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Choral music published in the Unites States associated with centennial celebrations of the Lutheran Reformation in 1917 and 2017

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Choral music published in the Unites States associated with centennial celebrations of the Lutheran Reformation in 1917 and 2017

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Content Choral Music Published in the Unites States Associated with Centennial Celebrations of the Lutheran Reformation in 1917 and 2017 by Jeremy S. Bakken A Dissertation Presented to the FACULTY OF THE USC GRADUATE SCHOOL UNIVERSITY OF SOUTHERN CALIFORNIA In Partial Fulfillment of the Requirements for the Degree DOCTOR OF MUSICAL ARTS CHORAL MUSIC December 2022 Copyright 2022 Jeremy S. Bakken ii Let the message of Christ dwell among you richly as you teach and admonish one another with all wisdom through psalms, hymns, and songs from the Spirit, singing to God with gratitude in your hearts. And whatever you do, whether in word or deed, do it all in the name of the Lord Jesus, giving thanks to God the Father through him. Colossians 3:16,17 (NIV) iii Acknowledgements Thank you to Dr. Sparks, Dr. Grases, and Dr. Strimple for serving on my dissertation committee. Thank you to Dr. Scheibe, Dr. Strimple, and Dr. Grases for the opportunity to audition and enter the USC Thorton School of Music Choral Music D.M.A. degree program. Special thanks to Dr. Strimple for his mentorship, regular conversations, and a meal now and then. Thank you to the staff and members of Gethsemane (now Hope) Lutheran Church in the Mar Vista neighborhood of Los Angeles. Your friendship and support provided blessing without measure during my three years living in Los Angeles. Thank you to my uncle Dan Schmolesky and his family, and to Dave and Jo Bostedt, for providing a place to escape the pressures of graduate study now and then and receive the blessing of company and hospitality. Thank you to Northwestern Publishing House for supporting my completion of this degree. My deepest thanks go to Sarah, to my parents Jim and Deb, to my sister Donna, and to the network of family and friends who have patiently encouraged me, prayed for me, and supported me in so many ways on this journey. Finally, thank you, dear Jesus, for the gift of salvation, the gift of music, and the opportunity to so often and in so many ways use the one to share the other. All that seems a meaningless chasing after the wind finds in you and your promises purpose now and for eternity. S. D. G. iv Table of Contents Epigraph .............................................................................................................................................. ii Acknowledgements ............................................................................................................................. iii List of Tables ...................................................................................................................................... vi List of Figures ..................................................................................................................................... ix Abbreviations ...................................................................................................................................... xiv Abstract ............................................................................................................................................... xvi Introduction ......................................................................................................................................... 1 Chapter 1: 1917 Cantatas .................................................................................................................... 3 At Eventide (Zur Abendzeit) ..................................................................................... 4 Reformation Cantata (Pettersen/Christiansen) ........................................................ 20 Reformation Cantata (Olson/Bergquist) .................................................................. 32 The City of God ......................................................................................................... 49 Other Cantatas .......................................................................................................... 70 Summary of 1917 Cantatas ....................................................................................... 71 Chapter 2: 1917 Anthems and Other Small Works ............................................................................ 73 Octavos ..................................................................................................................... 74 Pamphlets and Periodicals ........................................................................................ 104 Scores Mentioned but Not Yet Located ................................................................... 114 Summary of 1917 Smaller Works ............................................................................ 115 Chapter 3: 2017 Augsburg Fortress Publishing .................................................................................. 117 Summary of Augsburg Fortress Reformation 500th Anniversary Publications ....... 172 Chapter 4: 2017 Concordia Publishing House .................................................................................... 174 Octavos ..................................................................................................................... 176 Collections ................................................................................................................ 192 Summary of Concordia Publishing House Reformation 500th Anniversary Publications ............................................. 225 Chapter 5: 2017 Other Sacred Music Publishers ................................................................................ 226 Beckenhorst Press Inc. .............................................................................................. 227 Boosey & Hawkes .................................................................................................... 233 ECS Publishing Group .............................................................................................. 242 GIA Publications, Inc. .............................................................................................. 266 Hal Leonard .............................................................................................................. 273 The Lorenz Corporation ........................................................................................... 275 Summary of Other Sacred Publishers’ Reformation 500th Anniversary Publications ............................................. 281 Chapter 6: Conclusion ........................................................................................................................ 283 v Bibliography ....................................................................................................................................... 287 Appendices Appendix A: 1917 Scores in Research Order ........................................................... 294 vi List of Tables Table 1.1: Cantatas Published to Observe the 1917 400th Anniversary of the Lutheran Reformation ................................................................... 3 Table 1.2: Text Sources for At Eventide ............................................................................................. 4 Table 1.3: Herzberger’s “Watchmen, what of the night?” with KJV Comparison Passages ............. 8 Table 1.4: Voicing and Accompaniment for “Aus tiefer Not” in Schumacher’s At Eventide ............ 11 Table 1.5: Outline of Reformation Cantata Published by Augsburg Publishing House .................... 20 Table 1.6: Olson’s “From Out the Gloom of Ages Past” from Reformation Cantata Compared to Luther’s “Aus tiefer Not” ..................................... 32 Table 1.7: Olson’s “The Commission” Bass Solo Text from Reformation Cantata .......................... 33 Table 1.8: Olson’s Part II, Section I, Sub-section I “The Protest” from Reformation Cantata .......... 35 Table 1.9: Text Divisions and Sources for The City of God by Luther D. Reed and H. Alexander Matthews ................................................................... 50 Table 1.10: Major Key Centers by Movement in Matthews’ The City of God .................................. 53 Table 2.1: Anthems Published to Observe the 1917 400th Anniversary of the Lutheran Reformation ................................................................... 73 Table 2.2: Structure of Rile’s “I Will Extol Thee, My God, O King” ................................................ 80 Table 2.3: “I Will Extol Thee, My God, O King” Fugal Section mm. 143-165 ................................. 81 Table 2.4: Contents of Reformation-Songs, ed. John Dahle ............................................................... 86 Table 2.5: German “Erhalt uns, o Herr, dein Wort, die reine Lehre” at CPDL.org with “Hold oppe, o Gud, hos os din rene Läre” from Reformation-Songs, ed. John Dahle .......... 91 Table 2.6: 2 Peter 1:19 and Psalm 33:4 (Del Norsk Bibelselskap 1930) Compared to “Vi har det faste profetiske ord” in Reformations-Songs, ed. John Dahle ............................ 92 Table 2.7: Key Centers by Verse in “We Have Thought of Thy Loving-Kindness” ......................... 95 Table 2.8: “O naade! O naade!” Stanzas 1 and 2 Unique Norwegian Text and Basic Translation .... 97 Table 2.9: Musical, Vocal, and Textual Construction by Section of “Sing, O Heavens” .................. 101 Table 2.10: Russell’s Translation and the CW Composite Translation of Luther’s Komm, Heiliger Geist, Herre Gott ...................................................................... 106 Table 3.1: Augsburg Fortress Reformation 500 Choral Publications ................................................. 117 vii Table 3.2: Comparison of ELW 395 “Come, Holy Ghost, God and Lord” and Miller’s “Come, Holy Spirit, God and Lord” ................................................................. 120 Table 3.3: Comparison of Briehl’s “God Alone Be Praised” with Psalm 46 (NIV) .......................... 125 Table 3.4: “Lord, Be Thy Word My Rule” Comparison to Source Texts from The Holy Year ......... 128 Table 3.5: Comparison of “May God Bestow on Us His Grace” (LBW) with Miller’s “May God Bestow on Us Grace” ..................................................................... 130 Table 3.6: Comparison of Organ’s “The Truth Will Make You Free” to John 8:31,32,36 KJV and ESV .......................................................................................... 132 Table 3.7: Contents of Augsburg Chorale Book ................................................................................. 140 Table 3.8: English Translations of Veni Creator Spiritus in ELW, LSB, and LBW .......................... 163 Table 3.9: Costello’s “Isaiah in a Vision Did of Old” Schema by Phrase of Melody Placement in Voices and Doubling by Accompaniment ..................... 168 Table 4.1: Concordia Publishing House Reformation 500 Choral Publications ................................ 174 Table 4.2: Relationship between Scripture Passages and Hymn Text in Behnke’s “Lord, Keep Us Steadfast in Your Word” ......................................................... 178 Table 4.3: Comparison of Luther’s Morning and Evening Prayers and Behnke’s Paraphrases ......... 180 Table 4.4: Sections and Their Musical Forces in Behnke’s “Thy Strong Word” ............................... 184 Table 4.5: Structure in Shaw’s “We Praise You, Jesus, at Your Birth” ............................................. 188 Table 4.6: Roman-Numeral Analysis across Stanzas in Shaw’s “We Praise You, Jesus, at Your Birth” .................................................................................. 189 Table 4.7: Explaining the B Melody as Transformations Applied to the A Melody in Shaw’s “We Praise You, Jesus, at Your Birth” ................................................................. 190 Table 4.8: Vocal and Accompaniment Schema for Arrangements in Reformation Hymns for Men’s Voices ............................................................................... 195 Table 4.9: Content Summary of Reformation Hymns for Treble Voices ............................................ 198 Table 4.10: Content Summary of The Concordia Children’s Choir Book, Volume 2: Six Settings for Reformation .................................................................................................. 204 Table 4.11: Musical-Textual Stress Comparison between HERR JESU CHRIST, MEINS and Weber’s Melody .................................................................. 207 Table 4.12: Considerations for Re-striking the D2 Pedal Tone (mm. 36-46) When Accompanying Weber’s “Lord, Help Us Ever to Retain” with Piano ........................ 209 viii Table 4.13: Alterations for Wide Chords when Accompanying Weber’s “Lord, Help Us Ever to Retain” with Piano .......................................................................... 210 Table 5.1: Reformation 500 Publications by Other Sacred Music Publishers .................................... 226 Table 5.2: Text Comparison of “Creator Spirit, Heav’nly Dove” (ELW) and Arenson’s The Holy Spirit Mass ..................................................................................... 234 Table 5.3: Text from Arneson’s “The Spirit’s Work (Credo)” and Its Sources ................................. 235 Table 5.4: Arneson’s The Holy Spirit Mass Key Centers and Junctures ............................................ 237 Table 5.5: Unaccompanied Passages and Their Relationship to Text and Structure in Arneson’s The Holy Spirit Mass ..................................................... 239 Table 5.6: Comparison of stanzas 1, 2, and 4 of “Ein feste Burg ist unser Gott,” GtG’s English Translation, and Pederson’s Adaptation ........................................................ 246 Table 5.7: Correspondences between Grindal’s Text and Franzmann’s Text from “I Rest with God’s Gentle Arms” ................................................... 255 Table 5.8: Comparison of Psalm 46 (NIV) with Childs’ Metric Paraphrase ...................................... 267 Table 5.9: Comparison of Psalm 46 (NIV) with Haugen’s Paraphrase .............................................. 271 Table 5.10: Analysis of Aldredge’s Text (slashes indicate places where text is layered across voices) ................................................ 276 ix List of Figures Example 1.1 Introduction to Movement I.2 ........................................................................................ 8 Example 1.2: Schumacher’s Part 1, Mvt. 4, mm. 13-19 from At Eventide Compared with Smetana’s “The Moldau” mm. 40-47 (reduced) ........................................................... 10 Example 1.3: Progression for Final Six Measures of Movement II.1 in Schumacher’s At Eventide ................................................................................................. 13 Example 1.4: Stanza 3 of “Song of Luther’s Printer, Hans Luft” from Schumacher’s At Eventide ............................................................................................ 17 Example 1.5: Introduction to Movement III.11 in Schumacher’s At Eventide ................................... 19 Example 1.6: Reduction of Overture mm. 97-109 in Christiansen’s Reformation Cantata ............... 23 Example 1.7: Model and Sequences mm. 11-22 with Pick-up in Movement 2 of Christiansen’s Reformation Cantata ........................................................ 25 Example 1.8: Comparison of Sequence Pick-up to m. 19 and Its Analogous Reprise Entry at Pick-up to m. 44 in Movement 2 of Christiansen’s Reformation Cantata ........................ 26 Example 1.9: “Hear Ye, O Israel” mm. 1-8 from Christiansen’s Reformation Cantata .................... 27 Example 1.10: Possible Theme Quotation Concluding Instrumental Introduction to Movement 8 in Christiansen’s Reformation Cantata ........................................................ 30 Example 1.11: String Bass Passage to Begin Movement 9 and Facilitate Common-Tone Modulation in Christiansen’s Reformation Cantata .................................... 31 Example 1.12: Tenor Solo mm. 72b-85 in Bergquist’s “E Tenebris” from Reformation Cantata ..................................................................................................... 38 Example 1.13: Harmonic Progression (reduced) in mm. 72b-88 (downbeat) in Bergquist’s “E Tenebris” from Reformation Cantata ....................................................... 39 Example 1.14: mm. 111-125 in Bergquist’s “E Tenebris” from Reformation Cantata ..................... 40 Example 1.15: mm. 111-121 As Written and with Enharmonic Equivalence (reduced) in Bergquist’s “E Tenebris” from Reformation Cantata ....................................................... 42 Example 1.16: Bass Solo Choral Score Accompaniment Reduction mm. 296-308 in Bergquist’s “The Commission” from Reformation Cantata ............................................. 44 Example 1.17: Progression Reduction mm. 336-358 in Bergquist’s “The Commission” from Reformation Cantata ..................................................................... 45 Example 1.18: Transition from A♭ Major to A Major in “Daybreak” Soprano Solo (mm. 551-556, accompaniment reduction only) from Berquist’s Reformation Cantata ...... 46 x Example 1.19: Transition from C♯ minor to A♭ Major ahead of Chorus Entrance in Berquist’s “Daybreak” from Reformation Cantata ........................................................... 47 Example 1.20: mm. 11 with References in Part II from Bergquist’s Reformation Cantata ............... 48 Example 1.21: Movement 1 mm. 80-87 Pedal-point from Matthews’ The City of God .................... 55 Example 1.22: Movement 2 mm. 1-16 from Matthews’ The City of God .......................................... 57 Example 1.23: Movement 3 Accompaniment mm. 157-165 with Pick-up in Matthews’ The City of God ............................................................................................... 59 Example 1.24: Analysis of Movement 4 mm. 1-24 from Matthews’ The City of God ...................... 61 Example 1.25: Movement 6 mm. 66-97 (some reduction) from Matthews’ The City of God ........... 65 Example 1.26: Interrupted Pedal-point mm. 55-70 in movement 7 of Matthews’ The City of God ............................................................................................... 67 Example 1.27: Movement 7 mm. 88-90 Modifying Opening Motive and Providing Connecting Motive for Movement 8 .............................................................. 68 Example 1.28: Final Plagal Pedal-point of Movement 10 in Matthews’ The City of God ................. 69 Example 2.1: Lewars’ “Blessing, Glory, Wisdom, and Thanks” Sequence and Imitative Entrances mm. 33-41 ...................................................................... 77 Example 2.2: Ohl’s “I Will Extol Thee” mm. 43-46 and mm. 111-114 ............................................. 79 Example 2.3: Hahn’s “Psalm 46” Transition to Return of First Section ............................................ 84 Example 2.4: Melody attributed to Beethoven in Reformation-Songs, ed. John Dahle ..................... 89 Example 2.5: Brenner’s “Vi har det faste profetiske ord” (music only) ............................................. 94 Example 2.6: “Glorious Things / Lord, Thy Glory / Hellig, Hellig” Harmonic Analysis of mm. 10-22 ......................................................................................... 100 Example 2.7: “Sing, O Heavens” Harmonic Analysis of mm. 1-14, with mm. 8-12 in both B♭ Major (naturals in parentheses omitted) and F major (naturals in parentheses included) and Second-level Analysis ......................... 103 Example 2.8: Lewars’ “Come, Holy Spirit, Lord and God” Accompaniment Reduction with Roman Numeral Analysis (omitted for plagal sequence) .............................................. 108 Example 2.9: Analysis of Weaver’s “The Light” Melody .................................................................. 110 Example 2.10: Harmonic Analysis of Final Two Phrases of Light .................................................... 111 Example 2.11: Analysis of Leech’s “The Reformation Call” Melody ............................................... 113 xi Example 3.1: “A Mighty Fortress Is Our God” (arr. Miller) Soprano/Alto Stanza 3 Melodic Line (mm. 161-166,174-176) Superimposed with Isometric Hymn Tune .............. 119 Example 3.2: KOMM, HEILIGER GIEST, HERRE GOTT from ELW ..................................................... 123 Example 3.3: Analysis of Miller’s Melody in “Come, Holy Spirit, God and Lord” .......................... 124 Example 3.4: Comparison of Highben’s AD LUCEM and PER CRUCEM Melodies ............................ 127 Example 3.5: Comparison mm. 21-22 and 67-68 in Scott’s “Lord, Be Thy Word My Rule” ........... 129 Example 3.6: Croushorn’s “We Trust in God Alone” mm. 18-21 ..................................................... 135 Example 3.7: Croushorn’s “We Trust in God Alone” mm. 46-End ................................................... 138 Example 3.7: Farlee’s “The Only Son from Heaven” Analysis of m. 15-downbeat m. 19 ................ 147 Example 3.8: Comparison of Wentzel’s A, B, C, D, and D’ Phrases to KOMM, HEILIGER GEIST, HERRE GOTT Analogous Phrases (Transposed) ....................... 152 Example 3.9: Wentzel’s “Come, Holy Ghost, God and Lord” mm. 31-45 Melody and Harmony with Elision/Inversion ....................................................................... 153 Example 3.10: Wentzel’s “Come, Holy Ghost, God and Lord” Organ Accompaniment mm. 31-55 (Left Hand and Pedal Only) .......................................... 154 Example 3.11: Analysis of Fothergill’s “All Glory Be to God on High” mm. 1-5 ............................ 157 Example 3.12: Concluding Cadential Measures of Fothergill’s “All Glory Be to God on High” ............................................................................................. 158 Example 3.13: Voices and Accompaniment at mm. 14,40 in Bankson’s “Lord, Keep Us Steadfast in Your Word” ............................................................................. 161 Example 3.14: Editorial Oversights and Errors in Ferguson’s “Lord, Thee I Love with All My Heart” ................................................................................ 167 Example 3.15: Comparison of Highben’s Opening to “Now Thank We All Our God” and Its Inspirational Opening Motive from Schutz’s Cantate Domino, SWV 81 ................. 170 Example 3.16: Analysis of mm. 15-18 and 42-43 in Highen’s “Now Thank We All Our God” ....... 172 Example 4.1: Blersch’s tune SOLA ..................................................................................................... 182 Example 4.2: ALLEIN GOTT IN DER HÖH ............................................................................................ 183 Example 4.3: WÄR GOTT NICHT MIT UNS DIESE ZEIT ........................................................................ 183 Example 4.4: First Four Measures of Accompaniment from Stanzas 1,3,5 in Behnke’s “Thy Strong Word” ........................................................................................... 186 xii Example 4.5: Melodies from Stanzas 1 and 3 of Shaw’s “We Praise You, Jesus, at Your Birth” .................................................................................. 190 Example 4.6: Schalk’s “If God Himself Be for Me” Introduction by Phrase .................................... 194 Example 4.7: Accompaniment Figures Derived from the Melody in Movement Three of Culli’s “A Mighty Fortress Is Our God” ........................................................................... 200 Example 4.8: Comparison of Movement Three Melody in Culli’s “A Mighty Fortress Is Our God” to Isometric Original Melody ........................................... 201 Example 4.9: Extension Producing a Three-bar Phrase in Weber’s “Lord, Help Us Ever to Retain” ............................................................................................. 206 Example 4.10: Comparison of HERR JESU CHRIST, MEINS with Weber’s Original Melody ............. 208 Example 4.11: mm. 1-7 A♮ as Modal Mixture in Machemer’s “Built on the Rock” ......................... 212 Example 4.12: mm. 24-25 A♮ Affecting Temporary Tonicization in Machemer’s “Built on the Rock” ...................................................................................... 213 Example 4.13: mm. 28-31 Passage Uniformly Using A♮ Temporarily Functioning in a Closely-related Key in Machemer’s “Built on the Rock” .............................................. 213 Example 4.14: mm. 38-45 A♮ Functioning as Chordal Seventh and as Non-harmonic Passing Tone in Machemer’s “Built on the Rock” ............................ 215 Example 4.15: mm. 71-78 A♮ Functioning as Non-chordal Passing Tone in Machemer’s “Built on the Rock” ...................................................................................... 216 Example 4.16: Unifying Accompaniment Figure in First Refrain of Brusick’s “I Want to Walk as a Child of the Light” ......................................................... 219 Example 4.17: Unifying Cadential Figure in Stanza 1 Brusick’s “I Want to Walk as a Child of the Light” .............................................................. 220 Example 4.18: Alto Voice-leading into m. 76 Not Immediately Supported by Accompaniment in Brusick’s “I Want to Walk as a Child of the Light” .......................................................... 222 Example 5.1: Augmented Opening Melody of Stanza 2 Compared with Interlude Prior in Forrest’s “A Mighty Fortress Is Our God” ........................................................................ 229 Example 5.2: Forrest’s “A Mighty Fortress Is Our God” mm. 71-78 ................................................ 230 Example 5.3: Forrest’s “A Mighty Fortress Is Our God” mm. 78-82 ................................................ 232 Example 5.4: Musical Material in Introduction Previewing or Informing Portions of Choral Stanza 3 in Costello’s “A Mighty Fortress Is Our God” ......................... 244 Example 5.5: Comparison of ELW’s Isometric EIN FESTE BURG with Pederson, Phrases 5-8 ......... 249 xiii Example 5.6: D-F♯m-Eadd4 Ostinato by Stanza in Pederson’s “A Mighty Fortress Is Our God” ........................................................................................... 251 Example 5.7: Tracing the Melody in Stanza 3 of Bankson’s “Christ Is Made the Sure Foundation” ................................................................................... 253 Example 5.8: SATB mm. 1-4 in Beckstrand’s “I Rest within God’s Gentle Arms” ....................................................................................... 256 Example 5.9: From SAB to SAATBB in mm. 73-76 of Beckstrand’s “I Rest within God’s Gentle Arms” ....................................................................................... 258 Example 5.10: WIR GLAUBEN ALL in D Dorian Compared to Koppin’s D Lydian ........................... 259 Example 5.11: WIR GLAUBEN ALL in E Dorian Compared to Koppin’s E Lydian ............................ 260 Example 5.12: Organ Assuming Solo Instrument in mm. 21-25 of Hobby’s “Jesus, Author of Salvation” .................................................................................................. 262 Example 5.13: Four Main Musical Ideas in Cherwien’s “You Are God” .......................................... 264 Example 5.14: Original mm. 47-53 in Childs’ “God Is Our Refuge” ................................................ 269 Example 5.15: Childs’ “God Is Our Refuge” mm. 47-54 with Vocal Reduction (removed notes indicated by x note head) ............................................................................. 270 Example 5.16: Funderburk’s “A Mighty Fortress Is Our God” mm. 64-67 ....................................... 274 Example 5.17: SATB Voice-Leading Parallels in Aldredge’s “O Glorious Word” ........................... 279 Example 5.18: Alterations Avoiding Most Parallels (alterations indicated by triangle note heads) in Aldredge’s “O Glorious Word” ......................................................................................... 280 xiv Abbreviations alt.: Alternate (regarding hymn texts, as in amended from the original) BCP: Book of Common Prayer. New York: Church Publishing Incorporated, 2006. bpm: beats per minute CPH: Concordia Publishing House, St. Louis, Missouri. CW: Christian Worship: Hymnal. Milwaukee: Northwestern Publishing House, 2021. D (when used in figures contextually with T and PD): Dominant area, second-level analysis (see Latiz, The Complete Musician, chapter 6). ELCA: Evangelical Lutheran Church in America, elca.org. ELH: Evangelical Lutheran Hymnary. St. Louis: MorningStar Music Publishers, Inc., 1996. ELW: Evangelical Lutheran Worship. Minneapolis: Augsburg Fortress Press, 2006. ESV: The Holy Bible, Evangelical Standard Version. GtG: Glory to God. Louisville: Presbyterian Publishing Corporation, 2013. KJV: The Holy Bible, King James Version. LBW: Lutheran Books of Worship. Minneapolis: Augsburg Publishing House, 1978. LCMS: Lutheran Church—Missouri Synod, lcms.org. LSB: Lutheran Service Book. St. Louis: Concordia Publishing House, 2006. LW: Lutheran Worship. St. Louis: Concordia Publishing House, 1982. m.: Measure mm.: Measures NIV: The Holy Bible, New International Version. PD: Pre-dominant area, second-level analysis (see Latiz, The Complete Musician, chapter 6). p/u: Pick-up to (measure #) T: Tonic area, second-level analysis (see Latiz, The Complete Musician, chapter 6). TLH: The Lutheran Hymnal. St. Louis: Concordia Publishing House, 1941. WELS: Wisconsin Evangelical Lutheran Synod, wels.net. xv WT: Whole-tone Note: When referring to a hymn text, the title is in quotes (ex. “Aus tiefer Not schrei ich zu dir”); hymn tune names are in small caps (ex. AUS TIEFER NOT). xvi Abstract Centennial celebrations of the Lutheran Reformation in the United States serve as impetus for production of sacred choral music marking the occasion. Since the formation of Luther denominations and their publishing houses in the United States in the mid-to-late 19th century, two Reformation centennial choral corpuses now exist. Previously, some works of the 1917 quadricentennial celebration of the Reformation have been considered within the context of an individual composer’s output, but rarely together with the corpus of works marking the celebration. At the publishing of this research, the 2017 quincentennial celebration corpus is a relatively new one. In this research, the two corpuses are considered together. The profile of the corpuses published in the United States for the 400th and 500th Reformation anniversaries of 1917 and 2017, respectively, begin to be developed, primarily from textual and compositional analyses of the individual works. The 1917 corpus is organized and analyzed according to two sub-categories: cantatas and shorter works. The 2017 corpus is organized and analyzed by publisher: Augsburg Fortress Publishing (publishing arm of the Evangelical Lutheran Church of America), Concordia Publishing House (publishing arm of the Lutheran Church—Missouri Synod), and other publishers of sacred music. Through the analyses employed, the primacy of Reformation chorale texts and tunes emerges in both eras, but with differing preservation/proliferation, manipulation, and re-imagination of the same (both within each individual era and within the whole). Observed differences between the 1917 and 2017 corpuses include voicing options, accompaniment flexibility, form, and the use/relationship of key centers. Spectra of compositional practice and perceived purpose among the sub-categories are noted, such as those among the cantatas (1917) or of Lutheran denominational vs. non-Lutheran publishers (2017). Questions appropriate to other research contexts and efforts are occasionally referenced, including theological, historical, social, and publishing practice. Introduction For millennia, teaching the Scriptures and the doctrines of the church has found in choral music a useful vehicle. For centuries, marking significant occasions or commemorating historic events have provided an impetus for choral music creation. The tenets of the Lutheran Reformation along with its milestone anniversary commemorations are no exception. While many events of this 16th-century movement hold significance, the famous posting of Martin Luther’s (1483–1546) debate theses on October 31, 1517, has long been honored as the birth of his church reform efforts—and a watershed event in world history. In 2017, the world observed the 500th anniversary of Luther’s momentous Hallows’ Eve act. The focus of this study is on choral music from the United States published for this commemoration, as well choral music published in the United States for the preceding centennial celebration of 1917. Although Lutherans have been in the United States longer, this study goes no further than the 1917 centennial celebration. The major Lutheran synods of the United States, along with their official publishing arms, were established in the mid-to-late 19th century. Thus, the 400th anniversary of the Reformation in 1917 was the first to be observed following the formation of these synods and the establishing of their publishing houses. The purpose of this study is a) to document, as much as is possible, the choral music publication corpus of the 2017 centennial Reformation celebration in the United States; b) to gather in one place, as much as is possible, the choral music publication corpus of the 1917 centennial Reformation celebration in the United States; c) to provide analysis of each century’s corpus and some comparison between the two corpuses; and d) to offer a resource that might serve as a starting point for additional or expanded study on this topic, topics related to it, or broader topics for which this subset is pertinent. This study unfolds as the corpus characteristics broadly directed. There are fewer 1917 titles than 2017 titles. The former is presented in two groupings: cantatas and smaller works. The latter is considered according to publisher: Augsburg Fortress Publishing (the official publisher of the largest Lutheran 1 church body in the United States at the publishing of this research, the Evangelical Lutheran Church of America), Concordia Publishing House (the official publisher of the second largest Lutheran church body in the United States at the publishing of this research, the Lutheran Church—Missouri Synod), and other music publishers. To be clear, this study does not claim to be exhaustive; effort was made to gather as much information as research during a global pandemic allowed and as cooperation from inquiry afforded. There may be more 1917 repertoire to uncover in archives not yet cataloged or digitized. There may be more yet published relating to 2017 that at the time of this research was unpublished. Not considered herein are a number of self-published or commissioned but unpublished works from the 2017 celebration. All these may be areas for future research. 