CROSSACCENT 2 PRELUDE 3 TAKENOTE COUNTERPOINT. and Generations Robert Alan Rimbo and Justin Rimbo. CHORUS Reflections Jennifer Baker-Trinity

Transcription

1 vol 24, no 3 FALL/WINTER 2016 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 2016 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 2 PRELUDE Editorial Comment Jennifer Phelp Ollikainen 3 TAKENOTE Center for Church Muic Nancy Raabe 5 Formed/Re-formed: COUNTERPOINT Engaging Worhip acro Culture and Generation Robert Alan Rimbo and Jutin Rimbo Partnering with the Spirit: Gathered, Enlightened, and Tranformed Brian Maa For Whoe Sake? Kinethetic Energy Pattern and Liturgical Dicernment Sandra Dager CHORUS Reflection Jennifer Baker-Trinity Concordia Worhip and Muic Sympoium Hymn Fetival Kyle Johnon BOOKREVIEW Bach Major Vocal Work: Muic, Drama Liturgy by Marku Rathey Kevin Hildebrand 38 SOUNDFEST New Muic 52 POSTLUDE From the ALCM Pat Preident Anne Krentz Organ Cover art: Steeple of churche that hoted ALCM conference thi pat ummer are Trinity Englih, Ft. Wayne, IN; St. Andrew, Franklin, TN (photo by Rion Rizzo, Creative Source Photography); Fourth Prebyterian, Chicago, IL; and St. John, Sacramento, CA. ALCM OFFICERS Preident: Julie Grindle Pat Preident: Anne Krentz Organ Secretary/Treaurer: Kevin Barger Director at Large: Jeffrey Blerch, Michael Krentz Region 1 (Northeat) Preident: Jennifer Baker-Trinity Region 2 (Southeat) Preident: Ryan Hotler Region 3 (Midwet) Preident: Linda Martin Region 4 (Wet) Preident: William Kuhn Fall/Winter 2016 CroAccent 1

2 PRELUDE The Rev. Dr. Jennifer Phelp Ollikainen Editor, CroAccent Over thi pat ummer, more than 400 worhip leader and muician gathered for the regional ALCM conference. Each gathering offered up the gift of the region through workhop, plenary preentation, muic reading eion, and hymn fetival. While each regional gathering wa unique in it local expreion, the camaraderie of colleague erving a common vocation united u acro the country. Even more, we gathered to praie God in worhip and ong, united by the grace of our Lord Jeu Chrit. Thi iue of CroAccent include everal regional conference preentation and hymn fetival edited for print. More than for-printonly article, though, one can hear the voice and rhythm of the live event pring from thee page. ELCA Bihop Robert Rimbo and hi on, Jutin Rimbo, preented plenarie a converation interpered with ong in Region 1 gathering in Fort Wayne, IN. They explore worhip acro the generation, grounded in ancient worhip practice and reponive to our current time. Thi father and on hare a common love for Chritian worhip that ring true and clear in their word and ong. Another ELCA bihop, Brian Maa, preented the three plenary eion of Region 3 gathering in Chicago, IL. Hi comment explore how the wind of the Holy Spirit move through worhip. Maa remind u that in the Spirit we are called and gathered, inpired and renewed, tranformed and ent. Even a we are ometime urrounded by chao in our live and weighed down by waiting for new life to pring forth, God i at work in and through our live and our worhip. Sandra Dager explore a enory ide of our muic in worhip in her plenary preentation from the gathering of Region 4 in Sacramento, CA. Grounded in the community of Chrit and enitive to graciou and mutual hopitality, Dager explore energy pattern that muician often conider intuitively. Our muic in worhip and our preference for muic may have a driving beat, lyrical melody, winging rhythm, or ephemeral quality; Dager explore the balance for which we trive in worhip. The Choru ection of thi iue provide example of the rich gift of our ALCM member offered in hymn fetival at our regional conference. Jennifer Baker-Trinity reflection from the Region 1 fetival, Let All the People Praie You: Singing through the Generation: A Celebration of Hymn, Palm, and Spiritual Song, are beautifully poetic. Kyle Johnon give u hi outline of a hymn fetival patterned after the church year. Perhap you will find inpiration in thee gift for your own local hymn fetival. A we gathered a colleague and explored our worhip-centered vocation at regional conference, our voice joined together in ong and praie for the One who gave u the ong to ing. Hymnal Abbreviation: ELW: Evangelical Lutheran Worhip LSB: Lutheran Service Book CW: Chritian Worhip 2 Fall/Winter 2016 CroAccent

3 TAKENOTE Center for Church Muic by Nancy Raabe The theme of ALCM 2017 biennial gathering (Minneapoli, MN, July 10 13, 2017) i Rie, Remember Well the Future. The conference brochure tell u that we will imultaneouly celebrate the treaure of the lat 500 year and look to the future and God covenant of faithfulne in all that i yet to be. Yet with a dimming awarene of the cope of hitory in our culture, remembering i not a trong uit. ALCM revied worhip tatement, Called to Be a Living Voice, tell u that We imultaneouly care for our congregation local muical heritage and tradition while being bridge builder to the ever-emerging ong of the church. We delight in the riche from our pat, a well a the gem in our new ong. The gem in our new ong are not hard to come by, but the riche from our pat often prove hard to locate. With the reduction in church muic degree program in our educational intitution, we may well ak (paraphraing Paul in Roman 10:14), How are they to know about omething of which they have never heard? And how are they to hear without omeone to tell them? Thi i where the Center for Church Muic a multifaceted initiative baed at Concordia Univerity Chicago (CUC) bring good new ( center-for-church-muic/). Formally launched ix year ago to houe the manucript of Richard Hillert and Carl Schalk, the Center ha expanded under director Barry Bobb to include five dimenion of lively activity: 1. A reource room located in Klinck Memorial Library on the CUC campu that include a growing torehoue of compoer manucript archive, the 541-volume Schalk American Lutheran Hymnal Collection, and an array of relevant book, journal, and recording. Original muic manucript archive now houed there, tarting from the mot recently added, include thoe of John Eggert, Paul Bunje, Donald Buarow, Jarolav Vajda, Walter Pelz, Henry Markworth, Ralph Schultz, Carl Schalk, Paul Manz, and Richard Hillert. The tranfer of everal other archive i in variou tage of negotiation. 2. A digital initiative that ha two major component: the firt, undertaken in cooperation with hymnary.org, make it poible to view hundred of hymnal in the Schalk American Lutheran Hymnal Collection in 26 different categorie (uch a Pennylvania Miniterium, Lutheran Reformed, and Ohio Synod), meaning that ten of thouand of individual hymn from the vat river of American Lutheran hymnody are now at one fingertip Steven Wente how a manucript from the Center collection. Fall/Winter 2016 CroAccent 3

4 TAKENOTE (go to Hymnal Collection Index on the Center webite); and the econd bring u can of the Center muic manucript archive, o that one may view thoe online intead of making the trip to Chicago. To date, thoe of Paul Manz and Richard Hillert are available; many mp3 recording are available a well (go to Compoer Manucript Indice on the webite). 3. An array of other newly produced reource on the webite. Thee include a complete three-year cycle of devotion on the hymn of the day, 500-word theological reflection on many of our mot treaured hymn; two erie of newly written eay, one by Paul Wetermeyer ( Reflection ) and the other by Carl Schalk ( Perpective ); Converation, featuring a erie of video preentation, dialogue, and panel dicuion on variou topic relating to the muic of the church, including a dicuion of the legacy of Gerhard Cartford by Paul Wetermeyer and Luther Seminary archivit Paul Daniel, and workhop on hymn writing by Stephen Starke and Suan Palo Cherwien; and, under the heading of Profile in American Lutheran Church Muic, an ever-expanding erie of video interview (22 at preent) conducted both by and about leading figure in American Lutheran church muic, which offer revealing window into the live of thee exceptional individual and the force that haped them thee warrant pecial mention a a mean both for young muician of the church to become immered in the craft of the cantor and for eaoned veteran to be renewed in their commitment to their calling. A econd component of the Profile conit of 13 eay on cantor of the church by Victor Gebauer. 4. A erie of eight (to date) print publication in the erie Shaping American Lutheran Church Muic, available through Lutheran Univerity Pre and amazon.com. A Fetchrift for Charle Ore wa recently releaed and, with the volume by Carl Schalk releaed lat year, there are now nine book publihed under the Center aupice (go to Publication on the webite). 5. Two award given by the Center, deigned to encourage the next generation of church muician. Thee are the Hillert Award in Student Compoition and the Schalk Scholar, the latter coniting of tipend for reearch and opportunitie for publication and preentation. The Noel D. Schalk Annual Lecture Fund wa alo recently etablihed under the Center aupice to upport cholarly preentation at the annual CUC conference Lecture in Church Muic. The Center webite provide acce to more information about all apect of the Center. A quarterly newletter and a Facebook page, both acceible through the webite, offer update on the latet new and event. Another feature to watch for will bring online, in a earchable databae, organ improviation by Paul Manz from the vat et of hi hymn fetival recording that are now houed at the Center. And what ele? Director Barry Bobb won t quite ay it, but the ky the limit. In a recent letter to friend and upporter of the Center, he wrote, the Center for Church Muic i a place where you can tap into that great flow of energy, either on ite or online, in order to get new idea for muic minitry in it variou form; gain a perpective on the muic of the Church; take time for reflection; connect with the larger endeavor of Lutheran church muic; be inpired by ome remarkable leader and thinker in our midt; be energized for muic minitry; [and] atify curioity. Pleae viit u on ite or online and engage the amazing, dynamic moaic of Lutheran church muic which continue to be the living voice of the Gopel a it help to propel church muic into the future. Soli Deo gloria! 4 Fall/Winter 2016 CroAccent

5 Formed/Re-formed: Engaging Worhip acro Culture and Generation COUNTERPOINT by Robert Alan Rimbo and Jutin Rimbo Plenary 1 Bob: Worhip i a collaborative engagement acro culture and generation in which God and the people of God liten to each other and are formed in love around each other for the ake of the world. It i an imaginative, riky, and life-giving venture. Here we pray that all the people will praie, and we mean all! Worhip hape our live. It may appear that worhip i all about what we do: we gather, we ing, we pray, we read, we liten, we raie concern, we offer ourelve and our reource to God, we embrace, we give thank, we eat and drink, we catter. Sometime we get wet or at leat remember that we got wet. Sometime we hallow the day and hour of life with prayer and praie. We remember the tory of God deliverance from lavery, in, and death in Irael and in Jeu, following a et of day and eaon. Worhip eem to be what we do, omething we form. But there i another way to look at worhip. Though on the urface it may appear to be our doing epecially for people like u who are profeional worhipper at a deeper level and in the long view it i the work of the Triune God in and through u. In our doing, our God prompt u to liten more deeply to what God i calling u to be. We are being formed and re-formed Editor note: Thee are the plenary addree given at the ALCM Region 1 conference, Ft. Wayne, IN, July Worhip i the work of the Triune God in and through u. In our doing, our God prompt u to liten more deeply to what God i calling u to be. by the Source of all, the eternal Word, the Holy Spirit. In worhip our viion, deire, attitude, yearning, will, and live are recat, molded, and haped to conform to the dying and riing of Chrit for the life of the world. Thi conference invite u to enter more deeply into worhip a the work of the Holy Spirit through Jeu Chrit to the glory of God. Jutin and I and all of u who are leading in thee day are inviting you to ee yourelf a part of a great work that i imaginative, riky, and life-giving for all. Worhip grow out of the reource of Holy Scripture, a calendar of celebration and a lectionary, a treaury of hymn and ong both ancient and new, prayer, rite centered on Holy Baptim and Holy Coommunion, and daily pattern of prayer linked to time of the day. Now, I upect that ome of you have your own idea of what worhip really i. I have, myelf, been known to think that no good muic wa written after 1750, and I have a few thouand other opinion, ome of which are godly. That kind of thinking, I confe, i only a few degree of eparation from the entertainment evangelit folk. Liturgy i more than peronal preference or even peronal piety. Worhip i not our anwer to the all-pervading American quetion, What in it for me? Fall/Winter 2016 CroAccent 5

6 COUNTERPOINT Such elf-indulgence and elf-orientation threaten and undermine the fullne of the Chritian life and the fullne of the Chritian Church when it focue on come to church and we will give you what you need to live uccefully. That ound like an invitation to go hopping at the mall to buy omething advertier tell u we want or need, but it not evangelim or worhip. The gopel name u and call u to give up our fale elve and to be united with our true elve in Jeu Chrit. To be formed and reformed. Then Jeu told hi diciple, If any want to become my follower, let them deny themelve and take up their cro and follow me. For thoe who want to ave their life will loe it, and thoe who loe their life for my ake will find it (Mt. 16:24 25; NRSV). The elf Jeu ak u to deny i fale in that it i devoted to futile end by detructive mean. The cro Jeu ak u to take up i participation in hi dying and riing an incredibly threatening and riky buine, to ay the leat. The propect horrifie our fale elve. To give ourelve up i impoible except by the grace of God. And that why we are talking about being born and reborn, formed and re-formed acro generation and culture. Jutin: I wrote the ong Born/Reborn 1 for a ynod aembly; I wa aked to compoe an original ong that worked a both a baptimal remembrance and a ong of praie. I wa inpired by my friend Nate, who had recently written a baptim-themed ong after reading a book about pirate. In that ong he bring up the relationhip between drowning and finding treaure, and the kind of death that et you free. And I thought, why aren t there many ong of praie about dying? And in aking that, I had my anwer. The only way it would make ene i in light of baptim being uhered into a life of carrying the cro, through no power of our own. Bob: Worhip i not an end in itelf. It i a portal into the heart, mind, and work of Jeu Chrit by the power of the Holy Spirit to the glory of God. The liturgy i formative and re-formative. In it we recognize God action in converting u from elf-occupation of any kind to Godoccupied living. Here are everal way in which participation in worhip form u. Worhip carrie u into the preence of Jeu. Jut a the paralyzed man friend in the gopel carried him to Jeu (Luke 5:17 26), worhip bring u to Jeu. It break through the crowdedne of our preoccupation and the fale elf that keep our true elf from him. It i a mean of grace which i to ay, it i not omething we do but a mean through which the community called together by Chrit act in concern to bring u into the preence of Chrit. We carry one another into that preence, epecially we who are muician. The liturgy in it repetition i cumulative yet alway new. Many upect that liturgy a a pattern of action and word i mere repetition and therefore boring, deadly, and irrelevant. I can undertand thi viewpoint. I ve experienced it even in ome Lutheran churche where it i done by the book. Indeed, you may feel thi way, too. But I trut that God will offer you at leat over thee day when you are not necearily having to worry about the cherub choir or that hut-in call a more dynamic appreciation of God mighty and graciou action in worhip. Worhip require a dicernment of what i good and what i bad. In a parable Jeu peak of cating a net. When the net i full and pulled to hore, people put the good fih into baket and throw away the bad one. After telling thi tory, Jeu ak hi follower, Have you undertood all thi? and they anwer, Sure. Ye. Of coure. And he ay to them, Therefore every cribe who ha been trained for the kingdom of heaven i like the mater of a houehold who bring out of hi treaure what i new and what i old (Mt. 13:47 52). That a quetion for all of u: Have you undertood all thi? And we take care not to anwer too quickly a we, too, bring treaure old and new. Worhip make u part of a web of relationhip with fellow worhipper from all time and place. When we profe the Apotle 6 Fall/Winter 2016 CroAccent

7 They call u into the deeper water where we plah in the wave of God new creation. COUNTERPOINT Creed, we affirm our belief in the communion of aint. We are already in a gloriou echatological relationhip with all who have been made holy by God grace, all God people in every time and place. Worhip act a a len, allowing u to perceive gift and relationhip that are inviible in ordinary eeing. Even if we worhip with a mall group, the houe i packed! Martin Luther, Julian of Norwich, Harriet Tubman, Albert Schweitzer, Fanny Croby, Mother Terea, and a hot of other are there. They call u into the deeper water where we plah in the wave of God new creation. Song: Come, Holy Ghot 2 Come Holy Ghot. Come God and Lord with all your grace on u outpoured. Come Holy Light. Come Guide Divine now caue the Word of Life to hine. Come Holy Fire and Comfort True; grant u the will your work to do. Lord by your pow r prepare our heart. Where we are weak, Lord trength impart that bravely here we may afford our life and death to you our Lord. (x 2) Alleluia. Bob: Worhip alway reflect the catholic, univeral dimenion of living tradition at the ame time that we make it local and particular. If we believe in the communion of aint, then they all have a voice in what we do around book, table, font, pew. In Gordon Lathrop truly remarkable book, Holy Thing (Minneapoli: Fortre Pre, 1998), he remind u that the ordering of Chritian worhip i bet undertood a a proce and experience of mutual gift giving. The long and large cumulative tradition of the church univeral give u rich and plendid gift. When loved and treaured, thi legacy i alo what Lathrop decribe a the remedial norm. But thi norm Kathryn Brewer Fall/Winter 2016 CroAccent 7

