emphaize the text of Palm 121. While there are a number of accidental, the voice are aided by deft voice leading. The compoer enitive ue of expreion marking erve to undercore the text. SATB choir with experience inging unaccompanied will find thi to be a welcome addition to their repertoire. General ue. AE SOUNDFEST Find muic that perfect for your congregation in jut a few click. Make your muic budget lat longer. The Prelude Muic Planner library include church muic from Augburg Fortre, Choriter Guild, E.C. Schirmer, GIA, Hope, MorningStar, and OCP and it alway growing! Evangelical Lutheran Worhip ervice muic i free, plu you get 125 Prelude point annually, which you can ue to buy anthem, keyboard and intrumental work, and more. Deigned to make finding muic for worhip eay, the library allow you to earch by: Keyword Lectionary date Bible reading or theme Muic type or genre Voicing or intrumentation Muician kill level Compoer and more... You can even catalog muic you already own to your Prelude library and ee all of your option at once. Prelude ubcriber receive a 20% dicount on print muic from Augburg Fortre.* *Doe not apply to hymnal and other core worhip reource. Learn more at preludemuicplanner.org Spring 2015 CroAccent 45

46 SOUNDFEST Anne Krentz Organ. We Walk by Faith. Two-part mixed, piano. Augburg Fortre ( ), $1.80. Krentz Organ give u a new etting of the hymn text by Henry Walford. The ue of a flattened eventh in the melody and accompaniment add a modal touch to the piece. The anthem i mainly in 3/4, hifting to 4/4 and a new melody at tanza 4 ( For you, O reurrected Lord ). The lovely melody, flowing accompaniment, and enitive text etting will make thi a olid addition for choir looking for two-part anthem. Appropriate for Eater eaon and general ue. Eay. AE Walter L. Pelz. O Day Full of Grace. SATB, congregation, organ, bra quartet. Concordia ( ), $2.00. Compoed in C major, thi hymn concertato i a traightforward etting of the hymn. The intrumentation and incluion of the congregation capture the grandeur of the text. Reproducible page for congregation are available at the back of the anthem. Thi anthem i acceible for a wide variety of ability level and can be ung by large or mall choir. It i uitable for Pentecot. AW Mark Patteron. Eater Introit and Benediction. SSATB, bra quartet, timpani, organ. MorningStar (MSM ), $1.70. Thi compoition contain original lyric by the compoer. It i divided into two ection of 24 meaure each. The firt one, titled Chrit Triumphant, i a fetive introit or entrance to an Eater worhip ervice. The choral part are medium in difficulty with ome upper tenor note needed. The divided oprano i minimal and could be covered eaily by a firt alto. The econd ection i titled Our Strength and Our Stay. Thi ection include more fetive rhythm and the bra quintet. It hould be noted that the bra part are included in the accompaniment and marked a uch. The vocal part are once again medium in difficulty with more doubling of part to create a forceful ound to reflect the trong lyric. Full core and intrumental part (MSM A; $32.00) are alo available. Thi i an excellent piece that would work well with or without the additional intrumentation. MS Carl Schalk. My Song in the Night. SAB, organ. Concordia ( ), $1.75. Schalk ha created a imple and effective etting of thi hauntingly beautiful American folk hymn (Expreion). The poetry appear to be inpired by imagery from Palm 77, particularly vere 6 ( I aid, Let me remember my ong in the night in the ev tranlation), and i an expreion of confidence in Jeu depite any darkne that may envelop u. Stanza 1 preent the whole melody ung by the women in union, a call to the Lord in the midt of affliction but in hope rather than in anguih. The men tart tanza 2 in union and are anwered by the women with a variation on the middle melodic phrae highlighting Jeu a My comfort and joy, my oul delight. In the lat tanza, the choir begin in a prayerful threepart etting, building to My love, my life, my only light and ending in a quiet affirmation of 46 Spring 2015 CroAccent