2 Chapter 1: 1917 Cantatas At least four cantatas were published for the 400th anniversary of the Reformation. All are for soloists and mixed chorus, and three of the four are accompanied by orchestra. All four also end with some portion of Luther’s hymn “A Mighty Fortress Is Our God” to its traditional melody EIN FESTE BURG for assembly participation. The length, structure, and harmonic manipulations among the four cantatas vary significantly. The vocal scores for all four were available for study. Table 1.1 outlines basic facets of these cantatas. Table 1.1: Cantatas Published to Observe the 1917 400th Anniversary of the Lutheran Reformation Title Librettist Language(s) Composer Voicing Front Matter Publisher At Eventide (Zur Abendzeit) F. W. Herzberger English, German B. Schumacher Mixed Chorus and Four Soloists (S,A,T,B) Outline Concordia Publishing House Reformation Cantata Wilhelm Pettersen English F. Melius Christiansen Baritone, Tenor, Soprano, and Mixed Chorus Outline, Synopsis Augsburg Publishing House Reformation Cantata (Reformationskantat) Ernst W. Olson Swedish, English J. Victor Bergquist Soprano, Tenor, Bass, Quartet, Mixed Chorus Outline, Libretto Augustana Book Concern The City of God Luther D. Reed English H. Alexander Matthews Soprano, Tenor, Baritone, Mixed Chorus Introductory Note, Libretto G. Schirmer, Inc. A consideration of textual and compositional aspects for each follows. 3 At Eventide (Zur Abendzeit) Concordia Publishing House released At Eventide (Zur Abendzeit) with text by Frederik William Herzberger (1859–1930) and music by Bernhard Schumacher (1886–1978). The cantata consists of three parts according to the organization of the libretto, included in both English and German. Part I laments the condition of the church and her teachings, along with Luther’s early life prior to his breakthrough understanding of Romans 1:16,17. Part II speaks of the onset of Luther’s reformation. Part III concludes with the proliferation of and thanks for the Reformation from its establishment to present. The entire text of the cantata is a combination of rhymed verse by Herzberger, Scripture, and Reformation-era chorale texts. A large portion of Herzberger’s original text first appeared in his 1916 publication Luther Songs and Ballads: A Jubilee Offering. Table 1.2 outlines the parts and movements of the cantata with their text sources, as well as their key centers and voicing. Text for movements I.3, II.4, the latter part of II.5, and III.2 are likely original to the cantata libretto, as they are not drawn from Luther Songs and Ballads, the Bible, or based on hymns already existing at the time. But as they match in rhymed style the text drawn from Herzberger’s 1916 collection and deal directly with people and events of the Reformation, it is unlikely that they were published elsewhere prior. Table 1.2: Text Sources for At Eventide 1 Part Movement Key Voicing Text source I 1. Will the Lord cast off forever? D Major SATB Psalm 77:7-9; Psalm 44:22- 24,26 2. Watchman, what of the night? D minor SATB Inspired by Isaiah 21:11, possibly others 3. Hark, a minor’s boy! D Major (solo); G Major (recitative) T Luther’s early life (solo, original for cantata); Amos 8:11-13 (recitative) 4. Dies Irae E minor TTBB Dies Irae, sts. 1-3,5-7 trans. by William Irons (alt.) from Hymns Ancient and Modern 1 I.4 English text source according to C. T. Aufdemberge, Christian Worship: Handbook (Milwaukee: Northwestern Publishing House, 1997), 238. I.5 Richard Massie, 1800–1887. 4 5. From depths of woe. E phrygian SATB, T “Aus tiefer Not,” trans. Richard Massie (alt.) 6. I am weary. C minor, E♭ Major T “Luther Finding the Gospel” from Luther Songs and Ballads by Herzberger (1916) 7. When the Lord shall turn again. A♭ Major SATB Psalm 126:1,5; inspiration from Psalm 126:2 II 1. Say to them. D minor SATB Isaiah 35:4; Isaiah 35:10; Matthew 5:6 2. Good people, hark. B♭ Major B “The Song of Tetzel” from Luther Songs and Ballads by Herzberger (1916) 3. How long, O Lord! G minor T, TB Revelation 6:9 (tenor solo); Revelation 6:10 (TB duet) 4. O martyred Saint. C minor (alto), A♭ Major (soprano) A, S Original for cantata 5. When Christ, our Lord F minor T Thesis 1 from “The Ninety- Five Theses” from Luther Songs and Ballads by Herzberger (1916) with additional text 6. Ring out, ye mighty hammer- blows. A♭ Major SATB Opening stanzas from “The Ninety-Five Theses” from Luther Songs and Ballads by Herzberger (1916) 7. Blest Halloween E♭ Major S “O Halloween, Blest Halloween” from Luther Songs and Ballads by Herzberger (1916) 8. Blest Halloween E♭ Major SATB Sts. 2-4 from “Halloween” from Luther Songs and Ballads by Herzberger (1916) III 1. And I saw. F Major T Revelation 14:6,7 2. Though fires they are building. D minor T Original for cantata 3. O the larks on the wing. D Major SA “The Song of the Larks” from Luther Songs and Ballads by Herzberger (1916) 5 4. Dear Christians, one and all. G Major SATB Sts. 1,3,4 from “Nun freut euch, liebe Christen g’mein,” trans. Richard Massie (alt.) 5. Haste, my masters. E♭ Major B “Song of Luther’s Printer, Hans Luft” from Luther Songs and Ballads by Herzberger (1916) 6. Luther’s Swan Song. G minor Unison TB “Erhalt uns Herr,” trans. Catherine Winkworth (alt.) 7. Our Father in heaven. B♭ Major TTBB “Song of Fathers and Young Men” from Luther Songs and Ballads by Herzberger (1916) 8. O blessed Redeemer. E♭ Major SSA “Song of Mothers and Maidens” from Luther Songs and Ballads by Herzberger (1916) 9. Lord Jesus, we children. B♭ Major SA “Song of the Children” from Luther Songs and Ballads by Herzberger (1916) 10. Voice from Luther’s Grave F Major SATB “The Voice from Luther’s Grave” from Luther Songs and Ballads by Herzberger (1916) 11. Therefore rejoice. A Major T, SATB Revelation 12:10 (T); Revelation:12a,17 (SATB) 12. Sing Your Proud Hosannas D Major SATB “Sing Your Proud Hosannas” from Luther Songs and Ballads by Herzberger (1916) A mighty Fortress D Major SATB “Ein’ feste Burg ist unser Gott,” trans. composite Schumacher’s music is tonally conservative and methodical. Chromatic root motion and enharmonic equivalents are used sparingly. Most movements include introductions, often 8-12 measures in length and constructed in part with sequences. Some serve to modulate between key centers of adjacent movements. Several facets make this cantata unique among the four herein. First is the use of historic hymns; except for the concluding “A Mighty Fortress Is Our God” with audience, the interior chorales 6 that occur a) are relegated to the choral forces, b) do not conclude major divisions of the work, and c) are presented as through-composed or with multiple harmonizations. Secondly, Schumacher utilizes no portion of historic chorale tunes for motives or contrapuntal themes. Thirdly, this cantata is the only one written by conception for accompaniment with keyboard. Part I begins with the lengthiest introduction of any movement in the work. Set in D Major, it quotes the first six pitches of the movement’s initial vocal line and proceeds to unfold exhaustively based on the rhythmic profile quarter-eighth-eighth, derived from the quoted vocal line. The rhythmic combination appears more than twenty times over the course of the 16-measure introduction. Movement I.1 consists of four clear sections whose boundaries are indicated by fermatas. The musical setting of the first text of the movement, Psalm 77:7-9, passes through several key centers, ultimately arriving in E Major. Psalm 44:22 follows set to a four-bar sequence and two copies followed by a final phrase that brings the key center back toward the home key of D Major, ending on a half cadence. Psalm 44:23-24 begins on an extended V in D Major and remains in D Major for its entirety, save a few secondary dominants affecting momentary tonicizations. Finally, Psalm 44:26 is set using an imitative vocal figure and sequences on the initial phrase “Arise for our help,” then finishes homophonically. Immediately in this first movement Schumacher demonstrates that his accompaniment is independent of the voices, with doubling of the melody only occurring occasionally and, when so, often incidentally within the accompaniment figures utilized. The twelve-bar introduction to movement I.2 moves the listener from D Major to D minor via motivic figures, coming to the dominant in the final measure (see Example 1.1). Although D Major and D minor share a dominant, Schumacher nevertheless employs time and process to bridge between the contrasting keys, meters, and tempi of the two movements. 7 Example 1.1 Introduction to Movement I.2 The text of this movement is directly inspired at the start by Isaiah 21:11. The first connection between this Scripture and the opening of stanza 1 is clear; the opening of stanza 2 states similar themes. The second half of stanza 2 may allude to passages in Galatians and Hebrews. Table 1.3 shows the KJV for Isaiah 21:11, Hebrews 2:15, and Galatians 5:1 next to the movement’s two-stanza text. The SATB voices are supported by a rhythmically pattern-driven accompaniment. The key center is D minor throughout the movement, with momentary tonicizations of the relative F Major. Table 1.3: Herzberger’s “Watchmen, what of the night?” with KJV Comparison Passages KJV Watchmen, what of the night? The burden of Dumah. He calleth to me out of Seir, Watchman, what of the night? Watchman, what of the night? (Isaiah 21:11) Watchman, O watchman, oh, what of the night, of the starless night, cruel and long? When endeth the vigil? When dawneth the light? Our stricken souls weep for the morning bright, For the lark, for the lark and her gladdening song! Deliver them who through fear of death were all their lifetime subject to bondage. (Hebrews 2:15) Stand fast therefore in the liberty wherewith Christ hath made us free, and be not entangled again with the yoke of bondage. (Galatians 5:1) Watchman, O watchmen, oh, is there no sign of the purple dawn kissing the hills? No token foretelling the night’s decline. The fair morning breaking with help divine From fear and bondage, the bondage that kills? 8 An eight-bar introduction re-establishes D Major and the meter and tempo for movement I.3, again ending on the shared dominant of the adjacent movements. This first solo of the cantata, for tenor, is also the first non-Scripture text of the cantata. It speaks of Luther’s early life—his singing for food and the anguish of his soul. Following is a recitative in G Major setting Amos 8:11-13. The recitative is connected seamlessly to the solo by following the root-position tonic D Major triad on which the solo ends with a second inversion dominant D7 in G Major. Amos prophecies that a famine will grip the land, not of bread and water, but of the Word of the Lord. This lone recitative in part I, near its midpoint, summarizes the condition of the church at large and of Luther’s personal circumstances prior to the Reformation reestablishing Scriptural supremacy and rediscovering the gospel. In response to the reality of Amos’ prediction, Movement I.4 for men’s voices sets stanzas 1-3 and 5-7 of William Irons’ (1812–1833) translation (alt.) of “Dies Irae.” The movement begins with a 12- bar transition of accompaniment pattern and sequence that modulates from the preceding recitative’s G Major key center to the relative E minor for “Dies Irae.” This is the first hymn-based movement of the anthem and demonstrates Schumacher’s unique treatment of interior chorales as compared to the other 1917 cantatas. In addition to audience exclusion, the stanzas are through-composed, except for the first and last for which the voice parts are identical. Stanza boundaries are indicated by fermatas and double bars, but each is directly related harmonically to the next stanza. There is a possibility that Bedrich Smetana’s (1824–1884) “The Moldau,” in part, influenced this movement. Schumacher’s setting is in 3/8 and the accompaniment for half of the stanzas (1,2,7) flows in continuous sixteenth notes. Both Schumacher’s opening and closing stanzas and “The Moldau” are in E minor. Similarities in melodic contour, harmonic rhythm, and phrase proportions between the main theme in “The Moldau” and the first eight measures of Schumacher’s stanzas 1 and 7 are uncanny. Example 1.2 shows the opening eight vocal bars of stanza 1 (identical in stanza 7) superimposed with the violin 1 and reduction of the lower strings in mm. 40-47 of “The Moldau,” where the first statement of Smetana’s opening theme occurs. 9 Example 1.2: Schumacher’s Part 1, Mvt. 4, mm. 13-19 from At Eventide Compared with Smetana’s “The Moldau” mm. 40-47 (reduced) Stanza 2 consists of a two-measure sequence with three copies followed by the final phrase of text half-cadencing on the dominant of E minor. A short accompaniment transition paints the forthcoming text of stanza 3 (“Wondrous sounds the trumpets flingeth”), including the qualitative score marking “Sounds of Trumpets.” 2 Stanza 3 modulates by its conclusion to G Major. The following stanza (stanza 5 of Irons’ translation) picks up the tonic G Major and adds the dominant seventh, leading through C Major to cadence by stanza’s end on a half-cadence in A minor. Stanza 6 of Irons’ translation remains in A minor/C Major and again half cadences in A minor. another transition returns the key center to E minor, half cadencing on a dominant B7 in preparation for the return of the opening stanza’s music to set the final stanza text. “Dies Irae” is followed by another chorale in movement I.5 for tenor solo and SATB chorus, “Aus tiefer Not.” Set in E phrygian, no introduction or transition would be needed for the sake of key 2 Herzberger and Schumacher, p. 19 10 centers, given the shared tonic triad of E minor and E phrygian. But Schumacher nevertheless methodically follows his course with an eight-bar sequence-based introduction, cadencing on the dominant B7. Instead of original music, the traditional tune AUS TIEFER NOT is utilized and the stanzas are set strophically, but with varied harmonization and voicing. The only repetition in the settings is the identical SATB voices and accompaniment for stanzas 2 and 4 (though overall the stanzas still are varied via absence of the tenor solo in stanza 2 but presence in stanza 4). Table 1.4 outlines the variation of the stanzas by voicing and accompaniment. Table 1.4: Voicing and Accompaniment for “Aus tiefer Not” in Schumacher’s At Eventide Stanza 1 Stanza 2 Stanza 3 Stanza 4 Stanza 5 Voicing Solo tenor SATB Solo tenor and SATB Solo tenor and SATB SATB Solo Melody n/a Melody Descant n/a Soprano n/a Melody Not melody Melody Embellished melody Accompaniment Harmonization A (does not double SATB) B (does not double SATB) C (does not double SATB) B (does not double SATB) D (doubles SATB) Movement I.6 for tenor solo draws its text, for the first time in the cantata, from Herzberger’s 1916 Luther Songs and Ballads. “Luther Finding the Gospel” recounts Luther’s anguish of soul, his breakthrough understanding of Romans 1:17, and his joy in comprehending this fundamental Reformation truth (Sola Fide). The five-stanza text is divided into three parts; the first part carries stanzas 1 and 2 in C minor (both set to the same music via repeat), the second part sets stanza 3, and the final part contains stanzas 4 and 5 (again, to the same music via repeat). A short interlude occurs between each section, and a brief codetta by the keyboard follows the final section’s repeat. It is the only movement with such a symmetric structure: Introduction ||: Section A :|| Interlude || Section B || Interlude ||: Section C :|| Codetta 11 Each of the keyboard-only passages are unique and serve different purposes. The introduction modulates via sequence from E phrygian of the previous movement to the C minor key center of the first part of movement I.6. The interlude between the first and second sections modulates from C minor to E♭ Major, concluding with an authentic cadence in the new key. The interlude between the second and third sections does not modulate and ends on a half cadence in E♭ Major; it serves to bridge the tempos and moods of the flanking sections and their texts. The final codetta simply restates the final phrase of the last section, a moment of reflection on the significance of the moment in the life of Luther and the Reformation described in the movement’s text. Movement I.7 returns to Scripture, paraphrasing and supplementing selected verses from Psalm 126. A short introduction begins on the E♭ Major triad that ended movement II.6 with an added D♭, indicated in the new key signature, beginning the introduction’s purpose of transition to and firmly establishing A♭ Major. Following, the text is treated in four sections. The first eight bars set one complete statement, without any repetition of text, based on Psalm 126:1. The next twelve bars set text (with some repetition) derived from Psalm 126:5. The key center for these bars begins in A♭ minor, text painting “They that sow repentant tears.” The section then passes through the relative C♭ Major before returning via chromatic voice-leading to A♭ Major. The third section of text, loosely based on Psalm 126:2, is set to a truncated version of the previous section, the same harmonic progression for the first four bars now in A♭ Major rather than A♭ minor and the middle four bars eliminated (the final four bars are musically identical in both sections). The final phrase, not clearly derived in any way from Psalm 126, is set in four bars and then repeated in an extended plagal cadence. Each of the four sections of text ends with a perfect authentic cadence. This, combined with the plagal passage at the end of the movement, signal strongly the completion of part I of the cantata. Part II is a tightly connected unit highlighting key people, events, and truths of the Reformation era. Separated by a tritone from the end of part I, movement II.1 begins with a brief introduction in D minor. Isaiah 35:4 and 35:10 are set to music that repeatedly shifts between D minor and F Major. 12 Matthew 5:6 completes the text for this movement; the D minor key center begins to destabilize, perhaps toward B♭ Major, only to return in the final two bars to D minor. Example 1.3 contains a reduction of the harmonic progression supporting this text at the movement’s conclusion. The analysis demonstrates how the A minor is, at best, a modal mixture in either D minor or B♭ Major. The chord that precedes it can be interpreted as the dominant in B♭ Major (as it is spelled) or as a French sixth in A minor (enharmonically interpreting the E♭ as D♯). The passage suggests modulation to B♭ Major (indicated in parentheses), particularly in the back-to-back V-I in B♭ Major of mm. 38-39. But the E♮ immediately before and after these measures contribute to the overall tonal uncertainty, until a perfect authentic cadence in D minor quickly concludes the movement. Example 1.3: Progression for Final Six Measures of Movement II.1 in Schumacher’s At Eventide Movement II.2 is for bass solo, the three-stanza “The Song of Tetzel” from Luther Songs and Ballads. The setting is strophic, with stanzas 1 and 2 set to identical music (via repeat) and stanza 3 set to an embellished melody and simplified accompaniment variation of the previous two stanzas’ music. A four-bar introduction consisting of a sequence with one-bar model, one copy, and two additional measures quickly establish B♭ Major as the movement’s key center. The instability of the previous movement’s conclusion, along with its suggestion of B♭ Major preludes this modulation even before the modulatory introduction of movement II.2 begins. Although the two movements are individually numbered and the ending of movement II.1 includes a fermata, that final bar only contains three beats (see Example 1.2); the pick-up to movement II.2 completes the bar and is a lone D5, common-tone with the uppermost pitch at 13 the end of movement II.1. Thus, in this larger context the fermata communicates the end of the movement and a slight pause more so than a long hold and subsequent break—that is, that movement II.1 leads into movement II.2 with only a moment’s repose separating them. Movement II.3 is one of the few in the cantata that begins without any transition from the previous movement; this highlights again the tight connection between movements in part II of the cantata. A tenor recitative in G minor sets Revelation 6:9. Revelation 6:10 follows in a duet for tenor and bass. An eight-bar accompaniment codetta serves to modulate to C minor, ending on a half cadence in the key. Movement II.4 follows for solo alto and soprano. The alto begins in C minor with text referencing Jan Hus, martyred just over 100 years before Luther posted his ninety-five theses (“O martyred Saint, an hundred years thy scattered ashes sleep!”). The soloist laments that the promised swan has not appeared. The soprano soloist then takes over with a change in meter, key (A♭ Major) and tempo to announce that the swan (i.e. Luther) has arrived. A codetta following the soprano solo modulates via sequence to F minor. Again, the final bar is incomplete, this time without fermata, suggesting nearly attacca connection to the next movement. II.5 is for solo tenor and includes in the movement title “Luther sings.” The first part of the text is the rhymed Thesis 1 from “The Ninety-Five Theses” in Luther Songs and Ballads. The second part of the movement’s text is not from Luther Songs and Ballads. A derivative of the codetta of movement II.4 can be correlated to the accompaniment and harmonization of the initial phrases of the second part of movement II.5, again highlighting the close connection of these movements. A short codetta ends movement II.5 as well, returning the key center to A♭ Major. Movement II.6 sets in hymnic style the two stanzas that precede the rhymed theses of “The Ninety-Five Theses” in Luther Songs and Ballads. Movement II.7 follows after a short four-bar introduction that modulates to E♭ Major. The soprano sings the one-stanza “O Halloween, Blest Halloween” from Luther Songs and Ballads in a setting showcasing vocal agility and range (E♭4 to A♭5). The final movement of part II follows immediately without transition and in the same key, for full chorus, taking its text from stanzas 2-4 of “Halloween” from Luther Songs and Ballads. These directly celebrate Luther’s posting of his 95 theses, concluding “In him all weary hearts find rest / And, trusting in his 14 pard’ning grace / Are made kings, priests, aye, saints most blest / Who live before their Savior’s face / And thank him for the Hallowe’en / Of fifteen-hundred-seventeen!” A robust keyboard codetta, suited best for organ given its expanse, concludes this movement, which is also the conclusion of part II. Part III begins with no introduction; movement III.1 is a tenor secco recitative setting Revelation 14:6,7 in F Major. A brief introduction to movement III.2 built in part of sequence modulates from F Major to D minor. The tenor solo is a two-stanza strophic text, original to the cantata, capturing Luther’s resolve at the Diet of Worms. Both stanzas are set to identical music via repeat. Movement III.3 for soprano and alto duet begins with a brief introduction to set the mood and introduce the D Major key center. Once again, the introduction includes the use of sequence. The text of this movement, “The Song of the Larks” is from Luther Songs and Ballads. In artful language the text begs repeatedly “sorrowing hearts” to “hear their [i.e. the birds] glad minstrelsy!” 3 Over the course of three stanzas the Reformation’s location, chief adversaries, and joyful implications are summarized via the song of the birds. Between phrases they sing “Tir-rir-ril-le-ri,” manifest not by the voices but by high- register rhythmic lines with trills on the organ. All three stanzas are again set to the same music via repeat. Where the first and second stanzas end with a “Tir-rir-ril-le-ri” and then repeat to the beginning, the final stanza’s text extends by an extra phrase (in place of the preceding stanza’s “Tir-rir-ril-le-ri”). The conclusion is a partial measure with a fermata and the note performance instruction “Lunga pausa.” Movement III.4 follows, a setting of Luther’s “Dear Christians, One and All, Rejoice” for chorus. The movement is marked pomposo and begins with a lone pick-up D serving as a common-tone to the previous movement, after which a brief introduction modulates from D Major to G Major. Clearly the two movements are related. The hymn is the song of the “saved sinners waiting the great jubilee in glory to be,” the thought which concluded the previous movement. Only three stanzas of this originally 10-stanza Luther hymn are included (stanzas 1,3,4), the first for unison chorus, the second (stanza 3) for quartet and the third (stanza 4) for full chorus. The latter two stanzas are set to the same music via repeat. 3 Herzberger and Schumacher, 69. 15 Movement III.5 for bass solo returns to Luther Songs and Ballads for the text “Song of Luther’s Printer, Hans Luft.” A four-bar introduction modulates from G Major to E♭ Major. A jaunty melody carries the song of the busy printer turning out copies of Luther’s Bible and other writings proclaiming the truths of God. The first two stanzas are set to the same music via repeat; the third stanza receives its own melody and harmonization. See Example 1.4. This final stanza immediately moves into a tonicization of A♭ Major via inflected D♭ for eight bars. At the return of D♮ the effect is one of a secondary dominant related to V in A♭ Major, a temporary tonicization of E♭ Major. It isn’t until the final phrase unfolds that the permanent return to E♭ Major is suddenly and fully realized, just in time for the movement to conclude. The stanza also includes a relatively rare—at least among this 1917 Reformation- related repertoire—major-major seventh chord (IV7). 16 Example 1.4: Stanza 3 of “Song of Luther’s Printer, Hans Luft” from Schumacher’s At Eventide 17 Movement III.6 is the last interior chorale, “Luther’s Swan Song” for tenor (“Lord, Keep Us Steadfast in Your Word” to ERHALT UNS, HERR). An adagio espressivo introduction quickly modulates from E♭ Major to G minor, followed by a model and series of copies culminating with an authentic cadence in G minor. Each stanza is independently harmonized. Then follows three movements for specific groups: III.7 for fathers and young men, III.8 for mothers and maidens, and III.9 for children. A four-bar introduction to III.7 modulates from G minor to a half cadence in B♭ Major. An accompanied and through-composed TTBB chorale follows setting the two stanzas from Luther Songs and Ballads. The stanzas are both two-part, the first stanza having form AB, the second stanza having CB’. Without introduction or transition, a common-tone pick-up B♭ gives way to a B♭7 as the first harmony of III.8, followed by an E♭ Major triad, establishing the key center for the mothers and maidens. An accompanied through-composed SSA chorale sets these two stanzas from Luther Songs and Ballads. The harmonization is simple, consistently mostly of I, IV and V chords, only two secondary dominant occurrences, and the occasional ii and vi. Finally, III.9 for children beings with an 8-bar introduction re- establishing B♭ Major. The two stanzas from Luther Songs and Ballads are set to the same music via repeat. Movement III.10 is the five-stanza “Luther’s Voice from the Grave” from Luther Songs and Ballads. The movement is for mixed quartet. Again, an 8-bar introduction beginning with sequences establishes the new key center, F Major, closing on a half cadence. The first four stanzas are through- composed chorales. The final stanza recaps the music beginning the first stanza for the first several phrases before deviating to new material for the conclusion of the movement. The first two stanzas are based on Revelation 14:6,7—the same Scripture and key that opened part III. Stanzas 3 and 4 contain thoughts central to Luther’s teachings and derived from Scriptural principles (if not actual verses). The final stanza ends with an allusion to John 8:52b (KJV), “If a man keep my saying, he shall never taste of death.” The entire movement remains in F Major except for a few instances of temporary tonicization via secondary dominants and short spans of consistent inflections (for example, at the beginning of stanza 3 18 where for most of four bars the B and G are inflected natural and sharp, respectively, temporarily tonicizing for this phrase the key of A minor). Movement III.11 begins with a recitative for tenor setting Revelation 12:10. The key signature indicates three sharps, and here Schumacher uses for the first time a more sophisticated method for modulation between the two movements. Example 1.5 shows the four-measure accompaniment introduction utilizing the final F Major triad of movement III.10, followed by its transformation to a dominant by adding an E♭. Enharmonically (E♭ = D♯) this spells the Italian 6 chord in A Major, thus enabling a quick pivot between the key centers of the two movements. Example 1.5: Introduction to Movement III.11 in Schumacher’s At Eventide The recitative is followed by the setting of Revelation 12:2a and 21:7 for chorus, using a combination of homophonic and paired echo/imitative vocal writing. It remains in the key of A Major throughout. The final movement begins with an introduction that modulates from A Major to D Major over eight bars, including sequence. The text is again sourced from Luther Songs and Ballads. The four stanzas are again through-composed. The first includes the unique feature of a repeat using the same text; all previous repeats were used to accommodate setting additional stanzas. The second stanza is in G Major throughout via the uniform inflection of C♮. Stanza 3 immediately begins on the V7 in D Major. The remainder of the movement is in D Major, grows in intensity as the overall vocal tessitura rises and the accompaniment thickens. The movement ends on a half cadence, setting up attacca connection to Luther’s chorale “A Mighty Fortress Is Our God” with assembly. All four stanzas are accompanied by the same music. 19 Reformation Cantata (Pettersen/Christiansen) Augsburg Publishing House produced Reformation Cantata with text by Wilhelm Pettersen (1860–?) and music by F. Melius Christiansen (1871–1955). The work divides into eleven independent movements. Table 1.5 notes major key centers, voicing, and texts sources for each movement. Table 1.5: Outline of Reformation Cantata Published by Augsburg Publishing House Movement Key Voicing Text source 1. Overture D Major (first theme); Bm (second theme) n/a n/a 2. Lord of Hosts F Major SATB Pettersen original 3. Hear Ye, O Israel F♯ phrygian/B minor Baritone solo and mixed chorus Pettersen original, with inspiration from Isaiah 40:3, Zechariah 9:9, Joel 2:1, other passages more generally or less directly 4. My Soul Doth Magnify the Lord A Major (with considerable harmonic and key center manipulation internally) Soprano solo Luke 1:47-55 5. Arise, Ye Soldiers of the Cross G Major (male chorus); C Major (via inflection of F♮, mixed chorus) Male chorus and mixed chorus Pettersen original 6. Come unto Me D Major Tenor solo Matthew 11:28-30 7. All Through the World D minor (first half of recitative); D Major (second half of recitative and chorus) Baritone solo and male chorus Pettersen original 8. The Word of God, Our Heritage B minor to D Major (introduction); D Major (Chorus) Semi-chorus C. Loving’s translation of Grundvig’s Danish hymn text 9. She Came with Us across the Sea E Major Ladies’ chorus and mixed chorus Pettersen original 10. Here, One in Faith D Major Mixed chorus Pettersen original 11. A Mighty Fortress D Major Congregation and mixed chorus Translation matches The Lutheran Hymnary (1913) hymn 270 20 The composer delineates seven groupings in his synopsis of the cantata: The main musical theme, that of Luther’s great reformation hymn . . . is developed at length in the overture and is followed by the opening chorus of praise and adoration of the Trinity. The narrator takes up the story of the prophetic message concerning Christ’s coming and Christ’s Kingdom, with the chorus answering in brief phrases of praise and exultation. Then follows a group of numbers, dealing with the coming of Christ, the founding of His church and the content of the gospel, comprising Mary’s song of praise (the Magnificat), the chorus “Arise, ye soldiers of the cross” and Christ’s invitation “Come unto me, all ye that labor.” Again the narrator continues the story of the history of the church . . . The choral “The Word of God our heritage” sums up the doctrines and foundations of the new movement. In the chorus “She came with us across the sea,” the scene changes to the church of the reformation in our own country . . . The following chorus is a prophetic vision of the future of this church, its prospects of unity and power, its championship of truth and light, and its assurance of progress and victory. In the concluding number for chorus and congregation, “A Mighty Fortress,” the main theme, with which the work begun, reappears in its simplest form and so sums up the faith and the hope, the assurance and the joyful trust in God of the church, past, present and future. 