8 COUNTERPOINT invite u to broaden what we tend to make excluive, narrow, and impoverihed when we limit our practice and imagination to our own tate or experience (174 6). The liturgy mut be particular to the time and place where it happen. Thu, accepting the gift that come from the larger tradition, we bring our own gift to the table o that the legacy i alway here and now. Let try it thi way: in worhip we receive and give gift in way that are venerably ancient and faithfully current. Jutin: Of coure, a many people here would know, there no formula for creating an original worhip ong (or prayer, or ermon) that will be a perfect fit for every poible ituation. That i due to the need for generative worhip material to be peculiar to it context. For every detail that i the ame between our churche, or that trive to be the ame ( one Lord, one faith, one baptim ), there are other detail emphaizing the reality that our communitie are increaingly different and divere. I had a eminary profeor who called thi relationhip reconciled diverity. At the rate at which cultural change happen in the potmodern era, which i exponentially growing, the church your church i never going to get le divere. And that good new becaue it alo never going to be le reconciled. So when writing ong for a congregation, the firt thing I make ure of i that it i true to God character a revealed in Scripture, but econd, that it true to the character and identity of my congregation. My end goal i to write (or chooe) ong that ing with the voice of my congregation, whatever that group may be. When I ing ong at a ynod aembly, they are going to be different from the one I ing in a prion viit. Pat that, I try to create ong that are imply ingable and have ome ort of beauty. Sometime I find all three. Sometime I don t. Song: When It Seem the Day Will End 3 When it eem the day will end And all light give way to fear We will peak your name again To remind u you are here New life riing Ahe falling Joy and weeping In your calling When it eem the day will end Sinking low under our in We are dead and born again And with you now enter in When it eem the day will end And a coldne fill our bone We will walk the way you ve been And our heart will be your home Worhip i ordered and outrageou, cheduled and uncontrollable. Thi i becaue the body of Chrit i upremely human, even when it i engaged in liturgy. There i both grandeur and an oh, wow dimenion to the experience of a fleh-and-blood gathering around holy thing. Whatever our age, gender, tatu, culture, ethnicity, we can only gather and participate in our full humanity. With the great addition of a track for children at thi conference, it i good to remember that children participating in worhip can only be themelve, ometime to the dimay of u overly ocialized adult! Would we want them to tay away? No. We are diminihed by their abence. Bob: Before Jutin peak a bit more about that, I would like to tell a Jutin tory. He wa four year old and very attracted to televiion. On Palm/Paion Sunday that year, at the concluion of the Paion reading after Jeu had been taken from the cro and there wa, diappointingly, no mention of an empty tomb, Jutin turned to Loi and excitedly whipered, Mom, Mom, thi i to be continued, right? 8 Fall/Winter 2016 CroAccent

9 In order to pick up a child who need attention, you often have to put omething ele down. COUNTERPOINT Jutin: Kid and adult, together. At Sobremea (the church I m a part of in South Carolina), we have a gloriou problem, which i that nearly 60 percent of our regular attendee are under 4 feet tall. That mean it get loud, and we a adult have to low down to care for the mallet and younget among u. It remind me of a comparion that wa made at my home church, Humble Walk in St. Paul, Minn. We had an awakening when we heard viiting preacher Suan Tjornehoj remind u that Jacob, on hi way to reconciling himelf to hi brother, wa dragging hi whole family with him, with the children in front of the entourage, etting the pace. For a long time, and lately epecially, I ve been conidering her aertion that in order to pick up a child who need attention, you often have to put omething ele down. Like grocerie. Or a computer. Or ene of control. Or a neat/orderly/contemplative worhip ervice. So at Dinner Church event we move at the pace of children. I talk more loudly. I beg people to it and lead kid dinner-talk. If you re acrificing the younget among you for the ake of a prettier, quieter, predictable worhip ervice, you re doing it wrong. Thi i the kind of noie we want in worhip. If the Iraelite raied children in the deert, we can it with a noiy toddler for 65 minute, and furthermore, allow all of the mot vulnerable among u to dictate our pace. In worhip we are alway pirit and bodie, from infancy to death, being who and what we are. And jut a there i no perfect or correct liturgy, there are no perfect or ideal aemblie. Liturgy i not about dreing up and pretending we are other than who we are. Even when our younget member dre like hepherd and angel (a holy and devatating piritual practice) there i no pretending. They are embodying and incarnating the nativity, being who they are in the fullet ene. Our quet remember the reference to Lathrop Holy Thing our quet i to give ourelve to God. CHRIS OCKEN Fall/Winter 2016 CroAccent 9

10 COUNTERPOINT Plenary 2 Jutin: Liturgical churche ue lot of word, particularly printed word. So I want to invite you to lay aide that connection in order to embrace a broader and more dynamic appreciation of liturgy, which i exactly what Lathrop ak u to do in Holy Thing. There are everal dynamic pairing or, if you prefer to remain faithful to Lathrop, juxtapoition: Word next to word. I m pro-implicity in worhip. I think God can work in the pace we leave open, but I alo think they have to be intentional. In an effort to implify worhip, ome of u have reduced our worhip to a ingle gopel reading. Thi ave time and energy, but it alo ha an advere effect. By combining a gopel reading with a Hebrew Scripture text (at the very leat), we re illuminating both reading and breaking open what the gopel i aying to u. I would rather have a complex criptural narrative than a ingle, imple Bible tory. Aembly next to individual. In worhip, we enter a individual and become community. Worhip break open our elf-centered orientation. Thi run counter to the world conumerit claim that everything can and hould be tailor-made for the individual. I think contemporary worhip, even more than other tyle of worhip, ha to work hard at remembering that the preference and opinion of the individual exit a a part of a whole. That include you, muician! If a certain ong doen t fit your tate, then top and ak whether it beneficial for the faith of the people gathered: faith i made whole in community. Seven day next to meeting on the eighth day. The day we worhip i the eighth day: a day outide of time and pace, where everything i made new. But it alo exit in juxtapoition to the other even day when we have live to muddle through, rejoice in, and o on. Some contemporary content come under fire for being exaggerated elf-help TED talk without divine mytery or piritual depth, but if your high-church liturgy in t equipping the people of God to carry their faith with them throughout the other even day of the week, you alo have work to do. Word next to table, leading to the poor. Meet the rien Lord a guet and hot, priet and acrifice, body and blood in order to live with and in u for the ake of other. The liturgy after the liturgy i a moral and ethical ene of being the body of Chrit for the world, particularly thoe in need. Sobremea gather in thin pace: thoe public encounter where heaven and earth meet and there are no wall anything that draw u cloer to thoe people who will never enter a traditional church building. Praie next to lament. Worhip mut be honet. The greatet crime of the contemporary worhip movement over the pat 30-odd year i that it 99 percent happy praie ong. I get it. Thoe ong are fun to ing. But we can t be happy, happy, happy even on Eater. Worhip mut be truthful. We weep with thoe who weep. A omeone who pay attention to independent worhip reource, I m encouraged to ee an increae in ong and liturgie of lament. After all, we re called to weep with thoe who weep. Without thi honety, worhip become myopic and dihonet. Look at the palm: praie and lament are in proximity. ELW contain a eldom-ued ection on lament, and artitic group like Bifrot Art have releaed collection of contemporary lament ong. Song: In Labor All Creation Groan 4 In labor all creation groan till fear and hatred ceae, Till human heart come to believe: In Chrit alone i peace. In labor all creation groan till prejudice hall ceae, Till every race and tribe and tongue in Chrit will live in peace. In labor all creation groan till rape and murder ceae, Till women walk by night unharmed and Chrit i thi world peace. 10 Fall/Winter 2016 CroAccent

11 In labor all creation groan till fale diviion ceae, Till enemie are reconciled in Chrit who i our peace. Formation relating to baptim, both before and after the wahing. A good Lutheran, we know that we re reborn, tranformed in our baptim, but if we re going to be a people of the calendar, a Pachal people, that mean we need to hold the event of holy baptim in tenion with our realitie before and after the wahing. It would be good for u to adopt thoe ancient practice that hold a time for preparation and education before the rite, or in the cae of infant baptim, a robut catechei that lat an entire life long. If we make baptim a one-time event, we re further compartmentalizing that ingle hour out of the week and aying that worhip i a one-hour weekly check-in rather than it being a time that trancend mundane time. The church year next to the Eater Mytery. Speaking of calendar, we remember that Eater i the hinge for the Chritian ene of time. A Michael Bridge from the band Lot and Found ay, the tory of Jeu didn t tart with, In thoe day Caear Augutu declared.... It tarted with, Have you heard? Jeu i alive! The Eater Mytery i the center of our worhip. From there it pread to the waiting of the Eater Vigil, the grief of Good Friday, all the way back to the Nativity, all the way back to the firt Paover. All time and event are changed, both their ignificance and their power to determine our action and thinking. The tenion inherent in the tructure of our worhip hape u. No Chritian worhip, whether it organ-led or band-led, exit in a vacuum that uck u up away from the world, chew u up, and pit u out to be nicer. Worhip i an eighth-day zenith into which we re gathered and from which we re ent out to live tranformed live. If it ha nothing to do with the world around u, or with God praie being ung by creation, then it i empty. Only in the juxtapoed tenion that create opportunitie for worhip can we find a God who i alway with u, alway at work. istock/dimatit633 COUNTERPOINT Fall/Winter 2016 CroAccent 11

12 COUNTERPOINT Conider: have there been experience when, with Jacob, you could ay, Surely the Lord i in thi place and I did not know it! (Gen 28:16). How ha your experience of worhip haped your life and your identity a a Chritian? Song: O Love, How Deep, How Broad, How High [ELW 322, LSB 544] 5 Jutin: In worhip we explore the depth, height, and breadth of God love. In thi hymn we have the whole tory of Chrit Jeu, a tory the calendar take a whole year to tell. Worhip reveal our identity, give u our vocation, and utain u in it, bind u into a community gathered around the rien Chrit, place u in time and pace, hold u accountable for living reponibly, and guide u through agonizing ethical choice, ickne, or death. We keep time with the rien Chrit. We keep a calendar and a related table of Scripture reading a lectionary. And we glory in telling the tory of Jeu. Why do people come up to you jut before you enter the chancel or the gallery to lead worhip and urgently tell you about ome detail in their live or omeone ele? The head of the property committee tell you the church lawn mower in t working, or Mildred report that you will mi her warbling oprano becaue he going on a vacation to Borneo for a month. Why do they do that, when it eem totally out of context jut a you are about to proce down the aile? Maybe it becaue omehow they know that we all could go into worhip and be changed forever! God preence and power jut might make u forget all the illy, mundane fact of our live and take u out into the deep, where God miion and love weep u into God own paion for the world. Maybe it becaue we continue to be re-formed and reborn. Worhip i momentou and dangerou. It can form and re-form u. And that becaue it i all related to the amazing tory of what we call the Pachal Mytery: Chrit crucified and rien for the life of the world. Song: Now All the Vault of Heaven Reound [ELW 367, LSB 465] In our worhip, Chrit i not pat. He i our contemporary. We are delivered, healed, retored to ight. We are forgiven, find our true voice, and are freed to joyful ervice. We experience Chrit eating with u inner. Worhip all flow from the deep, broad, and high love of the Pachal Mytery. The hitory of the calendar development i a bit mey becaue we have been trying and till are trying; you ve heard rumor about trying to et a fixed date for Eater in both the Wetern and Eatern churche, right? we keep trying to come to term with Chrit and who he i; and becaue worhip i contextual, worhip developed in and ought to be faithful to it own context. The valuable inight and formative power of the church year can only be realized in experiencing it. It provide moment of encounter, truth-telling, and abounding grace. The Chritian year i the communal etting where we are bleed with a hared memory. Imagination are charged by fire, water, bread, wine, ahe, foot bain and towel, oil. A you reflect on your lived experience of the church year, what moment in worhip tand out? How have thee moment haped and anchored you? Bob: You know, dear friend, how worhip form and re-form u. For me that i een and experienced in a great many way in our worhip, including inging, remembering baptim, hearing the word of God proclaimed. But now I briefly want to talk about how the eucharitic prayer form and re-form u. The eucharitic prayer begin with what God ha done in the pat. It look to the future, to the conummation and unification of all thing in Chrit, when all diviion will be overcome and all orrow ended and every tear wiped away. And it ituate the preent moment in that context: thi Sunday in July, thi time of bereavement, thi marriage, thi conflict, thi hour of uffering, thi time of gladne. We pray 12 Fall/Winter 2016 CroAccent

13 for the Holy Spirit to enter anew into our hitory and into our live through thi celebration, o that God work of alvation may be experienced now and, through our live, be brought cloer to it completion. We pray that God will make u ign of God graciou love. The eucharitic prayer make clear the pachal character of the whole celebration. It i about Chrit acrifice, about he who in ubmiion to God and for love of u all did not try to evade death but let himelf be crucified and killed rather than be unfaithful. Remembering the death of Jeu i not omething that can be done imply by thinking about it. To remember Jeu i to live a he lived, to think a he thought, to act a he acted. To remember the death of Jeu i not jut to be moved by tear at the old rugged cro but to heed the word of St. Paul: let the ame mind be in you that wa in Chrit Jeu (Phil. 2:5). The purpoe of the liturgy i not to give lip ervice to God but to glorify God a Jeu glorified God. Thi i done when our live are tranformed under the influence of the Holy Spirit o that we become increaingly Chrit-like in our total devotion to God and to God work in the world, no matter what the cot. Concluion When I think about form of worhip I automatically think about print, which how that I m ruhing headlong into the 1970 when it come to high-tech tuff and paperle liturgy. A wie pator once hared with me hi three law of liturgic: If it old, it good; if it in print, it true; if they give you option, ue them all. My poue and Jutin mother, Loi, hould actually be talking about thi. I wa the pator, up front, leading worhip. Loi wa the catechit who modeled for our children, Debbie and Jutin, both the hape and the behavior of worhip. From Loi I have learned that children are formed a Chritian through the experience of aembling faithfully. Our children knew the text and tune of the liturgy (and even ome hymn) well before they were in kindergarten. They ang becaue we ang at home and in the car. We carried a hymnal with u on trip. They learned the ign of the cro by participating with their parent in that igning. They turned COUNTERPOINT Fall/Winter 2016 CroAccent 13

14 COUNTERPOINT to face the cro in proceion becaue the aembly turned. In ome way it like patterning, a technique ued by phyical therapit to retore the ue of limb following diater like troke: the therapit move the limb for the victim until uch a time a the victim are able to do o themelve. Thi form of our worhip form u, take u from the font and how u what baptim mean, bring u to the table and feed u what we need. Worhip invite u to pilgrimage and offer u the grace uited to the tage of the journey. When we firt dicover the rich dimenion of communal prayer and praie, we may be epecially conciou, even facinated, with the outward apect of worhip. We like the muic, the art, the architecture. We like the hape, the hitory, the ene of tradition. A time pae and thi way of being together before God become more ingrained, we recognize that the Holy Spirit i making connection between what we perceive in worhip and what we are called to dicern in our daily living. Jutin Rimbo i a muician, ongwriter, worhip leader, and writer. A deacon in the ELCA, he work with the South Carolina Synod exploring the future of Sobremea, a pilot community for thoe in the Vita neighborhood of Columbia, SC. Robert Alan Rimbo i bihop of the Metropolitan New York Synod (ELCA). A graduate of Concordia Senior College, Fort Wayne, IN, and Chrit Seminary Seminex, St. Loui, MO, he alo hold an honorary doctor of divinity degree from The General Theological Seminary of the Epicopal Church, New York, NY. He ha publihed eay, ermon, and numerou other article relating to worhip and i the author of Why Worhip Matter (Minneapoli: Augburg Fortre, 2004). He wa a member of the reource propoal group for the ELCA Renewing Worhip project, which led to Evangelical Lutheran Worhip (2006). Note 1. Word and muic by Jutin Rimbo. Born, reborn Born, reborn Formed, reformed Soul with gladne now adorned Born, reborn Born, reborn Formed, reformed Praie our God forevermore Drown u Raie u Mark u Claim u Name u Heal u Wah u Seal u The ong may be heard at muic.bandcamp.com. Jutin muic i under a Creative Common Share-and-hare-alike licene people are welcome to ue it a long a they don t claim authorhip, they attribute Jutin, and they don t ell it. 2. Word by Martin Luther; muic by Tara Ward and Paula Bet. The lead heet are available for download at album.php. 3. Word and muic by Jutin Rimbo. The ong may be heard at track/when-it-eem-the-day-will-end. 4. Word by Dolore Dufner; tune traditional; featured on the digital album Lamentation by Bifrot Art Muic. See bandcamp.com/track/in-labor-all-creation-groan for a lead heet. 5. A verion by Jonathan Rundman from hi digital album Lot Song may be heard at jonathanrundman.bandcamp.com/track/ oh-love-how-deep Fall/Winter 2016 CroAccent

