Practical Organ Music
October 2016
Reformation Reboot
It’s coming–the 500th anniversary of the Reformation is almost here. There is much more to the quincentenary of the Reformation than the opportunity to add another SAT-worthy word to your vocabulary. For 500 years, Protestants have played a role in Christian history, which makes for a twenty-five percent participation rate. For some, the breakup of the Roman church is not a reason to celebrate; rather it is an occasion to mourn—there is no reunification in sight. For others, it is a birthday candle for their denomination. Regardless of your perspective, let me ask you a question: does the Reformation have anything to offer us organists?
If you are one who will mark 2017 with a nostalgic look back at its significance, you have an abundance of musical resources to draw on. Of course, we have all kinds of music from that era. No doubt there will be many bows to the traditional trinity of Schutz, Schein and Scheidt, devotions to “Soli Deo Gloria” Bach, as well as remembrances of his successors. We do love to celebrate our heritage, and we will be great at doing so!
This year you can expect to see some new compositions on Reformation hymn tunes (with mostly German names) that reflect the musical styles of the era. Here is a very nice anthology, A Reformation Celebration (Concordia 97-7734). The “Carillon on ‘Ein Feste Burg’” by James Biery keeps the snappy rhythms of the original chorale while easy repetitive sixteenth patterns propel the piece to a satisfying conclusion. The walking bass “Erhalt uns Herr” by Benjamin Culli is a very nice processional, while Walter Pelz’ arrangement of “Es ist Das Heil” is a brilliant Handelian overture. There are a total of eight pieces here. If you like this volume, you will also enjoy two matching books, A Reformation Christmas (Concordia 97-7732), containing another eight pieces for Advent, Christmas and Epiphany, and A Reformation Easter (Concordia 97-7733) with pieces for Lent through Pentecost. The publisher has limited each composer to one piece, which means that variety is guaranteed.
Also staying faithful to the German heritage is a fine new volume by Karl Osterland. A Wittenberg Collection: Lutheran Chorales for Organ (Augsburg Fortress 978-1-5064-1357-0). He enjoys taking on the challenge of creating interesting organ reflections that keep the listener engaged. You will find his “Schmucke Dich” to be a gentle andante, his “Christ, du Lamm Gottes” to be an adagio with somewhere to go, and his “Vom Himmel Hoch” to be a sweet refreshment. The other side of Osterland’s personality bursts forth with a vivacious set of variations on “Es ist das Heil” and a bold “Wie Shon Leuchtet.” I have already mentioned the moderately challenging Grand Partita on “Ein Feste Burg,” where his skill as a tone painter illuminates words taken from the four stanzas. This is one piece that you could use in alternatim in your next hymn festival.
Dan Gawthrop will make his Symphony #3 (Dunstan House 1701) available after its premier in May 2017. This is an exciting addition to the literature for Reformation. Dan has restricted himself to moderate technical demands, but not to moderate musical value. In it you will find four creative movements linked to four of the best known hymn tunes of the Reformation: “Nun Komm, der Heiden Heiland,” “Wachet Auf,” “Aus Tiefer Not,” and “Ein Feste Burg.” This is a piece worth waiting for!
If you are not already collecting the many volumes of the Augsburg Organ Library, a very good place to start is with their newest volume, Reformation (9781506413600). Containing both previously published works as well as pieces commissioned for this volume; there is a wealth of creativity between its covers. Hymn tunes are not limited to the sixteenth century, and some are moderately challenging. Some of our high-flying composers are there, including Flor Peeters, Paul Manz, Wayne Wold, David Cherwien, and Aaron David Miller. Not nearly as challenging is Ronald Nelson’s Easy Hymn Settings, Volume 2 (Augsburg Fortress 9781451420838). His work is always satisfying to play and to listen to. While not every tune is Reformation oriented, there are enough to make it worth owning. Hymn Tune Innovations, Set 2 (Concordia 97-7731) seldom goes beyond its moderate technical boundaries. With the many volumes he has recently published, Benjamin Culli has earned my respect as a composer who knows the chorale variation tradition and enjoys expanding its range. Most of the seven tunes in this volume represent well known Lutheran hymns, but he has strayed from the straight and narrow, applying similar techniques to more mainstream hymns, such as “Darwall’s 148th,” “Italian Hymn,” and “Song 1.” The same can be said for Kevin Hildebrand, who is offering Salvation Unto Us (Concordia 97-7738). These are twelve easy preludes directly targeted at the Reformation celebration.
As you know, Reformation liturgists returned singing the church’s song to the people. We haven’t stopped loving our hymns ever since. I hope you enjoy exploring the many ways that hymns can be varied in worship. There are many volumes of creative hymn resources available. New for the 2017 sesquicentenary is 24 Hymn Introductions for Reformation (Concordia 97-7737). John Eggert has put his mind to easy, short intonations for a mighty lot of chorales. Henry V. Gerike has done the same to 27 Hymn Harmonizations for Reformation (Concordia 97-7741). I like the way his use of harmony avoids the typical dissonances, favoring simple chord substitutions that encourage the congregation to sing without making them raise their eyebrows at the organist. Jane Holstein has done the same for a slew of mainstream hymns in 55 Hymn Harmonizations. (Hope 8718). Interspersed throughout the book are introductions, modulations and interludes to go along with her reharmonizations. Frankly, I don’t keep many harmonization books in my library, but this is one I am going to hold on to!
Most of us take the outcomes of the Reformation for granted. Hymns themselves are a product of the historical revolution, and creative hymn playing reminds us that its effects are alive today. As much as we love to honor the past, the Reformation is not just an historic event. Its leaders’ vision was a church “Reformed, and reforming,” which indicates their understanding that the spiritual life is constantly dynamic and changing. Each generation, in fact, is responsible for renewing the church and handing it on to the next generation.
I am challenged to find ways to reverse my backward-looking orientation, with all the artistic glories I treasure. I struggle to craft a forward-looking vision that includes the past, but makes room for the future. I invite you to participate in the church’s ongoing reformation. What does it look like to invest in a cultural dialog from our musical and theological perspectives? At the very least, I hope you will consider how to embrace the opportunities the challenge of renewal offers each of us:
o Maintaining your professional music skills.
o Adding to your skills—becoming comfortable with American musical styles.
o Exploring the ideas of church leaders and their vision for the road ahead.
o Committing to the development your leadership skills and offering them locally.
o Encouraging the next generation of musicians.
We live in such a dynamic world, don’t we? The cultural change we see all around us is a direct outcome of the Reformation. While not everyone is a Protestant, its effects touch everyone. How should we respond to the challenges in front of us? How can we participate in creating a bright future for the church we love? The “Reformed, and reforming” perspective is a lesson from history is a gift to the future church. Join in!