4 Christiansen’s writing is characterized by largely diatonic frameworks, traditionally-inspired forms, use of sequences, and key relationships directly related to or close to D Major. Christiansen’s cantata is the only one studied herein with an identified overture movement. In pseudo-sonata form, Christiansen utilizes two themes, one fugally in D Major and a second in the relative B minor. The first is based on the opening phrase of EIN FESTE BURG; the second previews motives from movement 3. The overture does not end with a typical recapitulation, but rather with a full statement of the opening phrase of EIN FESTE BURG, the first half of the phrase as though beginning a new fugue and the second half of the phrase as a chorale. In transitioning back to D Major following the second theme, Christiansen demonstrates his command of chromatic and enharmonic manipulation within diatonic frameworks. Example 1.6 excerpts mm. 97-109 in reduction. The first two systems show the full progression. Through a series of common or enharmonic tones combined with half- and whole-step adjustments from chord to 4 Wilhelm Pettersen and F. Melius Christiansen, Reformation Cantata, (Minneapolis: Augsburg Publishing House, 1917), Synopsis. 21 chord, Christiansen returns to V of D Major. Chord pairs in a related progression include the relationship to the following chord below the first chord in parentheses. The second two systems compare some pairs in the progression as the initial chord would typically resolve and how Christiansen has re-interpreted the resolution. In the first pair, the D♯ seventh chord resolves to a a triad with root E, but that root is inflected flat, resulting in an enharmonic equivalence. In the second pair, the E♯ and G♯ resolve as expected, but the chordal 7th in the E♯ diminished seventh chord resolves up rather than down. This, combined with the maintained B, results in the actual progression. In the third pair, the diminished seventh does not resolve to its expected tonic but instead utilizes root movement by the 5th; the lone half-step movement down of the bass achieves this. In the final pair, root movement by augmented fifth instead of perfect fifth results in a progression from C♯ to F rather than C♯ to F♯. Enharmonic equivalence of E♯ to F, a chordal seventh that resolves down by a full step rather than half-step (B to A instead of B to A♯), and a shift from C♯ to C (instead of serving as the common tone) cause this progression. 22 Example 1.6: Reduction of Overture mm. 97-109 in Christiansen’s Reformation Cantata 23 Movement 2, “Lord of hosts,” is in the key of F Major and is as far from D Major as the entire work progresses (three keys on the Circle of Fifths). However, the connection is intuitive from the overture, as Christiansen uses common tone unison A to start the second movement. Numbering less than sixty bars, more than half of the movement is constructed of models and their sequences (this is due in part to a partial reprise of the opening material). The largest sequence, consisting of a four-bar model and two copies is not rote. Its first appearance is in Example 1.7. Variations in the opening measures of the model and copies in the alto and the accompaniment are observed, but by the third full measure of each entry, the copy mirrors identically. At the reprise, the model and first sequence are preserved, but the third is altered yet again, this time more substantially so as to end up in a different place harmonically. Where the first appearance was a model followed by two copies up a full step, at the reprise the third copy is altered so as to end up down a fifth from the previous copy (net down a minor third rather than up a major third as compared to the model). Example 1.8 compares the sequence in the pick-up to m. 19 with its analogous entry in the reprise beginning at pickup to m. 44. Note that in Example 1.8 the natural in parentheses is not present in the printed score and is assumed to be an erroneous engraving omission, based on the immediate harmonic context and comparison with mm. 19-22. 24 Example 1.7: Model and Sequences mm. 11-22 with Pick-up in Movement 2 of Christiansen’s Reformation Cantata 25 Example 1.8: Comparison of Sequence Pick-up to m. 19 and Its Analogous Reprise Entry at Pick-up to m. 44 in Movement 2 of Christiansen’s Reformation Cantata Movement 3, “Hear Ye, O Israel,” stands out in its unique tonal character. In the synopsis of the work, Christiansen concludes with this brief statement: “It may be mentioned that the ancient Hebrew chants and the Gregorian modes as well as modern harmonic forms have been utilized wherever the text and theme have made their use seem appropriate and desirable.” 5 Without going into any detail or calling any sort of notated attention to them, it must be assumed that a) wherever these occurred it would be obvious to early 19th-century performers and listeners or b) it wasn’t necessary in Christiansen’s mind to substantiate that claim with any sort of particular reference in the score. Several factors suggest that this 5 Pettersen and Christiansen, Synopsis. 26 movement relates to Christiansen’s comment. It begins without making any attempt to connect with the previous movement (via a common tone or a natural progression). Having ended movement 2 in F Major on a tonic triad, movement 3 begins with unison F♯s. Example 1.9 contains the first eight measures, which do little to establish any sort of definitive key center, save insistence on F♯. Example 1.9: “Hear Ye, O Israel” mm. 1-8 from Christiansen’s Reformation Cantata Over the course of the entire movement only two fleeting suggestions of B minor occur via raised leading tone A♯. The vocal lines for both the soloist and the chorus center around F♯, much like Gregorian chant around a reciting tone. Most of the vocal lines for chorus are unison, again, reminiscent of Gregorian chant. The movement ends with material derivative of the movement’s opening. Text drawn from Old Testament scripture combined with the unique musical features further indicate that perhaps Christiansen’s references to Hebrew chants and Gregorian modes indeed refers to this movement in particular. A brief introduction to movement 4’s soprano solo in A Major connects intuitively from the previous movement. The pitch collection of the first four measures overlaps with the previous movement (B, C♯, D, E, F♯, A) while outlining triads in a clear return to diatonic harmony. The solo divides into five 27 clear sections, always returning, if only briefly, to the opening theme. The middle three sections are harmonically adventurous, and utilize techniques similar to those in mm. 97-109 of the overture, with measure pairs relating diatonically or in reinterpreted diatonic language via common tones, enharmonics, and half- and whole-step voice-leading. Movement 5 for tenor-bass chorus with mixed chorus is conservatively diatonic by comparison to previous movements. The form, afforded by the text, is a two-stanza hymn with refrain. The stanzas are sung by the tenor-bass chorus in G Major (which is the key signature); the refrain is sung by the mixed chorus following a common-chord modulation to C Major, utilizing an inflected F♮ for the balance of the refrain. A codetta on the final phrase by the chorus modulates back to the home key of G Major to complete the movement. Returning to D Major as the movement home key for the first time since the overture, movement 6 for tenor solo sets Christ’s invitation recorded in Matthew 11:28-30. A clear sense of D Major is minimized throughout the movement by temporary tonicizations, significant chromatic movement (particularly in the accompaniment), and passages in closely related keys. To offset the potential unrest of the rich harmonic writing, the tempo indication is quarter equals 54bpm. In this way the sense of larger progression context is minimized, focusing the listener on moment-to-moment, immediate chord-to-chord relationships rather than the significant harmonic distance or collection of momentary key centers traversed over the course of a larger passage. Another movement of unique harmonic character follows in movement 7. It divides into three sections, strung together with contrasting tonal and structural characteristics. The first section in D minor is the largest, occupying more than half of the movement’s 99 total measures. Its chord inventory is limited almost exclusively to D minor, F Major, A minor and C Major, predominantly in root position. Likewise, the baritone solo lines are constructed almost exclusively of these four chord’s roots. A succession of sequences in mm. 42-47 introduces the pitch class B♭ missing from the first 42 measures, and with it heretofore missing triads such as the ii, IV, and viiᴼ of D minor. When the process is complete, the section concludes with pitch and chord inventories as at the start. A chorale introduces and 28 concludes this section, and similar chorale passages fall between phrases of the baritone recitative. The section comes to a very clear conclusion, with a rest and double bar indicated in the score. The second section proceeds with the baritone singing unaccompanied for one measure, utilizing pitches from D minor. When the accompaniment resumes in the following measure, however, it plays an F minor triad. A transition in key and recitative style thus is signaled, at the same time painting the text as it speaks of the momentous and tense occasion of the Reformation, a brief moment in history to alter the course of the previous millennium (“a puff of wind shakes the fabric of a thousand years!”). This unexpected triad is followed by tremolos and seventh chords, significantly contrasting the diatonic triads of the preceding chorale-like accompaniment. Once the transition is complete, D Major ensues and the recitative is supported initially by long-held chords. As the recitative concludes, the style moves toward accompanied solo to prepare for the chorus entrance and E minor is temporarily tonicized. The final section of this movement begins upon entrance of the male chorus. Christiansen constructs this final section almost entirely of a six-bar model and its copies. After presenting the model and one complete repetition, the final copy is modified to arrive at a different place harmonically, according to the needs of the text as it and the movement quickly conclude. Movement 8 begins in B minor, the relative minor of movement 7’s conclusion. A substantial instrumental introduction is constructed of three parts. Beginning on the downbeat, the first part consists of two back-to-back sequences (a four-bar model and its copy followed by another four-bar model and two copies). The second part is a complete presentation of the hymn tune KIRKEN DEN ER ET GAMMELT HUS. Christiansen likely chose to include this tune in the introduction because of its connection to Nikolai F. S. Grundtvig, the author of the original Norwegian text for this movement, “Guds Ord det er vort Arvegods” (translated by Carl Döving as “The Word of God, Our Heritage”). KIRKEN DEN ER ET GAMMELT HUS was written by Ludvig M. Lindeman specifically for Nikolai F. S. Grundtvig’s Norwegian text that begins with the same name, known in English as “Built on the Rock the Church Shall Stand.” 6 6 Aufdemberge, 536. 29 The last part of the introduction features a one-bar quarter-note bass ostinato (D-C♯-B-C♯). At first this supports a two-phrase hymn tune or musical theme (see Example 1.10). Whether this is new material composed by Christiansen for the cantata or a musical quote is unknown. At the conclusion of these phrases, contours of EIN FESTE BURG’s first four notes appear (still supported by the ostinato) and finally D Major is firmly established as tonic. Following this sectional introduction, “The Word of God, Our Heritage” is set to EIN FESTE BURG sung by a semi-chorus unaccompanied. This pairing was Grundtvig’s original intent. 7 The harmonization matches The Lutheran Hymnary (1913) published by Augsburg Publishing House, except for a single bass note on the downbeat of the chorale’s second full measure (D3 in hymnal, B2 in cantata). Example 1.10: Possible Theme Quotation Concluding Instrumental Introduction to Movement 8 in Christiansen’s Reformation Cantata Movement 9 begins with a brief passage by the string basses to transition to the new key. Because D Major (the key of the preceding movement) and E Major (the key of movement 9) have no common tones or immediate circle of fifth relationship between their respective tonic triads, the string basses execute a modified version of the final phrase of EIN FESTE BURG, ending on a tone that allows for a common-tone modulation between D Major and E Major. Example 1.11 shows the passage and its relationship to EIN FESTE BURG’s final phrase. 7 Aufdemberge, 317. 30 Example 1.11: String Bass Passage to Begin Movement 9 and Facilitate Common-Tone Modulation in Christiansen’s Reformation Cantata Having established E Major, a lilting introduction unfolds with the main theme, compositional processes utilizing sequence and enharmonic and chromatic manipulations, and a restating of the theme. The text is strophic and set in chorale-like fashion. The four-part ladies’ chorus presents the first stanza, sparsely accompanied at first. After the last line of the first stanza is sung, ending on an authentic cadence, it is repeated and made to end on a half cadence in preparation for the mixed chorus entrance. Leading to their entrance the accompaniment has gone from interjectory to continuous and is present for the entirety of the mixed chorus stanza. The melody and harmonic progression are identical to the ladies’ chorus stanza, without the repetition of the final phrase. To complete the movement, the ladies’ chorus repeats the first line of the first stanza, melodically and harmonically modified, unaccompanied until the final chord when the accompaniment returns with a reprise based on portions of the introduction to conclude the movement. Movement 10 is unique in its exact repetition (with change of text) of a large portion of movement 7. After a short introduction cadencing in E minor (including inflections of C♮ and D♯ relative to the D Major key signature), the text at the beginning of the movement is set to music nearly identical to that of movement 7 mm. 81-96, the voice parts adjusted for text variations and re-voiced for mixed chorus instead of lower chorus. The music continues with new material beyond this point, to accommodate the 31 remainder of the current movement’s text, firmly establish D Major, and prelude a chorale setting of “A Mighty Fortress” with assembly for the attacca final movement. All four stanzas of the hymn are to be sung to the same music, the vocal parts again matching the harmonization in The Lutheran Hymnary (1913, with the one previously noted exception), accompanied. Reformation Cantata (Olson/Bergquist) The collaboration of Ernst W. Olson (1870–1958) and J. Victor Bergquist (1877–1935) is, by some measures, the most complex structurally and harmonically, as well as the most dramatic, among the 400th anniversary cantatas. Olson’s text is divided into two parts. The first part consists of three sections. Two sections comprise the second part, and one of those sections is further divided into three subsections. Olson combines original poetry; Scripture; writings and quotes from the Roman Church, Luther, and Luther’s opponents; Lutheran doctrine; and Luther’s Reformation hymn “Ein feste Burg” to dramatically recount the history of the Reformation. Olson begins part I with “E Tenebris” (Latin, “out of darkness”). This section begins with two strophic verses, similar in structure and rhyme scheme to Luther’s “Aus tiefer Not schrei’ ich zu dir” (an extra line is inserted). The text laments the condition of the Church and its false teachings at the time of Luther’s Reformation. Table 1.6 contains Olson’s stanza 1 side-by-side with Luther’s “Aus tiefer Not” and a literal English translation, which highlights not only the similarity in structure and rhyme scheme, but also inspiration for the first two lines of Olson’s first stanza. Table 1.6: Olson’s “From Out the Gloom of Ages Past” from Reformation Cantata Compared to Luther’s “Aus tiefer Not” Luther’s “Aus tiefer Not schrei’ ich zu dir” Literal English Rendering Olson’s “From Out the Gloom of Ages Past” Aus tiefer Not schrei’ ich zu dir Herr Gott, erhör mein Rufen; Dein’ gnädig Ohren kehr zu mir Und meiner Bitt sie öffen! Denn so du willst das sehen an, Was Sund’ und Unrecht ist getan, Wer kann, Herr, vor dir bleiben? From deep distress I cry to you Lord God, hear my calling; Your gracious ear turn to me And be open to my plea! If you were to so look upon, What sin and wrong is done, Who, Lord, could remain before you? From out the gloom of ages past, From depths of human passions, There came a voice, a trumpet-blast, A cry from out the nations. The spirit of a shackled age, Clenching his fist in helpless rage O’er his unending vassalage, With pleading eyes turns Godward. 32 In his poetry, Olson draws a parallel between the Church in bondage to false teaching and the children of Israel in bondage to Babylon. After his opening two stanzas, Olson pivots to a tenor solo, which he credits in the libretto to Ezekiel 34 and 22. The solo begins with poetry highlighting God’s recognition of and deliverance from Israel’s bondage to Babylon and, ultimately, from bondage to sin and death. The last line, “Hear ye the oath of God:” is followed by paraphrases of Ezekiel 34:2 and 22:25-27. A quartet follows, singing 34:7,10 and thoughts drawn from 34:17-24. The section concludes with a third stanza of poetry by the chorus according to the structure and rhyme scheme of the section’s opening stanzas; this final stanza connects the false teachers of Israel with the corrupt priesthood and pope (Antichrist) of the Reformation. Section 2 is titled “The Commission” and begins with a bass solo drawn from Jeremiah 1 (according to the printed libretto). The specific sources are outlined in Table 1.7. Table 1.7: Olson’s “The Commission” Bass Solo Text from Reformation Cantata Bass Solo Text References The Lord put forth his mighty hand, His finger touched my mouth; Jeremiah 1:9 An angel with a living coal From off the altar purged my sinful lips. Then spake the Lord unto his servant, saying, Isaiah 6:6,7 Gird up thy loins, arise! And speak unto the people all that I command thee. Jeremiah 1:17 Be not dismayed; For I, the Lord, have put my words into thy mouth, And my message in they keeping. Jeremiah 1:8,9 Be not dismayed. Behold, I have made thee a defended city, An iron pillar, A wall of brass against the land, Against the kings and princes, Against the priests and the high priest withal, Against the wicked in the land. A mighty champion, I made thee, Jeremiah 1:18,19 33 And ordained thee A prophet unto the nations. Lo, I have set thee to root up the evil doctrine, And to pull down the fanes of falsehood, To cast them down and destroy them. Cast out the idols from my sanctuary, Mine holy temple cleanse. Plant the pure faith; And preach my truth unto the people. I clothe thee with my strength as with a mantle; And arm thee with my word as with a two-edged sword. Arise; go! Be not dismayed, For I, the Lord, am with thee. Jeremiah 1:7,8,10 The commissioning of Jeremiah (and Isaiah) to preach the truth of God’s Word is a parallel to Luther’s call to return the Church to the truths of Scripture; one reviewer notes that here “the bass (the hero of the work) makes his first appearance. Luther accepts the commission of God . . .” 8 The final section of Part I is titled “Daybreak,” consisting of poetry for soprano soloist and chorus. The text is a prayer of the faithful, richly expressing the desire that God rescue them from all evil and all false teaching and restore the joy of the gospel. While the poetry is original, some turns of phrase seem correlated to Scripture: “Like watchmen wait for the morning” (Psalm 130:6); “The sun of righteousness, on wings of healing” (Malachi 4:2); “Through fires of heavenly wrath and fury / Let thy Church purified come forth” (Malachi 3:2,3); “For now the morning star presages / The dawning of the gospel day, / When, vanquishing the gloom of ages, / The sun of righteousness holds sway” (Revelation 22). Part II begins with “The Conflict,” which is divided into three sub-sections: “The Protest,” “The Cleansing,” and “Sola Fide.” “The Conflict” is comprised of two recitatives and two ariosos. Table 1.8 outlines this subsection. 8 Unknown author, “Reformation Cantata,” The Lutheran Companion 24, no 45 (November 4, 1916), 9. 34 Table 1.8: Olson’s Part II, Section I, Sub-section I “The Protest” from Reformation Cantata Libretto Label Source Voice Recitative Olson poetry Bass solo Arioso Ezekiel 21:9b,11,15b,16,9b,10a Tenor and Chorus Recitative Olson poetry Tenor solo Arioso Ezekiel 37:9 Soprano solo and Chorus The reviewer from The Lutheran Companion explains these vocal assignments and their respective texts in the following manner: Part II of the work opens with Luther (Bass) bidding defiance to the evil powers of the times and calling upon the people to rise against spiritual tyranny. The Tenor, representing a voice from the people, cries aloud, in prophetic tones, “A sword, a sword, sharp and furbished.” The wrath of God brings humanity to its knees, and the cry of the Tenor . . . conveys the idea of the people (chorus) singing their “Kyrie eleison.” The Tenor, now representing another voice, speaks to Luther, demanding the Word of God, the true Gospel instead of scholastic letters, sincerity for hypocrisy, the Victory of Truth over the Lying Spirit. In the midst of the confusion of harmonies . . . the Soprano . . . leads the chorus into a short strain invoking the Holy Spirit . . . 9 While plausible, this interpretation is certainly not exclusive. It remains an open question as to whether this interpretation is that of the reviewer or of Olson himself; and if not Olson’s own, whether or not he reviewed and approved this interpretation prior to its printing. From the introductory comments about the cantata on page 1 of volume 24, no. 45, it is clear that The Lutheran Companion editor interfaced directly with Olson, quoting Olson’s expressed purpose “not to narrate the events, but to summarize the spiritual content and character of the Reformation.” 10 While Luther’s protest of the initial bass recitative is clearly correlated, the remaining texts of this subsection are open to other interpretations as to speaker source and relationship to the initial character and his recitative. As these interpretations delve into deeper theological considerations, it will be left unaddressed here. The second sub-section, titled “The Cleansing,” consists clearly of a juxtaposition of Luther’s teachings and interpretations of Scripture with that of the Roman Church and her hierarchy, culminating 9 The Lutheran Companion 24, no. 45, 9. 10 The Lutheran Companion 24, no. 45, 1. 35 in reciprocal condemnation. Then follows the chorus with text from Isaiah 1:21,22,24a,25a,26b—God’s words of condemnation on the spiritually fallen and his promise to restore them himself. To complete this sub-section, a bass recitative highlights one of Luther’s Reformation pillars, Scripture Alone (Sola Scriptura), and subtly references his famous “Here I Stand” speech from the 1521 Diet at Worms: The Word of God hath conquered every nation; It is the touchstone of all human doctrine: On this foundation shall His Church be builded; Upon the Word I build, my conscience bears me witness. Convict me by the Word, and I am doomed. On this, no other ground, I stand,—my trust in God. 11 The final sub-section of Part II, Section I is titled “Sola Fide” (another of Luther’s Reformation pillars: Faith Alone). This four-stanza poem is given to the bass. Its musical characteristics will be discussed in turn. Hymnary.org chronicles some 1920’s hymnals that include this strophic text, extending its use beyond its cantata appearance. The second section of Part II ends the work, titled “Thanksgiving and Triumph.” The chorus offers a prayer of thanksgiving for Luther, followed by the final stanza of Luther’s “Ein feste Burg” for chorus and assembly. A brief choral Amen concludes the libretto. Despite the complex textual structure, the choral score suggests the work is to be performed as one dramatic unit. The titles and subtitles of the content page are not included in the score. New parts, sections, and/or sub-sections begin right where the previous ends, without page breaks; only double bar lines indicate divisions of the text. Although attacca appears nowhere in the vocal score, it is implied by the presence of selectively notated silence (measures of rest in all parts, fermatas over rests, and/or fermatas over final bar lines). Some movements end on the dominant of the following movement as means for providing musical seamlessness. Bergquist’s music is characterized by text-painting, preference for common-tone modulation, enharmonic and chromatic manipulation, episodes of whole-tone tonality, and full use of the diatonic 11 Ernst W. Olson and J. Victor Bergquist, Reformation Cantata (Rock Island, Illinois: Augustana Book Concern, 1917), vii. 36 harmonic palate. Bergquist begins by quoting the incipit of AUS TIEFER NOT; opening portions of the tune serve as motives throughout the work. The first extensive example of Bergquist’s enharmonic and chromatic prowess, along with use of whole-tone passages, comes in the tenor solo within “E Tenebris.” 37 Example 1.12: Tenor Solo mm. 72b-85 in Bergquist’s “E Tenebris” from Reformation Cantata 38 Example 1.13 is a reduction of this progression and beyond to m. 88; it consists entirely of common-tone or enharmonic equivalences along with exclusively half- and whole-step manipulations from chord to chord (ties indicate common tones; slurs indicate enharmonic equivalence). The overall result of the passage—in the key of G Major—is traversing from I (end of m. 72) to vi (downbeat of 88) while painting the words of the Lord announcing wrath on the spiritual leaders of God’s people for those leaders’ neglect of, conspiring evil toward, and preying on God’s people. Example 1.13: Harmonic Progression (reduced) in mm. 72b-88 (downbeat) in Bergquist’s “E Tenebris” from Reformation Cantata A codetta concludes the tenor solo in the key of G Major. A quartet continues with the text from Ezekiel 34, and Bergquist takes up again whole-tone scales, enharmonic equivalences, and half- and whole-step manipulations. Example 1.14 contains mm. 111-125. Pitch class B is maintained from m. 111 into m. 122 (either as B or as C♭). In mm. 114-117 A♭ and C♭ are maintained while D and F vacillate by half-step between flat and natural oppositely, the result being oscillation between a minor sixth (F♮-D♭) and an augmented sixth (F♭-D♮). Going into m. 121, C♭ = B and both F and A♭ descend a diminished third to D♯ and F♯, respectively, arriving at the dominant of E minor. 39 Example 1.14: mm. 111-125 in Bergquist’s “E Tenebris” from Reformation Cantata 40 Having finished the previous solo in G Major, maintaining the key signature, utilizing the common tone B, and establishing E minor by m. 122ff, questions arise about the use of accidentals and the resulting chords in this passage. Example 1.14 notes the resultant spellings of the chords prior to establishing E minor. Those are an F diminished triad, a D♭7, and a German sixth chord (in relation to a tonic A♭; the chord spelled is F♭-A♭-C♭-D♮). There may be more logic in using sharp equivalences, given the key signature and the inflection of D♯ for the leading tone in E minor. Example 1.15 shows a reduction of mm. 111-121 as written by Bergquist, and the enharmonic equivalence favoring sharps for the same passage. While there is a clarity with the latter, inasmuch as the B is maintained throughout and the final steps are major seconds rather than diminished thirds, the choice by Bergquist to write as he did is likely somewhat psychological. Since E is the eventual established tonic of this passage, avoiding the E♯ as well as the E7 chord—both of which pull away from E as tonic, the former as to pitch and the latter as to key center—is plausibly intentional to avoid these tendencies. Additionally, although the German sixth chord is not functionally serving the key of A♭ (Major or minor) in the passage, again psychologically, augmented six chords ultimately progress to a dominant chord. An E7 would logically lead to a tonic chord, but the goal of the passage is the dominant B (and ultimately tonic E minor). Likewise, the F and A♭ in m. 120 call for a resolution downward more so than E♯ and G♯, in the context of E minor. Especially for the latter, where G♯ tends toward A, A♭ tends instead toward G. 41 Example 1.15: mm. 111-121 As Written and with Enharmonic Equivalence (reduced) in Bergquist’s “E Tenebris” from Reformation Cantata The quartet completes its presentation of Ezekiel 34 with diatonic material, cadencing in G Major. A repeat of the material in m. 111-125 ensues at m. 155, but the diatonic material following is altered to ultimately cadence in E minor rather than G Major. The chorus then takes up the final stanza in the “E Tenebris” section utilizing material and themes from the opening, ultimately finishing with a fugue with theme based on AUS TIEFER NOT. “The Commission” begins with a bass solo and is a study in all the major characteristics of Bergquist’s cantata. Beginning with a common-tone modulation, the brief introduction to the solo again quotes AUS TIEFER NOT. Now without accidentals in the key signature, the introduction infers at first E phrygian, then C Major, then again E phrygian, only to proceed with four measures (mm. 296-299) that seem to be ultimately establishing E Major via the first strong cadence of the entire solo. But that key sense is only momentary, giving way to chromatic manipulations that at first imply a move toward C♯ Major, only to visit G Major for a moment before turning toward C♯ Major again (followed by vaguely 42 quoting the incipit of EIN FESTE BURG in C♯ Major). This new sense of key center is immediately disrupted with several measures of whole-tone tonality, applied to the contour of the EIN FESTE BURG incipit. Example 1.16 contains the choral score accompaniment reduction for this passage, beginning with the establishment of E Major and ultimately ending where the passage started. Note that the accidentals in parentheses are missing from the score and strongly suggest engraving errors, given the immediate context and the overall compositional practice observed in the cantata. 43 Example 1.16: Bass Solo Choral Score Accompaniment Reduction mm. 296-308 in Bergquist’s “The Commission” from Reformation Cantata Having reached the low B in the accompaniment, Bergquist proceeds with a unison C, which becomes the dominant to move the solo forward in the key of F Major. Rich diatonic harmonies paint the Lord’s promise to fill with his Word and firmly establish his commissioned servant. The text from Jeremiah then turns to the conflict that the servant will have with wicked rulers and corrupt religious leaders; this time, Bergquist turns mostly to chordal planing to paint the text. A whole-tone passage leads to diatonic harmony in A♭ Major as God reassures the servant that he will prevail. The final planing from A♭ Major 44 to A Major seems functional more than text painting, in order to return to a key center of previous solo material and to set up the key center for the balance of the solo. If this is the purpose, it does not seem out of place, given the progression that precedes it. Example 1.17 is a reduction of the progression from mm. 336-358 (downbeat). Example 1.17: Progression Reduction mm. 336-358 in Bergquist’s “The Commission” from Reformation Cantata Following this passage, the bass solo continues in A Major and ultimately returns to material from the F Major section (via a whole-tone scalar passage and a ♭VI, the latter of which also appeared previously). An orchestral intermezzo ends “The Commission” section of part I. It is in three clear parts and predominantly diatonic. The first part is in F minor, the second in D♭ Major, and the third returns to F minor. The reviewer in The Lutheran Companion states as established fact that the intermezzo theme is based on the first three notes of EIN FESTE BURG. 12 Unless this is the voice of the composer, this assessment is difficult to support. The three repeated quarter note unison octaves that begin the intermezzo extend to a pedal of ten measures. In fact, all appearances of three consecutive quarter notes (of any pitch class) are in some way maintained immediately beyond the three quarter notes, without change in contour. Furthermore, these quarter notes occur on the downbeat in the movement’s triple meter. Without the weak beat initiation of the three-note theme or the context of a descent occurring at the 12 The Lutheran Companion 24, no. 45, 9. 