15 COUNTERPOINT AMY SAnd Partnering with the Spirit: Gathered, Enlightened, and Tranformed by Brian Maa Called and Gathered: The Spirit Draw U In Thi year [ALCM] event and thee comment ue the theme Blowin in the Wind. But why? Even Bob Dylan didn t know what it meant! The wind of the Spirit never ceae to move. Worhip i to be inpired and inpiring. Becaue, at the end of the day, there i no ingle anwer to what make for worhip that inpire it forever blowin in the wind. Some of you recognize in thi ection title the reference to Martin Luther Small Catechim explanation of the Third Article of the Creed. More importantly, you may have noticed that my three little piel are equential, following the flow of worhip itelf. I ak you, how many Lutheran confirmation urvivor are here? How many of you remember thi little book Editor note: Thi i a plenary preentation from the July 2016 gathering of ALCM Region 3 in Chicago, IL. from which we all learned and remember the mot frequently repeated entence, What doe thi mean? Luther greatet legacy may have been thi encouragement to ak quetion. Jeu himelf wa a quetion aker, not an anwer giver. Martin Copenhaver, in hi book Jeu I the Quetion (Nahville: Abingdon Pre, 2014), tell u that in the four gopel Jeu wa aked 183 quetion. He only gave eight direct anwer. Jeu aked 307 quetion of other! Statement end in period, which are like cloed door. Quetion end in quetion mark, which are open door. Thee open door invite u in. The Holy Spirit i the quetion mark of the Trinity. Are you curiou about what that mean? That curioity i the Holy Spirit. See how it draw u in. We are partner in the Spirit work. Remember Genei 1:1: In the beginning, when God created. What did God create out of? Mot people repond, out of nothing, but that not quite what Genei ay. Genei ue the Hebrew phrae, tohu wa vohu. The Hebrew doe not tranlate literally. We ay, the earth wa Fall/Winter 2016 CroAccent 15

16 COUNTERPOINT a formle void, a eething ma of potential (think of a teenager bedroom), and that about a cloe a we can get in Englih. What wa it that moved over that tohu wa vohu? A wind in Hebrew, ruach; in Greek, pneuma from God. Borne on that wind were God word, Let there be light. Thi tory of the beginning i normative for all of the word. While the univere waited a mere tohu wa vohu, God wa up to omething. When the Iraelite wandered in the wilderne, God wa up to omething. When they were in exile, God wa up to omething. When Jeu fated after hi baptim, God wa up to omething. When he lay in the tomb, God wa up to omething. While the diciple at behind locked door, God wa up to omething. While you re taring at hymnal and calendar wondering if you ll ever complete your worhip planning, God i up to omething! In my own minitry in the parih and in the bihop office, I have experienced how little mot of our member are aware of the treaure of the Spirit work in thee time of waiting, in our undertanding of the word, and in the Small Catechim quetion-driving widom. It thi lack of knowing, and the mytery and power that are thereby mied, that led to the title of thee keynote. We are partner in the Spirit work. What doe thi mean? If the Spirit work i to call, gather, enlighten, and anctify, what i our role? How do we partner with thi work? Think of the tory of Pentecot wind and flame. Thee are phenomena we plain-dweller undertand well. Wind and fire, each powerful in their own right, are downright terrifying in combination. Yet even a prairie fire leave in it wake vat potential for new life. The fire get rid of accumulated undergrowth and make new life poible. In t thi ometime the role of the Holy Spirit? In John gopel, the gift of the Spirit look like thi: the diciple gather in fear on the evening of the reurrection. Jeu appear, breathe the Spirit on them, and end them out. A week later, they come back. They gather again in community and the Spiriting, the inpiring and ending, happen once more. The Pentecot Spirit in Act look like thi: the diciple gather together, the Spirit blow and burn. And then the Spirit end them out. A week later, they re back again. In both telling of the Spirit, the proce unfold like the familiar three-arrow triangle of the recycle ymbol. The diciple are ent out, they tell other, they gather for renewal, and then they repeat. Thi i the formative cycle of life in the church or at leat it intended to be. It eay to fall hort on one or more egment of the cycle, to the detriment of the congregation and it urrounding community. Long ago omeone told the tory of a young tudent whoe cience paper confued inhalation and exhalation with inpiration and expiration. One entence read, if you re not inpiring, you re expiring. That a pretty accurate ummary of life in the church. So how do we, thoe charged with planning and leading worhip and art in the church, partner in the calling and gathering, the inviting and drawing in? I hould confe a I ak thi quetion that I m not a fan of worhip evangelim! Worhip a evangelim doen t work it and, not a. Great worhip can t fail to inpire evangelim; but worhip i not, nor i it intended to be, evangelim itelf. People till eek God and good new. From my perpective, aying I m piritual but not religiou i a little like aying I play football alone. Sooner or later, life i going to come ruhing at you like a bunch of furiou linemen and defenive back. With whom have you huddled in order to be prepared? Who i helping you fend off thoe threat and challenge? How do we help people locate God and good new, not jut church? A a lifelong Nebraka Cornhuker, I have for year been hearing people tell me that the N on the helmet of our football player tand for Nowledge. I ugget that there are three imilar N to our weekly cycle of worhip. And I want to ak you again a worhip planner and leader, what i our role in the inpire engage invite cycle? Put another way, how doe your congregation worhip partner with the Holy Spirit to call and gather? 16 Fall/Winter 2016 CroAccent

17 Conider: What happen before Sunday? Before worhip? What the prelude about? What it for? What doe worhip ay to your community? What doe the community ay to you? How are you helping thoe who gather to prepare for worhip? What about announcement? Greeting? Hopitality among member and guet? Thee are all important quetion to bear in mind in all the planning and leading we do. Likewie, it important to remember thi critical truth: we are part of a tory that reache back beyond time and i baed on the promie that alway, God i buy in our chao and waiting. The Spirit move within and beyond to call and gather to draw all in to the life expreed in the good new we proclaim. COUNTERPOINT Enlightened: The Spirit Inpire and Renew In thi ection, I move to the next verb, enlightened, in the Small Catechim explanation of the Third Article of the Apotle Creed. If you travel acro Nebraka on Intertate 80, you will encounter a ign near one of the overpae that read, Watch for wind. That probably make ome people cratch their head. You can t watch for wind, you can only watch for evidence of wind: what moving, and how and in what direction? Still, you do have to watch for it, to be ready for it, or diater could trike hence the ign. More than one tractor trailer ha been blown completely off a prairie overpa. By the ame token, you want to watch for evidence of the wind becaue opportunity could trike! Windmill ued to dot the plain. My quetion to you i, how do we watch for the wind of the Spirit in our planning and leading worhip, and how do we help other to do the ame in their experience of worhip? When people arrive in our congregation for worhip, do they arrive expecting to be met by God? Do they expect to be tranformed and to leave inpired and enthued? Or do they, a one cynic noted, come to worhip for the ame reaon they read AMY SAnd What if Moe and thi holy encounter at the burning buh became our apirational model for worhip? the newpaper: to be aured that nothing much ha changed? I want to turn again to the word and invite you to conider the tory of Moe encountering the burning buh a a model for worhip and for encountering the holy. How might our worhip apire to thi equence: Moe ee a ight. He hear hi name. He told to put off hi andal. Paue here and imagine for a moment that a modern crime cene lab got hold of thoe andal. Imagine that their thorough, microcopic examination lead them to conclude that becaue of their tyle and quality of contruction, they were made for omeone wealthy or powerful perhap a prince; that a tain reveal a trace of human blood, perhap hed by a murderer; Fall/Winter 2016 CroAccent 17

18 COUNTERPOINT that different particle of oil in the eam ugget the wearer ha been to Egypt, trekked through the wilderne, and lived near the buh where the andal were found; and that, baed on what found on the ole, the wearer ha been following heep. Thoe andal are, metaphorically, the um of hi identity prince, murderer, fugitive, hepherd. They are the role Moe play, the label the world would put on him. But before God, he barefoot! Before God, he ha no role to play, no label to endure he i jut Moe, only Moe, the choen and gifted child of God. What if Moe and thi holy encounter at the burning buh became our apirational model for worhip? How would we: garner attention? let God peak? invite into holine? get people to take off their andal, their role, their label? remind and renew them with God incarnate preence? remind them of their God-given name? their God-given gift? How do we get them to put their hoe back on and fulfill God miion for their live? Conider another tory that can inform our worhip, that familiar tory of Mary anointing Jeu feet in John 12. Juda, the keeper of the pure, get upet, uggeting that the money lavihed on Jeu could be better pent in other minitry. (How many of u haven t heard thi rationalization any time a worhip-related expene i propoed?) Think, again with imagination, about Jeu repone: the poor you will alway have with you, but you will not alway have me. What if, intead of the way that phrae ha been ued to jutify our tolerance of poverty, we heard Jeu word intead a the poor in imagination and inpiration you will alway have among you thoe who ee only budget line and dollar ign and pragmatim and program but thoe who ene my preence, who eek to encounter me, and who offer worhip in repone thoe people and moment will be harder to find? How might uch a reading free AMY SAnd How might we now think about retelling the tory of the liturgy intead of jut letting it be a rote experience? u from the limit we too often impoe on our preparation for worhip and open u to more lavih experience of Chrit living preence in our worhip? Imagination i critical to partnering with the Spirit. Imagine a imple exercie in which you partner with one other peron. One of you tell the other a tory, weaving in four image given to you. After a few minute, you revere role with four new image. Thi practice of torytelling with image from outide your own imagination, artificial though it i, actually help u become more imaginative in the minute that follow. It a though we ve moved out of ome of the rut in which our thought run. How might we now think about retelling the tory of the liturgy intead of jut letting it be a rote experience? How might we ue muic or image or word differently in ervice to our worhip? How might we apply imagination in way beyond hymn and anthem election? Imagination already abound in congregation. Which idea have you encountered? Ued? Here are only a few example of how congregation have exercied imagination in worhip and worhip planning: 18 Fall/Winter 2016 CroAccent

19 explored the fullne of the Revied Common Lectionary; for example, uing the emicontinuou reading intead of the complementary reading; ued the narrative lectionary, which eek to tell a larger tory than the Revied Common Lectionary; created a worhip or preaching erie; offered the aembly the opportunity to read the Scripture, intead of or in addition to individual reader; et up creation tation, which give acce to art upplie right in the anctuary during the ermon, o that children or other can explore the day Scripture or the eaon meaning in different way; held ilence, in different place and of great length; and utilized congregational interactivity in preaching, prayer, choral offering, and hymn. In addition to imagination, awarene i critical to planning and leading worhip awarene of the culture and context in which we worhip. Generally peaking, our congregation don t look like the communitie around them. Whole egment of our communitie are eparate from our congregation, becaue their race, ethnicity, or ocioeconomic tatu i different from the dominant one in our congregation. Once again, the word i intructive in how thi element can impact our work, through the len of the tory of the Prodigal Son. Mark Allan Powell, in hi eay The Forgotten Famine (in Literary Encounter with the Reign of God, ed. Sharon H. Ringe and H. C. Paul Kim [New York: T & T Clark International, 2004]), tell of hi experience of how differently eminarian in North America, Ruia, and Tanzania read thi familiar tory. Depending on context, tudent emphae hifted from the on peronal choice to the role of the famine in the tory and even to the awarene that no one from the urrounding community helped the on when he wa living with the pig and longing to eat their food. Emphae and meaning that eem imply obviou and unchanging to u are not alway hared by other. How might thi be true not only of our reading of torie but alo of our living in community? Conider: what i the cultural context of your worhipping community? what are the mark of the cultural context to which you ve adapted your worhip? how doe your worhip prepare miionarie for that context? how doe your worhip invite or welcome (or both) thoe from that context? Alway, the Holy Spirit inpire and renew. With imagination, enitivity, and awarene we are invited, like thoe driver along I-80, to watch for evidence that the wind of the Spirit i blowing. Sanctified: The Spirit Tranform and Send The Holy Spirit call, gather, enlighten, and anctifie the whole Chritian Church on earth, according to Martin Luther Small Catechim. Worhip i a cycle. It i the repiratory cycle, the breathing of the body of Chrit. Remember the inhalation/exhalation parallel: if there no inpiration, there expiration! Sanctification i an under-utilized word for Lutheran. We focu more on jutification, perhap an over-utilized word for u. In a time and religiou ytem in which anctification wa key to alvation, and almot no one qualified, Luther inight into jutification wa critical. If God ha the jutification piece taken care of, we re free to be made holy not the other way around! Getting jutification right make anctification poible and celebratory. Looking to anctification a the mean for achieving our jutification i a fool game; hence Luther trong emphai on jutification (ee the Augburg Confeion, Article XII, Of Repentance ). But Luther did not intend jutification to be a focu to the excluion of anctification. In truth, one cannot experience jutification without anctification, jut a one cannot do half a omerault. To be aware of one being made right (jutified) before God lead to a repone in holy living (anctification). COUNTERPOINT Fall/Winter 2016 CroAccent 19

20 COUNTERPOINT In Luther On the Freedom of a Chritian (1520), he expree thee critical truth: A Chritian i a perfectly free lord of all, ubject to none. A Chritian i a perfectly dutiful ervant of all, ubject to all. 1 Thi tatement, wholly paradoxical and quinteentially Lutheran, expree the natural relationhip of jutification and anctification. Jutified by the life, death, and reurrection of Jeu Chrit, we are free from any bondage the world may try to throw at u. Thu freed to live beyond limit and expectation, we can dedicate our whole live to erving other and are thereby anctified imply in our living. To be anctified i literally to be made holy. And to be made holy i to be made different. Or a Flannery O Connor i aid to have put it, You hall know the truth and the truth hall make you odd. Saint Paul put it thi way in Roman 12:2 (NRSV): Do not be conformed to thi world, but be tranformed by the renewing of your mind, o that you may dicern what i the will of God what i good and acceptable and perfect (emphai mine). Thi i part of what worhip doe for u and to u. Worhip make u different it tranform u. We become holy; and ye, by the world tandard, we become odd. We are not the ame. Conequently, if I leave worhip the ame a I arrived, I have not been encountered by the living God. Or I m really, really tubborn! To reviit an earlier theme: worhip, a diciplehip, doe not happen in a vacuum. We are all wimming in a cultural context. Given the violent event of the pat everal month, it time to ak how we can live out our anctification by becoming different ourelve. More than imply aking how our worhip can more effectively mirror our community, it time to ak how we, our congregation and, ye, even our worhip, can inhabit, inpire, impact, and anctify our communitie. But we have to be willing to be anctified changed ourelve. Quetion need to be aked of our worhipping communitie not only becaue of recent event parked by racial tenion but alo becaue of ytemic challenge that we continue to endure: AMY SAnd How might we do our work differently to partner with the Spirit in making room to celebrate the freedom of our jutification by the living out of our anctification? how would you rate race relation in our nation? in your community? how doe your race impact your life? how do you live differently for better or wore than omeone of another race? how do you feel you re called to live a a diciple of Jeu and a member of your race? how are you being anctified, changed, with regard to the matter of race? how are your congregation and your community being anctified? or i the matter even being dicued (or acknowledged)? If we believe that the Holy Spirit i doing what we confe, we need to be attuned to how anctification i happening or whether it i happening and how we might do our work differently to partner with the Spirit in making room to celebrate the freedom of our jutification by the living out of our anctification. 20 Fall/Winter 2016 CroAccent