47 the ong in the night image. With it primarily two-part texture baed on the melody, thi piece i acceible to choir of all ize and will be a welcome addition to your choral hymn collection. DR Timothy Shaw. We Praie You, Jeu, at Your Birth. SAB, piano. Concordia ( ), $1.75. There wa a time, which eem not o long ago, when American church choir director ought out SAB muic for their high chool/youth choir and only conidered SATB with divii for their adult choir. In many cae SAB muic wa not well crafted and wa unatifactory for helping young inger to develop. Now, in the 21t century, it i (unfortunately) common that there are few (or no) youth choir, and many adult choir are no longer comfortable inging four-part choral muic. Shaw ha taken a great 14th-century German text that include ome tanza by Martin Luther and provided a lovely new tune and accompaniment. Thi i a plendid opportunity for thoe who eek to provide claic Reformation text acceible to choir and faith communitie of today. Thi etting definitely need a piano for the accompaniment. It lie in good range for oprano, alto, and men no complaint that it too high or too low. SAB voicing appear to be very natural with Shaw, and thi hould find great uage for Chritmatide and Epiphanytide worhip or concert. It could even be ung by a trio or ued to tart building up a youth choir once again. JG Timothy Shaw. Who Trut in God. Two-part equal voice, organ or piano, with optional olo. Concordia ( ), $1.75. Since the 500th anniverary of the Reformation i coming in 2017, many choir will urely want to perform not only claic Lutheran chorale, hymnody, and variou choral muic from the early day of Lutheranim but alo new etting of thee great text. Shaw ha taken the turdy word of a 16th-century hymn and given them a freh new melodic treatment. The firt and third tanza are almot in the antiphonal tyle (another form of inging acred text from the early day of the Lutheran church). Director mut carefully decide which voice to ue when performing thi etting. It would eaily fit the teitura of oprano and alto; if tenor and baritone were ued, the econd part might be a bit low for clean diction. If mixed voice, try witching thing around in order to dicern the bet ound. Whether a oloit or a ection i ued for the middle tanza, the inger() mut be able to ing a high F quietly with a challenging vowel. If two accompanit are available, it could be very effective to ue the piano for the two-part texture and the organ for the oloit. Experiment and be creative. JG SOUNDFEST Spring 2015 CroAccent 47

48 SOUNDFEST Mark Shepperd. Ride On, Ride On in Majety. SAB, keyboard. MorningStar (MSM ), $2.25. Thi original anthem i a joyou etting of a Palm Sunday text baed on John 12:13. Compoed in 6/8, it alternate between F major (when referring to the triumphant nature of Palm Sunday) and F minor (when referring to the Paion apect of Palm Sunday). Becaue the voicing i SAB, thi acceible anthem would be appropriate for a youth choir or adult choir. AW Sweet Freedom. Adapted by Gwyneth Walker. SATB divii a cappella. ECS (7698), $2.25. Baed on the beloved anthem My Country, Ti of Thee, thi upbeat arrangement i ure to have both inger and audience riding high on a wave of patriotim. Walker effect a killful improviation on the original God Save the King melody, underpinning it with a choral otinato that brim with rhythmic vitality. A full, balanced enemble whoe director i capable of eliciting rich dynamic and tempi expreion will bring out the bet in thi piece. It i uitable for advanced middle chool through adult choir. CP Get Real Are you purchaing ound, or ample of ound?...real pipe lat for centurie. How many electronic organ will your congregation purchae before they realize that a pipe organ lat generation? NORTH AMERICA S PREMIER PIPE ORGAN BUILDING AND SERVICE FIRMS Pleae watch and hare our hort video at: Call today for APOBA free 66+ page color propectu APOBA.COM PROUD SPONSOR OF THE ALCM 48 Spring 2015 CroAccent

49 Tom Trenney. Mothering God, You Gave Me Birth. SATB, piano. Augburg Fortre ( ), $1.80. Trenney ha taken a text by Jean Janzen (baed on the 14th-century word of Julian of Norwich), added a hauntingly lovely arrangement of the tune Maryton, and fahioned an anthem for thoe eeking muic with a mytical touch. Specific direction are given for the piano accompaniment organ would not be appropriate for thi etting. There i ome very minor doubling of part for bae and oprano. The entire choir ing the lat note (E-flat above middle C) in union for the final 20 beat, where a diminuendo i achieved. Sumptuou. JG David von Kampen. Go to Dark Gethemane. SATB, piano. Concordia ( ), $2.00. Thi well-known hymn, which ha earned a poition in midweek Lenten worhip and Holy Week ervice, i an invitation to walk with Chrit throughout the final hour of hi Paion. (Curiouly, the lat tanza ometime omitted i an invitation to run to the open tomb.) Thi etting i a refrehing arrangement of the familiar text and tune, done with drama and tateful implicity. Piano will be far uperior to the organ for accompanying thi anthem. Choir will enjoy the rich harmonic tructure; tenor and bae get to ing in parallel fourth, oprano get to ing lower than SOUNDFEST Patrick j. Murphy & aociate, inc. o R G a n B U i L D e R New Intrument Rennovation Service & Conultation Introducing Our Signature Englih Style Conole Hidden movable cator accept mot commercial control ytem Raied or gothic panel option adjutable bench with backret Quality olid hardwood cae Roll-top cover, pencil drawer under lower manual, dimmable LeD lighting throughout with dimmer control etched gla or wood muic rack Maintain our low profile egromatic etho Built to AGO pecification Call U: 300 Old Reading Pike, Suite 1D, Stowe, PA P: pjmorgan.com Spring 2015 CroAccent 49