45 moment where the fourth melody pitch occurs in EIN FESTE BURG, the ear likely does not sense EIN FESTE BURG. Save for perhaps the very first three-note entry, any sense of EIN FESTE BURG is immediately suppressed by the establishment of meter and lack of iconic melody contour. The final two measures of the intermezzo lead directly into the soprano solo that begins the third section of part I, “Daybreak.” The cadence of the preceding intermezzo employs a Picardy third; unison Fs serve as a common-tone to an E♭7 chord, the common F serving as the 9 of a 9-8 suspension for the E♭7. Much of the “Daybreak” section is diatonic and governed by a single key (A♭ Major). The Lutheran Companion reviewer offers this summary and commentary “This lyrical aria is possibly the richest and most appealing melody in the work. The chorus takes up the thought and, with the Soprano as obbligato, ends the number in a burst of harmony.” 13 Bergquist does utilize a few of his characteristic techniques. A section of the soprano solo is in the key of A Major. To transition from A♭ Major to A Major, Bergquist uses enharmonic spelling to go from a ♭VI7 in A♭ Major to a V7 chord in A Major. Example 1.18 shows the transition. Example 1.18: Transition from A♭ Major to A Major in “Daybreak” Soprano Solo (mm. 551-556, accompaniment reduction only) from Berquist’s Reformation Cantata By m. 568 the solo has transitioned to the key of E Major; although the key signature remains the same, every instance of D is raised for the remainder of the solo. As the solo concludes, C♯ minor is tonicized. 13 The Lutheran Companion 24, no. 45, 9. 46 Far afield of A♭ Major—the key of the remainder of “Daybreak,” beginning with the entrance of the chorus—Bergquist utilizes chromatic and enharmonic manipulations to restore A♭ Major for the soprano solo’s conclusion, and at the same time, poignantly paints the final two lines of the soprano solo, “Change Thou our plaintive Miserere / Into a joyful harvest song.” Example 1.19 shows this transition back to A♭ Major. Example 1.19: Transition from C♯ minor to A♭ Major ahead of Chorus Entrance in Berquist’s “Daybreak” from Reformation Cantata It is sufficient to note at this point, without further example, that the compositional apparatuses used in part I continue in part II. The short bass solo to start the second half includes enharmonic 47 equivalences, chromatic manipulation, whole-tone scalar passages, and triadic planing. By contrast, the soprano solo that concludes subsection “The Protest” is diatonically conservative. The true drama of the work unfolds in subsection “The Cleansing” as bass and tenor represent the two sides of the Reformation debate, in dialogue with their accusations and pronouncements. The Lutheran Companion reviewer notes that as the bass and tenor dialogue ensues, the chorus serves as a turba of sorts for each side of the debate, first as “loyal papists” continually singing their Ave Maria in the background, and eventually as “the faithful” chanting “Kyrie Eleison.” 14 It is during their chanting of the Ave Maria that clear recollections of musical themes from part I begin to reappear. Example 1.20 shows the accompaniment from mm. 11 (identical in mm. 12-14) side-by-side with part II excerpts recalling this initial theme. The first recollection is subtle—an augmentation of the chord progression. The second is more direct, mirroring a portion of the upper motivic figure both transposed and at pitch. Example 1.20: mm. 11 with References in Part II from Bergquist’s Reformation Cantata After the bass pronounces final judgement on Rome, the chorus takes up the text from Isaiah 1, the beginning of which is set to the same music as mm. 111-127. The final bass entry of “The Cleansing” subsection is constructed largely of material from the bass aria in part I “The Commission,” though reordered. Likewise, the orchestral intermezzo that follows is constructed of portions of the first intermezzo, transposed and reordered. 14 The Lutheran Companion 24, no. 45, 9. 48 To close “The Conflict” section of part II, the bass takes up the strophic “Sola Fide” text. While constructed overall as an aria, the final couplet of each stanza is set to an identical melody and, in the case of the first three, identical accompaniment. Strophes one, two, and four are in G Major and are the only music in the entire cantata set in a complex meter (6/8; excepting the final couplet, which is in 4/4). Strophe three is in 4/4 and the key of E♭ Major, save again the final couplet, which matches the rest in key and meter. Part II (and the entire work) concludes with the section titled “Thanksgiving and Triumph.” It features a fugue for the chorus followed by the singing of stanza 4 of “A Mighty Fortress” by chorus and assembly. A brief triple Amen for chorus succinctly ends the cantata; Bergquist’s is the only among the four cantatas studied herein that give the “final word,” so to speak, to the chorus. The entire "Thanksgiving and Triumph” section is in E Major, save some brief departures to closely related keys. The conflict resolved, this final section limits or abandons techniques that painted earlier portions of the work. The City of God The Joint Lutheran Committee on the Celebration of the Quadricentennial of the Reformation commissioned Luther D. Reed (1873–1972) and H. Alexander Matthews (1879–1973) to collaborate on this work, published by G. Schirmer, Inc. Official invitations to submit a text for the cantata were published in a number of 1916 publications. This invitation reads, in part, as follows: “The manuscripts are wanted not later than September twentieth . . . The cantata must not require more than forty minutes for rendition. A musician of eminent ability, known throughout the country, will be commissioned to compose the music.” 15 The October 11th edition of American Lutheran Survey repeats the invitation, noting the submission deadline has been extended to October sixteenth. 16 Ultimately, at its April 18, 1917, meeting, the minutes show that the music sub-committee reported “Fourteen texts were submitted for the Festival Cantata, and proposals were received from a number of well-known composers. The Committee 15 Unknown author, “Reformation Jubilee Notes,” American Lutheran Survey 4, no. 16 (August 9, 1916), 556. 16 Unknown author, “Lutheran Brevities,” American Lutheran Survey 4, no. 25 (October 11, 1916), 849. 49 finally commissioned Dr. Reed and H. Alexander Matthews to collaborate in the preparation of the text and the music respectively of the Cantata, “The City of God.”” 17 The report was submitted by sub- committee chairman Luther D. Reed. One surmises that with an extension of the submission deadline and the ultimate action to commission a committee member to write the cantata’s text that submissions did not meet the standard—at least in the committee’s estimation—sought for the occasion. Reed’s text is divided into four parts: Foundation, Decay, Restoration, and Thanksgiving. The cover of the vocal score includes a subtitle stating the text is selected from Holy Scripture. Reed strings together portions or paraphrases of Scripture passages into cohesive sentence and paragraph. The text is offered in full as front matter of the vocal score, but without references. The introductory note preceding the full text focuses entirely on the three “historic Reformation Hymns to be sung by the Congregation with the Chorus as climaxes to the second, third, and fourth parts of the work.” 18 Table 1.9 shows the divisions of the texts and their sources, in the order they appear, along with the voicing for each movement. Table 1.9: Text Divisions and Sources for The City of God by Luther D. Reed and H. Alexander Matthews Part Movement Voicing Text Source I. Foundation 1. Great is the Lord Chorus Psalm 48:1,2,12,13,8 II. Decay 2. Hear me when I call Soprano solo and chorus Psalm 4:1 Jeremiah 3:21 Isaiah 30:12 Jeremiah 9:23 Isaiah 60:2 Psalm 137:5,6 Psalm 10:12 BCP Funeral Rite: Commital Psalm 22:4,5 Psalm 44:26 Psalm 25:2 3. Be not dismayed Congregation and choir Johann Michael Altenburg; tr. Elizabeth Rundle Charles (1,2), Luther D. Reed (3) 17 Joint Lutheran Committee, April 18, 1917 Meeting Minutes, 14. 18 Luther D. Reed and H. Alexander Matthews, The City of God (New York: G. Schirmer, Inc., 1917), 3. 50 III. Restoration 4. Comfort ye my people Tenor solo Isaiah 40:1 Matthew 23:37/Luke 13:34 Luke 19:42 Psalm 46:4 Isaiah 55:1 Revelation 22:17 5. Come unto me Chorus Matthew 11:28,29 6. I am the way Baritone solo John 14:6 John 10:11 John 8:12 John 11:25 John 14:15 John 15:5,8b Tenor solo Gospels: God the Father at Baptism of Jesus and Transfiguration Acts 5:31 John 3:16b Baritone solo Mark 16:15 1 Peter 2:9b John 8:32 7. Now have we peace with God Chorus Romans 5:1 Ephesians 2:8 1 Corinthians 15:57 John 6:68,69 8. The Lord hath made known His Word Tenor solo Psalm 68:11 John 8:31 9. Lord, keep us steadfast Congregation and choir Martin Luther; tr. Catherine Winkworth IV. Thanksgiving 10. Rejoice ye with Jerusalem Soprano (or tenor) solo Isaiah 66:10a Psalm 147:2,3 Psalm 87:3 Isaiah 60:18 Psalm 122:7 Psalm 132:9 11. Awake, awake, put on Thy strength, O Zion Chorus Isaiah 52:1 Isaiah 52:9 Psalm 147:12,13 Isaiah 26:4 Azariah 1:3 (apocrypha) Revelation 5:13b 12. A Mighty Fortress is Our God Congregation and choir Martin Luther; tr. composite 51 Of note are one non-biblical source and one source drawn from the Apocrypha. Movement 2 “Hear me when I call” includes “O God, lift up Thine hand; of whom may we seek for succor but of Thee, O Lord?” The first phrase of this sentence comes directly from Psalm 10:12 (KJV). The second phrase comes from the first stanza of the suggested anthem that begins the Committal portion of "The Burial of the Dead Rite I” from BCP: “In the midst of life we are in death; / of whom may we seek for succor, / but of thee, O Lord, / who for our sins are justly displeased?” 19 That Reed would include this non-biblical text, sourced from a divergent branch of Luther’s Protestantism, is at first curious. But this particular text excerpt belongs to Luther’s hymn “Mitten wir im Leben sein,” thus serving as a fitting addition to the Reformation celebration cantata libretto. It may also have been an influence from collaborator Matthews, born in England and serving at Presbyterian and Episcopal churches in Philadelphia. The other reference of special note is from the Prayer of Azariah, a portion of Daniel relegated to the Apocrypha. Lutherans (and many other Christian faith traditions/denominations) do not hold the Apocrypha as part of, or at least secondary to, canonical Scripture. A detailed discussion of the matter—including Luther’s views on the Apocrypha or its place among early 20th-century American Lutherans—is well beyond the scope of this research. It suffices to note that the intentional inclusion of this apocryphal text, under the subtitle “drawn from Holy Scripture,” raises some questions, particularly regarding Reed’s stance on the Apocrypha as a seminary professor and Lutheran church leader at the time. Among the 1917 composers included in this research, H. Alexander Matthews is the only one with a full article entry in the 1920 Grove’s Dictionary of Music and Musician’s: American Supplement. 20 A review of the cantata in the Musical Courier describes Matthews as “widely known,” “a very successful composer,” and “perhaps the most successful cantata writer in the country today.” 21 The review forecasts “this cantata will doubtless be sung by many choirs and large choruses throughout the 19 Book of Common Prayer (New York: Church Publishing Incorporated, 2006), 484. 20 Waldo Selden Pratt and Charles N. Boyd, eds., Grove’s Dictionary of Music and Musicians: American Supplement (New York: The MacMillan Company, 1920), 288. 21 Unknown author, “The City of God,” Musical Courier 74, no. 13 (March 29, 1917), 14. 52 country this year.” 22 Period newspaper announcements and concert programs confirm widespread performance. Matthews’ music demonstrates elegance of tonal navigation, broad arches, and vocal writing that would facilitate widespread use. Secondary dominants and circle progressions are abundant, and a favorite compositional tool is the pedal-point. Modulations are patiently executed, often over the course of several measures via harmonic progression that destabilizes the starting key’s tonic and/or delays clear confirmation of the new key’s tonic. Matthews demonstrates tonal mastery without featuring excessive prowess or applying more aggressive harmonic techniques or manipulations. Some might assess the writing, at least from a harmonic/tonal standpoint, to be conservative. Whether his syntax is response to the text, his aesthetic proclivity, a reflection on his training or musical influences, and/or other factors may be for future study. Navigation of key centers, and their relationship from movement to movement, demonstrates Matthews’ overall navigation of tonality. Table 1.10 gives a high-level overview, mostly as indicated by written key signatures and confirmed by the musical material that immediately follows those signatures. Within this larger scheme Matthews’ local key centers and navigation are more diverse. Table 1.10: Major Key Centers by Movement in Matthews’ The City of God Part Movement Key Relationship to Next Movement I. Foundation 1. Great is the Lord A Major, C Major, A Major V of D minor II. Decay 2. Hear me when I call D minor, E Major, E minor, B minor to D Major V of G minor 3. Be not dismayed G minor Compositionally related III. Restoration 4. Comfort ye my people E♭ Major, A♭ Major, G Major Ends on V7, attacca 5. Come unto me G major Compositionally related 6. I am the way [A minor], E Major, A Major, [A minor]* Ends on V, attacca 22 “The City of God,” Musical Courier 74, no. 13 (March 29, 1917), 14. 53 7. Now have we peace with God A minor Compositionally related 8. The Lord hath made known His Word E minor Ends on V7, implied attacca 9. Lord, keep us steadfast E minor E serves as common-tone IV. Thanksgiving 10. Rejoice ye with Jerusalem A Major, F Major, A Major V of D Major 11. Awake, awake, put on Thy strength, O Zion D Major Same key 12. A Mighty Fortress is Our God D Major n/a *The key signature does not functionally match the key center; this will be addressed in due course. Movement 1 begins in A Major, quoting the opening of EIN FESTE BURG. Following the chorus’ first statement, Matthews moves to E Major for more than thirty measures via the nearly exclusive inflection of D♯. To move to C Major (the next indicated key signature), Matthews executes one of his unique pedal-points, beginning on an E Major triad and ending on an E minor triad, the G♮ providing a common tone for modulation to C Major. Example 1.21 shows this pedal-point as it is executed in the accompaniment. 54 Example 1.21: Movement 1 mm. 80-87 Pedal-point from Matthews’ The City of God Within a few measures, at the conclusion of a pedal-point over C initiated on the downbeat of m. 87, the key center destabilizes and a number of keys are briefly tonicized over the next 24 measures, E minor prevailing most often. To end this passage and return to A Major, Matthews executes a progression that utilizes a German sixth as a pivot, navigating as follows: AM-Dm-CM-FM-EM-Am-C7-FM-Gr6 (of A)- D♯dim7-AM/E (pedal eventually leading to EM). The German sixth enharmonically takes the place of an F7, where E♭ = D♯. Matthews then raises the F♮ to F♯, thereby transforming the harmony into the secondary leading tone triad of E Major, the V of A Major. Matthews arrives at E in the bass, but moves to an A Major triad in the upper voices and begins executing a pedal-point over E that eventually arrives at E Major and firmly establishes A Major again with an authentic cadence. Movement 1 ends in A Major, the dominant of movement 2’s initial key of D minor. Matthews begins movement 2 with a pedal-point, based on the beginning of Luther’s hymn tune ERHALT UNS, HERR. The pedal-point moves from i to Gr6 before the soprano interrupts with her recitative, momentarily 55 unaccompanied, which continues to outline the German sixth. The harmony is picked up by the accompaniment as an Italian sixth four measures later, eventually progressing to a i6. These first fourteen measures overall are an extension of the tonic, though unlike many uses of pedal-point for tonic extension, Matthews dramatically interrupts this one before it has completed its cycle back to tonic. Example 1.22 includes the accompaniment for the first sixteen measures of movement 2 with a two-level analysis. 56 Example 1.22: Movement 2 mm. 1-16 from Matthews’ The City of God Once again Matthews destabilizes the key center shortly after this initial passage, establishing for a brief time A minor before progressing to a B Major triad, anticipating the upcoming E Major key center. A mono-tone solo over a B pedal-point with rising interior chromatic scale traversing B to F♯ paints Isaiah 60:2, “Darkness hath covered the earth, and gross darkness the people.” E Major ensues as the Lord 57 promises never to forget his people. The section begins with a pedal-point extending the new tonic triad. Ending the section on the dominant V allows for a quick transition to the parallel E minor for the chorus. Their call for mercy begins with another quote of the opening phrase of ERHALT UNS, HERR. This new key again begins with a pedal-tone. It is similar to the opening of the movement in that it extends the tonic triad and quotes ERHALT UNS, HERR. However, it is uninterrupted and is over the chordal fifth rather than the root. Having completed their call for mercy, Matthews sets the quote from BCP with back-to- back musically related phrases. Unaccompanied choral phrase A is answered by a tonic triad pedal-point in the accompaniment; unaccompanied musical phrase A’, which has modulated to end on an F♯ Major triad, is answered with a modified version of the tonic pedal-point in the accompaniment, now transposed up a step to F♯ Major. This is the dominant of B minor, the next key center for the movement. The F♯ Major triad includes a fermata, and the new key then begins with a tempo and a meter change, rather than a pedal-point. B minor remains the clear key center for more than 50 measures before Matthews utilizes an over pedal-tone F♯ in the voices and accompaniment to modulate to D Major via common-tone F♯. The largely two-part accompaniment in this passage allows for some ambiguity to begin the transition to D Major in m. 161; the D-F♯ dyad could suggest either a D Major triad or a B minor triad. To pass through a clear A Major triad, offering an authentic cadence in D Major, the pedal F♯ becomes a suspension in m. 163 of the accompaniment. Example 1.23 shares the accompaniment for pick-up m. 157 through m. 165 (SATB voices are in unison octaves on a pitch matching the pitch class of the uppermost note in the accompaniment throughout this passage). 58 Example 1.23: Movement 3 Accompaniment mm. 157-165 with Pick-up in Matthews’ The City of God The movement ends in D Major, which has a dominant relationship to the chorale that follows in the key of G minor. The chorale “Be Not Dismayed” ends with a G Major triad, utilizing the so-called “Picardy third.” Movement 3 has a key signature of three flats, suggesting C minor or E♭ Major. Matthews creates a connection between the two movements by suggesting C minor to start movement 3. Thus, the G Major triad that ends movement 2 serves as a dominant to the opening key center of movement 3. The key center is weak, however; in the six measures that function as though in C minor, the tonic triad appears only once and in the weakest second inversion. The F♯s in m. 1 and m. 6 tip the analysis toward a brief stint in C minor; if not for these, the passage could be analyzed in E♭ Major, the G Major triad in mm. 3-4 serving as a secondary dominant momentarily tonicizing the C minor vi triad. But the first F♯ in particular is difficult to explain unless analyzing at first in C minor. Then the A♭-C-F♯ on beat 3 in m. 2 is clearly an Italian sixth; in E♭ Major its analysis is more challenging. This, combined with the dominant connection to the previous movement, supports C minor as the opening key of the movement, albeit briefly. After the second inversion C minor tonic triad Matthews modulates to E♭ Major. He does so via an enharmonic relationship. The chord in m. 7 functions bi-directionally. As spelled, it is a secondary leading tone seventh chord of the dominant in C minor. Enharmonically respelling the F♯ as G♭, the chord functions as the secondary leading tone seventh chord of the dominant in E♭ Major. The subtly of this common-chord modulation via a secondary leading tone seventh and enharmonic interpretation is reflected in the first 59 several appearances of the tonic triad (functioning as such locally) in second inversion. The first authentic cadence in E♭ Major to confirm the new key center does not occur until mm. 23-24. Mm. 8-23 are a large extension of V in E♭ Major. Within that extension are two temporary tonicizations (F minor and A♭ Major, the latter of which follows the only root-position E♭ Major triad in the first twenty-four measures, where it functions locally as dominant of A♭ Major), and a pedal-point that prolongs arrival of the V (I64- Gr6-V7). Example 1.24 shows a reduction of the accompaniment for these initial measures. The brackets indicate return of the same two-bar progression that pivots from C minor to E♭ Major; the extension that forms mm. 8-15 are for the tenor solo. The last system shows the most basic reduction of the entire progression over the twenty-four measures. 60 Example 1.24: Analysis of Movement 4 mm. 1-24 from Matthews’ The City of God 61 At m. 24, following the first authentic cadence firmly establishing E♭ Major, a pedal-tone extends the tonic for further confirmation. At m. 41 Matthews begins the transition to A♭ Major. Over an E♭ pedal- point, a D♭ is introduced. At first the effect is a temporary tonicization of A♭ Major, but the bars that follow shortly after are a pedal-point over C and around a CM triad, suggesting F minor instead. However, unison Cs give way to an A♭ pedal-point that vacillates between A♭ Major and E♭ Major triads for six measures (mm. 50-55). Immediately following this pedal-point, Matthews moves to vi (of A♭ Major) and shortly after, reintroduces the C Major triad, signaling again an intended shift to F minor. As the confirmation is about to occur with a strong authentic cadence in F minor (again with a pedal-point over C and around C Major setting up the cadence), with the seventh added to the C Major triad, the key signature changes to one sharp and the B♭ is enharmonically spelled as A♯. The key signature change suggests either E minor or G Major. The C Major triad with an A♯ instead of B♭ is the German sixth in Em, and Em is indeed the triad that follows the German sixth. But this progression is only a means to an end, as the Em triad that follows its German sixth is in the weakest second inversion and from there progresses to D7, the dominant in G Major. The remainder of the movement is essentially an extension of the D7; the movement ends on it to connect attacca to movement 5, also in the key of G Major. In total effect, this beginning movement to the Restoration portion of the cantata includes moments of tonal repose, but never quite arrives. The key center destabilizations, redirections, and conclusion on a dominant seventh chord continuously propel the movement forward, right into the invitation of Jesus in movement 5 from Matthew 11. Movement 5 is unique among all the cantatas as the only entirely unaccompanied movement. It is scored for SSAATTBB. It begins with upper and lower voices antiphonally and concludes with all voices. A review in Musical America states “The finest thing in the work is the a cappella chorus, “Come unto me,” one of the most sincerely put settings of these words we know . . . This chorus should be sung widely, as it is complete taken from the work as well as sung in it.” 23 The conclusion features a rich 23 Unknown author, “New Music: Vocal and Instrumental,” Musical America 26, no. 10 (July 7, 1917), 24. 62 pedal-point over G in all eight voices, an expansion of the brief pedal-point that begins the movement in the low voices. Movement 6 begins with a one-sharp key signature and quotes musical material from the previous movement. By the end of the instrumental introduction the progression has led to a dominant G7 harmony. For the next 22 measures F is natural (indicated by accidental), and the clearest key center established over the passage is A minor. When the F♯ indicated in the opening key signature is finally allowed to prevail, it is as transition begins to the next key signature and key center of E Major. The choice of key signature seems to serve two purposes. The first is to provide a stronger connection, if only psychologically, to the previous movement since the true key centers of the two movements, G Major and A minor, respectively, are not directly related. The other is that in the statistics of the opening portion of this movement, the F is indeed sharp in more measures than it is natural, even if that is the case only in modulatory passages at the very beginning (locally G Major for the first few measures) and end of the opening section (focus on the V of the upcoming E Major key center). Practically, there would have been more sharps than naturals to engrave, even if a key signature devoid of accidentals would have more accurately reflected the key center of the opening section. Pedal-points again prolong tonic and dominant triads. A pedal-point in the middle of the E Major section initiates one of Matthews’ most patient modulations of the entire cantata. Similar to movement 4, he begins to signal a modulation to a closely-related minor key only to ultimately modulate to that minor key’s relative major. Beginning with the E Major pedal-point suggesting A Major (via inclusion of D♮), the music instead progresses to a half-cadence on C♯ Major without ever executing a strong authentic cadence in A Major. An authentic cadence on F♯ minor occurs following the unaccompanied tenor solo measures outlining C♯ Major, but the F♯ minor key center is quickly unsettled by the D minor triad that follows. Matthews then weakly passes through A minor before utilizing shared German sixth and dominant V chords to finally execute a strong authentic cadence in A Major, accompanied by a key signature change. Example 1.25 outlines the entire passage with some reduction (for the sake of space). 63 The breadth of the modulation sets four passages of Reed’s libretto before finally arriving at A Major to carry the well-known John 3:16. 64 Example 1.25: Movement 6 mm. 66-97 (some reduction) from Matthews’ The City of God 65 A pedal concludes the setting of John 3:16, an extension of the dominant E7. The final section of the movement follows, effectively returning to the opening A minor tonality. But Matthews chooses to use again the opening key signature of one sharp. The choice here is curious; not only is every F in the remainder of the movement inflected natural, but also the movement ends on dominant E Major for attacca to movement 7, which is entirely in the key of A minor (with key signature to match). Movement 7 is a single continuous movement with pre-dominantly flowing accompaniment. Only two pauses in the steady eighth-note flow occur, each for a short unaccompanied choral passage. The first unaccompanied passage is in the middle of several statements “that he is the Christ, the Saviour of the world” (John 6:69b). The phrase is set entirely over a pedal-point, except for the unaccompanied interruption. This unique application of the pedal-point is outlined in Example 1.26 (the text supplied follows the alto line). Note that the E3-C4-E4-A4 at the end of m. 57 would resolve properly and smoothly to the E3-B3-E4-G♯4, respectively, at m. 63, if not for the interruption. 66 Example 1.26: Interrupted Pedal-point mm. 55-70 in movement 7 of Matthews’ The City of God After a complete statement of the Scripture passages that comprise the text for this movement, material from the beginning returns in modified and truncated form. Five pedal-points occur in the movement, all 67 but the final one extending dominant triads. A brief, structurally important accompaniment passage introduces the break in the flowing accompaniment prior to the second unaccompanied passage near the end of the movement. It is based on the opening vocal motive and serves to introduce and connect to movement 8. Matthews uses the motive to connect the two movements since their key centers, A minor and E minor, respectively, are not connected by dominant-tonic relationship. Example 1.27: Movement 7 mm. 88-90 Modifying Opening Motive and Providing Connecting Motive for Movement 8. Movement 8 is the briefest movement, a tenor recitative setting Psalm 68:11 and John 8:31. The former is commentary on the gift and legacy of the Reformation, the making known of God’s salvation by the church, based on the truth of his Word. The latter is Christ’s statement which prompts the prayer that is the following chorale. Movement 8 is the only movement without an extended pedal-point, but its musical brevity (twenty-seven total measures) along with a significant amount of text essentially prevent 68 it. The movement is not indicated attacca, but it ends on the dominant B Major triad of the following chorale’s E minor key center, implying such. Again, the chorale ends with a Picardy third via the Amen, offering a dominant relationship to movement 10’s A Major. Even so, without that inflection, a unison common-tone E to start the movement provides the necessary connection. Movement 10 utilizes many of the same techniques of previous movements. A common-tone modulation on A takes the opening section’s A Major into F Major. The most unique feature is found in this section, where after stating Psalm 122:7 the first time in the key F Major and ending on a half cadence, the phrase is restated, at first in direct transposition, in A♭ Major. Having gone significantly far afield from the opening and closing key of A Major, Matthews progresses to a dominant B♭7, where the A♭ enharmonically interpreted as a G♯ effectively provides a German sixth in D Major, which is the triad that follows. With inflections aplenty following, A Major is eventually re- established for Psalm 132:9, set over a pedal-point extending the dominant E7 leading to a clear V7-I in A Major to begin the final verse of the text, Isaiah 66:10. The movement closes with a tonic extending pedal-point. The progression over the pedal-point is plagal in nature. A reduction of the progression used is in Example 1.28. After initiating the tonic, a series of secondary chords progresses to the pre-dominant ii and IV before returning to tonic. Example 1.28: Final Plagal Pedal-point of Movement 10 in Matthews’ The City of God Movement 10 again connects naturally to Movement 11 with the dominant-tonic key center relationship. This final chorus, preceding “A Mighty Fortress” with assembly, begins with quoting the first full phrase of the hymn in the bass instruments (or organ pedals), harmonized above. The movement 69 utilizes imitative techniques, voice-parings, the longest pedal-point of the cantata under four full entries of a fugue theme (one entry for each voice spanning twenty-four measures in total), passages temporarily tonicizing closely related keys, and a plagal Amen to end. The second half of Isaiah 52:9 receives unique treatment, written first for the only solo in movement 11 (soprano, or unison semi-chorus), immediately repeated by the full chorus in the longest unaccompanied passage of the movement, both passages temporarily centered in G Major. This movement also was published as an independent anthem extracted from the cantata. Having quoted the opening of EIN FESTE BURG several times, the movement is appropriately followed by assembly singing of the hymn in full. Other Cantatas The existence of two other cantatas are suggested by several 1917 publications. The October 1917 Music and Musicians: Devoted Principally to the Interests of the Northwest includes this announcement under “Tacoma Notes: Rev. Bloomquist, A Composer:” Rev. Ernest C. Bloomquist, pastor of the First Swedish Lutheran Church, Tacoma, composed a cantata, entitled “A Song of Jubilee,” in honor of the Luther quadri-centenniel. The cantata is in three parts, comprising choral numbers and solos for baritone, contralto and soprano . . . The work was ordered to be printed by the convention and has had several public performances. 