21 Whether it i in thi critical area of racim or in another, we are the heir of a great tradition when it come to being formed in faith (another phrae for anctification). Every Lent, mot Lutheran in mot congregation imply know, like almon returning to pawn, that it time to be taking part in midweek worhip. Look ahead to our next Lenten eaon. How will you partner with the Spirit to enlighten and anctify your worhipping community and the community beyond? Lent give u five Wedneday between Ah Wedneday and Holy Week five opportunitie for new learning, new formation, new worhipping experience. Here are only a few example of theme for capitalizing on thoe five Wedneday. One could focu on: preaching/teaching on the five ection of the Small Catechim; preaching/teaching on the five bleing of Affirmation of Baptim; inviting member to hare the tory of their faith (not a Lutheran habit but need to be); or inviting member to hare life experience, under uch theme a What I learned from uffering, When hope wa real for me, My experience of the power of reconciliation. Lent i alo a good time to conider variation not only in the content of preaching and teaching but alo in the tructure and experience of worhip itelf. If you haven t already tried them, Lent i a great time to introduce Taizé muic, evening prayer (veper), compline, dinner church, or thematic interactive worhip. Being open to the Spirit make room for and inpire anctification. Reitant a we human being can be to change, we nonethele trive in faith to be changed, to be anctified made holy in worhip, o that we may become agent of anctifying changing, making holy the world. Thi i the never-ending work of the Holy Spirit. Concluion In and through u and the worhip we erve, the Spirit call and gather, buily doing thing even in the chao and wondering of our waiting. The Spirit enlighten, blowing a the wind and breath of God to detroy barrier, eliminate undergrowth, make new life poible, and carry aloft our hope. A we prepare and lead worhip with imagination, we watch for that wind. The Spirit anctifie, tranforming and making u holy, in order to tranform and make holy the world. I believe that the Spirit i alway more active and available than we recognize. Our challenge in t waiting for the Spirit to how up it getting out of the way o that the Spirit can do what the Spirit doe. Perhap nothing expree that deired attitude toward the Spirit more than the prayer of Fr. Mychal Judge, the chaplain of the New York Fire Department who perihed on 9/11. Hi daily prayer wa, Lord, take me where you want me to go, let me meet who you want me to meet, tell me what you want me to ay, and keep me out of your way. A you offer and live out that attitude and prayer, bear thi in mind: you have been called to and gifted for thi holy ervice, imperfect and inful though you may be. Your talent and paion, your reaon and trength, are inufficient alone. But the Holy Spirit ha called you by the gopel, enlightened you with hi gift, anctified and kept you in the true faith. The Spirit call, gather, enlighten, and anctifie the whole Chritian church on earth and keep it with Jeu Chrit in the one true faith. You are the Spirit partner in thi holy endeavor. Thi i mot certainly true. Brian Maa i bihop of the Nebraka Synod of the ELCA. He i a graduate of Nebraka Weleyan Univerity and Yale Divinity School and hold a certificate of tudie from Lutheran Theological Seminary at Gettyburg, Note 1. In Martin Luther Baic Theological Writing, ed, Timothy F. Lull (Minneapoli: Augburg Fortre, 1989), 596. COUNTERPOINT Artwork for thi article i from the God Promie biblical pictoral timeline, a private collection of Firt Congregational Church, River Fall, WI. www. firtchurchrf.org/ bibletimeline. Fall/Winter 2016 CroAccent 21

22 COUNTERPOINT by Sandra Dager For Whoe Sake? Kinethetic Energy Pattern and Liturgical Dicernment When Father Joeph walked into the anctuary of hi new congregation on Maundy Thurday morning, he noticed there were no bowl, towel, or ewer at the foot-wahing tation. Intead, there were hoehine boxe and polihing cloth. Curiou, the new priet called the head of the altar guild and aked for an explanation. He learned that the ritual Jeu carried out on the night of hi betrayal and Jeu mandate for hi follower to do likewie had been deemed a bit too invaive for the parih. Somewhere along the way it had been decided that the hining of hoe wa a perfectly good ubtitute for the wahing of feet. It captured the eence of ervanthood and bypaed the embarrament. Editor Note: Preented at the ALCM Region 4 conference in Sacramento, CA, July Father Joeph wa faced with hi firt patoral tet. Not urpriingly, it involved worhip. Should the congregant be invited to hine one another hoe or wah one another feet? For whoe ake would he make that deciion? What iue and factor hould he conider? Father Joeph decided to banih the hoehine boxe and bring back the foot-wahing bowl. In le time than it took to cry Kyrie eleion, a mall liturgical mutiny erupted. The head of the altar guild let it be known that he would be wearing pantyhoe on the firt day of the Triduum. No one would be wahing her feet! Taking their cue from their leader, other women howed up on Maundy Thurday wearing that indipenable wonder fabric that minimize bulge, hide varicoe vein, and make a woman look more polihed and put together. For whoe ake wa their deciion made? We may chuckle about 22 Fall/Winter 2016 CroAccent

23 the hoehine boxe and pantyhoe protetor, but thi wa no laughing matter for the priet who had to deal with the ituation. Whether liturgical deciion have to do with muical interpretation, the election of hymn and liturgie, expanding a congregation worhip repertoire, handling a conflict, or any other apect of worhip and muic, worhip leader engage in liturgical dicernment over a wide variety of iue on an ongoing bai. At the heart of every deciion we make about worhip there lie thi quetion: for whoe ake will thi deciion be made? We will conider thi quetion from three perpective: Dietrich Bonhoeffer inight about the nature and foundation of Chritian community, Henri Nouwen treatment of the two ide of hopitality, and Marcia McFee diertation on kinethetic energy pattern in worhip. Their idea generate freh thinking about the criteria for liturgical dicernment and enhance our ability to make deciion for the ake of Chrit. Chritian Community During a horrific period in Germany hitory, Lutheran pator Dietrich Bonhoeffer taught in an underground eminary for Confeing Church pator. Thi experience caued him to reflect on the nature, challenge, and demand of Chritian community. 1 Hi inight about the eence and foundation of Chritian community invite u to conider how our undertanding Gather viibly... to hare God Word and Sacrament. Without Chrit, human interaction are driven by people ego. of Chritian community inform our liturgical dicernment. Bonhoeffer emphaize the foundational role of God grace in relation to Chritian community. He believe Chritian community i a gift from God: it i by the grace of God that a congregation i permitted to gather viibly in thi world to hare God Word and Sacrament (18). A far a Bonhoeffer i concerned, God grace i the bottom line, the ole foundation and rationale for Chritian community. Gathered by God grace, Chritian only come to one another through Jeu Chrit. Without Chrit, human interaction are driven by people ego. If Chrit i not at the center, churche can morph into what Bonhoeffer refer to a a wih dream or human creation. According to Bonhoeffer, problem in Chritian community occur whenever a Chritian community i guided by the idea or ideal of it member rather than by Chrit: innumerable time a whole Chritian community ha broken down becaue it had prung from a wih dream. The eriou Chritian, et down for the firt time in a Chritian community, i likely to bring with him a very definite idea of what Chritian life together hould be and to try to realize it. But God grace peedily hatter uch dream. (26) No apect of a Chritian community i immune to wih dream including worhip. Liturgical wih dream can be jut a difficult to handle a other area of minitry. Bonhoeffer antidote to wih dream i a willingne to put Chrit at the center of a Chritian community: the more genuine and the deeper our community become, the more will everything ele between u recede, the more clearly and purely will Jeu Chrit and hi work become the one and only thing that i vital between u. (Ibid.) Bonhoeffer comment about the nature of Chritian community are relevant to liturgical dicernment and raie important quetion. A we conider our own context, we do well to ak COUNTERPOINT Fall/Winter 2016 CroAccent 23

24 COUNTERPOINT If we tell people, You can be my guet if you believe what I believe, think the way I think and behave a I do, we offer love under a condition or for a price. what currently occupie the pace between the member and the leader of our community worhip. I it Chrit, or i there omething ele at play? I our worhip deeply and truly Chrit-centered, or ha it developed into a wih dream a reflection of human idea, ideal, and agenda? It take great courage and integrity to ak quetion uch a thee. If we wih our liturgical dicernment to be grounded in God grace and haped by Chrit, thee quetion need to be taken eriouly. Hopitality A Chrit-centered community i a hopitable community. Chritian hopitality flow from a profound undertanding of God grace and find expreion in neighbor-love. Drawing inpiration from the tory of Abram extenion of hopitality to hi myteriou viitor in Genei 18, Henri Nouwen tree the importance of hopitality: if there i any concept worth retoring to it original depth and evocative potential, it i the concept of hopitality. It i one of the richet biblical term that can deepen and broaden our inight in our relationhip to our fellow human being. Old and New Tetament torie not only how how eriou our obligation i to welcome the tranger in our home, but they alo tell u that guet are carrying preciou gift with them, which they are eager to reveal to a receptive hot. 2 Nouwen enviion hopitality a the creation of a free pace where people can come into our live and offer their gift. When we are receptive, we allow people to enter our pace on their term, not our. If we tell people, You can be my guet if you believe what I believe, think the way I think and behave a I do, we offer love under a condition or for a price (69). We might add worhip the way we do to the lit. Nouwen ay conditional receptivity i hote, not hope hotility, not hopitality. Interetingly, Nouwen ugget that receptivity i only one ide of hopitality. A yin i to yang, the flip ide to receptivity i confrontation. The idea that confrontation may be an important apect of hopitality may come a a urprie. Nouwen doe not view confrontation a aggreion. He ee confrontation a the offering of an unambiguou preence, a clarity about one own poition. Hopitable confrontation i the clear articulation of limit, boundarie, and identity. For example, i it hopitable to elect muic for Lutheran worhip from a tradition that tree human agency or deciion-baed theology over and above a Lutheran undertanding of God grace? To adopt a worhip format that make the aembly role more paive and le participatory? To bae worhip deciion on congregational politic? To excie large chunk of the liturgy to make it more appealing to viitor? From Nouwen perpective, hopitable confrontation combine clarity with love: When we want to be really hopitable we not only have to receive tranger but alo to confront them by an unambiguou preence, not hiding ourelve behind neutrality but howing our idea, opinion and life tyle clearly and ditinctly. No real dialogue i poible between a omebody and a nobody. (Ibid.) Sometime hopitable confrontation require u to walk a rather fine line. Neverthele, triking a balance between receptivity and confrontation i not only crucial to hopitality, it i alo crucial to healthy liturgical dicernment. A Nouwen ee it, Receptivity without confrontation lead to a bland neutrality that erve nobody. Confrontation without receptivity lead to an oppreive aggreion which hurt everybody (70). Offering liturgical hopitality that i balanced between receptivity and confrontation i challenging. But it i not impoible. When Chrit become the only thing between u, Chrit will be central to our liturgical dicernment a well a to our expreion of hopitality. 24 Fall/Winter 2016 CroAccent

25 Kinethetic Energy Pattern The world in which we live pulate like a great energetic ymphony. Everything in thi polyrhythmic planet move in ditinct energetic cadence. Lumbering elephant and buzzing bee, raging water and quiet tream, beating heart and clapping hand all move in unique rhythmic pattern. Even rock have an energetic rhythm. Muic, of coure, i all about rhythm. We, who have been created in God image, are part of thi energetic orchetra. Everything we ay, think, or do i expreed and negotiated through rhythm pecifically kinethetic energy pattern. 3 Kinethetic energy pattern are neuromucular pattern of mucular excitation that determine how people move, think, relate to one another, and behave in their environment. Kineiologit Joephine Rathbone dicovered the exitence of four ditinct energetic pattern in her ubject while conducting reearch on neuromucular excitation. 4 Eentially, every peron ha a primary (primal) energy pattern. A peron primal energy pattern i impacted by many factor, including the influence of other people primary pattern, culture, environment, and the expectation other place upon u. Our primal pattern i the one istock/florintt with which we feel the mot at home and do our bet work. When we operate out of our primal pattern, we have the greatet acce to our alpha brain wave; experience our highet level of creativity; and feel the mot relaxed, centered, and happy (McFee, 159, 209). While we have the ability to acce each of the four pattern and may even have a trong econdary pattern, one pattern will be primary. Energy pattern not only influence people perception and relationhip with other; they alo influence the way people worhip or would prefer to worhip. McFee doctoral diertation on the way energy pattern impact worhip will be our guide a we look at worhip through thi facinating omatic len. (For thoe joining thi excurion a reader, the next five paragraph chronicle the conference participant interactive, embodied introduction to the four pattern thrut, hape, wing, and hang [159]. 5 ) Our kinethetic exploration began with a rouing rendition of We Are Marching in the COUNTERPOINT 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 hear the difference. Acoutical Deign & Teting Organ Conultation & Inpection Organ Maintenance & Tuning Sound & Video Sytem Deign, Evaluation & Training Fall/Winter 2016 CroAccent 25

26 COUNTERPOINT Light of God (ELW 866). The pianit burt into the driving rhythm of thi hymn, emphaizing the ba note. With guto and enthuiam, everyone launched into the forceful rhythm of the thrut energy pattern. Arm pumped back and forth vigorouly; feet tomped to the beat. The inging wa clear, unambiguou, focued, and loud. We were headed toward the promied land without deviation, delay, or detour. Smoothly, the pianit egued to the clear, orderly rhythm of the hape pattern, expreed by the teady cadence of The Church One Foundation (ELW 654, LSB 644, CW 538). The firt order of buine wa to organize the inger for the inging. Following the leader, everyone ilently conducted the hymn in 4/4 time while the piano played the hymn with quiet preciion. Without being told, everyone waited for the leader intruction before breaking into fourpart harmony. Not urpriingly, everyone ang the correct note for each of the part. A oon a The Church One Foundation drew to a tately, dignified concluion, the pianit whiked u away to the free-flowing, improviational world of the wing pattern. Like ice kater gliding on a pond, people miled and wayed a they ang Gather U In (ELW 532), happily undulating to 6/8 time. Everyone moved back and forth moothly, hifting their weight effortlely from one foot to the other. Arm wung in a relaxed figure-eight pattern. No one felt compelled to figure out the right way to move or JOHN HILLERT get in ync with anyone ele movement. The pontaneity of thi pattern wa contagiou and connected u to God and to one another in a completely different way than the previou two pattern. Quietly, ubtly, the muic hifted. The pianit finger careed the key to a worhipful whiper, etting the tage for a collective acent to the eemingly formle, ephemeral world of the hang pattern. While the piano gently nudged people into a tate of quiet awe, the aembly floated into a quinteential hang hymn: Eat Thi Bread (ELW 472, LSB 638). Arm and bodie moved lowly, like anemone in the ea. Moving in no particular pattern, people turned inward. Many cloed their eye and drifted into the Holy of Holie. There wa no formal indication a to when the inging wa to top. The group imply ang until it felt right to let go, and avored the final train of the muic, which drifted away like a dandelion in the wind. After everyone had returned to their eat, people were aked if they noticed how different each of the rhythm ounded and felt. Head nodded. The contrat between each of the pattern had been triking and obviou to all. Thi experiential introduction to kinethetic energy pattern hifted to a didactic exploration of Mc- Fee diertation on the characteritic of each pattern thrut, hape, wing, and hang focuing on the way each pattern influence peech, muic and kinethetic God-image. 6 The Four Kinethetic Energy Pattern in Worhip Thrut The thrut energy pattern i characterized by powerful, focued, and deciive energy. According to movement analyt Bety Wetzig, thrut utilize the power of the right brain capacity for getalt 7 the ability to ee that the whole ha apect or qualitie that are more than the total of it part. Individual whoe primal patterm in thrut do not meander. They move with a clear ene of direction. In peech, people with a thrut pattern ue variou technique to maintain the intenity and focu of their energy pattern a 26 Fall/Winter 2016 CroAccent

27 CHORUS Kathryn Brewer they work to achieve their goal. They may increae the volume, pitch, and intenity of their peech o a to keep to the point. Speaker with thi pattern might alo ue their bodie in a percuive manner anything to get to the point and make it tick. While an extended period of thrut peech can overwhelm the litener or appear abraive, good ue of thi pattern can galvanize and invigorate the aembly in way that are powerful, inpiring, and tranformational. The muic of thi pattern i characterized by clear, aertive attack and deep, reonant intrumentation (McFee, 164). A a ritual goal draw near, the trong, driving beat often increae in intenity until it accomplihe it tranformational tak. Anyone who ha heard a trong thrut rendition of Lift Every Voice and Sing or litened to an organit give a thrut compoition it full dynamic due ha experienced the invigorating power of thi pattern muic. McFee believe there i a relationhip between energy pattern and imago Dei ( the image of God ). She contend that each energy pattern reflect a particular undertanding of the nature of God. The kinethetic image of the thrut-god i a tranformational God a God on the move (166). It i an image of a God who ha the power to lead people through their wildernee and keep them on track until they reach the promied land. Shape Contained, well-placed, and correct: thee are ome of the characteritic of the hape pattern. In contrat to the thrut pattern focu on achieving a goal, thoe for whom hape i the dominant pattern are concerned about the form that i needed in the moment. They work from part to whole, thinking and orting correctly, uing the left brain verbal and auditory abilitie. 8 Spoken or ung word in a hape liturgy eldom achieve the dynamic range or volume of other pattern becaue the goal i clarity of thought: an orderly and logical equence of idea and a clear preentation or articulation of concept and idea (McFee, 170). The hape penchant for ymmetry and repetition carrie over into muic. Hymn are typically trophic, equential, or have ome other predictable, tructured form. Other example of the hape pattern in worhip include palm tone, chanted prayer and creed, and eaonal liturgie that eldom vary. Wetzig claim that people with a hape orientation have a deep appreciation for muic that i claical or formal. They prefer the known boundarie of the muic Fall/Winter 2016 CroAccent 27