50 SOUNDFEST alto, and the men will take the challenge of an octave leap, quietly, which will land them one whole tep from the alto at the dramatic It i finihed! moment. They are alo invited to double up for an optional TTBB final three chord. Thi i a beautiful arrangement. JG Glenn Wonacott. God I Here. SATB a capella. Augburg Fortre ( ), $1.50. Wonacott ha provided hi own text for thi hort but very complete anthem. The texture i traightforward with a few harmonic urprie, and the choir will enjoy inging in a free, rubato tyle. Rich chord with mildly challenging interval provide a beautiful background for the text. Every phrae begin with God i here ; the latter part of the phrae remind the litener that God reache out, liten to prayer, give grace to the wounded heart, lift live after a fall, call u Chritian, teache u, and finally how u why we, too, are here. There i much muic in only 28 meaure. JG Reviewer: Ann Edahl (AE) Choir Director Our Saviour Lutheran Church, Freno, CA Jame Gladtone (JG) Retired Cantor, Saginaw, MI Muic Aitant, Ev. Lutheran Church of St. Lorenz, Frankenmuth, MI Marilyn Lake (ML) Handbell Director Southminter Prebyterian Church, Prairie Village, KS Muic Educator, Shawnee Miion School Ditrict, KS Karl A. Oterland (KO) Muic Director Hitoric Trinity Lutheran Church, Detroit, MI Carla Pot (CP) Organit St. Mark Epicopal Pro-Cathedral, Hating, NE St. Paul Lutheran Church, Blue Hill, NE Editor/developer, Deborah Rei (DR) Miniter of Muic Village Lutheran Church, Bronxville, NY Mark A. Schultz (MS) Miniter of Muic Trinity Lutheran Church and School, Wauau, WI Lara Wet (LW) Muic Director Good Shepherd Lutheran Church, Lawrence, KS Lecturer, Benedictine College, Atchion, KS Auten Wilon (AW) Director of Muic Lutheran Church of Our Savior, Haddonfield, NJ 50 Spring 2015 CroAccent

51

52 potlude Julie Pott Grindle Preident-Elect, ALCM The article in thi iue peak to many hitorical and practical tenion in the life and work of the church muician, the pator, the compoer. They have reminded me jut how truly ubjective muic i to the leader, the inger, the litener. The choice we make a worhip planner are ubject to our experience, our education, the parih we erve, our time of life, our preference. How many time have we choen a new hymn that poke to the word and to u, yet fell flat a a pancake when ung a an aembly? The text worked but the muic didn t, not in the unique context of that day, or vice vera. Converely, han t it been a nice urprie when a hymn that wa thrown in at the lat minute during communion reached deep into the heart of the ame people, tirring them to be God faithful people? The writer in thi iue want u to think deeply about why we chooe the hymn we pick and how thoe hymn relate to being of the world, but not in the world. Thee article help hape u into being better thinker, more intentional about how we guide the worhip of the congregation through ong. It i alway helpful to ak oneelf when one i worhip planning, whom do I erve? Thoe in the pew? My colleague? My congregation? My country? My worhip and muic committee? God? When we focu firmly on the final anwer erving God! we know that erving all the other i going to happen a well. We erve them all, a they (we!) are the body of Chrit in thi world, in thi nation, in thi city or town or village, in thi neighborhood. A friend recounted to me how, when planning for Pentecot, he and the other planner cheduled the wonderful hymn God of Tempet, God of Whirlwind (ELW 400). During the week leading up to that Sunday, one of the familie in the church uffered the grievou lo of their houe and all their poeion due to a fire. All of a udden thi wonderful, appropriate hymn for Pentecot wa not appropriate anymore, where the econd tanza read, God of blazing, God of burning let your flaming Spirit urge! A wonderful text, but not one for that congregation on that Sunday. Needle to ay, a a ervant of God and of her congregation, he uncheduled that hymn. We mut live in the context of our world and of our immediate area, while alo living a God people. Intead of letting thi be burdenome, let it be an opportunity for bleing in our life and in our vocation. Let it be an opportunity for reconciliation and healing. Let it be an opportunity to erve our neighbor. Let it be an opportunity to erve God. 52 Spring 2015 CroAccent