24 The Tacoma Times in its “Church Topics for Tomorrow” section announces the cantata’s performance at several Tacoma area churches in late September 1917. One of those performances is referenced in the October 13, 1917 issue of Musical America as having occurred. The June 20, 1918 Hays Free Press announces the upcoming performance of a cantata by C. E. Malmberg: A Children’s Day service will be held in the Lutheran Church this Sunday evening at 8:15. Instead of the usual recitations a Reformation Cantata will be given. Mr. C. E. Malmber (sic) is the author of this cantata. This production deserves special mention. Mr. Malmberg was one of the competitors last year for a prize offered by the Lutheran church in the United States for a cantata that would fittingly celebrate the great Protestant Reformation. Among the thirteen names standing highest in the competition, Mr. Malmberg’s name stood fourth. He furnished the text, a part of which has been set to music. We have a change to hear this production on Sunday evening. 25 24 David Scheetz Craig, “Tacoma Notes: Rev. Bloomquist, A Composer,” Music and Musicians: Devoted Principally to the Interests of the Northwest 3, no. 9 (October, 1917), 13. 25 Unknown author, (General Announcements), The Hays Free Press 38, no. 29 (June 20, 1918), page unknown. 70 The announcement offers insight into what became of one of the fourteen submissions for the cantata sponsored by the Joint Lutheran Committee on the Celebration of the Quadricentennial of the Reformation. It is unclear from the announcement if, in addition to being the librettist, Malmberg also wrote the music for this Hays, Kansas performance, or if the music was supplied by another. If the score is ever found, the announcement suggests that any text therein is only a portion of the full text submitted by Malmberg to the Joint Lutheran Committee. At the publishing of this research, scores for both Bloomquist’s and Malmberg’s cantatas either no longer exist or are yet to be located. Summary of 1917 Cantatas Although relatively few in number, the cantatas of 1917 form a series of spectra. Compositionally, process spans from the heavy reliance on pedal-points by Matthews to extensive use of sequences by Schumacher and Christiansen, from the predominant circle relationships in Schumacher’s modulations to the frequent use of enharmonic equivalences of Bergquist. Harmonic language spans from the relatively conservatively diatonic language of Schumacher and Matthews to large sections or entire movements of modality in Christiansen to the whole-tone passages of Bergquist. Structurally, Christiansen’s clearly delineated movements are on the one hand, Bergquist’s large dramatic units on the other, with Schumacher’s methodically connected movements and Matthews harmonically and compositionally related movements falling in between. The treatment of the chorale varies from Matthews’ interspersed, simple hymnal-style movements (complete with plagal cadence Amen’s) for assembly to Schumacher’s interior through-composed or multiply harmonized chorus-only settings, to Bergquist’s lone stanza 4 of “A Mighty Fortress Is Our God” at the conclusion of his cantata. At the same time, where Schumacher derives no non-chorale movement motives from Reformation-era hymn tunes, Christiansen and Bergquist draw motives for their opening movements from EIN FESTE BURG and AUS TIEFER NOT, respectively, and Matthews quotes or derives from EIN FESTE BURG in several movements, as well as ERHALT UNS, HERR. For Reed and Matthews, the chorales are showcased pillars. For Petterson-Christiansen and Herzberger-Schumacher, they are part of the libretto fabric. For Berquist, they are organic to the larger whole. 71 Many of the aforementioned facets relate directly to the librettos of the respective works. Here exists a complexity ripe for further study. All the librettos employ a structure of before, during/at, and after the Reformation. But the transparency and trajectory of that structure varies. It is tied in large part to the degree to which Luther is referenced or heard in the libretto, ranging from Reed’s complete absence to Luther’s dialogue with other characters in Olson’s oratorio-like section “The Conflict,” with Luther’s solitary mention in movement 7 by Pettersen and Herzberger’s rhymed asides to Luther sayings and quotes occupying the middle ground. This point, for some at the time, was of no light matter. In the Lutheran Church Review, editor Theodore E. Schmauk addresses larger issues surrounding the observation of the Reformation in 1917. In his discourse, he cites Reed’s The City of God as tangible proof of his position. He writes in part: That the Quadricentennial Committee . . . is not wholly corrupt, and bound in the fetters of ecclesiastical pride . . . nor “in their veneration for Luther placing him alongside of the Lord Jesus Christ” may be seen very strikingly in the Church Cantata entitled “The City of God” written and composed by Reed and Matthews . . . In this Quadricentennial Cantata, as may be seen by consulting the libretto, the name of Luther does not once appear, [emphasis Schmauk’s] nor is the Lutheran Church mentioned. The text is an actual selection of Holy Scripture, and is profoundly devotional . . . And unless fault should be found with use and ascription to the Reformer, of the two hymns, “Erhalt uns, Herr, bei denim Wort,” and “Ein’ feste Burg ist unser Gott,” there is no allusion whatever to Martin Luther. Surely it is not out of order, in a celebration of the Reformation, to sing “Ein’ feste Burg.” 26 For the musician, the theologian, the congregation, and the individual alike, these cantatas provide not only diversity of the choral cantata genre, but also of the interface of praise and proclamation, church history, and the service of choral music to both. 26 Theodore E. Schmauk, “Article X: Prolong the Reformation,” The Lutheran Church Review 36 (April, 1917), 243-244. 72 Chapter 2: 1917 Anthems and Other Small Works Smaller works associated with the 1917 centennial observation not only were published in octavos and collections, but also in periodicals and celebration committee pamphlets. The following table outlines titles found as part of this research effort. It is not exhaustive, but offers a body of work to begin formulating the 1917 centennial publishing picture. Table 2.1: Anthems Published to Observe the 1917 400th Anniversary of the Lutheran Reformation Title Composer/Arranger Voicing Accompaniment Publisher A Mighty Fortress George Marks Evans SATB Piano “The Church Choir” periodical, Geo. F. Rosche & Co. Blessing, Glory, Wisdom and Thanks Ralph Lewars SATB Organ Theodore Presser Company Come, Holy Spirit, Lord Our God Ralph Lewars Unison Organ Joint Lutheran Committee, Philadelphia, PA God Is Our Refuge and Strength Emanual Schmauk ? ? ? I Will Extol Thee J. F. Ohl SATB Organ Theodore Presser Company I Will Extol Thee, My God, O King Le Roy M. Rile Baritone solo, SATB Organ Theodore Presser Company Jubelsgesang zum Reformations Jubilaeum F. Reuter SATB, trio or small choir, children’s chorus Organ ? Light Edward E. Weaver, John Hermann Loud Four-part chorale Keyboard Executive Committee of the Greater Boston Celebration Praise and Thank the Lord Herman M. Hahn Two-part equal Piano Concordia Publishing House Psalm 46 Herman M. Hahn Two-part equal Piano Herman M. Hahn 73 Reformation- Songs: Short Anthems for Reformation Services Various, edited by John Dahle SATB Some chorales, some with separate accompaniment Augsburg Publishing House The Jubilee Volume or “Sängerbote” ? ? ? Success Printing Co. Sing Your Proud Hosannas F. Reuter SATB Organ ? The Nightingale of Wittenberg Johannes Rudolph Lauritzen Tenor solo, soprano and alto duet, SATB Keyboard Lauritzen’s Standard Edition of Church Music The Reformation Call Lida Shivers Leech Four-part chorale Keyboard The Lutheran Publication Society Following is analysis of these works, organized into three broad categories: publisher octavos, periodicals and pamphlets, titles for which no score has yet been located. Publisher Octavos Three published anthems resulted from a competition sponsored by the Joint Lutheran Committee on the Celebration of the Quadricentennial of the Reformation. The music sub-committee responsible for collecting and judging the prize anthems consisted of six individuals: E. J. Decevee (n.d.), H. R. Gold (secretary, n.d.), U. H. Hershey (n.d.), Ralph Lewars (n.d.), J. F. Ohl (1850–1941), L. D. Reed (chairman, 1873–1972), and Emanual Schmauk (1860–1920). 1 Initial announcements regarding competition details are all similar: three anthems are to be published; each not to exceed 16 octavo pages; with prize values of $75, $50, and $25. Some announcements mention the desire for two grades of difficulty, presumably among the three anthems in total (that is, not six anthems total—three at each of two grades of difficulty). The meeting minutes of the Joint Lutheran Committee’s music sub-committee on April 18, 1917 reports that forty-three anthems were submitted, and that first place was awarded to Ralph Lewars for “Blessing, 1 John A. Morehead (secretary), Meeting Minutes, Joint Lutheran Committee on Celebration of the Quadricentennial of the Reformation, April 18, 1917; p. 12. 74 Glory, Wisdom, and Thanks;” second place was awarded to J. F. Ohl for “I Will Extol Thee;” and third place was awarded to Le Roy M. Rile (n.d.) for “I Will Extol Thee, My God, O King.” 2 All three anthems were published by Theodore Presser Company of Philadelphia. Some basic commonalities exist between the three anthems: all are written for chorus and organ, each includes selected text from Psalms, and each concludes with a fugal section. In The Musician, volume 22, no. 4, contributor H. C. MacDougall (1858–1945) comments on the competition results with suspicion: A friend who was an unsuccessful competitor allows me to read a letter sent him by the executive secretary, thanking him for his cooperation and giving notice of the return of his manuscript. The prizes were awarded—so the letter goes on to state—as follows: first award, Mr. Ralph Lewars; second award, Mr. J. F. Ohl; third award, Mr. LeRoy M. Rile. On the original list of the ‘committee on music’ are the names of Ralph Lewars and Rev. J. F. Ohl, Mus. D. Can it be that two of the gentlemen who won the award are also on the committee that presumably judged the competition? Rather rich, is it not? 3 Following is a closer examination of these anthems. Blessing, Glory, Wisdom, and Thanks Four Bible verses constitute the text for Ralph Lewars’ first prize winning anthem: Revelation 7:12; Psalm 148:1,13 (incorrectly cited as verse 12 in the octavo); and Psalm 106:48. The verses are individually clear in the musical structure; each is sung in full without any break in the vocal writing, and an accompaniment interlude falls between each verse. The anthem heavily incorporates material from EIN FESTE BURG, particularly for its contrapuntal themes. Structurally, the anthem is three-part. A unifying apparatus is that each part drives toward a brief passage in E♭ Major. The first part begins in D Major. A sequence beginning at m. 34 executes its model and three copies, each beginning a 1/2 step higher than the previous. The end result is arriving at a B♭ Major triad, the V of E♭ Major. In time an authentic cadence occurs in E♭ Major. Immediately following that cadence, a new sequence initiates and its copy moves to an F♯ Major triad. Over this triad Psalm 148:1 begins as part of the transition to the next section, eventually coming to unison F♯ in the voices and 2 Meeting Minutes, p. 12. 3 H. C. MacDougall, “The Echo Organ,” The Musician 22, no. 4 (April, 1917): 307. 75 accompaniment. Once the verse has completed, the unison F♯ gives way to a D7 via common tone, setting up a half cadence in G Major. The second section proceeds at m. 71 with Psalm 148:13. Almost immediately the key is destabilized and for mm. 74-91 the keys of A minor and C Major are heard, made possible by an inflected F♮ in most of this passage. In mm. 91-95 the return to G Major occurs, ending on a D Major triad. At this point the same sequence from the first part of the anthem occurs, with some re- voicing and variation. The goal is the same (and some of the musical material nearly identical): modulation to E♭ Major. A fermata ends this section on the E♭ Major triad. A key and meter change signals the start of the third section. After a simple one-measure transition, the fugue theme for the final section is stated twice in the accompaniment, based on EIN FESTE BURG. The basses begin with the fugue in C Major (which matches the key signature), but to say this section is in a key is without grounds given much temporary tonicization and use of accidentals. After several fugue entries and some episodic writing, the entire first phrase of EIN FESTE BURG is quoted in E♭ Major. A variation on the fugue theme follows with several more entries before giving way to material driving toward the final phrase of the Psalm 148:13, a codetta in D Major. Even in this short and grandiose ending, the 1/2 step of the earlier sequences is invoked, as is the reliance on EIN FESTE BURG. Except for perhaps the very end, the ranges are manageable for the average choir. Breathing is largely intuitive according to rests or punctuation, but some longer passages require study and decisions regarding where to take corporate breaths, stagger breaths among the voice parts, or employ partner breathing in one or more voice parts. Likely the most challenging aspect for singers will be finding and tuning imitative passage entrances as key centers change rapidly and sometimes chromatically. Example 2.1 excerpts mm. 33-41, demonstrating the sequence from part 1 along with the competing forces at imitative entrances. 76 Example 2.1: Lewars’ “Blessing, Glory, Wisdom, and Thanks” Sequence and Imitative Entrances mm. 33-41 77 I Will Extol Thee J. F. Ohl sets Psalm 145:1-4,21,10-12, along with the first stanza of “Now Thank We All Our God,” for SATB and organ. The work divides into five sections, alternating between the keys of F Major and B♭ Major by section. A unique, brief transition connects each section, serving to modulate to the next section’s key. The first section in F Major sets Psalm 145:1,2 homophonically for SATB voices using an ABA’ form. After a simple transition that adds a lowered seventh to the tonic, which is the dominant chord for B♭ Major, section 2 proceeds in B♭ Major to set Psalm 145:3,4, again homophonically for SATB voices. Section 3 is for soprano and alto duet and sets Psalm 145:21 in F Major. An augmented version of the last four measures setting Psalm 145:2 in Section 1 concludes the text setting in Section 3; it is the only clearly related musical material in a later section drawn from an earlier section. See Example 2.2. Section 4 sets Psalm 145:10-12 in B♭ Major for SATB; verse 10 begins with a fugue for which each voice receives one complete entry of the subject, immediately back-to-back without overlap. After verse 10 concludes on a half cadence, verse 11 begins with a sequence and concludes with a perfect authentic cadence. Verse 12 is essentially a cadential extension, consisting of two plagal cadences and a final authentic cadence. A brief interlude immediately reinstates the key of F Major for the isometric chorale “Now Thank We All Our God.” The chorale concludes the anthem, with a note indicating optional congregational involvement. 4 4 J. F. Ohl, I Will Extol Thee (Philadelphia: Theodore Presser Company, 1917), 11. 78 Example 2.2: Ohl’s “I Will Extol Thee” mm. 43-46 and mm. 111-114 Ranges and rhythms are well within the capability of average church choirs. Breathing requires conductor study. Each section has its own specified tempo; transitions also require conductor study and may be a rehearsal focus. 79 I Will Extol Thee, My God, O King Le Roy M. Rile sets selected verses from Psalm 145 as well as Psalm 148:1 for baritone solo, quartet, chorus, and organ. Although organ is not specified in the subtitle or score, vertical spans in the keyboard along with stem direction and engraving layers indicate organ is the intended instrument for accompaniment. Of the three competition anthems, Rile’s is the most structurally complex and the most saturated in regards to dynamics, tempo variances, and articulation. Table 2.2 outlines the structure of Rile’s anthem. Table 2.2: Structure of Rile’s “I Will Extol Thee, My God, O King” Section/Text Measures Voicing Key Introduction 1-6 n/a Effectively F minor through the use of accidentals Psalm 145:1 7-13 Baritone solo F Major Transition/modulation 14-16 n/a to C Major (ends on V in C Major) Psalm 145:2 17-25 Baritone solo C Major/A minor (ends on V in A minor; common tone modulation back to C Major via pitch class E) Psalm 145:8,9 27-47 Baritone solo C Major Psalm 145:10 48-55 SATB C Major to A minor (ends on V in A minor) Psalm 145:11 56-66 SATB A minor Transition 67-70 n/a Extension of V in A minor (which is also V in A Major) Psalm 145:13 71-86 SATB A Major to C Major (ends in V of C Major) Psalm 145:10,11 87-105 SATB C Major (reprise of verse 10, new music for verse 11) Psalm 145:14 106-113 Baritone solo C Major to E Major (ends on V of E Major) Psalm 145:18 114-129 Quartet E Major Transition/modulation 130-132 n/a Addition of lowered seventh to tonic, forming V of A Major Psalm 145:21 133-142 SATB A Major Psalm 148:1 143-180 SATB A Major 80 In addition to the more complex structure and the use of a soloist, three compositional facets contribute to distinguishing this anthem among the three competition prize winners. The first is use of pedal tones surrounding several cadences and sectional boundaries. These occur in mm. 43-47, 48-51 (and its reprise at mm. 87-90), 97-106, 130-132, and back-to-back instances at the final cadential passage in mm. 174-180. Another is that Rile’s fugue is the only one among the competition anthems to include a counter-subject. The counter-subject begins a measure after the subject, and both conclude simultaneously. Beginning with the tenor, each voice receives an entry of the subject, and three of the four also carry the counter-subject paired with another voice’s subject entry. Table 2.3 shows the structure of the fugal section. Finally, the quartet entry in mm. 114-129 is marked senza accomp., though a reduction is provided. Table 2.3: “I Will Extol Thee, My God, O King” Fugal Section mm. 143-165 Measures 143-148 148/9-153 153-154 155/6-160 160/1-165 Subject Tenor Alto transitional Soprano Bass Counter-subject n/a Tenor Alto Soprano In addition to some thoughtful decision-making regarding breathing and phrasing, conductors will need to spend time digesting the extensive tempo and dynamic detail. Unlike the other two competition anthems, no specific bpm is indicated; the relationship between descriptive tempo-related labels is informed by the affect suggested by the labels, text, note values, voicing, and harmonic rhythm, along with general, localized pacing markings for slowing, accelerating, or returning to the section’s base tempo (i.e. a tempo). In addition to these, other publications marked the quadricentennial celebration. Following are four found during this research. Praise and Thank the Lord (Lob- und Danklied) This anthem for two-part treble voices by Herman M. Hahn was published by Concordia Publishing House. Martin S. Sommer (1869–1949), editor of The Lutheran Witness, the “official organ of 81 the Synod of Missouri, Ohio, and Other States,” 5 provides this simple review in volume 36, no. 19, under the section titled “The Reviewer”: This is an anthem by a well-known composer. Being a hymn of praise, it is very suitable for any occasion upon which such a hymn is in place. No doubt, the composer thought of the Jubilee of this year, but it may be sung at any service of thanksgiving or praise. It is intended for children’s voices; soprano and alto are given, together with the accompaniment upon a piano or an organ. 6 While organ is a possibility, the notation suggests piano, primarily indicated by bass notes that, doubled or covered by manual and/or organ pedal, would be out of range and require omission or octave displacement. The form for this relatively brief anthem is ABA’. The outer A sections are in D Major; the interior B section is in D minor, with moments suggesting the relative F Major, though never strongly (although V-I progressions in F Major occur in this section, the F Major triad is always in first inversion and followed immediately by the V7 with raised leading tone C♯ for the key of D minor). A secondary dominant E Major triad leads to an A Major triad at the end of each section, which serves as a common- chord modulation between D Major and D minor. The score is furnished with both English and German texts. No source for either text is given in the publication. Subtle indications are that the text on which the music was initially based is the German. Although the English is printed in regular font and the German secondarily below the English in italics, the German can be directly correlated to Scripture, the English translation of the German at the start of the A’ section deviates from the German, the smaller upper-voice cue notes throughout correlate to the English rather than the German (the full-size music notation matches the German syllabification), and the editorial errors in slurs and ties are omissions correlating to the English. The German in the anthem matches exactly (without textual repetitions) Psalm 103:2 (A section), Psalm 103:3,4 (B section), and a verse found four places in Scripture (A’ section; 1 Chronicles 16:34, Psalm 106:1, Psalm 107:1, Psalm 118:1). The English rendering in the anthem matches closely Psalm 103:2-4 (KJV) for the A and B sections, but the A’ section starts with “Serve ye the Lord with gladness,” rather than an English 5 Martin S. Sommers, “Praise and Thank the Lord,” The Lutheran Witness 36, no. 19 (September 18, 1917): 300. 6 Sommers, 298. 82 equivalent to the German “Danket dem Herrn, er ist freundlich” (literally “Thank the Lord, he is kind”), or a closer equivalence to the KJV's “Oh, give thanks to the Lord” found at all four references mentioned earlier for the German of the A’ section. It is possible that, due to challenges with number of syllables and text stress in the English rendering of the source Scripture verses or the translation of the German, a substitution for the initial phrase was made, perhaps drawn from Psalm 100:2 which reads (in KJV) “Serve the LORD with gladness; come before his presence with singing” (emphasis added). However, given the willingness earlier in the anthem to utilize ties, slurs, and cue notes to accommodate the syllabification and text stress variations between the German and English, it seems this substitution was intentional, or perhaps the result of an editorial translation error. Psalm 46 Herman Hahn self-published “Psalm 46,” a paraphrase of verses 1,2,4,5,7. The anthem is designed for versatility, elaborated by this note (translated from German): This opus can be used a) as a solo for middle voice [presumably alto or baritone, given the next statement], b) as a duet (alto or baritone taking the solo parts), c) antiphonally for pastor and children. The “Duet” is sung first by the pastor, then by the children’s choir, in one- or two-part, as the case may be. In the solo parts the pastor sings the stanzas marked I, the children, those marked II. 7 Four simple sections unfold musically. The first part in D Major sets verse 1. Half cadencing, the shared dominant leads to section two in the relative D minor to set verse 2. A common-tone modulation on D re-introduces the D Major triad, which is the dominant for the following G Major section setting verses 4,5. This section ends on an extended half cadence, the V preceded by its secondary dominant. Following the half cadence a clever transition recalls, in backwards context, the temporary tonicization of D Major, but in forward context, becomes a return of the first section setting verse 1 in D Major. Example 2.3 shows the accompaniment of this transition with analysis. Because of the likeness in the brackets following the fermata the ear may continue to hear G Major as the key center and interpret what follows the two chords under the second bracket as another temporary tonicization of D Major. The common- 7 Hermann M. Hahn, Psalm 46 (Fort Wayne: Herman M. Hahn, 1917), 3, translation Bakken. 83 chord pivot, however, occurs somewhere in the parenthetical analysis region, though it is likely not perceived until the downbeat with the added context that follows the key change. Example 2.3: Hahn’s “Psalm 46” Transition to Return of First Section The return of the first section is extended beyond its original half cadence to set verse 7 and bring the piece to its final authentic cadence in D Major. In Amen-like fashion, the “Selah” at the end of verse 7 is set to a plagal cadence. Overall, the music is well-written for children; the ranges are healthy, the melody is constructed largely of step-wise passages and outlined triads, and the accompaniment always doubles the melody. The Song of the Nightingale of Wittenberg (Das Lied der Wittenberger Nachtigall) This original composition by Rev. Johannes Rudolph Laurizten (1845–1923) for the 400th anniversary is, according to one of the subtitles, for “Tenor and Bass Solos / Duets for Soprano and Alto 84 Voices / Changing with Full Choruses / Pleasing Instrumental Accompaniment.” 8 An apparent self- publisher of music under the moniker “Laurtizen’s Standard Edition of Church Music,” located in Knoxville, Tennessee, the inside cover lists several dozen available titles, some composed by Lauritzen and some by others. This particular anthem is furnished with both German and English text. The only information offered regarding the text source is “Lauritzen–Mittler” in the upper left corner of the first page of music. Whether this indicates that one provided the German and the other the English, that one language preceded the other, or that the dual-language text was a collaboration, is not further explained. The composition is set in 4/4 throughout, passes through five keys, and features solos, duets, and full chorus passages. The anthem is altogether sub-standard, utilizing declamation entirely incongruent with the musical meter and stress (regardless of language), poor voice-leading, and the possibility that the final new key introduced (containing five flats in the score) is missing a flat in the engraving. G♭ is clearly the tonic in this passage, but if the key signature is correct, it is in the lydian mode, which is completely out of character with the straight-forward major tonality of the rest of the composition. A note on the fourth page of music says that the entire text can be sung to “Ich bin ein Deutscher, kennt ihr meine Farben. Die Fahne schwebt mir schwartz, rot, gold voran.” 9 Given the poor quality of Lauritzen’s composition, significant time was not given to scholarly pursuit of this referenced text or tune. Cursory investigation suggests that the tune is strophic and folk-oriented and would match the declamation of the text significantly better than Lauritzen’s original music. Reformation-Songs (Reformationssange) Augsburg Publishing House marked the 400th Reformation anniversary with a collection of a dozen “Short Anthems for Reformation Services” edited by John Dahle (1853–1931). 10 Most of the anthems are in SATB chorale-style. Some include English-only text, some Norwegian-only text, and 8 Johannes Rudolph Lauritzen, The Song of the Nightingale of Wittenberg (Das Lied der Wittenberger Nachtigall) (Knoxville: Lauritzen’s Standard Edition of Church Music, 1917), cover subtitle. 9 Laurtizen, 6. 10 John Dahle, ed., Reformation-Songs (Minneapolis: Augsburg Publishing House, 1917), cover subtitle. 85 some include both. Some are furnished with multiple unique texts. Table 2.4 outlines the contents according to these various characteristics. Table 2.4: Contents of Reformation-Songs, ed. John Dahle Anthem Title Language Number of Unique Texts Accompaniment Behold the Sure Foundation English 2 Unaccompanied or colla voce Hold oppe, o Gud, hos os din rene Läre Norwegian 1 Unaccompanied or colla voce Vi har det faste profetiske ord Norwegian 1 Unaccompanied or colla voce We Have Thought of Thy Loving-Kindness English 1 Unaccompanied or colla voce O Praise the Lord English and Norwegian 1 Unaccompanied or colla voce O naade, o naade! English and Norwegian 2 Keyboard Who Trusts in God English and Norwegian 2 Unaccompanied or colla voce Vor Gud han er saa fast en Borg Norwegian 1 Unaccompanied or colla voce Glorious Things English and Norwegian 3 Keyboard introduction, then colla voce Sing, O Heavens English 1 Keyboard (mostly colla voce) Var Gud ei med os denne Tid English and Norwegian 1 Unaccompanied or colla voce Min Själ, min Själ, lov Herren English and Norwegian 1 Unaccompanied or colla voce Dahle notes in his introduction that “Four ancient Lutheran chorales, arranged for choirs by excellent masters, have found a place in this collection” (“Fire gamle lutherske koraler, arrangeret for kor af fremragende mestere, har faat plads i denne samling”). 11 He mentions by name Hassler (1564– 1612) and Praetorius (1571–1621), who “represent the heyday of the Lutheran church song. Their 11 Dahle, Forward, translation Bakken. 86 harmonic adaptation of church melodies is in many cases exemplary” (“repraesenterer den lutherske kirkesangs blomstringstid. Deres harmoniske bearbeidelse af kirkemelodier er i mange tilfaelde mønstergyldig”). 12 He is thus referring to “Vor Gud han er saa fast en Borg” (“A Mighty Fortress Is Our God”), which includes a Norwegian translation of Luther’s stanzas 1 and 2 and a setting attributed to Hassler; and “Min Själ, min Själ, lov Herren / My Soul Now Bless Thy Maker,” which includes stanzas 1 and 4 of Johann Graumann’s (1487–1541) 1540 text “Nun lob, mein Seel, den Herren” in both Norwegian and English translations and a setting attributed to Praetorius. Presumably, the other two to which he is referring are “Who Trusts in God” (English text only)—the first stanza of which is by Joachim Magdeburg (c. 1525–c. 1587) and the second stanza of which the author is anonymous—paired with a 16th-century tune by Burchard Waldis (c. 1490–c. 1556); 13 and Luther’s “Var Gud ei med os denne Tid / Had God Not Come, May Israel Say” stanzas 1 and 3 paired with Melchoir Vulpius’ (c. 1570–1615) tune LOBT GOTT DEN HERREN, IHR HEIDEN ALL. Dahle is clear about his purpose for including these when he writes “They are especially suitable for four-part singing and will act as a beneficent contrast to certain kinds of thin, sentimental and therefore unchurch-like choral songs, which we sometimes hear in our Lutheran churches as well” (“De egner sig saerlig for firstemmig sang og vil virke som en velgjørende modaestning til visse slags tynde, sentimentale og derfer ukirkelige korsange, som vi af og til faar høre ogsaa i vore lutherske kirker”). 14 Dahle further shares that the collection is intended to reflect “the objective character of the old Lutheran church song. They are not the intimate expression of the individual's personal feelings and moods . . .” (“Disse reformationssange har gjennemgaaende noget af den gamle lutherske kirkesangs objektive praeg. De er ikke udtryk naemest for den enkeltes personlige følelser og stemininger . . .”). 15 He explains that “Some of the songs have been given two different lyrics, either the verses to which the music was originally written, or others have been added to make the collection more useful later” (“Enkelte af sangene har faat to forskjellige tekster, idet enten de vers, til 12 Dahle, Forward, translation Bakken. 13 C. T. Aufdemberge, Christian Worship: Handbook (Milwaukee, Northwestern Publishing House, 1997), 464. 14 Dahle, Forward, translation Bakken. 15 Dahle, Forward, translation Bakken. 87 hvilke musiken oprindelig var skrevet, eller ogsaa andre er tilføiet for at gjøre samlingen mere anvendelig senere”) and that “None of these songs with the exception of the last one have previously been printed in any Norwegian choral collection” (“Ingen af disse sange med undtagelse af den sidste er tidligere trykt i nogen norsk korsamling”). 16 Thus the collection was to serve as a centennial celebration choral resource that would bring works into publication with flexibility and longevity for Lutherans functioning in two languages, while simultaneously re-centering those same Lutherans on the doctrines and worship ideals of the Reformation itself. Following is some additional information and analysis from the anthems in the collection beyond the “four ancient Lutheran chorales.” Behold the Sure Foundation-stone / There Is an Hour of Hallowed Peace The first entry in the collection is a two-stanza hymn with the tune attributed to Beethoven (1770–1827) and fitted with two texts. The main text, “Behold the Sure Foundation-stone,” is by Isaac Watts (1674–1748), so indicated in the score. The secondary text, “There Is an Hour of Hallowed Peace,” is by William Tappan (1794–1849), 17 though not identified as such in the score, an anomaly for the collection (and thus possibly an editorial omission). The texts are both four-stanza Common Meter (CM) texts. However, paired with Beethoven’s melody, the first two stanzas of each text have been joined to form a single Common Meter Double (CMD) first stanza. Likewise, the last two stanzas of each text combine to form the second CMD stanza. It is difficult to know how much editorial freedom Dahle exercised on Beethoven’s melody. The melody is effectively AA’BA’; the second and fourth phrases are the same save two rhythmic variances. Example 2.4 contains the melody. 