28 COUNTERPOINT and like the equential progreion of thought and movement. 9 McFee ay individual with a hape pattern like to dicern and ue the correct way of doing thing a preference that lead to a rule orientation. People of a hape pattern are theoretical and ytematic, and they think thing through logically in order to develop high-quality procee that endure (171). The kinethetic God-image from the perpective of the hape dynamic i a teadfat, eternal, enduring God (172), exemplified by. e.g., the hymn Abide with Me : O God, who change not, abide with me (emphai mine). Kathryn Brewer Swing Swing i characterized by pontaneou movement, ong, and ritual; the ue of improviation; and a more peronal tone of voice. Leader with thi pattern tend to be highly relational and interactive, and they move eaily a they weave the community together in a playful, creative manner. The wing energy pattern encourage the development and deepening of community by incorporating element of play, the ue of color in the worhip pace, and an openne to the poibilitie engendered in the moment. Of all the pattern, wing i the one that mot appreciate and ue the emotion. Movement in worhip i more pontaneou, varied, and playful. If there i an order, then improviation and variation are the order of the day. Swing peech i interactive, geared toward what i happening in the moment. Swing preacher may ue an array of tool to communicate with the aembly: pontaneity, torie, improviational or extemporaneou prayer, or peaking with a tone of voice that feel peronal, natural, or converational. Swing muician may be quite intuitive and are often adept at improviation. Their muic-making ha a mooth, flowing quality. It i not unuual for wing leader to engage the aembly in a playful, evocative, interactive dance of call and repone that may include clapping; pontaneou, creative vocalization; or phyical movement that get people out of their eat, into their bodie, and into the worhip pace in a variety of way. Regardle of tempo or tyle, wing muic i contagiou. The muic can be repetitiou or yncopated, but the muical trategie will have a playful, ingong quality. Tempo may vary, but the rhythm will mot likely be utained at length until everyone ha been infected by a joyou pirit. The image of God engendered by a wing energetic pattern i a God of hope, of poibilitie, of community and of celebration often in the face of oppreion a reilient God indeed (178). 28 Fall/Winter 2016 CroAccent

29 Hang The fourth pattern hang flow freely, eemingly without tructure or deign. Hang energy ha the ene of quiet depth, timelene, erenity, and profundity. Litening to meandering Gregorian chant, inging repetitive Taizé refrain, or enjoying long period of ilence allow worhipper to center themelve, to be fully preent in the moment, and to decend to a place of deep thought. There i a great economy of the poken word and a notable abence of uperfluity in hang peech much like Japanee Haiku. Word are imple, evocative, and free-flowing. Of all the pattern, hang i mot comfortable with ilence. Word are poken in lower vocal regiter. Paue are well paced to allow time for the image that have been evoked to ettle in the mind and imagination of the aembly. The muic in a hang-inpired ritual may ugget timelene. It upport the meditative flux and flow of the ritual by eamlely wending it way through cyclical ong, chant, or refrain to create a contemplative, awe-inducing atmophere. The kinethetic image of God in a hang pattern ugget a Being characterized and experienced by word uch a immanence, awe, or omnipreence a God who eternally move into the core of the community being (182 3). Liturgical and Kinethetic Hopitality Thi brief ketch of energy pattern and how they are at play in Chritian worhip raie a variety of quetion, among them the connection between kinethetic hopitality and liturgical hopitality. A common challenge for Chritian communitie and their worhip i the preence of kinethetic imbalance. McFee call the unhealthy dominance of one pattern over other an override ( ). Pattern override are no mall matter. Not only do they rob worhip of richne, they colonize the bodie of kinethetic minoritie. Kinethetic Override At the conference, our exploration of an override began with a hort clip of South Korean pianit Ji-Yong Kim playing Beethoven. 10 The pianit play a portion of the muic on a typically tuned grand piano. He then pivot to play the portion of muic on a piano where all of the key are tuned to the ame pitch. The effect of thi pianitic override wa rather tunning. Who would want to liten to a Beethoven onata coniting of a ingle note? It i a rather obering thought that thi i how kinethetic minoritie may experience worhip that i dominated by another pattern even if their ritual diconnect occur at the unconciou level. COUNTERPOINT Kathryn Brewer Fall/Winter 2016 CroAccent 29

30 COUNTERPOINT The conequence of an energy-pattern override run the gamut from mild expreion of ritual irritation or boredom to the more eriou iue of hindering other acce to a life-giving, energetically ynchronou experience of God. The heer power of a thrut dynamic to herd participant into a given direction can reult in u veru them thinking and euthanize alternative perpective, leaving no room for full participation or collaboration. A hape preference for order, correctne, and uniformity can morph into an allergy to ritual diverity, improviation, pontaneity, or metanoia thu producing a tatu-quo-at-all-cot mentality. Swing override can give way to a lack of focu and energy drain. The wing pattern deire for peronal interaction and emotional bonding may narrow the community focu to itelf, reduce worhip to an exercie in cozine, or make it emotional climate the primary factor in determining whether or not God ha been experienced and praied. A hang override can reemble the proverbial heep in the Bible who wander off due to a lack of direction or inufficient ritual organization. Spiritual paivity can alo develop from an override of thi pattern (McFee, 89). Whether conciouly choen or unconciouly employed, energy pattern override in worhip are ign that wih-dream thinking i at play in the community of faith. Kinethetic Hopitality and Polyrhythmic Praie The divere member who gather for worhip need to know they are part of the body of Chrit not jut conceptually but holitically: in body, mind, and pirit. Worhipper need to ee how their own rhythm are part of the holine of God. They want to enjoy ritual reonance the experience of their primal or home energy pattern being matched at ome point in worhip. Thi i what make people feel at home during worhip (207). Thi i the kind of hopitality they yearn for and deerve. How can worhip leader increae rhythmic hopitality in way that are life-giving? Thi i an important apect of liturgical dicernment for thoe who wih to create and lead worhip for the ake of the whole people of God. McFee ugget that worhip leader develop variou polyrhythmic trategie in order to meet the need of a divere liturgical aembly. She doe not view blending the four rhythmic pattern into a liturgical melting pot a the only or preferred way to create kinethetic diverity. Rather, McFee encourage the development of a rhythmic moaic : a polyrhythmic church that cultivate hopitality, delight, and trut in way that repect the rhythmic diverity that i the church (221 3). A liturgical moaic could be created in a variety of way. Offer ervice with different energy pattern or kinethetic enibilitie. Thi might include a reciprocal relationhip with a congregation whoe dominant energy pattern i different than your. If your congregation offer divere tyle of worhip, create opportunitie for liturgical haring, uch a inging the ame hymn or ong at the contemporary and traditional ervice uing a tyle, arrangement, or tempo bet uited to the genre of each ervice. Diverify the ue of dominant pattern throughout the liturgical year. Ue generou period of ilence in Advent or Lent (hang). Create bold liturgical pace and ue trong, driving muic on the Day of Pentecot, Paion Sunday, or Reformation Sunday (thrut). Select hymn, palm refrain, ung prayer repone, or liturgical muic in 3/4 or 6/8 time during Eater (wing). Repeat a hape hymn for a hort eaon or portion thereof. Make a new hymn the hymn of the month (hape). Chooe hymn and liturgical muic from all four pattern. Perform them according to each pattern characteritic. Vary the energetic interpretation of tanza in hymn where appropriate. Thi can be epecially helpful in high-hape aemblie. Get together with kinethetically divere muical colleague. Share and learn way to expand one another kinethetic repertoire. Read a acred text in the pattern that bet 30 Fall/Winter 2016 CroAccent

31 expree it meaning. Preiding miniter, aiting miniter, and lector in any time or eaon could: read pithy word or paage in a thrut dynamic intead of a hape oration; peak with wing relational cadence during communal prayer; or ue hang well-timed verbal paue to give the aembly time to aborb image and idea. Conduct a liturgical energy audit. Educate your congregation about energy pattern in worhip. Help them undertand the importance of kinethetic hopitality and provide opportunitie for them to practice it. Explore the pattern with children. A cro-generational proce will prepare the next generation of church leader to be kinethetically hopitable. It could alo increae adult willingne to explore energy pattern in worhip. For the Sake of Soli Deo gloria: to God alone be glory. S.D.G. appeared at the end of Bach cantata and other compoition. The ame appreciation of and repect for God primacy i evident in Bonhoeffer treatment of Chritian community, Nouwen paring of Chritian hopitality, and McFee exploration of kinethetic diverity and incluivity in worhip. May the inight of thee piritual guide inpire u and enhance our ability to make liturgical deciion to God glory for the ake of Chrit. Sandra Dager, an ELCA pator, ha a doctor of minitry degree in liturgical tudie from the Graduate Theological Union and a mater of divinity degree from Yale Divinity School. She i a certified kinethetic energy pattern coach through Focu Leaderhip and a certified Alexander Technique teacher. McFee, Marcia. Think Like a Filmmaker: Senory-Rich Worhip Deign for Unforgettable Meage (Truckee, CA: Trokay Pre, 2016). Note 1. Dietrich Bonhoeffer, Life Together, tran. by John W. Dobertein (New York: Harper & Row, 1954), i a probing exploration of Chritian community. 2. Henri J. M. Nouwen, Reaching Out: The Three Movement of Spiritual Life (Garden City, NY: Doubleday, 1975), The word kinethetic (from the Greek word kinein to move and aiethei perception ) refer to the ene by which motion [or the force/ energy of that motion] i perceived a well a the enory experience of thi ene, according to Merriam-Webter Medical Dek Dictionary (Springfield, MA: Merriam-Webter, 2002). Cited in Marcia Mc- Fee, Primal Pattern: Ritual Dynamic, Ritual Reonance, Polyrhythmic Strategie and the Formation of Chritian Diciple (PhD di., Graduate Theological Union, 2005), Joephine Rathbone. Reidual Neuromucular Hypertenion: Implication for Education (PhD di., Columbia Univerity, 1936). Kineiologit Valerie Hunt, movement pecialit Bety Wetzig, leaderhip coach Ginny Whitelaw, and other have alo tudied the pattern and applied them in a variety of context. 5. Bety Wetzig wa the originator of thee term for the four primal pattern. 6. McFee diertation alo conider each pattern influence on worhip pace. 7. Bety Wetzig, Move 4 Greatne: Coordination Pattern: Thrut, pattern_thrut.htm. 8. Ibid. 9. Wetzig, a ummarized from unpublihed handout, cited in McFee, Thi 58-econd clip may be viewed at COUNTERPOINT Additional Bibliography Dager, Sandra. The Embodied Liturgit: Contribution of the Alexander Technique and the Primal Pattern Theory to the Development of a Holitic, Embodied Pedagogy for Liturgical Preiding (D.Min. thei, Graduate Theological Union, 2012). Fall/Winter 2016 CroAccent 31

32 CHORUS Reflection by Jennifer Baker-Trinity Reflection One (Invitation) How many time do we ay, Look here, but we, ourelve, do not ee? Do we ay, Liten up, yet never hear? Look here! Liten up! Thee are imperiou command, often poken in urgency, tinged with boine. A muician and pator, you know tone make all the difference in communication. Conider aying, Look, here. Did you notice the color of moon thi evening? Or, Can you hear the harmonic hift in the econd meaure? Liten. Can you hear the bird inging? Or, Did you notice the addition of the 2-foot flute? Wake, awake! The day, the night, are flying, and do we notice all we can, not out of command, but becaue we tand in awe, in wonder? What tranform command into invitation? Without love, we are noiy gong, hearing nothing, gaining nothing. Without awe, without gratitude, the alleluia fall flat. Oh, Spirit of Love: can we ee, hear, and touch by your tirring, your invitation to u, to all creation? We hear your invitation, and heed, O Lord, your call, we ing in one communion ong. 1 Now the Spirit invitation in another. 2 Divine Love abound, mercy for the world. Can we hear the invitation and join the ong? Reflection 2 (Story) Poet notice. Storyteller urprie u. Minneota poet and toryteller Kevin Kling wa recently interviewed by Krita Tippet in her program, On Being. She reminded Kevin of thi, noting he once penned, A children we are cloer in time to the creator. In hi interview repone, Kling explained further: I realized who I connected with. It wa with my grandparent. I think it wa becaue we were in the ame light. I wa in dawn, they were in twilight, but we were in the ame light. They are heading to the creator, I m coming from the creator, and becaue of that, we poke a imilar language. 3 From generation to generation, from dawn to twilight, we praie. The child pie a dandelion. It i a gift to be tucked behind the hair or placed in a gla of water. The older adult it and tell torie, enriching our live through their. Thoe of u neither in the dawn nor in the twilight might be quicker to root out the weed, eaily tempted to clip hort the tory eion. The generation are telling and howing the tory, proclaiming God alvation day to day. They ing it over and over and over again. The ong i new each and every time. Do we perceive it? Editor Note: ALCM Region 1 conference included a hymn fetival (July 6, 2016). Thi fetival wa tructured under the heading Let All the People Praie Thee ; Praie with All Creation ; From One Generation to Another ; Through the Church the Song Goe On ; and Adding Our Voice to the Heavenly Choru. Starting with the econd ection, each began with an invitation to reflection by Jennifer Baker-Trinity. Thee reflection are offered here a an invitation for peronal reflection or for ue or adaptation. Note that thee reflection are part proe, part poetry and are intended for the ear to hear rather than the eye to read. 32 Fall/Winter 2016 CroAccent

33 Reflection 3 (By the Spirit) Church. We peak of it a a noun. Merriam-Webter confirm it, o it mut be true. I am going to church. To what church do you belong? But you know what Webter mie: eccleia. A people, ye, but a people doing, God people called forth: gathering, praying, healing, inging, feeding, clothing, erving. If we are a body, Chrit body, we cannot be a noun, but a verb. Living bodie act. Muic. Alo a noun by definition. Give me the muic. I bought ome new muic. I don t like that kind of muic. But you know muic cannot jut be downloaded, bought, or thrown away. Theologian and muician Jeremy Begbie propoe, that muic i bet contrued firt of all not a an object or object but a omething done. 4 In our attempt to preerve, mold, and make, muic ha it way with u, working on u not a paive recipient, but a doer of the ong. Through the church, the ong goe on. By the Spirit breath it i ent forth. And how i it that we hear in the language of each? Spiritual, ballad, folk ong, bra, bell, drum, reggae, jazz, Gopel. And on and on. We find our rhythm, the ong carrying u to world known and unknown. We find our rhythm, being church for the ake of God creation. And even when we tumble around for the right beat, unure of where to enter the ong, we are found by the God who act: creating, aving, ending. istock/vhrt-jut Reflection 4 (Promie) Have you noticed how hard it i to ee the word of a hymn when your eye are brimming with tear? Perhap it wa the hymn your grandmother ang to you before you could read. Or a hymn you ang at the funeral of a poue, parent, or friend. A ong that, for one reaon or another, poee the power to open the floodgate. Sometime you cannot even explain why There in God Garden or Lord, Thee I Love or a hot of other bring you to tear. I it the angel? Angel bring tiding of great joy. They alo meet u at the tomb. Why are you weeping? they ak. My loved one ha died, we ay. And that wa their ong. We cannot hold onto a ong, any more than we can hold onto Jeu or onto our loved one. And yet, perhap thi i more good new from the angel. The ong hold u, carrie u when we cannot go on a we were. We have een the Lord, dimly, through tear-clouded eye. And we have the promie that, in time, God will wipe away every tear. We will be fully known. Then we will need no hymnal, or eye at all, for the Holy One will be our ong. Jennifer Baker-Trinity i a deacon in the ELCA and lead aembly ong at Beaver Lutheran Church, Beaver Spring, PA. She write devotional and liturgical material for the church worhip, reflection, and tudy. Note 1. Around You, O Lord Jeu, ELW 468, tanza Now the Silence (ELW 460, LSB 910, CW 231). 3. For the full interview, ee program/kevin-kling-the-loe-and-laughterwe-grow-into/1863/audio?embed=1. 4. Jeremy S. Begbie, Reounding Truth: Chritian Widom in the World of Muic (Grand Rapid: Baker Academic, 2007), 39 (emphai mine). CHORUS Fall/Winter 2016 CroAccent 33

34 CHORUS Editor Note: Below i the outline of the hymn fetival at the ALCM Region 4 ummer gathering in Edmonton, Alberta, following the church year. Region 4 joined the 2016 Concordia Worhip and Muic Sympoium, which wa titled, The Church Year a Miional. Concordia Worhip and Muic Sympoium Hymn Fetival: From Darkne To Light LENT Return, Cherwien Prelude and Fugue in D Minor J. S. Bach Moonrie over Lake Michigan. by Kyle Johnon ADVENT Wachet auf, ruft un die Stimme, BWV 645 J. S. Bach God with U, Cherwien Savior of the Nation, Come [ELW 263, LSB 332, CW 2] CHRISTMAS Glory, Cherwien 92 In dulci jubilo, BuxWV 197 Dietrich Buxtehude Jeu Chrit the Apple Tree, arr. Kyle Johnon Lo, How a Roe E er Blooming [ELW 272, LSB 359] EPIPHANY Seeing Face to Face, Cherwien 156 Brightet and Bet of the Star of the Morning [ELW 303, LSB 400, CW 92] Kathryn Brewer Lamb of God, arr. Kyle Johnon 2 EASTER We Sing the Story, Cherwien The Day of Reurrection! [ELW 361, LSB 478, CW 166] PENTECOST Fire, Cherwien Come, Thou Fount of Every Bleing [ELW 807, LSB 686] Jeu I a Rock in a Weary Land, arr. Kyle Johnon 3 Note Kyle Johnon i coordinator of chapel muic, univerity organit, and lecturer of muic at California Lutheran Univerity, Thouand Oak, CA. 1. Suan Palo Cherwien, From Glory into Glory: Reflection for Worhip (Fenton, MO: MorningStar, 1989). All ubequent page number reference above are to thi work /Lamb-of-God Fall/Winter 2016 CroAccent