16 Dahle, Forward, translation Bakken. 17 Unknown author. “Repose,” Hymnary.org, accessed 6/24/22, https://hymnary.org/text/there_is_an_hour_of_hallowed_peace. 88 Example 2.4: Melody attributed to Beethoven in Reformation-Songs, ed. John Dahle Another instance of this melody is found in Deutsches Liederbuch: Sammlung von Chorälen und Liedern für Schule und Haus, published in 1895, hymn number 303. 18 There, the attribution is “after Beethoven” (“nach Beethoven”), suggesting it is an adaptation of the original Beethoven source. In both cases it is difficult to know if Beethoven is the source for the tune alone, or for the tune and setting. Slight variances exist between the melodies in Reformation-Songs and Deutsches Liederbuch, though the settings are essentially identical (note values in Reformation-Songs are doubled as compared to Deutsche Liederbuch). Although there is no way of knowing if Deutsche Liederbuch was Dahle’s source for the melody, Dahle has fitted text with the tune of a different meter (as already noted, CMD) compared to the text in Deutsche Liederbuch, for which the text has meter 7.8.7.6.8.8.8.6. It is plausible then that, whatever Dahle’s source for the melody, editorial modifications were applied to accommodate the text; 18 Unknown author, “303 Nun bricht aus allen zweigen das liebe,” Hymnary.org, accessed 6/24/22, https://hymnary.org/hymn/DLSC1895/303. 89 alternatively, if the Beethoven source is CMD, the Deutsches Liederbuch may have modified the original to accommodate their text (which may be cause for “nach” in their attribution). Hold oppe, o Gud, hos os din rene Läre The original musical source for this anthem, in large part, is Friedrich Schneider’s (1786–1853) Das Weltgericht of 1820. It appears in part 3, no. 21, “Chor der Apostel und heiligen Streiter,” scored there for SATB divisi with orchestra. Of the oratorio, Grove’s Music Online shares “This work has been seen as an important bridge in a period of stagnation between the oratorios of Haydn and Mendelssohn, and his creative achievements were respected by Schumann.” 19 An entry on Choral Domain Public Library (CPDL) cites a TTBB version from the c. 1890 Psalmen- und Harfenklänge eine Sammlung leicht ausführbarer Festmotetten und religiöser Festgesänge für Männerchor nach Ordnung des christlichen Kirchenjahres, sowie zu besonderen Gelegenheiten, nebst liturgischen Gesängen. 20 A review of this cited source was not possible. The anthem in Reformation-Songs is for SATB, and a note at the conclusion states the Norwegian text is after the German by collection editor John Dahle (“Efter det tyske ved J. D.”) 21 Table 2.5 shows the German supplied at the CPDL entry alongside the Norwegian of Dahle; these two texts are closely related, and thus it may be that Dahle’s source for both text and music was the c. 1890 publication cited at CPDL. If that citation is accurate and it indeed served as Dahle’s source, he adapted the TTBB setting for SATB in the Reformation-Songs collection. However, it remains an open question as to whether or not the SATB setting, along with the German text on which Dahle based his Norwegian translation, is found elsewhere. 19 Franz Gehring, E.M. Oakeley and Michael Musgrave, “Schneider Family,” Grove Music Online (2001), accessed 6/24/22, https://doi-org.libproxy1.usc.edu/10.1093/gmo/9781561592630.article.24983. 20 Stefan Oberdorf, ed., “Erhalt uns, o Herr, dein Wort” by Friedrich Schneider CPDL.org, July 17, 2021, accessed 6/24/22, https://www.cpdl.org/wiki/images/e/e1/ScF_ErhaltUnsDeinWort_TTBB_2014-03-05.pdf. 21 Dahle, 5. 90 Table 2.5: German “Erhalt uns, o Herr, dein Wort, die reine Lehre” at CPDL.org 22 with “Hold oppe, o Gud, hos os din rene Läre” from Reformation-Songs, ed. John Dahle German from CPDL.org Norwegian by Dahle Reconciled translation of both Erhalt uns, o Herr, dein Wort, die reine Lehre, schütze, schirme du deine Christenheit. Hold oppe, O Gud hos os din rene läre, Skjärme, styrke din arme kristenhed! Preserve us, O Lord, by your pure teaching, shield and protect your Christendom. Führ' alle, alle, die im Irrtum wandeln hin zu der Quelle deines Lichts. Zeig' allen deine Herrlichkeit. Led alle, alle, som i mørke vandre, hen til din sandheds klare lys; lad alle se din herlighed! Lead all walking in error (Irrtum)/darkness (mørke) to your light; show everyone your glory. O, führe alle, die im Dunkeln irren aus Nacht und Grau'n zum lichten Tag, hin zu der ew'gen Seligkeit, o Jesu Christ, durch deinen Tod. Før alle dem, som syndens mørke blinder, ud fra dødens gru til lys o liv, ind til din evige salighed for din dyre død, o Jesus Krist! Lead all those wandering in darkness (im Dunkeln irren)/blinded by the darkness of sin (som syndens mørke blinder) out of night and the horror of death to the light of day (lichten Tag)/light and life (lys o liv), into eternal bliss, through your death, O Jesus Christ. The anthem is a through-composed chorale. The sectional divisions for the text in the above table follow the choral instructions (as well as the punctuation of complete sentences). The first section is marked “half choir” (“Halvt kor”); a note indicates that the section when repeated is sung by full choir (“Gjentages of det hele kor”). 23 The middle section is again marked for half choir. The final section is marked tutti. Like much of the rest of the collection, ranges in this anthem are accessible and breathing clearly indicated by rests or intuitive according to text punctation. Vi har det faste profetiske ord This hymn with music by Fr. Brenner includes only a Norwegian text correlating to 2 Peter 1:19, followed by Psalm 33:4, and ends with “Halleluja!". 24 Fr. Brenner is one of several contributors to this 22 Unknown author, “Erhalt uns, o Herr, dein Wort die reine Lehre (Friedrich Schneider),” CPDL.org, July 17, 2021, accessed 6/24/22, https://www.cpdl.org/wiki/index.php/Erhalt_uns,_o_Herr,_dein_Wort_die_reine_Lehre_(Friedrich_Schneider). 23 Dahle, 4. 24 Dahle, 6. 91 collection for which no dates are given; the presumption may have been that, like several others without dates, Fr. Brenner was a known commodity to the intended user of this collection. The other contributors without dates were active in the latter half of the 19th century and early 20th century, except for Beethoven. Perhaps Fr. Brenner was a contemporary of the former, but his dates are unknown. Whether or not the text was prepared by Dahle, Brenner, or another is not indicated. Table 2.6 contains the text from Del Norsk Bibelselskep (1930) alongside the text that appears in the collection. Table 2.6: 2 Peter 1:19 and Psalm 33:4 (Del Norsk Bibelselskap 1930) Compared to “Vi har det faste profetiske ord” in Reformations-Songs, ed. John Dahle Del Norsk Bibelselskap 1930 Vi Har det faste profetiske ord 2 Peter 1:19 Og dess fastere har vi det profetiske ord, som I gjør vel i å akte på som på et lys som skinner på et mørkt sted, inntil dagen lyser frem og morgenstjernen går op i eders hjerter, Vi har det faste profetiske ord, og I gjør vel i at agte derpaa som paa et lys, der skinner paa et dunkelt sted, indtil dagen frembryder indtil morgenstjernen opgaar i eders hjerter. Psalm 33:4 For Herrens ord er sant, og all hans gjerning er trofast. Thi Herrens ord det er sandhed, og al hans gjerninger trofast. The music is mostly through-composed and homophonic; the two exceptions to this are a single phrase with paired voice canon-like treatment, and a brief recalling of the opening bars at the introduction of Psalm 33:4. Early in the anthem, the canon-like phrase is foreshadowed by a voice or pair of voices anticipating several phrases prior to it as the other voices rest momentarily. After the canon-like phrase occurs, the anticipation technique is abandoned for the balance of the setting. The canon-like phrase is the only phrase where functional harmonic treatment falters for the sake or prioritizing the canon apparatus, and that only for a measure. These observations, along with several likely editorial omissions, are detailed in Example 2.5. Omissions are indicated with parentheses, vocal anticipations are circled, “x” indicates non-functional harmonies in the canon-like passage, and a bracket indicates the brief reprisal of the opening of the anthem at the change in Bible passage. The measure with a rest indicated as missing (i.e. in parentheses) appears in the original publication as a measure of three quarter notes. No meter change is indicated, so an editorial error is assumed. Two viable possibilities exist to correct the error: the downbeat 92 may be a half note, or a beat two rest can be added. In the context of the following phrases, where a rest on beat two appears between phrases of text, it is more likely that the rest was omitted rather than that the downbeat should be a half note. 93 Example 2.5: Brenner’s “Vi har det faste profetiske ord” (music only) 94 We Have Thought of Thy Loving-Kindness Collection editor John Dahle contributes this original composition setting Psalm 48:9-13. The text is nearly identical to the KJV translation; other than occasional word repetition, the only modifications are the addition of “O” to the start of verse 12 and modification of the final part of verse 13 from “that ye may tell it to the generation following” to “that ye may tell it to all generations.” The music complements the versification of the text in several ways. The music for verses 9 and 12 is nearly identical; differences only consist of rhythmic modifications to accommodate varied number of text syllables and prosody between the two verses. The overall effect is a two-part form: a longer part A with several key centers, followed by a shorter and overall singularly key-centered part A’. The first two beats of music at verse 13 are identical to the parallel thirds in contrary motion between upper and lower voices as at verse 10, transposed. Key centers likewise follow verse divisions. Table 2.7 summarizes these aspects. Table 2.7: Key Centers by Verse in “We Have Thought of Thy Loving-Kindness” Part A A’ Section a b c a starts similar to b Verse Verse 9 Verse 10 Verse 11 Verse 12 Verse 13 Key F Major F Major to A Major A minor to C Major to F Major F Major F Major O Praise the Lord / O Lover Gud This setting of Psalm 117 (KJV) by Edward John Hopkins (1818–1901) was previously published (English only) in The Anthem Book of the United Free Church of Scotland, 1905, no. 58. It appears in Dahle’s 1917 collection nearly unaltered, with both the English text and a Norwegian paraphrase of the psalm text. Two differences are observed in the 1917 entry. The first is in m. 5; the bass-tenor in the 1905 collection is A3-C4, whereas they are transposed down a third in the 1917 collection to F3-A3. Whether this was an editorial error or intentional edit in the 1917 collection, or a correction from the 1905 collection, is not known. But the result for the 1917 collection is a truly ABA setting (with codetta), since 95 m. 5 and its counterpart at m. 50 are identical. The other item of note is the assumption in the 1905 collection that the setting will be accompanied. This is indicated by a cue note tonic chord on the downbeat of the B section and the performance note “This movement may be sung without Accompaniment.” 25 The chord and the performance note are omitted from the 1917 collection, thus indicating no preference or assumption regarding performance unaccompanied or with colla voce doubling by keyboard. The musical sections follow the sentences of the Biblical text. Section A sets the first sentence (verse 1), section B sets the second sentence (verse 2a), and the short codetta following the reprisal of the A section sets the second sentence of verse 2, “Praise ye the Lord.” The codetta is harmonized with a plagal cadence, reminiscent of an Amen, following the conclusion of the A section reprisal, which ends with a perfect authentic cadence. The A sections and codetta are chorales, with the B section mostly homophonic except for anticipatory solo voices entering ahead of the other voices in some phrases. O naade, o naade! / O Dayspring John Stainer’s (1840–1901) “O Dayspring” also appears in the 1905 The Anthem Book of the United Free Church of Scotland, no. 159. It is the only entry in Reformation-Songs that has separate staves dedicated to the accompaniment throughout the anthem. The single-stanza English text is secondary; John Dahle provides a two-stanza Norwegian text for the primary text. The English, with some repetition, is a paraphrase of the Great O Antiphon “O Oriens” from the Anglican tradition: “O Orient, Brightness of the Eternal Light, and Sun of Righteousness: Come, and lighten them that sit in darkness and in the shadow of death.” 26 Stainer’s paraphrase, without repetitions, reads “O Dayspring! Brightness of the everlasting light, and Sun of Righteousness! Come and enlighten them that sit in darkness and in the shadow of death.” 25 United Church Praise Committee, The Anthem Book of the United Free Church of Scotland (London: Novello and Company, Limited, 1905), 58. 26 A. C. A. Hall, The Advent Antiphons. Milwaukee: The Young Churchman, n.d. but c. 1914, accessed at Anglicanhistory.org, Project Canterbury, accessed 6/11/22, http://anglicanhistory.org/usa/acahall/antiphons.html. 96 Dahle’s Norwegian text is an homage to the legacy of the Reformation. The two stanzas begin identically, stating that the clear light of the Word is shining again (“ordets klare lys igjen faar straale frem”). The remainder of each stanza outlines the situation before and after the Reformation, respectively. Table 2.8 contains the remainder of each stanza, along with a rough translation. The common thread between all three stanzas—the English O Antiphon and Dahle’s two Norwegian stanzas—comes from Isaiah 9:2 (NIV), “The people walking in darkness have seen a great light; on those living in the land of deep darkness a light has dawned.” Table 2.8: “O naade! O naade!” Stanzas 1 and 2 Unique Norwegian Text and Basic Translation Norwegian text Rough translation Stanza 1 Laenge var Herrens sandheds ord forvansket; Salighedsveien laa i mulm og mørke folket i dødens skygger. Hvor, hvor er veien, veien til livet? Herre Gud, forbarm dig. Amen. For a long time the word of the Lord's truth was distorted; The path of bliss lay in the gloom and darkness of the people in the shadows of death. Where, where is the way, the way to life? Lord God, have mercy. Amen. Stanza 2 Nu lyder Herrens tale ufordunklet; Salighesveien ligger klar i lyset; se, alt er naade, naade. Lad mod det høie lovsangen stige! Priset vaere Herren! Amen. Now the voice of the Lord is heard unmistakably; The path of bliss is clear in the light; see, all is grace, grace. Let the lofty praise rise! Praise be to the Lord! Amen. The text italicized in Table 2.8 is also italicized in the anthem without explanation. Some editorial differences exist between the 1905 publication and its appearance in this 1917 collection. Fewer dynamic and articulation markings exist in the 1917 version. The two breath marks in the 1905 printing do not appear in the 1917 collection. The first breath would likely still be observed, even though it is not notated, as the moment is a natural place to break according to both the musical phrase and the text (in both 97 languages). The latter would come in the middle of the Amen at the end of the Norwegian text; potentially, that is why it is not included. The most consequential differences are in the keyboard, where the 1917 version has omitted some ties, as well as instructions related to organ pedals. These omissions may be an indication that Dahle wished to communicate, without stating explicitly, that accompaniment could be by either organ or piano. The absence of some ties creates more key re-strikes, which accommodates a piano’s decay of sound. Who Trust in God / Fra Himmelen Hid Til Os Ned This hymn is one of the “four ancient Lutheran chorales” included in the collection. In addition to Johann Magdeburg’s 16th-century text, the first two stanzas of a Norwegian text by Thomas Kingo (1634–1703) are also included. Glorious Things / Lord, Thy Glory / Hellig, Hellig Three texts are fitted with music by Olaf Paulus (1859–1912). The first stanza of “Glorious Things of Thee are Spoken” is the topmost text, incorrectly attributed to William Cowper (1731–1800) in the publication (the text is by John Newton, 1725–1807). 27 The second text is the first and last stanzas of “Lord, Thy Glory Fills the Heavens,” correctly attributed to Richard Mant (1776–1848). The bottommost text is the Norwegian “Hellig, Hellig, Hellig, Väre.” A footnote indicates this is the “original text” (“Originalteksten”). 28 However, whether this text is original to Paulus, Dahle, or another is not clearly indicated. The beginning of the Norwegian text is based on the Sanctus of Isaiah 6:3. The Norwegian text fills the entire ABA’ musical form without repeating entire phrases (some individual word or word pair repetition occurs). In contrast, the English texts are shorter and only fill sections A and B; the second half of each text is repeated in its entirety to provide text for the A’ section. Sophisticated harmonic movement characterizes this short anthem. Set in E♭ Major, Paulus repeatedly returns to a G Major triad as though temporarily tonicizing or modulating to the relative C 27 Unknown author, “Glorious Things of Thee Are Spoken,” Hymnary.org, accessed 6/11/22, https://hymnary.org/text/glorious_things_of_thee_are_spoken. 28 Dahle, 20. 98 minor. However, no instance of the G Major triad resolves to a C minor triad, save the last instance of the G Major triad where the C minor triad that follows falls in the weak second inversion on a weak division of the beat. Although no strong C minor tonic or authentic cadence ever appears, sense of the key center is invoked, as the following analysis demonstrates. The Neapolitan serves as the modulatory pivot chord from implied C minor into B♭ Major by doubling as dominant to the ♭VI of B♭ Major (the ♭VI ultimately morphing into a Gr6 in B♭ Major). The cadence in B♭ Major is, in the larger context of the anthem, a half cadence to finish the B section and lead into the reprise of the material that began the anthem in E♭ Major. The passage from mm. 10-22 also demonstrates the chromatic vocal motion that characterizes the anthem (indicated with brackets in Example 2.6; the dashed bracket indicates an overall chromatic passage interrupted by a voice exchange), as well as the use of voice exchanges between soprano and tenor, both of which result in incidental or non-functional harmonies. The former has been indicated in parentheses in the analysis. 99 Example 2.6: “Glorious Things / Lord, Thy Glory / Hellig, Hellig” Harmonic Analysis of mm. 10-22 For such skillful harmonic craft, it is surprising that two instances of basic vocal part-writing errors occur. The first is parallel fifths in the soprano and bass into m. 13. This occurs because the German sixth resolves directly to the V instead of passing through the second inversion i. The other instance is parallel octaves in the soprano and tenor at the end of m. 28. This could have been avoided in a number of ways, but it occurs nonetheless. 100 The harmonic complexity, chromatic passages, and at times tonic-by-implication would likely increase rehearsal time for this anthem as compared to the rest in the collection. Tuning, rather than issues with vocal range or breathing or phrasing, is likely to dominate rehearsal attention. Sing, O Heavens John Dahle’s second contribution to this collection is an anthem for SATB or SAAB and organ. The text is from Isaiah 49:13-16. Dahle dedicates a different combination of meter and key for each of verses 13-15 of the Biblical text (verse 16 reprises the meter and key of verse 13). Table 2.9 outlines these, along with other aspects of the anthem. Table 2.9: Musical, Vocal, and Textual Construction by Section of “Sing, O Heavens” Measures Verse Text repetition Meter Key Voicing mm. 1-8 Verse 13a no text repetition 3/4 B♭ Major full chorus mm. p/u 9-12 Keyboard interlude 3/4 B♭ Major or F Major* mm. p/u 13-24 Verse 13b text repetition 3/4 B♭ Major full chorus mm. p/u 25-28 Keyboard echo mm. 20-24 3/4 B♭ Major mm. p/u 29-34 Verse 14 no text repetition 3/4 G minor full chorus mm. p/u 35-38 Keyboard interlude, establishes new key and meter 4/4 G Major mm. p/u 39-44 Verse 15a no text repetition 4/4 G Major Tenor or tenor- alto duet mm. p/u 39-40, soprano- alto duet mm. p/u 41-44 mm. p/u 45-56 Verse 15b, “Behold” from verse 16 text repetition 4/4 D Major full chorus mm. p/u 57- end Verse 16 (after “Behold”) text repetition 3/4 B♭ Major full chorus *temporary tonicization of F Major may be a possibility due to editorial error; see further discussion 101 By key and meter, the overall form is ABCA’. But while the A’ section shares the key and meter of the A section, the melodic and harmonic connections are minimal. In the 16 measures that comprise the A’ section (p/u 57-72), only p/u m. 57 along with the first two beats of m. 57 and p/u m. 65 through the downbeat of m. 67 are drawn from the A section. Text repetitions are the result of proportional and harmonic considerations. Repetition of the last phrase of Verse 15 is set to the final musical phrase of EIN FESTE BURG. Verse 16 is repeated in its entirety (except for “Behold”). The two statements of the verse form the entire A’ section, and unlike the rest of the anthem, this final section has a form of its own—four equal four-bar phrases with phrase structure abcb’. Without composing a chorale, Dahle recalls the Lutheran chorale heritage with these features built into the anthem. There is one passage that may contain editorial error (missing accidentals). Example 2.7 shows the first 14 measures of the anthem. The E’s in m. 9 and m. 11 contain no accidentals in the printed score, but within the musical context, naturals may have been erroneously omitted. In the Example 2.7 analysis, the potentially missing accidentals are indicated in parentheses. Two-level analysis for mm. 8-12 is provided in both B♭ Major (if the E♭s are correct) and F Major (if the accidentals in parentheses are indeed missing). The analysis in B♭ Major indicates that the common-chord modulation from the temporarily tonicized F Major in mm. 5-7 is the chord on the downbeat of m. 7. Proportionally then, the phrase from p/u m. 8-12 consists of one beat of tonic B♭ followed by four measures that are dominant, including several weak second inversion dominant chords and vacillations with predominant chords ii and vi. The analysis in F Major (assuming the Es should be natural), however, demonstrates a more common harmonic progression and tonic-predominant-dominant area proportions. The phrase also ends on a perfect authentic cadence. The final F Major chord in the phrase then serves as a common-chord modulation back to B♭ Major and a strong dominant for re-establishing the home key. Finally, with the larger view toward the echo in mm. 25-28, it seems reasonable that mm. 8-12 similarly relate more to the material prior than in preluding the material that lies ahead. 102 Example 2.7: “Sing, O Heavens” Harmonic Analysis of mm. 1-14, with mm. 8-12 in both B♭ Major (naturals in parentheses omitted) and F Major (naturals in parentheses included) and Second-level Analysis 103 Pamphlets and Periodicals “A Mighty Fortress” in The Church Choir “The Church Choir” is a periodical of 23 volumes published from 1897-1920 by Geo. F. Rosche & Co. of Chicago, Illinois. Volume 20, no. 9, published June, 1917, contains a through-composed setting of Luther’s “A Mighty Fortress.” New music by George Marks Evans (1860–?) for SATB and piano is paired with stanzas 1-3, with the final stanza utilizing the historic tune in a chorale harmonization. According to the cover of the periodical, Evans’ setting was also published as a separate octavo. Each stanza receives a unique treatment, though the overall writing is homophonic (save a few passages of solo or paired voice parts). Stanza 1 is in common time in the key of D Major; stanza 2 is in 3/4 time and is primarily in B♭ Major; stanza 3 is in A Major and returns to common time; the final stanza is in 4/2 time and back to the initial key of D Major. A short transition occurs between each stanza, and each transition serves a different purpose. The transition between stanzas 1 and 2 is a musical tag in the stanza 1 key of D Major. The pick-up note in the soprano at the end of the tag, a D, serves as a common- tone modulation point, supported by a B♭ Major triad (the key of stanza 2) in the voices and accompaniment. Stanza 2 modulates in its final phrase to A Major, and the transition between stanzas 2 and 3 serves to solidify the new tonic center, emphasizing a half cadence in A Major in preparation for stanza 3. Stanza 3 ends as it begins on A Major, and the brief transition that follows establishes (in context) this final chord of stanza 3 as a common chord modulation into the final stanza (tonic in A Major = dominant in D Major). Little direct correlation or inspiration from the original melody is observed in Evan’s original music for the first three stanzas. He repeats certain phrases of text in each of these stanzas, though the choice of phrases that receive this treatment has more to do with where Evans has journeyed or is journeying musically than with emphasis of certain text via repetition. Stanza 4’s text is presented without any repetitions, as might be expected when utilizing the historic chorale melody. Very little detail is provided in the score; it contains no dynamics, and the only tempo indications are an initial moderato maestoso and a l’istesso tempo at the beginning of stanza 2. One presumes that the change to 4/2 meter 104 for the final stanza suggests a broadening of the tempo, though when preceded by a fermata at the end of stanza 3 the relationship does not need to be strictly quarter note = quarter note. Likely, at the discretion of the conductor, the tempo for the final stanza would reside somewhere between a doubling of the macro beat (quarter note = quarter note) and an equivalence of macro beat (quarter note = half note). Breathing is fairly intuitive, often indicated by rests and/or by punctuation. The technical challenges are modest, apropos for a publication title “The Church Choir” with presumed use of its choral resources by the same. Come Holy Spirit, Lord Our God The Joint Lutheran Committee produced The 400th Anniversary of the Reformation: A Program for Sunday Schools. The liturgical order of service includes an anthem for unison voices and piano “Come, Holy Spirit, Lord and God.” The translation of this 15th-century hymn, expanded by Luther, is noted to be “chiefly by Arthur Toser Russell” (1806–1874). 29 The original music is by Ralph Lewars. Of curiosity from a programmatic standpoint, the hymn is featured at the start the service (titled “Come, Holy Spirit, God and Lord”) in four stanzas based on Catherine Winkworth’s (1827–1878) translation of the same hymn, paired with the isometric version of the tune HERR JESUS CHRIST, DICH ZU UNS WEND. Like a hymnic setting, Lewars’ original setting is strophic, supported by a robust organ accompaniment. Russell’s translation is in three stanzas; it appears in the following table with the text as it appears in CW. 29 Joint Lutheran Committee, “The 400th Anniversary of the Reformation: A Program for Sunday Schools,” (Philadelphia, 1917), 7. 105 Table 2.10: Russell’s Translation and the CW Composite Translation 30 of Luther’s Komm, Heiliger Geist, Herre Gott In “400th Anniversary of the Reformation: A Program for Sunday School”, translation “chiefly by Arthur Tozer Russell” CW composite translation based on Winkworth in three stanzas. Come, Holy Spirit, Lord Our God, and pour thy gifts of grace abroad; thy faithful people fill with blessing. Love’s fire their hearts possessing. O Lord, thou by thy heav’nly light dost gather and in faith unite thro’ all the world a holy nation to sing to thee with exultation, Hallelujah! Hallelujah! Come, Holy Ghost, God and Lord! May all your graces be outpoured on each believer’s mind and heart; your fervent love to them impart. Lord, by the brightness of your light you gather and in faith unite your Church from ev’ry land land and tongue: this to your praise, O Lord our God, be sung. Alleluia, alleluia! O holiest Light! O Rock adored! Give us thy light thy living word, to God himself our spirits leading, with him as children pleading. From error, Lord, our souls defend, that they on Christ alone attend, in him with faith unfeigned abiding, in him with all their might confiding. Hallelujah! Hallelujah! Come, Holy Light, guide divine, and cause the Word of life to shine. Teach us to know our God aright and call him Father with delight. From ev’ry error keep us free; let none but Christ our master be that we in living faith abide, in him, our Lord, with all our might confide. Alleluia, alleluia! O holiest Fire! O Source of rest! Grant that with joy and hope possest, and in thy service kept forever, naught us from thee may sever. Lord, may thy pow’r prepare each heart; To our weak nature [pare each heart;] onward to press, our foes defying. To thee, thro’ living and thro’ dying. Hallelujah! Hallelujah! Come, holy Fire, comfort true, grant us the will your work to do and in your service to abide; let trials turn us not aside. Lord, by your pow’r prepare each heart, and to our weakness strength impart that bravely here we may contend, through life and death to you, our Lord, ascend. Alleluia, alleluia! The text in brackets in Russell’s stanza 3 is clearly a publication error; it is likely supposed to be “strength impart,” as similarly rendered in the CW translation. The main compositional feature of Lewars’ setting is his manipulation of triadic harmony. Beginning in G Major, Lewars uses common-chord modulations to temporarily tonicize A minor followed by C Major. He then uses a common tone to pass from C Major to A♭ Major, initiating a process 30 Aufdemberge, 203. 106 over eight measures of plagal relationships concluding in a modified repetition of the passage’s fifth and sixth measures that progress through an F7, temporarily tonicizing B♭m (A♭-E♭, B♭m-Fm, E♭-B♭m, E♭m-F7-B♭m). Another common tone with enharmonic spelling (D♭=C♯) allows the final B♭m chord to be followed by an F♯ minor chord (G♭ minor = F♯ minor). The F♯ minor chord initiates a four-measure phrase that temporarily tonicizes D Major. At the end of the D Major measure the lowered seventh is added, completing the common-chord modulation back to G Major. Example 2.8 contains the reduced accompaniment (by harmony change) with Roman numeral analysis. 107 Example 2.8: Lewars’ “Come, Holy Spirit, Lord and God” Accompaniment Reduction with Roman Numeral Analysis (omitted for plagal sequence) 108 Light Uncovered at the Boston Public Library, Light is “The Official Hymn adopted by The Executive Committee of the Greater Boston Celebration.” 31 The six stanzas by Sidney T. Cooke (n.d.) are set to an original melody by Edward E. Weaver (n.d.), harmonized by John Hermann Loud (n.d.). The poetic meter is 66 66 D; the rhyme scheme is aabba: phrases 1, 2, and 4 rhyme; phrase 3 rhymes by semi-phrase. Stanza 1 serves as a representative example: God of the Morning Mind, cloud and shade unknowing— Ancient of Truth’s fair days, thought all perfect glowing— Free in Thy Light of Light Wielding Thy sovereign might, Systems of suns evolve, light true life bestowing! The music is in E♭ Major, common time, comprised of four equal four-bar phrases. There is a great deal of internal similarity in the ABCA’ phrase structure, in both contour and note lengths. Example 2.9 details these similarities. 31 Sidney T. Cooke, Edward E. Weaver, and John Hermann Loud, “Light” (1917), dedication. 