35 BOOKREVIEW Marku Rathey. Bach Major Vocal Work: Muic, Drama Liturgy. New Haven: Yale Univerity Pre, x, 234 pp. ISBN-13: $35.00, hardcover. Reader of thi journal already hould be familiar with the writing of Marku Rathey, having een hi fine eay, Reinterpreting Luther: Lutheran Chorale in Bach Chorale Cantata and Organ Work, in the mot recent iue of CroAccent (24, no. 2 [Summer 2016]). Rathey eay can erve a a prelude for hi entire book, Bach Major Vocal Work: Muic, Drama, Liturgy. It i reported that upon a viit to Leipzig where he tudied manucript of Bach compoition, Wolfgang Amadeu Mozart remarked about Bach muic, Now here i omething we can learn from! Likewie, Rathey book provide omething that we all can learn from whether one i a Bach cholar or a Bach aficionado. Above all, the unique trength of thi book i the author ability to explain wonderful and complex muical work in quite a relatable and undertandable manner. There are already many book about the life of Johann Sebatian Bach and many other book that analyze and diect hi muic. In contrat, there are relatively few book that focu on how to liten to Bach muic. Thi book doe jut that, helping thoe who enjoy Bach muic, whether litener or performer, to know even better how to liten and to undertand thee gem of muical repertoire and theological depth. When it come to muic litening in our playlit-driven ociety, mot people will only liten to what they like. Or if one attend a concert or recital, a particular piece may tand out a a favorite. But if preed to elaborate what do you like about it? few will be able to explain why. Rathey book help anwer certain quetion: what i it that you like about Bach muic? what i ignificant muically and theologically in the muic? what i the context of how and where the muic i performed? Many of the book chapter had their genei a pre-concert lecture or eay by the author to prepare audience for the muic they were about to hear. The work decribed include one cantata, BWV 10 (Meine Seele erhebt den Herrn), a well a everal large work: Magnificat (BWV 243), Chritma Oratorio (BWV 248, itelf really a cycle of ix cantata), St. John Paion (BWV 245), St. Matthew Paion (BWV 244), Eater Oratorio (BWV 249), Acenion Oratorio (BWV 11), and B-Minor Ma (BWV 232). Frankly, it i refrehing to have a well-crafted and thoughtful book on thee great piece of choral literature written with the intereted, but average, litener in mind. There i no condecenion or dumbing down of the writing or ubject matter here. It imply acknowledge the fact that, of thoe who are favorably inclined to Bach muic, relatively few are muicologit, performer, or reearcher. The novice will appreciate a minimum of technical jargon (there are no uch phrae a notice the retrograde demiemiquaver motive ), and thoe already well Above all, the unique trength of thi book i the author ability to explain wonderful and complex muical work in quite a relatable and undertandable manner. Fall/Winter 2016 CroAccent 35

36 BOOKREVIEW vered in Bach muic will continue to find new idea frehly explained. (The book appeal to a wide audience i affirmed in the fact that thi reviewer ha made it required reading for a coure on J. S. Bach at Concordia Theological Seminary, Fort Wayne, IN.) A tate of how Rathey accomplihe thi i exemplified in the firt chapter on Bach Magnificat. Some background information concerning the hitory and reviion of thi work i included, but it i not an exhautive (or exhauting!) excuru. Intead, Rathey judiciouly unpack each movement by decribing the variation in texture (five-part choru, olo, duet, or trio), intrumentation, tempi, and theological content. The author point out pecific detail in the core and give uggetion on how to liten to a performance in a way that will make the muic not only more enjoyable but alo more undertandable. For example, the boiterou opening choru of Magnificat feature fetive trumpet motive in triad and ixteenth-note flourihe. Thoe ame motive are continued in the econd movement, where the oloit mimic the ame idea. It would be informative and enlightening to take thi volume along to a live performance of the Magnificat or to read each chapter while litening, movement by movement, to a recording. The book i ubtitled Muic, Drama, Liturgy. Obviouly, a great deal of the volume i dedicated to commentary on the muic itelf. But what about the drama and liturgy ubtitle? The author demontrate how thee vocal work tell the tory of God and hi alvific work for the world hown in the life, death, and reurrection of Chrit. Any good tory will have dramatic moment, and to tell thee torie muically only undercore thoe apect. However, the author make it clear that thi divine drama i not merely literary, and the eternal ignificance of thi divine tory need to be taught and told by Bach and reflected upon by hi hearer. Rathey make it clear that Bach never wrote an opera, and although Bach wrote ome ecular cantata, the bulk of hi vocal work i at home The author point out pecific detail in the core and give uggetion on how to liten to a performance in a way that will make the muic not only more enjoyable but alo more undertandable. in the church liturgy. However, Rathey doe comment frequently on particular movement in Bach work that ing of love God love for the believer and the believer love for the Savior. Rathey often ue the term love duet (20) for uch piece, alluding to imilar muic in opera and other large-cale vocal work. One firt reaction may be to chafe at thee emantic: the choice of the term love duet i fraught with different definition of the word love. On the other hand, it alo provide an opportunity to unpack that very term in order to decribe the love of God for hi church hown through hi Son. Rathey acknowledge thi in hi commentary on the St. Matthew Paion aria Au Liebe will mein Heiland terben ( Out of love my Savior die ). Thi i a different kind of love, he write. [Thi love] i only poible becaue Jeu ha uffered and died (129). Thi example demontrate that how the way one read thi book i very much informed by one worldview or, more importantly, by one theological perpective. Throughout the book, epecially in dicuion about the love of God and it muical and theological context, the author include uch comment a, The image of love i central to the theology of Chrit paion in Bach time. The uffering and death of Chrit were een a an expreion of God mercy (21). Depending on one worldview and theological confeion, thee phrae can eem almot ridiculouly obviou: Well, of coure, what ele would Chrit uffering and death be if not expreing and exemplifying God mercy? Another of Rathey comment i, Chritma, in Bach time, wa undertood a a demontration of divine love (46, emphai added). An iue i how Rathey frequently ue the caveat in Bach time when decribing orthodox Lutheran theology of Bach Leipzig, giving the impreion that uch belief and confeion no longer exit in the church. Lutheran well know, of coure, that Chritma i till an expreion of divine love in 2016, not jut in Bach time. On the other hand, for far too many people, Bach muic ha been neutered of it theological confeion and ha become merely an expreion of undefined beauty or vague other-worldline. For far too many in our world, Chritma i nothing more than partie or decoration or even depreion. For other, Chritma become merely a vehicle for wihing peace on earth, although that peace remain undefined and unatifactory if devoid of Chrit and hi 36 Fall/Winter 2016 CroAccent

37 For far too many people, Bach muic ha been neutered of it theological confeion and ha become merely an expreion of undefined beauty or vague other-worldline. Thi book may help them ee that Bach work i intrinically connected to Holy Scripture, the holy Chritian church, the Divine Service, and the church lectionary and hymn. incarnation, uffering, death, reurrection, and acrament. For thoe lover of Bach muic, thi book may help them ee that Bach work i intrinically connected to Holy Scripture, the holy Chritian church, the Divine Service, and the church lectionary and hymn, all of which proclaim Chrit, the ultimate manifetation of divine love (131) And uch truth and love i indeed timele, not merely a relic of 1720 Leipzig. Regarding the Paion of Chrit, the author allude to a faulty aociation of the Paion that already wa being perpetuated in the late 19th century. Rathey quote an 1877 Englih journal critique of Handel Meiah in juxtapoition to Bach St. Matthew Paion. The bottom line of thi 19th-century review i that Handel Meiah would never be overtaken in popularity and performance becaue Bach muic wa jut too depreing. It goe o far a to ay it i frankly impoible to perform the entire St. Matthew Paion becaue the content i too ad. Victorian hyperbole, perhap? Yet thi i till how Chrit Paion i conidered, and performance of Bach Paion etting can focu primarily on the adne, injutice, or ocial commentary, while miing the gopel. Thi i the beauty and the hidden bonu of unpacking Bach work: ultimately, they have to proclaim the gopel. In thi muical treatie, the author include coniderable theological commentary. Dicerning theologian will rightly take iue with ome of the author concluion. However, there are other place where Rathey really make ome tremendouly profound theological analye, particularly in hi decription of the theology of the cro. For example, in hi decription of the opening choru of the St. John Paion, he et up the irony of uing the text of Palm 8 to begin the Paion narrative: Lord, our ruler, whoe praie i gloriou in all land! The wirling muical accompaniment and driving pedal point, not to mention that thi i performed on Good Friday, all eem contradictory to the text. And on one hand, it i. The author continue, The glory of God i preent from meaure 1 of the opening movement. But thi glory i, in a truly Johannine ene, directly linked to Jeu uffering (81). Lutheran, rejoice in thi tatement! The eay continue, In the Gopel according to John, Chrit uffering and glorification are intrinically intertwined. One i not thinkable without the other (82). Brilliant! And finally, at the end of the St. John Paion, with it trikingly imple concluion with the chorale Lord, let at lat Thine angel come, the author tate, We are back at the beginning of the paion: the glorification of Chrit in hi uffering (84). Ultimately, Rathey debunk the Paion are depreing myth by helping the reader and litener ee and hear the theology of the cro proclaimed in Bach muic. So, like Mozart, we continue to learn from Bach muic, epecially when uch volume a thi help u to liten to Bach major vocal work and to conider the muical and theological ignificance of them. A the church prepare for the 500th anniverary of the Reformation, we are contantly reminded that it i tempting to upplant a clear gopel proclamation of we preach Chrit crucified (1 Cor. 1:23) with trivial and worldly matter. Perhap a renaiance of learning from Bach the theologian, aited by writing uch a Rathey book, i preciely in order. Kevin Hildebrand Kantor, Concordia Theological Seminary Fort Wayne, IN BOOKREVIEW Fall/Winter 2016 CroAccent 37

38 SOUNDFEST INSTRUMENTAL ORGAN Franklin D. Ahdown. Adagio of Hope and Peace: Ten Setting for Organ. Augburg Fortre ( ), $20. Thi collection of muic would be ueful to convey a peaceful and tranquil mood in a ervice. The book contain eight compoition baed on hymn tune and two free-tyle work. The hymn tune repreented are Aurance; Balm in Gilead; Eventide; Finlandia; St. Columba; Talli Canon; Toplady; and Wer nur den lieben Gott. Ahdown arrangement alo would be ueful a prelude and offertorie during a worhip ervice and for muic at a funeral ervice. The arrangement are of medium difficulty with a quite playable pedal part. MS Jeffrey Blerch. How Shall I Meet You: Seven Organ Prelude for Advent. Concordia ( ), $24. Blerch manifet the mood of Advent in hi etting of beloved hymn of the eaon. There are prightly dance on Hark the Glad Sound and Comfort, Comfort Ye My People. Lo! He Come with Cloud Decending foretell the majety of the econd coming, borrowing material from La Majete from Telemann Heldenmuik. A witful 6/8 verion of Savior of the Nation, Come i filled with fervent longing for the Meiah. The econd etting of O Lord, How Shall I Meet You (Wie oll ich dich empfangen) i alo notable for it lovely, lyrical, ornamented treatment of the chorale. Blerch muic ha a melodic appeal that will it well with the congregation. It i alo quite playable, an important factor during the buy Advent Chritma eaon. KO Benjamin Culli. Hymn Tune Innovation, et 2: Seven Setting for the Church Year. Concordia ( ), $24. Culli tatefully employ a variety of compoitional tyle in thi collection which include Auf meinen lieben Gott; Darwall 148th; Ein fete Burg; Italian Hymn; Song 1; Wa mein Gott will; and Wer Gott vertraut, hat wohl gebaut. The etting of Ein fete Burg include a fetive intrada, a well-crafted fughetta, and conclude with a maetoo chorale etting with a tenor olo for left hand. In hi etting of Darwall 148th, Culli artfully ue arpeggiated motive to embellih the tune played on a olo trumpet. In addition to familiar chorale, Culli alo include everal leer-known chorale tune a the church celebrate the chorale of our Lutheran heritage. JRB Emma Lou Diemer. Star: Eight Organ Setting Augburg Fortre ( ), $17. Thi fine collection of hymn tune etting many related to the theme of tar provide a wide range of expreive muic, from the imple, myteriou Creator of the Star of Night to the fetive On Thi Day Earth Shall Ring with it yncopated, chromatic chord. Longer etting uch a O Morning Star, How Fair and Bright and On Jordan Bank the Baptit Cry offer a variety of contrating texture. Diemer harmonic language i often pungent and dionant with unexpected change of key. Her unique etting of Wake, Awake, for Night I Flying i tunningly beautiful with it quiet contemplation of the long-expected arrival of Chrit, the Bleed One. Throughout thee etting the cantu firmu i clearly and audibly preented. JB 38 Fall/Winter 2016 CroAccent

39 SOUNDFEST John Eggert. Partita on From Heaven Above to Earth I Come. Concordia ( ), $12. Eggert partita include eight variation on thi enduring Chritma hymn proclaiming Chrit birth through the eye of an angel. Inpired by the text of Martin Luther, Eggert ha compoed pecific variation to coordinate with variou hymn tanza. The joyful 12/8 variation written for manual alone delightfully proclaim My heart for very joy mut leap. The lovely lullaby for tring prayerfully ing, Ah, dearet Jeu, holy Child. Eggert well-crafted partita i equally uited to be ued with individual organ tanza during the inging of the hymn or played a an entire uite. JRB Kevin Hildebrand. Salvation unto U: Twelve Eay Organ Prelude for Reformation. Concordia ( ), $26. Hildebrand include a variety of tune in thi collection, uch tandard Lutheran chorale a Wir glauben all, Gott ei gelobet, and Nun freut euch. Alo included are hymn text with trong Reformation theme, uch a The Tree of Life and Thy Strong Word. The bicinium on Nun freut euch i delightful; the recurring rhythmic triad in Gott ei gelobet provide a memorable compoitional motive. Thi collection, while technically eay, i olidly compoed and will be ueful not only in thi anniverary year, but alo in the year to come. JRB Kritina Langloi. Potlude for Organ on Fetive Tune. Augburg Fortre ( ), $16. Three of the four work preented in thi collection are extended, ranging in length from five to eight page. The initial work, a Fantay on Come, Holy Ghot, God and Lord, feature a contrapuntal treatment of thi magnificent chorale with the cantu firmu in the top voice, followed by a brilliant toccata with the cantu firmu in the pedal. The texture i full, and the olid counterpoint i enriched by the preence of ubtle motive from the chorale opening phrae. A broad maetoo ection frame the compoition. The etting of Noel! Tiding of Comfort and Joy! ingeniouly preent both God Ret You Merry, Gentlemen and Noël nouvelet imultaneouly. The etting of Oh, Praie the Graciou Power open with a yncopated motive in quarter taken from the refrain of the hymn tune that lead nicely into figuration in the right hand on the ame motive, now heard in ixteenth. The cantu firmu i et in left-hand chord againt the continuing right-hand figuration. Later the opening ection return with chordal dialogue between right and left hand with the opening motive now inverted. The piece build in intenity to the tirring concluion. Throughout the work, harmonie are colorful and effectively move u to experience the Graciou Power. Thi collection i highly recommended for the variety of it etting and their attractive muical preentation. JB Fall/Winter 2016 CroAccent 39

40 SOUNDFEST Karl Oterland. A Wittenberg Collection: Lutheran Chorale for Organ. Augburg Fortre ( ), $22. Oterland etting of thee nine Lutheran chorale were publihed in commemoration of the upcoming 500th anniverary of the poting of Luther 95 thee at Wittenberg, Germany. In 2005 Oterland and fellow member of Trinity Lutheran Church in Detroit made a pilgrimage to the Luther ite in Germany; thi trip wa the original inpiration for etting the three chorale written by Luther. The mot ambitiou work in the collection i a Grand Partita on Ein fete Burg; four eparate movement comprie the Partita. The Fanfare and Trio evoke the pirit of the Renaiance with their dancelike rhythm and tranparent texture. The Totentanz, inpired by the woodcut of Albrecht Dürer, reflect Luther terrifying encounter with the devil ( though devil all the world hould fill ) by mean of obeive rhythm and harp dionance. The concluding Final ( the word they till hall let remain ) provide relief in a great dance of joy featuring polyrhythm, repeated note figure, and the intermittent cantu firmu in the left hand. An effective etting of O Chrit, Thou Lamb of God begin in a ubdued manner, gradually increaing to fortiimo before returning again to the original pianiimo. Thi collection i recommended for thoe deiring to reviit the Lutheran chorale tradition creatively interpreted by Oterland. JB A Reformation Celebration: Organ Prelude on Sixteenth-Century Hymn. Concordia ( ), $25. A we approach the 500th anniverary of the Reformation, Lutheran publiher are increaing their election of new etting on old tune. Thi collection feature eight newly compoed arrangement by wellknown contemporary muician, with a variety of compoitional technique inpired by muical tyle of the 16th century. It begin with a trumpet tune carillon rendition of Ein fete Burg by Jame Biery baed on the rhythmic verion of the hymn. Benjamin Culli offer an unexpected bourée-tyle treatment of Erhalt un, Herr, leading into the darker minor key of the hymn by way of a bright C major introduction. In three organ tanza, the piece modulate from C major/a minor through E-flat major/c minor and finally end up in G major/ E minor, by which point the congregation will have had time to conider the hymn in a new light and be ready to ing. The remaining etting alo provide enjoyable option, with good work by Donald Rotermund, Sam Eatherton, Jeffrey Blerch, J. Wayne Kerr, Walter L. Pelz, and John Eggert. DR A Reformation Chritma: Organ Prelude on Sixteenth-Century Hymn. Concordia ( ), $25. Advent and Epiphany are included in thi Chritma volume. Several familiar compoer are repreented: Charle Ore variation on Savior of the Nation, Come and Carl Schalk To Jordan Came the Chrit, Our Lord. Some le-familiar compoer are included a well, uch a Bernard Wayne Sander All Glory Be to God Alone and The Only Son from Heaven by Mark Knickelbein. A wide variety of compoitional tyle are repreented. Charle Ore firt variation on Savior of the Nation evoke the pirit of the Renaiance, calling for a detached tyle, while Charle Callahan luh, romantic treatment of Once He Came in Bleing exude an Advent quiet that will urely be a hit with the congregation. The volume would be a great way to lead into the Reformation anniverary. KO 40 Fall/Winter 2016 CroAccent

41 A Reformation Eater: Organ Prelude on Sixteenth-Century Hymn. Concordia ( ), $25. The eight hymn-tune arrangement in thi volume are preented by eight different compoer. Hymn repreented are from the eaon of Lent, Holy Week, Eater, and Pentecot. The etting are ueable a hymn introduction or pre-ervice prelude and are all of medium difficulty level. Pedal part, when preent, are not difficult. The tune repreented are Au tiefer Not; Chrit it ertanden; Chrit lag in Todebanden; Gott ei gelobet und gebenedeiet; Jeu Chritu, uner Heiland; Komm, Heiliger Geit, Herre Gott; Nun bitten wir; and O Lamm Gotte, unchuldig. MS Jacob B. Weber. Epiphany Moaic. Concordia ( ), $20. Thi volume contain hymn tune often ued in the Epiphany eaon, ome of which are alo wed with lyric from another eaon of the church year, making thi volume ueable throughout the year. The majority of the etting are of medium difficulty with an eay pedal part. The form of the etting varie from fanfare to imple variation to a toccata. The arrangement could be ued a hymn prelude, introduction, and even potlude. Weber doe an excellent job of bringing out the meaning of the hymn text in the tyle of hi compoition. The tune and compoitional tyle included make thi a good collection to have. Tune repreented are Chrit, uner Herr; Dejlig er den himmel blå; Deu tuorum militum; Dix; Miiippi; and Wie chön leuchtet. MS Jacob B. Weber. Joy to the World: Three Setting on Antioch. Concordia ( ), $12. Everyone ing thi tune every year (originally written a an Advent hymn), o why not frehen it up with a prightly new introduction (I) or perhap prelude (II). Both ue a trumpet or other reed top effectively and aren t difficult. The Prelude throw ome charming curve at the organit watch out for thoe A-harp. The mot practice time will be required for the Fetival Flourih (III), an extremely joyful toccata-like movement. Feet will fly, hand will be all over the key, and eye will be watching for ome dramatic key change, even ix harp. Although thi i muic that beg for a large intrument, thoe with an organ of a modet pecification hould be able to pull it off. Adequate early practice will be required, but you ll be proud of your accomplihment when you mater it, and your congregation will appreciate it. Highly recommended. JG Wayne L. Wold. Light on Your Feet, vol 4: A Collection for Organ with Minimal Pedal Augburg Fortre ( ), $20. Vol. 4 of thi erie contain everal arrangement a well a two original work by Wold. The tyle of hi arrangement make ome familiar work attainable for the organit with little pedal experience, without changing the flavor of the original compoition. Thi erie doe a good job of introducing developing organit to a wide variety of compoition and compoer. All of the election are freely compoed and are not baed on hymn tune. The book i wire bound. MS SOUNDFEST Fall/Winter 2016 CroAccent 41

42 SOUNDFEST Philip M. Young. Carol of the Britih Ile for Organ. Augburg Fortre ( ), $18. In poll of church muician, Britih Chritma carol often top the lit of favorite. Young ha et many of thee tune in gentle fahion, and he provide a key phrae from the text a the ource of hi interpretation. The etting make ue of frequent change in regitration, which might be better uited to an intrument with three manual rather than two. There i a uite of hort variation on the Suex Carol that could be preented a an extended muical offering or ued intermittently in worhip. The other tune in thi lovely little collection are Coventry Carol; Foret Green; God Ret You Merry, Gentlemen; Irby; San Day Carol; Someret Carol; and Wexford Carol. Have a jolly good time with them. DR PIANO Nancy M. Raabe. Grace & Peace, vol. 8: Song of Lament and Longing. Augburg Fortre ( ), $19. Thi volume in the erie focue on ong of lament and contain piece ueful for a variety of occaion, including the Lenten eaon and funeral. The arrangement do an excellent job emphaizing the orrow and longing of the familiar hymn text. The tune included in vol. 8 are Au tiefer Not; Bradbury; Deep Blue; Herzliebter Jeu; Kaz dziedāja; Land of Ret; On Eagle Wing; Pace mio Dio; Pān Bůh; Ryburn; Schmücke dich; and That Pricele Grace. All are of medium difficulty and would make nice piano olo material for pecial muic in worhip. MS Patricia Zindler. Hymn Setting for the Piano. Northwetern ( ), $22. Mot church muician are occaionally called upon to provide muic that i churchy but not necearily for a worhip etting. Thi book would be perfect to fill that requirement. Zindler ha taken 23 well-known chorale and hymn and arranged each in a creative way, many with a jazzy feel to them. One of my favorite Chritma chorale, Oh, Rejoice, All Chritian, Loudly (Freuet euch, ihr Chriten alle), ha very few arrangement, let alone one that ound like jazz! Thee etting will be welcomed by piano teacher and by parih muician who utilize piano and keyboard at worhip. Tune for children, for the liturgical year, and for many other occaion are included. A cro-reference to Chritian Worhip, the WELS hymnal, i included, but nearly all the tune are common to other Lutheran hymnal and worhip book, a well a mot Chritian denomination. Highly recommended. JG KEYBOARD AND INSTRUMENT Benjamin M. Culli. Duo Baroque: Claic Chorale Prelude Arranged for Keyboard and Any Solo Intrument, vol. 3. Keyboard, olo intrument. Concordia ( ), $34. Culli ha taken ome well-known chorale prelude etting by early Lutheran mater and extracted the melody for an intrumentalit to play. Nineteen prelude are included in vol. 3; 42 Fall/Winter 2016 CroAccent

43 Bach, Böhm, Buxtehude, Dole, Kauffmann, Kellner, Kneller, Kreb, Pachelbel, Scheidt, Telemann, and Walther are repreented. Although originally written for organ, Culli ha carefully arranged each piece to be playable without pedal, making them uitable alo for harpichord or piano a well a for organ. Mot are in their original key. There i much opportunity for creative ue for thee etting. Tune in vol. 1 and 2 are lited. Intrumental part in a variety of tranpoition are available for download at JG Organ Plu Anthology, vol. 2: Advent/Chritma. Ed. by Norma Aamodt-Nelon. Organ, treble intrument. Augburg Fortre ( l), $35. Thi collection of 22 Advent and Chritma tune will be epecially ueful if you have a flute or oboe player. The difficulty level for the intrumentalit varie. Jacob Weber etting of Away in a Manger would be lovely for a beginning flute player, yet hi etting of On Chritma Night highlight the virtuoic flautit with it cale run and trill. Thi collection will enrich worhip ervice a well a Chritma program a intrument of the parih join in celebrating Chrit birth. JRB Organ Plu One: Death and Eternity/ Funeral Service. Ed. by Carten Klomp. Organ, olo intrument. Bärenreiter (BA 8504), $ Thi i the fifth in a erie deigned for practical ue by church muician in worhip or in concert. Thi particular et will find applicability a a reource for pecial muic at funeral, memorial, or other celebration of life. It include arrangement of uch familiar Lutheran chorale prelude a the Kreb Wachet auf and the Walther Chritu, der it mein Leben, a well a new arrangement of uch traditional chorale a Vater uner im Himmelreich and Jeu, meine Zuvericht. Familiar claical piece are alo arranged, including work by J. S. Bach, Erik Satie, Théodore Duboi, and Céar Franck. All feature an intrumental olo part which may take one of the pre-exiting muical line or play a eparate obbligato or countermelody againt the organ part. The intrumental writing i not difficult (deigned for amateur muician) and i available in everal key. Since the organ muic i largely familiar, practice and prep time hould alo be le demanding. Thi would make a good invetment for time when a little extra touch i deired. DR Organ Plu One: Gottedient Divine Service. Ed. by Carten Klomp. Organ, olo intrument. Bärenreiter (BA 8506), $ Thi i the third volume in the Organ Plu One erie. It contain piece baed on hymn tune a well a ome freely compoed work. The edition include intrumental olo part in C, B-flat, E-flat, and F, making thi quite a veratile collection. The intrument part are of medium or medium-difficult level and will require a confident oloit. All of the hymn-tune arrangement feature the intrumental olo playing a part other than the melody. Thi i a fine erie to have on hand for ervice muic a well a recital piece. MS Organ Plu One: Paion, Otern/Eater. Ed. by Carten Klomp. Organ, olo intrument. Bärenreiter (BA 8503), $ Thi volume in the Organ Plu One erie conit of 21 practical adaptation of hitorical literature that add one intrument to the organ. Sometime the additional intrument play the cantu firmu of a chorale. SOUNDFEST Fall/Winter 2016 CroAccent 43

44 SOUNDFEST Other time the intrument play one of the other part. A wide range of compoer i repreented including J. S. Bach, Karg-Elert, Vierne, Satie, Brahm, and Kreb. Part are provided in C, B-flat, F, and E-flat, o a wide variety of intrument can be ued. Several free movement are included, although mot of the piece are baed on Lutheran chorale for Lent and Eater. The chorale-baed work are tranpoed into the key that correpond to the Evangeliche Geangbuch, although thee may or may not correpond to the key in American hymnal. Klomp editing and adaptation i enitive and well crafted, making the Organ Plu One erie a mut-have for the Lutheran church muician who i eriou about including intrument in worhip. KO Wayne L. Wold. Credo for Organ and Trumpet. Organ, trumpet. Augburg Fortre ( ), $22. Subtitled Setting for Fetive Occaion, Wold ha provided a unique work with capacity for both worhip and concert. Three movement are dedicated to the Holy Trinity, baed on Martin Luther Latin Credo (chorale ung a the Nicene Creed). There are alo five piece baed on wellknown chorale and hymn: Groer Gott; Lobe den Herren; Noël nouvelet; Puer nobi; and Solid Rock; in addition to Wir glauben all, the Credo. Thee etting could be played a fetive extended introduction to the inging of the hymn, or a individual piece. Noël nouvelet i ung both at Chritmatide and Eatertide; Puer nobi i often ung during Advent, Eatertide, and Pentecot. Both B-flat and C part are provided for the trumpeter in the book. A killed trumpeter i needed for many of the movement, while other require only a modet technique. JG HANDBELLS Chritma Bell. Arr. by Sondra K. Tucker. 3 5 octave handbell, with optional 3 octave handchime. Concordia ( ), $4.50. Thi medley of wellknown Chritma tune (Peronent hodie, Waltham [Calkin], Branle de l officiel) will keep your ringer quite buy. There are three key change and variou technique, including mallet, mart, mart-lift, thumbdamp, echo ring, hake, and tempo change. Handchime are ued for the melody in I Heard the Bell on Chritma Day, and there are many opportunitie to practice the LV (let vibrate) technique in that ection. Thi i a challenging piece; allow plenty of time to reheare the tranition. Thi piece would work nicely a a prelude on Chritma morning. Level 3. ML Dan R. Edward. Chapel Chiming. 3 octave handbell or handchime. Concordia ( ), $4.25. Thi lovely original piece for beginning bell choir would be quite effective a an introit or a prelude in any worhip ervice throughout the year. The ue of the inging bell technique could only be ued with handbell, but the echo technique could eaily be tranferred to hand chime. Due to the level 1 nature of thi piece, there are no key or meter change, and it i in the key of C major without any accidental. There i no note denomination maller than the quarter note. The compoer end the piece with the option to chime the hour, a well a a gyro ring to fade. Level 1. ML 44 Fall/Winter 2016 CroAccent

45 From Heaven Above to Earth I Come. Arr. by Lauran Delancy. 3 5 octave handbell, with optional 3 or 5 octave handchime. Concordia ( ), $4.50. Uing Martin Luther hymn tune Vom Himmel hoch, the arranger ha added a lovely countermelody on the highet bell to bookend thi piece. The melody i traightforward on both handbell and handchime, uing only quarter note and eighth note. There are two brief meter change when the melody enter. The tower wing technique i quite effective in the ba. A an added bonu, there are two quick meaure of Joy to the World during the final interlude. Level 3. ML Go Tell It on the Mountain. Arr. by John A. Behnke. 3 5 octave handbell, 3 5 octave handchime. Concordia ( ), $4.50. Thi upbeat arrangement of a favorite African American piritual i rated level 3, but i quite acceible to mot church handbell choir. It ha an eay yncopation in the melody, accompanied by echo ring and mart. The middle ection i in the parallel minor key of G minor and rung on handchime. The vibration technique i ued excluively in thoe eight meaure quite effectively. The return to G major bring the original technique with the added bonu of the upper 4th and 5th octave of bell. The ba ringer even have the melody for one tanza. Thi piece i a wonderful way to bring ome light jazz into the worhip ervice on Chritma morning. Level 3. ML Felix Mendelohn. Peace in Our Time. Arr. by John A. Behnke. 3 5 octave handbell or handchime. Concordia ( ), $4.50. The hymn tune Mendelohn da pacem i beautifully arranged for a beginning bell choir with many opportunitie to practice the LV technique (let vibrate) and to achieve a legato ound. There are few tempo change and one eamle key change from C major to E-flat major. The piece end quite effectively on a ingle pitch, a if we have all come together a one. Level 2. ML Thi Joyful Eatertide. Arr. by Cathy Moklebut. 3 6 octave handbell. Concordia ( ), $4.50. Thi piece i perfectly uited for any joyou occaion, not jut Eater. The arranger ha added ome quite muical and lilting melodie that act a an interlude between the tanza of the hymn. The Dutch hymn tune Vruechten, from David Palmen, i handled with trong quarter note, o that the meter change in the middle of the firt phrae hould not prove challenging. The higher bell introduce a more percuive ound with mallet on upended bell, followed by pluck, thumb damp, or mallet on the ba bell. Ringer and congregation alike will enjoy thi offering. Level 2+. ML SOUNDFEST Fall/Winter 2016 CroAccent 45