109 Example 2.9: Analysis of Weaver’s “The Light” Melody Harmonically, the hymn progresses in sophistication. In the first half of the hymn, each note of the melody is harmonized by a functional triad in tonal progression. The first phrase includes only I, IV, and V chords; the second phrase introduces a secondary dominant leading to a half cadence at the phrase’s conclusion. With the start of the third phrases, horizontal voice-leading and the use of pedals, at times, take precedence, resulting in instances of non-functional vertical harmonies. Example 2.10 shows the last two phrases of the hymn with harmonic analysis. The chord at “x1” results from the alto and tenor maintaining their pitches while the melody and bass execute contrary motion; the F-D♭-E♭-A♭ collection on beat 3 has no functional root or harmonic function in this context. At “x2” the chord G-D♭-E♭-B♮ is formed between two IV chords. The collection results from the soprano, tenor and bass executing a half- step neighbor tone while the alto maintains its E♭ for the duration of the measure; again, a functional root and harmonic function do not apply. In the final phrase at “x3” and “n.f.” both of the vocal movements previously at “x1” and “x2” occur simultaneously, the soprano executing a step-wise descent from E♭ to 110 B♭ while the alto and tenor execute half-step lower neighbors and the bass maintains its root E♭ from downbeat to downbeat across two measures. The resulting chordal at “x3,” E♭-A-F♯-D, again has no functional root or harmonic function. The chord marked “n.f.” (for “non-functional”), F♯-A-C-E♭, spells a fully diminished seventh chord, but in its context here it does not function as the chord does in the key of E♭ Major; instead of collapsing to the iii (G minor triad), the soprano completes its step-wise descent and the alto and tenor return upward by half-step to their tonic triad pitches from the previous downbeat. Finally, at “x5,” harmonic upper neighbors executed in the soprano and tenor while the alto and bass maintain the chordal root and fifth (respectively) result in a momentary departure from the second inversion tonic triad dominating the measure. Adding to the progressing complexity of the hymn, the last phrase features an augmented French sixth chord, aurally conspicuous in this setting consisting mostly of triads functioning as I, IV, or V chords. Example 2.10: Harmonic Analysis of Final Two Phrases of Light “The Reformation Call” in Augsburg Senior Lesson Book Published in the Augsburg Senior Lesson Book volume 39 number 4, “The Reformation Call” is a hymn with text and music by Lida Shivers Leech (1873–1962). The periodical in which is was found is 111 somewhat mysterious; no entry for the periodical exists in the WorldCat database. A copy of volume 39 resides in the library archives at United Lutheran Seminary. The periodical is a publication of The United Lutheran Publishing House of Philadelphia. According to Our Church: An Official Study Book published by the same, the periodical is part of an age-specific curriculum for Sunday school, outlined by the synod’s Parish and School Board. 32 Although published in this periodical from The United Lutheran Publishing House, the hymn itself is copyright 1917 by the Lutheran Publication Society. Without mentioning Luther by name, the first stanza and refrain clearly reference Luther, “our leader great and true; hero of the Reformation, fearing not God’s will to do” 33 The refrain is a prayer that “as he [i.e. Luther] followed Christ the Saviour, may we follow firm and true.” 34 The poetic meter is 87 87 D with refrain (which itself is 87 87); the rhyme scheme including the refrain is aabbcc. The music is in F Major, common time, with stanzas of four equal four-bar phrases and the refrain comprising two equal four-bar phrases. Musically, the hymn is of simple nature. The stanza phrase structure is AA’BA’’ as melodically most of the first three measures of phrases 1, 2, and 4 are identical. The refrain consists of a new C phrase followed by a variant of the A’’ phrase. Example 2.11 details these observations. 32 F. H. Knubel and M. G. G. Scherer, Our Church: An Official Study Book (Philadelphia: The United Lutheran Publication House, 1924), 114. 33 Leech, stanza 1. 34 Leech, refrain. 112 Example 2.11: Analysis of Leech’s “The Reformation Call” Melody Harmonically, the hymn is fairly elementary, harmonized almost entirely by I, IV and V chords. Phrase 2 and the first refrain phrase utilize a secondary dominant to affect ending these phrases on a half cadence. A ii6 appears near the end of phrase 4 and the last phrase of the refrain. Chromatic movement in the alto results in passing through a minor iv in the plagal Amen (IV-iv-I). 113 Scores Mentioned but Not Yet Located References to the following works were found while researching the 1917 corpus. Unfortunately, at the publication of this research, the scores either no longer exist or are still to be located. God Is Our Refuge and Strength “The New York Reformation Anniversary Bulletin” 1, no. 10 carries the following announcement under the heading “Reformation Music”: Mr. E. Schmauk, organist of Holy Trinity Church, has gotten out an anthem very suitable for use at Reformation Celebrations. The words are taken from the 46th Psalm. The title is “God is our Refuge and Strength.” It can be had in German as well as in English. 35 Whether or not the music was printed and distributed formally by an established publisher is unknown. Jubelsgesang zum Reformations Jubilaeum The Library of Congress Copyright Office 1916 Catalog of Copyright Entries Part 3: Musical Compositions no. 13 has a German entry for “Jubelsgesang zum reformations-jubilaum 1917,” recorded by the office in December 1916 for Fritz Reuter (1863–1924) of New Ulm, Minnesota. 36 The entry includes that the words are from the Bible along with Luther’s “Ein feste Burg” set to music for mixed choir, trio or small choir, and a children’s choir, along with organ. The Saturday June 16, 1917 edition of the Los Angeles Evening Herald also announces the performance of Reuter’s “magnificent ‘Jubelsgesang’” the next evening at Trinity church at Eighteenth and Cherry streets. 37 “The Jubilee Volume of the Sängerbote” In 1916 F. W. Herzberger published a collection of original poems about Luther and the Reformation titled Luther Songs and Ballads: A Jubilee Offering. Among the advertisements in the back matter is “The Jubilee Volume of the Sängerbote for 1917.” The advertisement says the volume “will be 35 New York Reformation Quadricentenary Committee, “Reformation Music” in The New York Reformation Anniversary Bulletin 1, no. 10 (Gettysburg: Buehler & Wierman), 2. 36 The Library of Congress Copyright Office, Catalog of Copyright Entries Part 3: Musical Compositions 13 (1916), 1239. 37 Unknown author, “Lutheran Choirs in Sacred Concert,” Los Angeles Evening Herald (Los Angeles, CA), June 16, 1917. 114 filled with original poetry and music by Lutheran authors, glorifying the blessed Reformation.” 38 The volume was published by Success Printing Company of St. Louis, Missouri. Sing Your Proud Hosannas The 1916 Catalog of Copyright Entries Part 3: Musical Compositions also contains an entry for “Sing Your Proud Hosannas,” text by F. W. Herzberger (in both English and German) and music by Fritz Reuter, for mixed choir with pipe or reed organ. 39 Volume 14, no.1 of Theologische Quartalschrift; published by the General Evangelical Lutheran Synod from Wisconsin, Minnesota, Michigan, and other States; contains an announcement that offers this additional piece of information: the Herzberger text is from “Eventide.” 40 This is Herzberger’s libretto for the cantata At Eventide published by Concordia Publishing House. The text for part 3, movement 12, which originated in Herzberger’s 1916 Luther Songs and Ballads (p. 78-79), is the text of Reuter’s anthem. Whether or not this anthem was self-published, published by Concordia Publishing House, or published elsewhere is unknown. The announcement for “Sing Your Proud Hosannas” in Theologische Quartalschrift is preceded by an announcement for Reuter’s “Jubelgesang zum Reformationsjubiläum 1917.” Following both announcements is this comment (translated from German): “The former [i.e. “Jubelsgesang”] is an especially powerful composition. Unfortunately, these were submitted too late for a more detailed review.” 41 Thus the review offers little insight beyond confirmation of the anthem’s existence and text source. Summary of 1917 Smaller Works From these anthems, a picture of the 400th anniversary small choral works repertoire emerges characterized by preference for new composition and longevity of use. Where the heritage of Lutheran hymnody is felt, it is formally relegated to appendage or direct modeling. This is seen in the compositions of Ohl and Evans, the official hymns commissioned for regional celebrations, and Dahle’s intentional inclusion of four “exemplary” chorales in his edited collection. In some instances, the influence of the 38 F. W. Herzberger, Luther Songs and Ballads (St. Louis, 1916), 91. 39 Catalog of Copyright Entries Part 3: Musical Compositions, 1275. 40 Unknown author, “Büchertisch” in Theologische Quartalschrift 14, no. 1 (1917), 79. 41 Theologische Quartalschrift 14, no. 1 (1917), 79, translation Bakken. 115 Lutheran heritage is more subtle or secondary, such as Lewars’ use of the opening strains of EIN FESTE BURG for motives (in his competition winning anthem), the use of Luther’s favorite Psalm 46 by Hahn and Schmauk, and the recasting of Luther texts by Evans and Lewars (the latter in The 400th Anniversary of the Reformation: A Program for Sunday Schools). But these texts and tune influences are all subject to new musical composition. Where existing chorale texts are not used, the dominating source is Scripture, particularly psalmody, as seen in all three prize-winning anthems, Hahn’s publications, Dahle’s original contributions to the Augsburg Publishing collection, as well as those he curated by Brenner and Hopkins. The use of these texts allows—even promotes—use by choirs far beyond a once-in-a-lifetime centenary celebration. Likewise, Dahle includes secondary texts for the expressed purpose of extending usage beyond the 1917 celebration. This is not to say specific references to the Reformation or the 1917 anniversary are completely absent among the corpus, as demonstrated in the texts of Lauritzen and Leech. But on the whole, the Reformation quadricentennial in large part provided impetus for the creation (and subsequent selling) of a body of new church choral music intended for use well beyond the event itself. Musically, accompanied SATB writing dominates (with exceptions such as Hahn’s “Psalm 46” for two- part equal voices, and the possibility that much of Dahle’s collection could be sung unaccompanied), and multiple formal key centers are common (as demonstrated particularly in the published octavos). Taken altogether, these suggest normalized standards having precedent over a more diverse corpus of resources for varied vocal and instrumental needs at the congregational level. Whether or not that holds within the larger context of a) other centennial celebration-related works yet to be uncovered or b) a larger early 20th century church music corpus is left for further research. 116 Chapter 3: 2017 Augsburg Fortress Publishing Serving the largest Lutheran denomination in the United States, Augsburg Fortress 1 is the publishing arm of the Evangelical Lutheran Church in America (ELCA). Their choral releases associated with the 500th Reformation observance are summarized in the following table. Table 3.1: Augsburg Fortress Reformation 500 Choral Publications Title Text Author Composer, Arranger Type, Publisher Part Number A Mighty Fortress Is Our God Martin Luther Martin Luther, arr. Aaron David Miller Choral octavo, 9781506425627 Come, Holy Spirit, God and Lord German hymn, 15th century and Martin Luther (tr. composite) Aaron David Miller Choral octavo, 9781506425726 God Alone Be Praised: Ad Lucem Susan R. Briehl, after Psalm 46 Zebulon H. Highben Choral octavo, 9781506447209 God Alone Be Praise: Per Crucem Susan R. Briehl, after Psalm 46 Zebulon H. Highben Choral octavo, 9781506447223 Lord, Be Thy Word My Rule Christopher Wordsworth, alt. K. Lee Scott Choral octavo, 9781506425986 May God Bestow on Us Grace Martin Luther (tr. Richard Massie, alt.) Aaron David Miller Choral octavo, 9781506426006 The Truth Will Make You Free John 8:31-32, alt. Anne Krentz Organ Choral octavo, 9781506426228 We Trust in God Alone James F. Macdonnell (adapted Brad Croushorn) Brad Croushorn Choral octavo, 9781506426242 Augsburg Chorale Book Various Various, arr. Various, ed. Zebulon M. Highben Perfect-bound book, 9781506426303 Following is analysis of their anniversary publications. 1 In 2016 Augsburg Fortress became an imprint of a new DBA designation coinciding with the 500th anniversary of the Reformation—1517 Media—a reference to Martin Luther’s authoring of his 95 debate theses in 1517. 117 Octavos A Mighty Fortress Is Our God Augsburg Fortress’ 2017 offering on this iconic Martin Luther hymn of the Reformation is a concertato for congregation, SATB choir, organ and trumpet (parts available for B♭ and C instruments). An extensive, technically advanced introduction for organ and trumpet is followed by a simple isometric chorale harmonization of the first two stanzas, sung by the congregation and doubled by the organ. A brief interlude at the end of stanza 2 gives way to a choir-only stanza 3 with SAB voicing. Initially in this stanza, the melody is abandoned for a newly composed melodic line in minor tonality, appropriately painting the text that begins this stanza. The vocal line, if at all informed by the isometric melody, is only loosely so. Example 3.1 shows this new melody (from the soprano/alto) superimposed with the isometric hymn tune (mm. 161-166 and mm. 174-176). In mm. 161-166 rhythmic and melodic contour likenesses are indicated with brackets. By mm. 174-176 the original hymn tune begins to reappear, though obscured by a hand-off from soprano to alto, a phrase opening interval different from the original melody, and the lack of any secondary dominant harmony supporting the penultimate melodic pitch of this phrase. As the text turns to God’s ultimate defeat of these evil powers (mm. 177ff), the chorale melody clearly returns in the soprano. A brief interlude following stanza 3 prepares stanza 4 for congregation and descant. The descant may be performed by choir, trumpet, or choir doubled by trumpet. 118 Example 3.1: “A Mighty Fortress Is Our God” (arr. Miller) Soprano/Alto Stanza 3 Melodic Line (mm. 161-166,174-176) Superimposed with Isometric Hymn Tune. Come, Holy Spirit, God and Lord Aaron David Miller has taken a Reformation-era text, long-wedded to a 15th-century German tune, and set it to new music. Aufdemberge reports that the tune KOMM, HEILIGER GEIST, HERRE GOTT is found in two 15th-century manuscripts and was included with Luther’s hymn text in Eyn Enchiridion oder Handbüchlein published in 1524 in Erfurt, Germany. 2 The text remains paired with that tune in the current hymnals of the ELCA, LCMS, and WELS (at the publishing of this research). A critical look at both the text as it appears in the octavo, and the new music as it relates to the long-standing traditional melody, follows. 2 C. T. Aufdemberge, Christian Worship: Handbook (Milwaukee: Northwestern Publishing House, 1997), 203. 119 To begin with the text, Table 3.2 is a side-by-side comparison of the text as it appears in Evangelical Lutheran Worship (ELW), the official hymnal of the ELCA at the publication of this research, and the text from the octavo. Italicized text signifies repetition. Table 3.2: Comparison of ELW 395 “Come, Holy Ghost, God and Lord” and Miller’s “Come, Holy Spirit, God and Lord” Evangelical Lutheran Worship Miller’s “Come, Holy Spirit, God and Lord” Come, Holy Ghost, God and Lord, with all your graces now outpoured on each believer’s mind and heart; your fervent love to them impart. Lord, by the brightness of your light in holy faith your church unite; from ev’ry land and ev’ry tongue, this to your praise, O Lord, our God be sung: Alleluia! Alleluia! Come, Holy Spirit, God and Lord! Let all your kindness be outpoured. Fall on our mind and heart; your endless love impart. Come, Holy Spirit, God and Lord! Lord by the brightness of your light, your children sing and all unite in ev’ry land and tongue; Lord, let your name be sung. Come, Holy Spirit, God and Lord! Come, holy Light, guide divine, now cause the word of life to shine. Teach us to know our God aright as loving Father, our delight. From ev’ry error keep us free; let none but Christ our teacher be, that we in living faith abide, in him, our Lord, with all our might confide. Alleluia! Alleluia! Lord make us free, help us to see. Come, Jesus, be our guide, fear and sin be pushed aside. Come, Holy Spirit, God and Lord. Come, Jesus, be our guide, fear and sin be pushed aside. Come, Holy spirit, God and Lord. Come, holy Fire, comfort true, grant us the will your work to do and in your service to abide; let trials turn us not aside. Lord, by your pow’r prepare each heart and to our weakness strength impart, that bravely here we may contend, through life and death to you, our Lord, ascend. Alleluia! Alleluia! Lord, by your pow’r prepare each heart; faith for our changing world impart. Your presence may we know, love for the world we show; come, Holy Spirit, God and Lord! Amen, amen, amen. While correlations can be found between the two texts, Miller’s composite omits certain phrases, and other phrases differ in meaning from their hymnal counterparts. Miller’s stanza 1 contains most of the textual ideas found in stanza 1 of the ELW text. The differences in meaning are often due to the placement of punctuation. The ELW text begins with a single multiple-clause sentence, “Come, Holy 120 Ghost, God and Lord, with all your graces now outpoured on each believer’s mind and heart;”. Miller punctuates in a way that morphs the text from a single imperative with qualifiers (“come with these which do this”) to three imperatives: come, let kindness be outpoured, and fall on our mind and heart. Additionally, in the ELW text God’s grace specifically is poured into minds and hearts, but Miller’s third imperative to fall on mind and heart refers back to the Holy Spirit himself. The difference in meaning is subtle but demonstrates a departure from the original German. The punctuation in the ELW text matches the German (“Komm, Heiliger Geist, Herre Gott, erfüll mit deiner Gnaden Gut deiner Gläubigen Herz, Mut und Sinn.”). Miller deviates further in his re-casting of the next phrases of stanza 1. ELW, following the original German, requests that the Lord unite his church by (as in “through”) his light (“O Herr, durch deines Lichtes Glast zu dem Glauben versammelt hast das Volk aus aller Welt Zungen;”). Miller, however, states that the church unites itself by (as in “around”) the Lord’s light. In the final phrase, ELW again follows the German more closely, the praises of the Lord being sung (“Das sei dir, Herr, zu Lob gesungen!”) rather than his name itself being sung as in Miller’s text. Miller’s treatment of stanza 2 is almost completely void of the thoughts expressed in the ELW text or the original German. Miller has omitted from what we wish to be free and what it is we hope to see. “Fear” and “sin” are not mentioned in ELW stanza 2 or the original German. It is difficult to ascertain if there was any attempt by Miller to mirror ELW stanza 2 (and if so, the correlation is mostly non-existent) or if ELW’s stanza 2 was intentionally omitted to instead introduce this new text. The correlation between ELW and Miller’s text returns in stanza 3, but only briefly. After starting his stanza by mirroring word-for-word “Lord by your pow’r prepare each heart” from the middle of ELW’s stanza 3, Miller abandons the thoughts in the ELW and German and instead inserts unrelated text. Again, the phrases (after the first) seem to be poorly correlated to stanza 3 or perhaps intentionally new and unrelated. Perhaps the most obvious omissions by Miller are the multiple poetically (and doctrinally) rich names of the Holy Spirit from the ELW and German texts—holy Light and holy Fire. But this reflects 121 Miller’s significant departures from the text in ELW stanzas 2 and 3, despite his stronger correlation in stanza 1. With his new music, Miller has not sought to mirror the structure of the original melody, nor has he sought to be strophic in his treatment of the text. Whether the structures in Miller’s music were written to complement an already prepared truncated and altered text or were written first (thus informing the alterations to the text) is not known. The departure from the original melody is significant. Rather than a strophic presentation, Miller has created a three-part ABA form, each section corresponding to the text gleaned from (or created new instead of) each stanza. The original melody, KOMM, HEILIGER GEIST, HERRE GOTT (see Example 3.2) has the following structure by phrase: A B C D A’ B C D’ E. Miller uses fewer musical ideas overall for his melody across the ABA form, relying largely on modifications and repetitions to set the text. The section A phrase structure is aaba’; the section B structure is ccb’a’’b’a’’’ (see Example 3.3). 122 Example 3.2: KOMM, HEILIGER GIEST, HERRE GOTT from ELW 123 Example 3.3: Analysis of Miller’s Melody in “Come, Holy Spirit, God and Lord” Miller’s choices regarding text and music are on the one hand quite practical. He has provided a less complicated internally repetitive melody and musical structure with a heavily revised and simplified version of a historic Reformation hymn text. This makes the anthem readily accessible and easily learned in short order. Conversely, the simplification and truncation are in some ways oddly opposed to an 124 anniversary-marking anthem; the text and the music are barely a shadow of a more robust text and tune that have stood the test of time and are still highly relevant among American Lutherans today, as evidenced by inclusion of the historic text and tune in modern hymnals. God Alone Be Praised The text of this anthem is by Susan R. Briehl, after Psalm 46 (see Table 3.3). 3 Commissioned for the 500th anniversary observance, the work also celebrates the 30th anniversary of the Association of Lutheran Church Musicians. 4 Table 3.3: Comparison of Briehl’s “God Alone Be Praised” with Psalm 46 (NIV) God Alone Be Praised Psalm 46 (NIV) Oceans rise, the coastland trembles; mountains melt and dry earth crumbles. All the world with longing groans. Love abides; this gracious promise is our help, our hope and solace. God’s strong word is solid ground. (vv. 2-3) Therefore we will not fear, though the earth give way and the mountains fall into the heart of the sea, though its waters roar and foam and the mountains quake with their surging. (v. 1) God is our refuge and strength, an ever- present help in trouble. (vv. 7b,10b) the God of Jacob is our fortress. Nations rage, the empire falters; seeking refuge, exiles wander. Walls and weapons rise from fear. Through this wilderness a river flows to heal and bless us ever. God the crucified dwells here. (v. 6a) Nations are in uproar, kingdoms fall; (v. 4) There is a river whose streams make glad the city of God, the holy place where the Most High dwells. Come and see; God’s mercy gathers all that sin and grief have shattered. Life from fields of death is raised. Peace, be still; let prideful thunder yield to songs of joy and wonder. God and God alone be praised. (v. 8a) Come and see what the Lord has done, (v. 10) He says, “Be still, and know that I am God; I will be exalted among the nations, I will be exalted in the earth.” Composer Zebulon M. Highben crafted two melodies for this text resulting in two contrasting choral anthems, both published by Augsburg Fortress. Surface-level contrasts are apparent: the melody titled AD LUCEM is in 3/4 while the other, titled PER CRUCEM, is in 4/4. PER CRUCEM is for SATB, organ, 3 “Susan R. Biehl, after Psalm 46” is the text credit for both anthems. 4 From the dedication on the first page of music in both anthems. 125 two trumpets and assembly; AD LUCEM is for SAB, piano, violin or oboe, and assembly. Certainly the sound-worlds contrast. But several commonalities exist between these melodies and anthems. Both melodies have a binary key structure to the stanza: the first half of each stanza is in D minor and the second half in the parallel D Major. Although cast in different meters, the melodies share similarities, particularly in the major key second half of the stanza (see Example 3.4). The concertato scheme is identical in the two anthems: stanza one is choir and assembly in unison, stanza two is choir only, and stanza three is choir and assembly in unison with soprano descant. The scheme for the instruments is also identical in the two anthems: independence for the introduction, doubling of the melody for stanza 1, tacit for choir-only stanza 2, and a combination of independent passages and passages doubling the soprano descant for stanza 3. The treatment of the choir-only stanza 2 is mirrored between the two anthems: AD LUCEM is unaccompanied for the D minor first half and accompanied for the D Major second half; this rubric is reversed in PER CRUCEM. 126 Example 3.4: Comparison of Highben’s AD LUCEM and PER CRUCEM Melodies Lord, Be Thy Word My Rule The text for this anthem by K. Lee Scott draws together words from three hymns by Christopher Wordsworth (1807–1885). All three hymns can be found in the sixth edition (1872) of his The Holy Year. The text for the first and last sections of this ABA composition is a two-stanza hymn for the rite of Confirmation, “Lord, Be Thy Word My Rule.” Scott has combined the two stanzas into a single text, apropos as the two stanzas are one continuous thought. The B section text combines the first four lines of the six-line first stanza of “O Thou, the Way, the Truth, the Life,” a hymn for Palm Sunday, with the final stanza of the ten-stanza hymn for the fourth Sunday of Lent “The Sun Is Sinking in the West.” Some alterations have been made to the B section text as compared to their source, as detailed in the table below. 127 Table 3.4: “Lord, Be Thy Word My Rule” Comparison to Source Texts from The Holy Year Text; Church season; hymn number; stanza; page in The Holy Year (6th ed.) in The Holy Year in “Lord, Be Thy Word My Rule” O Thou, the Way, the Truth, the Light; Sunday Next before Easter; 1; 38; 53 O Thou, the Way, the Truth, the Life, Jesu, Creator, mighty Lord, Eternal Sire’s Eternal Son, By hosts angelical ador’d, Thou deignedst for us to be born, To suffer grief, and bitter scorn. O Thou, the Way, the Truth, the Life, O Jesu, mighty Lord, Eternal Light, Eternal Son, by hosts of heav’n adored, O feed thy weary pilgrims, Lord, to Zion’s mountain bring, there to keep a heav’nly feast with thee, Our Prophet, Priest, and King. The Sun Is Sinking In the West; Fourth Sunday in Lent; 36; 10; 48-49 O feed us weary pilgrims, Lord, And to Thy Sion bring, To keep a heavenly Feast with Thee, Our Prophet, Priest, and King. The ABA musical construction of this anthem is apparent at the most basic levels: the A section is in D minor in a simple triple meter, while the B section is in D Major and simple duple meter. The return of the A section is marked by two differences from the first appearance: the first half of the return is in unison, and the section (and ultimately the anthem) ends in the relative F Major. For the average church choir, the anthem presents some moderate challenges. Breathing has been carefully indicated, and with an initial tempo marking of “moderately slow” with the quarter note at 69bpm, some phrases require exceptional breath control and stamina, particularly the six-measure phrase concluding the first A section. The soprano includes some brief divisi, and the vocal ranges are fairly wide (all span more than an octave). But the part-writing is idiomatic (the B section is basically an accompanied chorale) and supported almost entirely throughout by accompaniment that in no way competes with or challenges the singers’ vocal lines, save the tenors in mm. 67-68, where a slight deviation from the first A section results in some non-chord tones for the tenors as compared to the rest of the voice parts and accompaniment (see Example 3.5). Navigating this passage requires the tenors to 128 successfully find the A3 in m. 67; if this pitch is sung accurately by leap from the preceding C4, the step into the non-chord G3 in m. 68 should not be problematic. The passage will simply require rehearsal. Example 3.5: Comparison mm. 21-22 and 67-68 in Scott’s “Lord, Be Thy Word My Rule” May God Bestow on Us Grace Aaron David Miller has composed new music for the first stanza of Martin Luther’s three-stanza hymn. More accurately, the text is most of Luther’s first stanza; Miller has supplanted the final phrase in the stanza 1 with a variant of the final phrase of stanza 3. Below is the text of stanzas 1 and 3 as they appear in Lutheran Book of Worship (1978) and Miller’s amended text as it appears in the anthem. (LBW was the predecessor to ELW, ELCA’s current hymnal at the publication of this research, which does not include this Luther text.) 129 Table 3.5: Comparison of “May God Bestow on Us His Grace” (LBW) with Miller’s “May God Bestow on Us Grace” LBW Miller’s “May God Bestow on Us Grace” May God bestow on us his grace, With blessings rich provide us; And may the brightness of his face To life eternal guide us, That we his gracious work may know, And what is his good pleasure, And to the unbelieving show Christ's riches without measure, And unto God convert them. May God bestow on us grace, with blessings rich provide us; and may the brightness of God’s face to life eternal guide us; that we may know God’s gracious work and what is God’s good pleasure, and to the unbelieving show Christ's riches without measure. Now let us say, “Amen.” Oh, let the people praise your worth, In all good works increasing; The land shall plenteous fruit bring forth; Your Word is rich in blessing. May God, the Father and the Son And Holy Spirit, bless us; Let all the world praise him alone, Let solemn awe possess us. Now let our hearts say, "Amen." The emendations to the text are pointedly intentional: every male pronoun that refers to God has been replaced with “God” (or in the case of the first one, omitted), and the final line of stanza 1 regarding God’s work of conversion replaced with an action by humans. Curiously, Miller has also disrupted the rhyme of “know” and “show” with the rearrangement of the fifth line’s word order. Miller’s new music tips no hat whatsoever to the 16th-century historic melody or chorale treatment. Harmonically, Miller employs modal mixture as a compositional feature: while in C Major one finds among the chord inventory B♭ Major (VII), E♭ Major (III), and the Neapolitan II; during a passage in A minor, dominant D7 (IV) is heard, as are both G minor and dominant C7 (via sequence: Am-D7- Am-D7 is followed by Gm-C7-Gm-C7). The final entry of modal mixtures occurs in the penultimate measure, where in the key of C Major an A♭ Major (VI) and F minor (iv) appear. These are harmonic asides that bring variety to heavily diatonic and pattern-driven melodic and accompaniment content. The anthem’s main attraction is accessibility—written using simple melodic content and reasonable ranges, 130 this anthem fits the repertoire of just about any combination or ages of voices, from similar children’s voices to mixed adult voices. The Truth Will Make You Free Anne Krentz Organ offers an anthem for two-part mixed voices and piano, with text from the words of Jesus recorded in John 8:31,32. Organ appears to draw from two English Bible translations: English Standard Version (ESV) and King James Version (KJV). She takes the liberty of expanding the anthem’s text by including altered sentence structures derived from the original English Scripture. She removes the conditional if/then from verse 31 to transform it into imperative statements: “If you continue in my word” appears as both “continue in my word” and “know the word.” “Then” (or an implied “then” in ESV) is also removed resulting in the imperative “my disciples be.” Finally, one could argue that John 8:36b influenced the phrase used in the final three measures: “So if the Son sets you free, you will be free indeed” (emphasis added), though Organ has used the present tense “you are free” (emphasis added). All of these observations are outlined in Table 3.6 (correlations to KJV bolded; correlations to ESV underlined). 131 Table 3.6: Comparison of Organ’s “The Truth Will Make You Free” to John 8:31,32,36 KJV and ESV John 8:31a,32 Organ’s derivative text (KJV) If ye continue in my word, then are ye my disciples indeed; And ye shall know the truth, and the truth shall make you free. (ESV) “If you abide in my word, you are truly my disciples, and you will know the truth, and the truth will set you free.” (conditional replaced with imperative) (conditional replaced with imperative) (conditional replaced with declaration and imperative) (John 8:36b) “you will be free indeed.” (?) made present tense If you continue in my word, you are truly my disciples; and you will know the truth, and the truth will set you free. Continue in my word, and my disciples be. Continue in my word, the truth will make you free. Know the word, know the truth, my disciples be. Know the word, know the truth, the truth will make you free. If you continue in my word, you are truly my disciples; and you will know the truth, and the truth will set you free. You are my disciples. Continue in my word. You will know the truth, and the truth will make you free. Yes the truth will make you free. You are free. The vocal ranges are well-written for mixed voices—neither too high for the low voices nor too low for the high voices. The accompaniment is idiomatic, consisting mostly of arpeggiated left-hand figures, right-hand chordal harmonies or scalar passages, and occasional doubling of the uppermost voice. The harmonic language is strictly diatonic, save a few modal mixtures included momentarily toward the end of the anthem. 