46 SOUNDFEST VOCAL CHILDREN S CHOIR Jame Marriott. Mary Song. SA, piano. Concordia ( ), $1.90. Marriott ha adapted the text of Luke 1:46 53 (the Magnificat) in a freh, melodically rich etting. The firt page i an opportunity for a oloit to chant the canticle in Latin, or the oprano ection may ing. Thi would be hauntingly beautiful if the opening page wa ung from another location in the nave. The full choir tart the text in Englih, firt in union, then in two part. Eight meaure of lovely, three-part texture follow, and the harmonie will delight both inger and litener. Highly recommended for treble choir, both youth and adult. JG ADULT CHOIR Jay Althoue. Glory to God in the Highet. SATB, piano. Hope (C 6042), $2.20. Thi energetic anthem tart in F major with a driving, rhythmic motive in the piano that continue through much of the work. After original material, the compoer include an a cappella tanza of the Doxology, et to Old Hundredth. After thi tanza the choir repeat the opening material, then modulate to G major and end with a big finih. The texture i homophonic throughout for the choir. It i uitable for large or mall choir and for a variety of eaon through the church year. AW Johann Sebatian Bach. From Heaven Above to Earth I Come. Arr. by John Leavitt. SAB, piano. Concordia ( ), $1.90. If you would like your choir to be able to ing thi familiar Bach chorale (#9) from the Chritma Oratorio but have no tenor, thi implified SAB arrangement work quite well. Leavitt ha retained a much of the original voice leading a poible without creating awkward line or uddenly thin texture. The ba part i almot identical to Bach, and the alto line weave effectively between the original alto and tenor part. Leavitt piano reduction i both muically atifying and comfortable under the finger. There are two tanza in Englih (tanza 1 2 of the Luther text a tranlated by Catherine Winkworth), with tanza 2 uing the exact ame muical etting a tanza 1. Thi piece could be ued a a Chritma anthem, in a ervice of leon and carol, or a a choral variation for the complete hymn. DR David Blackwell. A Scottih Bleing. SATB, keyboard, with optional treble intrument. MorningStar (MSM ), $1.85. Blackwell gentle, flowing anthem i baed on a traditional Scottih bleing, a text that ue imagery of creation, both in it ue of light Be a light before to lead me; be a guiding tar above and in it viion of different creature inging God praie. The ue of the Scotch nap (16th note followed by a dotted 8th note) in both the voice and keyboard lend a Scottih feel to the piece. The melody i firt introduced in all voice before moving to a luh SATB texture. The final tanza include an optional obbligato treble intrumental part that i within the ability of a good high chool tudent. A reproducible 46 Fall/Winter 2016 CroAccent

47 part for B-flat or C treble intrument i available eparately in print (MSM A; $3) or for download (MSM A-E; $3). Suitable for any ervice with theme of guidance or creation or for general ue a a choral benediction, thi i a beautiful addition to the SATB church choir repertoire. Medium-eay. AE Jeffrey Blerch. A Mighty Fortre I Our God. SATB, congregation, organ, bra quartet, timpani. Concordia ( ), $3.25. A the Lutheran church celebrate the 500th anniverary of the Reformation, Blerch concertato on Ein fete Burg will add a note of muical dignity to a Reformation celebration. The fetive 64-meaure introduction for bra quartet and organ i followed by the firt two tanza uing the rhythmic etting of Ein fete Burg for union congregation, organ, bra, and timpani. The third tanza, et for SATB and organ, i in triple meter, giving a dance-like feel, celebrating the victory that, indeed, the devil will not overpower u. The final tanza, with it oaring decant, utilize all intrumental and vocal reource. The full core ( ; $55.00) include all intrumental part. JRB Jeffrey Blerch. O Sing to the Lord. SAB, organ, with optional congregation. Concordia ( ), $2.80. Thi i a nice etting of Palm 98 for congregation and choir. The choir introduce the refrain, which i followed immediately by the congregation joining in. The vere of the Palm are arranged for the choir. The muic for the vere doe a good job of reflecting the text. There i a hort-lived modulation in one of the choir tanza, howing a change in the flavor of the text. A reproducible congregation page i included on the octavo with all of the text printed. MS William Braun. By Grace I m Saved; Baptized Into Your Name Mot Holy; Oh, That I Had a Thouand Voice. SATB, bra quartet, cymbal, timpani, organ, congregation. Northwetern ( E), $ Northwetern i offering thi package a a PDF file, and the purchaer may make a many copie a needed for rehearal and performance. Baed on O da ich tauend Zungen hätte (Dretzel), it include the full core for both conductor and organit, choir core, trumpet in B flat, trombone, and percuion. Braun etting will get triple ue, a text for three hymn are included. The bra add a fetive touch, a doe the decant for the final tanza. Available from JG William Braun. Salvation Unto U Ha Come. SATB, trumpet, organ, congregation. Northwetern ( E), $ Thi i alo offered a a PDF file. With the 500th Reformation anniverary in 2017, new, freh etting of beloved chorale are welcome addition to the repertoire. Thi arrangement ue five tanza, with the aembly inging 1, 3, and 5, the choir inging 2 and 4, and a decant on 5 (tenor could join the oprano if deired). The choir ha a four-meaure potlude and they are invited to break into eight part for the final chord. The trumpet part i in C only and could be played by a better high chool trumpeter. Available from JG SOUNDFEST Fall/Winter 2016 CroAccent 47

48 SOUNDFEST We Cameron. Be the Light of Chrit. SATB, piano. Hope (C 6043), $2.10. Compoed in D major, thi lyrical anthem i et to a text focued on ervice and miion. Much of thi acceible anthem contain ection in union or in two part, perfect for developing olid expreion from the variou ection in the choir. The piece end with a full four-part tanza. It i uitable for large or mall choir and for any ervice where tewardhip, ervice, or miion i the focu. AW Henry V. Gerike. Shepherd, Come A-Running. Two-part mixed, organ or piano. Concordia ( ), $1.90. Gerike give u a weet, eay etting of a Polih carol that choir and congregation alike will find charming. Textural change add variety. The voice trade off phrae in the firt tanza and begin the econd in canon before moving to two-part harmony, while the final tanza i motly in union. The keyboard part, while fairly imple, contribute textural and harmonic interet. Thi would be a good addition to the repertoire of the mall church choir or a choir looking for an eaier piece for a Chritma ervice. AE Georg Friedrich Handel. The King Shall Rejoice (HWV 260). SATB, orchetra. Bärenreiter (BA ), $ an exciting and grand choice for a fetive occaion or concert by a choir with large reource. Written before Handel better-known oratorio, thi work already ha the muical hallmark of hi well-known chorue from The Meiah and Irael in Egypt. The King Shall Rejoice conit of four chorue, which could alo be performed eparately. The final Alleluia would be epecially appropriate for Eater. Three movement call for divii alto, and two movement call for brief ba divii. Thi i an urtext edition by Handel cholar Stephan Blaut, and the abence of editorial marking, including dynamic, mean that the director will need to take extra time and care to etablih dynamic and other expreive marking. In addition to the vocal core with piano reduction, a conductor core (BA-10259, $27.99) and tring, wind, and organ part are available eparately. Medium difficult. AE Mark Haye. Shepherd Me, O God. SAB, piano, with optional cello, violin. Hope (C 6054), $2.25. Thi anthem i an arrangement of a hymn by Marty Haugen with the ame name a the anthem. Baed on Palm 23, thi acceible and lyrical anthem tart in F minor with a hort piano introduction. The choral part tart in union, then proceed to two-part or three-part writing. There i alo an SATB arrangement (C 5832; $2.25). Conductor core, violin, and cello part are available eparately (C 5832P; $7.50). The piece i uitable for large or mall choir and for a variety of eaon where comfort, hope, or God a the Good Shepherd i the focu of the ervice. AW One of two coronation anthem written for the coronation of George II in 1727 (the other being Zadok the Priet), thi would be 48 Fall/Winter 2016 CroAccent

49 Kevin Hildebrand. The Gift Chrit Freely Give. SATB, congregation, organ, oboe. Concordia ( ), $2.80. Thi i a wonderful etting by Hildebrand of the Richard C. Rech text. The lyric are et to the tune Denby. The 49-meaure introduction i arranged for organ and oboe and clearly preent the tune to the congregation. Stanza one i ung in union with a tandard organ accompaniment. Stanza two include an oboe part over the women voice. There i a hort interlude connecting thi tanza to the third tanza, which i written for SATB choir and i intended to be ung a cappella. It contain voice leading that make the choral entrance eay to learn. Stanza 4 i written for union male voice with oboe, leading into another choral tanza uing the ame arrangement a the previou choral tanza. The concluding doxological tanza i written in union, with the oboe preenting a decant. The organ upport the congregation quite well throughout. Thi hymn i an excellent text for a Sunday that focue on the mean of grace. There i alo a TTBB arrangement (included in Hildebrand Reformation Hymn for Men Voice [Concordia, ; $10.00]). MS Kevin Hildebrand. Now Thank We All Our God. SATB, congregation, organ, trumpet, with optional bra quintet. Concordia ( ), $2.80. Hildebrand provide a freh arrangement of an old favorite that can add a fetive touch to a Thankgiving ervice or other celebratory occaion without requiring huge force or lengthy rehearal. After a bra and organ introduction and tanza 1 in union with congregation, the middle tanza give the cantu firmu to the trumpet while giving obbligato material from the introduction to the choir (a nice change of pace for the inger). The congregation join in again on tanza 3. At leat one trumpet player i required; however, part are alo available for a bra quintet of 2 trumpet (in B-flat or C), F horn, trombone, and tuba. The B-flat trumpet part i printed with the choral core, but full bra part mut be ordered eparately from Concordia ( print [$16.00] or download [$14.00]). DR David Meece. One Small Child. Arr. by Lloyd Laron. SSA, piano. Hope (C 6044), $2.25. Thi well-known ong ha been around ince Although not a deep, theological piece, it ha a weet eence and might have multiple ue. Since there i an emphai on the three king, it might be poible to ue it for Epiphany ervice, which often catch choir and director off guard if the choir take a brief break right after Chritma ervice. Thi piece i alo available in other voicing: SATB (C 5303; $2.25), SAB (C 5467; $2.25), two-part mixed (C 5655; $2.25), and vocal olo (8587; $5.95); and with variou accompaniment: orchetration (C 56550; $69.95) and 3 5 octave handbell (2403; $5.50). A performance/accompaniment CD i alo available (C 5655C; $5.50). Director will enjoy planning ahead which arrangement to ue, which accompaniment will be mot effective, and how to utilize all reource available. JG David W. Muic. The Angel Decending. Two-part or SATB, piano. Northwetern ( E), $1.80. The tory of the angel announcing the birth of the Chrit Child to the hepherd i the bai for Muic new eay Chritma anthem for two-part mixed or SATB choir. The lilting 6/8 melody and ue of grace SOUNDFEST Fall/Winter 2016 CroAccent 49

50 SOUNDFEST note and open fifth in the accompaniment give thi anthem a Celtic feel. The compoer note that the union men part could be ung up an octave to create a two-part equal voice etting. Available in PDF format only, from Eay. AE Carl F. Schalk. Lullaby for Chritma. SATB, organ, flute, oboe (or optional tring quartet). Concordia ( ), $2.30. Entirely in E major, thi lyrical anthem i et to a Chritma text by Schalk, Martin Luther, and Coeliu Seduliu. The anthem tart with a flute, oboe, and organ introduction. After a union oprano/alto tanza, the a cappella econd tanza contain ome dionance for the entire choir. Much of the third tanza i in two part, except for an SATB ending. The anthem end with a coda for organ, flute, and oboe. It i uitable for large or mall choir and for Chritma or a leon and carol ervice. Quartet part are available in print ($11.00) or downloadable ($9.00) format ( AW Carl F. Schalk. Where er I Go. SATB a cappella. Concordia ( ), $1.90. Thi unaccompanied motet provide another example of Schalk ability to et a meaningful text with muical enitivity. The text, written by the 17th-century poet Paul Fleming and tranlated by Catherine Winkworth, i a prayer for the counel of God: Then let Him order all for me / A He in widom hall decree; / On Him I cat my care. The ame muic i ued to et each tanza. The texture change throughout, moving between fully polyphonic, independent voice and a more homophonic texture. An optional ending, So hall it be, amen, could alo find life eparately a a prayer repone. Thi anthem would be good for a celebration of minitry or for general ue. Medium difficulty. AE Reviewer: John Bernthal (JB) Aociate Profeor of Muic Emeritu Valparaio Univerity, Valparaio, IN Jean R. Boehler (JRB) Cantor Redeemer Evangelical Lutheran Church, The Bronx, NY 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 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 Auten Wilon (AW ) Director of Muic Lutheran Church of Our Savior, Haddonfield, NJ 50 Fall/Winter 2016 CroAccent

51 Fall/Winter 2016 CroAccent 51

52 POSTLUDE Anne Krentz Organ Pat Preident, ALCM Many thank to the contributing writer for their thought-provoking, inpirational article that began a poken preentation at our 2016 regional conference acro the country. ALCM conference are excellent opportunitie to gather together for continuing education, fellowhip, worhip, upport, and encouragement. Heartfelt thank to all who worked o diligently to plan and implement each one of thee gathering. A we begin a new church year, what excite you? What hope and dream do you have for your congregation? How might you help to draw people more deeply into prayer and worhip? How might you more clearly and trongly proclaim the gopel through muic? Your ALCM board of director i hard at work, looking into the future with excitement. We realize that what our organization ha to offer i of utmot importance to the life of the church and to the life of the world. We have hope and dream of reaching out to till more muician who lead the church ong and of finding additional avenue to nurture and equip them to lead with confidence and clarity. In order to more fully embrace the work et before u, we have embarked upon a earch for an executive director. The job decription for thi full-time poition i poted on ALCM webite ( If you or omeone you know i intereted in applying, pleae let the office know! Application will be received through January 6, A we continue with our 30th anniverary year-long celebration, pleae keep ALCM in your prayer. What might God be calling u to in thee next 30 year? O God, you have called your ervant to venture of which we cannot ee the ending, by path a yet untrodden, through peril unknown. Give u faith to go out with good courage, not knowing where we go but only that your hand i leading u and your love upporting u; through Jeu Chrit our Lord. Amen. (ELW, evening prayer, 317; LSB 311). istock/ee1_tony 52 Fall/Winter 2016 CroAccent

53 Thi page doe not print. It preerve the flow of left-right page in the cover page that follow.

54 CROSSACCENT Aociation of Lutheran Church Muician 810 Freeman St. Valparaio, IN INSTITUTE OF LITURGICAL STUDIES Theology, Muic, Practice LITURGY SERVING THE LIFE OF THE CHURCH: HOW WORSHIP RE-FORMS US (500 th Year of the Reformation) REGISTRATION NOW OPEN April 24 26, 2017 See our webite for detail and for a printable regitration form: valpo.edu/il Online regitration available: valpo.edu/il-conference For more information, il@valpo.edu or call the Intitute of Liturgical Studie at PLENARY SPEAKERS Father John F. Baldovin, S.J. Lorraine Brugh Edward Foley, Capuchin Timothy Wengert Timo-Matti Haapiainen I-toh Loh 54 Fall/Winter 2016 CroAccent on Facebook

55 journal of the aociation of lutheran church muician vol 24, no 3 FALL/WINTER 2016 CROSSACCENT ALCM Regional Conference

56 SOUNDFEST Muic to Enliven Worhip The year 2016 mark 10 year ince the publication of Evangelical Lutheran Worhip, the family of reource that help congregation upport and provide engaging worhip focued on God miion. Dicover the treaure within thee four reource and how they can help enrich your church muic minitry. Now through January 31, 2017, enjoy 10% off and free hipping when you order through augburgfortre.org. Enter promo code CROSSACCENT16 at checkout. Hymn Decant for Trumpet Vocal Decant for the Church Year Choral Stanza for Hymn, Vol. 1 Choral Stanza for Hymn, Vol. 2 NEW! Evangelical Lutheran Worhip The Pew Edition i only the beginning augburgfortre.org/elw Worhip Sympoium Thi three-day conference bring together pator, worhip leader and planner, artit, muician, cholar, tudent and other intereted worhiper from around the world. January 26 28, 2017 worhip.calvin.edu Over 12 eminar, 75 workhop, 90 preenter, and 50 theme, including preaching, viual art, culture care, patoral care, prophetic lament, Palm, faith formation, the Lord Supper, outreach, congregational ong, leaderhip, and more. CALVIN INSTITUTE OF CHRISTIAN WORSHIP AND THE CENTER FOR EXCELLENCE IN PREACHING GRAND RAPIDS, MICHIGAN, USA Plenary addree by N.T. (Tom) Wright and Sandra Maria Van Optal 56 Fall/Winter 2016 CroAccent

57 SOUNDFEST VALPARAISO UNIVERSITY CHURCH MUSIC STUDIES Bachelor of Muic in Church Muic Bachelor of Muic in Performance (Organ or Voice) Bachelor of Art CURRICULUM Performance, Church Muic, Theology, Liturgical Organ Playing, Conducting, Hitory, Theory ENSEMBLES Chorale, Kantorei, handbell, and worhip leaderhip opportunitie FACULTY Lorraine S. Brugh, Ph.D., 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 Joeph Bognar, DMA, Chair, Muic Department; Aociate Univerity Organit Stephen Schnurr, DMA, Adjunct Intructor in Organ COMPETITIVE SCHOLARSHIPS ARE AVAILABLE For more information, pleae contact the Muic Department or valpo.edu/muic 103 Rank Schlicker/Dobon Organ in the Chapel of the Reurrection Department of Muic Fall/Winter 2016 CroAccent 57