132 We Trust in God Alone Brad Croushorn has created a flexible anthem commemorating the 500th anniversary of the Reformation, setting a text by Canadian poet James F. Macdonnell. The anthem features the option of accompaniment by piano, or organ, or both; the score includes both accompaniment parts and the performance subtitle includes “piano and/or organ” (emphasis added). The strophic form also allows for optional assembly; the back page of the octavo is reproducible for inclusion in worship folders (a slight alteration occurs in the final stanza to the final three melody pitches, which is addressed later). Therefore altogether, six performance options exist: organ with congregation, piano with congregation, organ and piano with congregation, organ without congregation, piano without congregation, organ and piano without congregation. Each performance option carries with it special considerations to be aware of. Little about the vocal writing is cause for concern for most choirs; tenors may require some special care in the choral stanzas as they navigate the passaggio in mm. 20-23 and mm. 30-33. The final stanza consists of the melody indicated in both the treble and bass vocal staves, along with a soprano descant in the top vocal staff. The soprano descant consists of two-part divisi, but options for smaller choirs include only singing one of the two descant parts (as both are present in some way within the accompaniments—at pitch or at the octave—and can cover for the omitted part, though not as recognizably given moments of octave displacement and the thicker homogenous textures of the accompanying instruments); omitting the descant altogether; assigning first altos to the lower part of the descant (as it spans G♯3-E4 and is within the range of most first altos); or dividing the total compliment of sopranos and altos into three equal groups. The descant is marked “soprano descant” rather than “high voices,” so it seems the intent of the composer is that the descant only be sung by female voices; but another possibility is to create an SATB four-part texture by having altos and basses sing the melody while the sopranos sing the lower part of the descant and the tenors sing the upper part an octave lower. Finally, divisi appears in the treble melody line at the very end of the stanza; if covering or balancing these along with the divisi descant proves 133 challenging, some choirs may choose to omit the non-melody divisi notes in this line, particularly if they are supporting the congregation as they sing the altered culmination of the melody unique to this stanza. The alterations to the conclusion of the final stanza’s melody are important to be aware of if involving the congregation in the opening and closing stanzas as suggested in the score. The first three stanzas end with a penultimate 3/4 measure and final pitch on scale degree 2. The final stanza concludes with a 4/4 penultimate measure (created by the augmentation of the antepenultimate and penultimate melody pitches) and has final pitch on scale degree 5. The reproducible final page includes notation that shows this deviation from the previous three stanzas. For non-note readers in the congregation, the change may catch them off guard, though they are well supported by the choir, particularly if the descant is left to just a few singers or omitted altogether, offering most or all of the sopranos to support the melody. Considerations for the accompaniment include how each of the organ and piano interact with the voices individually, as well as how both organ and piano interact with each other and mutually with the voices when accompanying with both. Both are idiomatically written and not technically difficult. The piano accompaniment supports (i.e. doubles) the melody progressively less as the anthem advances, particularly in the final stanza. A bit of harmonic tension exists between the piano and voices in m. 18 (again at m. 28) and m. 21 (again at m. 31) and is a bit jarring in the context of the rest of the composition’s tonal language, though they pass by relatively quickly. See Example 3.6 for a comparison between the voices and piano accompaniment in these measures. The figure also is a representative example of how the organ closely correlates to the voices. Chordal analysis assumes idiomatic sustain pedaling for the piano. 134 Example 3.6: Croushorn’s “We Trust in God Alone” mm. 18-21 *analysis in parentheses is if the pedal is reset on beat 4, combined with F in tenor Beat 4 of m. 18 juxtaposes three octaves of Ds and Cs in the piano against a first inversion tonic triad in the voices. It is a by-product of linear passing tone movement in the piano accompaniment at that 135 moment. The opposite occurs in m. 21 and is most noticeable given its duration over the entire measure; the piano is a subdominant harmony for the duration while the voices make use of passing and neighboring motion, introducing non-chordal or extended harmonies to the overall analysis. The downbeat bass F might be considered an added 6 to the IV chord in the piano, or as an accented passing tone to the beat 2 chordal tone E♭. The beat 2 alto G might be thought of as a lower neighbor to the chordal A♭ in the rest of the measure. The beats 3 and 4 tenor F might again be considered an added sixth, or with an F appearing in the piano beneath, a change from an overall IV harmony to a first inversion ii7 harmony. Regardless, what is clear in m. 21 is that the voices and organ are the prioritized complementary pair as they mirror each other. The organ accompaniment supports (i.e. doubles) the voices more closely throughout the anthem; it nearly doubles all voices in the choir-only middle stanzas and includes the melody in full for the final stanza. It is in fact difficult to assess strictly by analysis which came first, that is, whether the organ is based largely on the vocal writing or vice versa, or if they were developed simultaneously. What is clear is that moments of harmonic tension like that between the voices and the piano are relatively non-existent when accompanying with organ only. The only tension to note specifically is m. 43, where on beat four the organ includes an E4 and an accented lower neighbor F♯4 when the voices (and the piano) are simply an augmented mediant triad. The addition of the E transforms the organ harmony on that beat to a first inversion secondary dominant (in relationship to the following subdominant harmony), but the effect is somewhat weak without the E in the voices or the piano (when accompanying with both organ and piano). This leads to the final consideration for accompaniment options, which is using both organ and piano. Because the voices and organ follow each other so closely, several of the tensions listed previously between voices and piano-only also exist between organ and piano in the dual accompaniment option— see the previous discussions about m. 18 (m. 28) and m. 21 (m. 31). However, some additional tensions are worth noting. In the introductory measures, one immediately notes that the downbeat of m. 3 consists of a first inversion tonic triad in the piano, whereas the organ forms a second inversion submediant triad. It is possible that the B♭4 in the piano is an error, as the rest of the measure contains identical pitches 136 (with octave displacement) across both instruments. The moment is rather fleeting and likely poses little bearing on any decision regarding accompaniment option. The choice of accompaniment option does have a more substantial effect in m. 20 (again at m. 30). The voices only contain pitch classes A♭ and C. Consequently, in tonal analysis it is possible that these suggest a subdominant or a submediant, though one would likely choose subdominant given the presence of the A♭ in three of the four voices. When accompanying with organ alone, the subdominant is confirmed with the presence of an E♭. The piano, however, includes a root F and an E♭, forming a minor- minor submediant seventh chord. Together, the organ and piano create a first inversion submediant seventh chord (given the lower octaves of the organ’s 16’ pedal A♭). Thus, that moment in m. 20 (again at m. 30) is a different harmonic experience depending on the accompaniment option chosen. M. 46 to the end contain many similarities between piano and organ, but non-harmonic tone use, textures, rhythmicity and in some cases overall chordal analysis in these measures will change based on the accompaniment option chosen. See Example 3.7 for a closer look at the keyboards in these concluding measures. Pitch classes that are not present in the other instrument or the voices at the same moment have been circled. Motion/rhythmicity that is not present in the other instrument or the voices at the same moment is marked with brackets. 137 Example 3.7: Croushorn’s “We Trust in God Alone” mm. 46-End 138 One final component to note of the combined organ-piano accompaniment is some discrepancy in the timing of suspension resolution, most noticeable at m. 23 (again at m. 33) and m. 29. These also exist between the voices and piano alone. The final choice for accompaniment comes down to a number of competing musical priorities (assuming the presence of two instruments that appropriately complement each other aurally in all ways). If congregation is involved, the likely choices are organ only or organ and piano. With the strong correlation between the organ and the voices, the melody will enjoy strong support throughout. The addition of piano to organ offers the percussive and sound decay qualities of the piano in contrast to the sustain tones of the organ, as well as rhythmic impetus with its flowing eighth note dominated construction, added color via its harmonic deviations and the use of sustain pedal, and another layer of accompaniment to support the singing assembly (at times). It is likely that the piano-only option would be reserved for a choir-only anthem, as the skill level and advance preparation of the singers likely will not require as much doubling support from the accompanying instrument (as might be required, or at least desired, by comparison, if the congregation were involved). While there are some momentary discrepancies in the strictest sense observed during close analysis, overall the anthem offers what many publishers look for—versatility, with several functional options to serve a wide range of choral and worship situations and considerations. Augsburg Chorale Book This robust collection of 29 chorale settings includes contributions from five centuries of Lutheran composers. General editor Zebulon M. Highben (b. 1979) summarizes the contents, “Fourteen of the settings are new and were composed specifically for this collection. The others are historic settings spanning the sixteenth through twentieth centuries, presented here in new editions with contemporary English translations.” 5 The collection’s design offers much variety to the choir and congregation. Highben notes in his introduction that while settings frequently feature four-part SATB voicing, some utilize other 5 Zeublon M. Highben, ed., Augsburg Chorale Book (Minneapolis: Augsburg Fortress, 2017), v. 139 voice combinations or unison; unaccompanied settings include keyboard reductions for optional colla voce doubling; accompanied settings vary from organ to woodwinds to strings to brass; and performance notes offer suggestions for incorporating the congregation. 6 Five indexes assist conductors and worship planners to incorporate this collection’s contents into worship: Seasonal and Topical, Text Sources, Composers and Arrangers, Chorale Tunes, and Titles. Additionally, the performance notes include hymnal references for ELW, LSB, and LBW. The following table summarizes the contents of this collection (in the order they appear) including title, tune, arranger, year the setting was written, voicing, accompaniment, and stanzas (page vi indicates that tune names and stanza numbers correspond to ELW unless otherwise indicated). Table 3.7: Contents of Augsburg Chorale Book Title Tune Arranger Year Voicing Accompaniment Stanzas (ELW) Savior of the Nations, Come NUN KOMM, DER HEIDEN HEILAND Nancy M. Raabe 2017 SAB unaccompanied (optional reduction) 1,2,4 O Savior, Rend the Heavens Wide O HEILAND REISS, DIE HIMMEL AUF Johannes Brahms 1863- 64 SATB unaccompanied (optional reduction) 1-3 From Heaven Above VOM HIMMEL HOCH Daniel E. Schwandt 2017 2 treble voices organ, 2 trumpets 1,12,15 Let All Together Praise Our God LOBT GOTT, IHR CHRISTEN John Helgen 2017 SSA, TTBB, SATB optional colla voce 1,3,5 To Jordan Came the Christ, Our Lord CHRIST, UNSER HERR Gerhard Krapf 1984 SATB unaccompanied (optional reduction) Quitmeyer’s translation st. 1,4,5 6 Augsburg Chorale Book, v. 140 Title Tune Arranger Year Voicing Accompaniment Stanzas (ELW) O Morning Star, How Fair and Bright WIE SCHÖN LEUCHTET Hugo Distler 1933 SAB unaccompanied (optional reduction) with optional instrumental ritornello 1,3,5 The Only Son from Heaven HERR CHRIST, DER EINIG GOTTS SOHN Robert Buckley Farlee 2017 SATB organ, oboe 1-4 Ah, Holy Jesus HERZLIEBSTER JESU Ralph M. Johnson 2017 SATB cello (optional reduction) 1,4 O Sacred Head, Now Wounded HERZLICH TUT MICH VERLANGEN Robert Leaf 1987 SATB organ, clarinet 1 Lamb of God O LAMM GOTTES, UNSCHULDIG F. Melius Christensen 1933 SATB unaccompanied (optional reduction) Russell’s translation st. 1 Christ Jesus Lay in Death’s Strong Bands CHRIST LAG IN TODESBANDEN Johann Hermann Schein 1618 SST continuo (figured bass provided and realized) 1 Awake, My Heart, with Gladness AUF, AUF, MEIN HERZ Mark Sedio 2017 SAB organ, continuo, or woodwind trio 1-3 Come, Holy Ghost, God and Lord KOMM HEILIGER GEIST, HERRE GOTT Brian Wentzel 2017 SAB organ 1-3 Kyrie! God, Father KYRIE, GOTT VATER Kristina Langlois 2017 2 treble voices organ 1 All Glory Be to God on High ALLEIN GOTT IN DER HÖH Chad Fothergill 2017 SATB unaccompanied (optional reduction) 1-4 We All Believe in One True God WIR GLAUBEN ALL Helmut Barbe 1965 SAB and/or two voices unaccompanied (optional reduction) and/or obbligato instrument 1-4 141 Title Tune Arranger Year Voicing Accompaniment Stanzas (ELW) Wake, Awake, for Night Is Flying WACHET AUF Bartholomä us Gesius ? SATB unaccompanied (optional reduction) 1-3 In Peace and Joy I Now Depart MIT FRIED UND FREUD Dietrich Buxtehude 1674 unison treble, unison bass Transcription of the non-doubling string parts 1-4 A Mighty Fortress Is Our God EIN FESTE BURG Georg Philipp Telemann ca. 1730 SATB unaccompanied (optional reduction) 1-4 Lord, Keep Us Steadfast in Your Word ERHALT UNS, HERR Jeremy J. Bankson 2017 SATB organ, trumpet 1-3 Salvation unto Us Has Come ES IST DAS HEIL Johann Walter 1524 SATB unaccompanied (optional reduction) 1,4,5 Out of the Depths I Cry to You AUS TIEFER NOT Felix Mendelssoh n-Bartholdy 1830 SATB unaccompanied (optional reduction) 1-4 Now to the Holy Spirit Let Us Pray NUN BITTEN WIR Johann Staden ? SAB unaccompanied (optional reduction) 1 Our Father, God in Heaven Above VATER UNSER Bradley Ellingboe 2017 SATB unaccompanied (optional reduction) 1-4 Lord, Thee I Love with All My Heart HERZLICH LIEB John Ferguson 1997 SATB organ 1-3 Praise to the Lord, the Almighty LOBE DEN HERREN Johann Sebastian Bach 1725 SATB organ ad libitum, optional 3 trumpets and timpani 1-4 Isaiah in a Vision Did of Old JESAIA DEM PROPHETEN Michael D. Costello 2017 SAB organ 1 142 Title Tune Arranger Year Voicing Accompaniment Stanzas (ELW) Now Thank We All Our God NUN DANKET ALLE GOTT Zebulon H. Highben 2017 SATB unaccompanied (optional reduction) 1-3 Following is brief analysis and comments regarding the fourteen settings written specifically for this collection, as well as the settings by Krapf (1924–2008), Leaf (1936–2005), Christiansen, Barbe (1927–2021), and Ferguson (b. 1941), in the order they appear in the collection. Analysis of pre-20th- century settings and/or the general compositional output of those composers are available in other academic literature, as is also true for 20th-century composer Hugo Distler (1908–1942). Savior of the Nations Come Nancy Raabe’s (b. 1954) setting of stanzas 1, 2, and 4 of this six-stanza hymn will require some thoughtful study by the conductor. No tempos or dynamics are indicated, leaving the conductor to explore questions such as appropriate tempo for each of the stanza settings (same or different?), where to take liberties with the tempo, and how to dynamically shape the phrases, stanzas, and overall arrangement. The conductor may also wish to plan carefully where the voices should take breathes; punctuation, individual movement of the vocal lines, and repetition of text often suggest some independence among the voices where breathing is concerned. A brief ostinato in the soprano and alto voices at the beginning of stanza 2 invites this question: should the altos breathe every measure, every two measures, or not at all over the opening six bars (mm. 12-17)? Finally, the word “come” is used in long tones for the opening measures of the baritone, as well as for the sopranos in the ostinato at the beginning of stanza 2. No indication is given as to whether the singers should remain open on the vowel or close to the “m;” both are possibilities, apparently left to conductor discretion. The setting does not elide the stanzas in any compositional way, so the performance note indicates that the congregation may optionally be involved by inserting the hymnal setting of stanza 3 143 between mm. 23 and 24, and the congregation may sing stanzas 5 and 6 from the hymnal following the choir’s stanza 4. From Heaven Above The purpose of Daniel Schwandt’s (b. 1977) setting of stanzas 1, 12, and the final stanza of Luther’s well-known Christmas hymn, as well as suggestions for how to utilize it, are clear from the performance note in the collection’s introduction: “Martin Luther’s famous Christmas hymn demands alternatim practice simply because of its length. Schwandt has arranged three stanzas . . . in contrasting styles to support this practice; some or all of the remaining stanzas should be sung by the assembly and/or choir(s) in various configurations (high voices, low voices, etc.). Although this setting works well with adult voices, its range and the history of the chorale make it especially appropriate for children and youth.” 7 Each of the stanza settings include an elaborated tempo indication, a movement title explaining the composition approach/purpose of the setting, dynamics and some registration indications. The setting of stanza 1 is labeled “Intrada” and features trumpets exchanging rhythmic figures built primarily of the interval of a fourth. The exchanges occur between phrases of the text and tune. Those phrases are presented by unison treble voices. At the same time, the organ slowly builds over the course of the stanza note-by-note, culminating in a clustered chord that contains at least one instance of every pitch in the C Major scale except for D (though that is found in the trumpet at the final culminating moment). The trumpets complete the setting of stanza 1 alone on an open G-D fifth; a note indicates that segue immediately into stanza 2 is an option. The setting of stanza 12 is intriguing. Marked “Canonic Berçeuse,” a note explains that the melody is in strict canon at the fourth. For each phrase, the canon follows at two measures (which in the setting equates to two melody pitches). Cast in 6/8 meter, the long tone canonic duet is supported by a constantly flowing accompaniment. Harmonically, the accompaniment vacillates between key centers, 7 Augsburg Chorale Book, vi. 144 though it never drifts far in relationship to the overall home key of the hymn (C Major). The setting begins squarely in the relative A minor. But canon at the fourth organically sets up a key relationship with F Major, the accompaniment and melody eventually utilizing B♭; the setting does gravitate finally to F Major. In the interim, the vacillation is driven by harmonic inflections up (F♯ and G♯) and down (B♭ and E♭). The tonal dissonance, unsettled sense of key center, and constant flow of the accompaniment provide a setting that significantly contrasts the congregational chorale settings that potentially flank it; where relatively clear key center and phrase cadences dominate the chorale, Schwandt’s canonic setting and harmonically obscured accompaniment provide a tonal landscape that, once launched, carries forward without a moment’s repose until the stanza concludes. With the ultimate shift to F Major, the conductor wishing to follow with a congregational stanza will need to decide whether or not a modulation back to C Major is warranted before beginning the congregational stanza. This likely will depend on the musical aptitude of the congregation involved. The setting of the final stanza is marked “Zwischenspiel,” translated “interlude” (or literally “between play”) and draws largely on material from the Intrada. What differs is that the trumpets play their first-stanza figures between phrases completely unaccompanied—hence the movement title. Also contrasting the first stanza’s setting is two-part treble vocals and a chorale-like organ accompaniment. Let All Together Praise Our God John Helgen’s (b. 1957) straight-forward setting of three stanzas from this hymn “may be presented as a motet, or performed in alternation with the assembly.” 8 Breathing throughout is intuitive, and as one might expect, the melody of the TTBB stanza is found in the second tenor. Once again, however, no tempos or dynamics are indicated, leaving to the conductor some latitude after studying the text and setting, as well as considering how it is used with or without the congregation and the acoustics of any given worship/performance space. 8 Augsburg Chorale Book, vi. 145 To Jordan Came the Christ, Our Lord Gerhard Krapf’s four-part a cappella setting of Walter’s Reformation era modal chorale tune is characterized by predominantly root-position harmonies and a smattering of chordal sevenths resulting from inner voice passing tones. Two features in particular stand out in this single-pass harmonization of the tune. The first is Krapf’s setting of the opening phrase, which is immediately repeated in the chorale’s phrase structure. He sets the first occurrence in a two-part canon; the effect is a canonic incipit to the balance of the harmonization, which is four-part. The other moment is a compositional curiosity. The entirety of the setting rigidly follows tonal voice-leading conventions, but a series of parallel fifths appears in the tenor and bass in a three-chord progression from beat three of m. 18 to the downbeat of m. 19. Furthermore, the chord on beat four of m. 18 is the only seventh chord (save a dominant seventh in m. 14) to appear on the beat, and the only one in inversion in the entire setting. The resulting minor second between alto and tenor, combined with its beat placement and inversion results in a jarring aural moment relative to the rest of the setting. Nothing textually suggests the need for such emphasis on the weakest beat of the measure via this harmonic anomaly, so one is left to wonder if the tenor A isn’t actually a typo; a unison B♭ for alto and tenor would correct the conventional voice-leading error, double the triad’s root, and greatly reduce the aural emphasis of the weak beat. The Only Son from Heaven Robert Buckley Farlee’s (b. 1950) setting of this Reformation-era text and tune is characterized by somewhat unconventional tonal writing. One observes fairly prominent use of accented passing and accented neighboring tones, appearances of traditionally “forbidden” parallels, and extended chordal tones that are moved into and away from unconventionally. These include leaping into chordal sevenths or other extended chord tones rather than approaching them by step, chordal sevenths that resolve up rather than down, and brief moments where individual melodic figures drive the cumulative parts through non-functional vertical harmony (see Example 3.7 for a representative passage; accented non-harmonic tones are circled, parallel fifths are slurred in the contributing voices). The effect is a rich tonal palate of 146 extended harmonies, sometimes obscured harmonic progression, and a subtle forward impetus that only reaches true repose at the very end of the four-stanza setting. Example 3.7: Farlee’s “The Only Son from Heaven” Analysis of m. 15-downbeat m. 19 147 The conductor will want to study carefully this arrangement to identify potential trouble spots for singers. Leaping by a third rather than the intuitive step occurs in several voices and locations throughout the setting, sometimes “against the grain” of a dominant chord’s traditional chordal third leading tone resolution by step. Additionally, it seems left to the conductor to decide whether the transition from 2/2 to 3/4 and back again is to be in an equal quarter-note relationship or in the relationship half note equals dotted half note, as no indication is given in the score. The second stanza moves the cantus firmus from voice-to-voice, and it even disappears momentarily right before the stanza’s final cadence. Additionally, neither registrations (except for a note that light zimbelstern may be added for stanza 4) nor dynamics are indicated for the organ. Cues for these aspects would likely be taken from the dynamics indicated in the vocal and instrumental parts, the color of the obbligato instrument (the indication is for oboe, but the range allows for several possible substitutions), the size of the choir, the size and acoustic nature of the performance space, and whether or not the congregation joins on the final stanza. Ah, Holy Jesus Collection editor Zebulon Highben offers a succinct assessment of Ralph Johnson’s (b. 1955) setting of this classic Lenten chorale for SATB voices and cello: “The first stanza . . . features a plaintive cello solo and a free, ornamented interpretation of the chorale tune. A fermata in the cello part at the stanza’s end (m. 52) leads directly into the fourth stanza, where the melody is more clearly defined.” 9 Unlike its predecessor in the collection, this setting includes clear and detailed tempo, dynamic, and articulation markings for both the voices and the cello. The cello is independent and integral to the setting; instances where it doubles a voice (for two or more consecutive notes) are rare, and at times the cello determines the overall vertical harmony by establishing the chordal root. O Sacred Head, Now Wounded Robert Leaf’s 1987 setting is re-issued with this 2017 collection. Highben writes “Leaf’s setting weaves the isometric version of the tune and J. S. Bach’s well-known harmonization with a stirring 9 Augsburg Chorale Book, vii. 148 clarinet solo in an extended meditation on the first stanza.” 10 A sighing motive constitutes much of the clarinet writing over three octaves, with flourishes that traverse the aural space between the registers. The clarinet is dominated by pitches D, E♭, and G (scale degrees one, five and six, respectively, of G minor). Appearing very rarely are F, A, and C, the pitches that form the dominant V chord in the relative B♭ Major. As Bach's chorale harmonization begins and ends squarely in B♭ Major, the clarinet serves as a subtle tonal juxtaposition to the chorale between phrases. When incorporated into the interior of phrases two and three, the clarinet is dominated by B♭ and F, the first and fifth scale degrees, respectively, of B♭ Major. The beginning and end of the setting contrast entirely by design; Leaf introduces the chorale establishing the clarinet motive and tonal center in G minor, accompanied by the keyboard. He concludes with the choir unaccompanied in Bach’s B♭ Major setting. Lamb of God According to collection editor Highben’s note, this setting by F. Melius Christiansen is available in two previous publications—a stand-alone octavo in the St. Olaf Choral Series and The Augsburg Choirbook collection (Augsburg Fortress, 1998). 11 Although available elsewhere, inclusion in this 500th Reformation anniversary collection brings additional name recognition and historicity of the Lutheran church in America and the ELCA in particular to the present collection, as well as acquaintance with (or reacquaintance with) this particular arrangement by Christiansen of the Agnus Dei by Luther’s contemporary, Nikolaus Decius. Compositional analysis of Christiansen’s works is available in other academic literature. Awake, My Heart, with Gladness Collection editor Highben describes Mark Sedio’s (b. 1954) setting as “neo-Baroque.” 12 Baroque characteristics include the use of ritornello and flexible or interchangeable performance options for both voices and instruments. The harmonic language and free rather than strict ritornello modernize the 10 Augsburg Chorale Book, vii. 11 Augsburg Chorale Book, vii. 12 Augsburg Chorale Book, viii. 149 Baroque techniques. Doubling of the vocal parts in stanzas 1 and 3 by the accompaniment is rare. Conversely, stanza 2 is nearly entirely colla voce, and in fact, stanza 2 could be a cappella with SAB voices. The doubling is intentional, however, as one performance option for reduced voices, noted in the preface, suggests unison singing of the melody (as it passes from voice to voice), with the keyboard or instruments filling in the missing voices. 13 Come, Holy Ghost, God and Lord Brian Wentzel’s (b. 1979) setting of this Luther text and Reformation-era tune begins with an introduction that presents most of the melody in a fairly straight-forward manner, supported by foreshadowing of techniques that will characterize stanza 2. These techniques include imitation of melodic material, embellishment of the same, long-tone chords utilizing seconds intervals, and an ostinato-like accompaniment. The second stanza presents new melodic material patterned heavily on the structure and after the contours of the original melody. It contains mostly equal-valued pitch length (all quarter notes except for the opening pitch and the final pitch in each phrase) and consistent phrase length (eleven pitches, with the exception of the phrase preceding the Alleluias, which has 13 pitches). The phrase structure of KOMM, HEILIGER GEIST, HERRE GOTT is A B C D A’ B C D’ Alleluia. Wentzel’s structure in stanza 2 is A B C D A B C D’ Alleluia, and his phrases are similar in many ways to the pitch content (transposed) and contours of the original hymn tune (see Example 3.8 for comparison). By repeating his A phrase exactly the second time, Wentzel is able to repeat his accompaniment and invert the uppermost and lowest voices as the restatement ensues (this inversion is foreshadowed in the first stanza, where the melody moves from the upper voices to the lower voices at the same juncture in the overall phrase structure). Example 3.9 outlines the melodic phrases (using capital letters) and the harmonic phrases (using lowercase letters) in mm. 31-45, along with their elision/inversion point at m. 38. At this measure, the final chord of the progression for the first statement of the A-D phrases (mm. 31-38) supplants the opening chord of the progression at m. 31, after which the 13 Augsburg Chorale Book, viii. 150 progression repeats (mm. 39-45 are identical to mm. 32-38, save some embellishment in the right hand at m. 45). Example 3.10 outlines the progression in mm. 31-55 (left hand and pedal only). Note the seconds interval in every chord (except m. 52 and m. 54), foreshadowed in the introduction’s opening measures. 151 Example 3.8: Comparison of Wentzel’s A, B, C, D, and D’ Phrases to KOMM, HEILIGER GEIST, HERRE GOTT Analogous Phrases (Transposed) 152 Example 3.9: Wentzel’s “Come, Holy Ghost, God and Lord” mm. 31-45 Melody and Harmony with Elision/Inversion 153 Example 3.10: Wentzel’s “Come, Holy Ghost, God and Lord” Organ Accompaniment mm. 31-55 (Left Hand and Pedal Only) 154 The tonality for stanza 2 is modal, resembling most closely A aeolian. There is no functioning leading-tone in this stanza. Additionally, for the entirety of the stanza, pitch class F is not used in the voices or the manuals, though it does appear in the pedal of the accompaniment. The accompaniment ostinato progression begins a third pass but is interrupted at the conclusion of the final Alleluia, coming to rest on an F chord that ultimately brings the tonality back to F Major via a plagal passage over pedal F, along with snippets of the original melody (see again Example 3.10 for the plagal cadence). Conductors need to be aware of two items in particular. Like other settings in this collection, Sedio has included no indication of registration—size of choir, congregation (if involved), performance space, organ capabilities, and desired color or aesthetic will be determining factors. Also, the KOMM, HEILIGER GEIST, HERRE GOTT tune matches that of ELW (and LBW); but the majority of current Lutheran hymnals at the publication of this research vary from this version of the tune at the onset of most phrases (note length) and in one pitch of phrases 3 and 6—ELW’s two penultimate eighth notes in these phrases are F and D respectively; many other hymnals have E rather than D. CW, LSB, ELH, and TLH all have the latter rendering, and use quarter notes following a quarter rest to begin phrases. This aligns with the melody in the 1524 Erfurt Enchiridion. 14 If a congregation using one of these hymnals is to be involved in singing stanza 3 of Wentzel’s setting, these variances will either need to be addressed in the choral arrangement to match pew hymnals, or the melody used in the choral arrangement supplied to worshipers (via printed worship folders or projection). Kyrie! God, Father Editor Highben’s comments on Kristina Langlois’ (b. 1956) arrangement speak to the overall structure of her writing. He highlights that “although this chorale is through-composed [she] inserts a ritornello before and between the Kyrie’s three petitions. This treatment parallels the tripartite structure of the text and creates a pleasant contrast to the robustness of the petitions.” 15 The ritornello is formed in an almost exclusively Baroque-like duo with dotted rhythms and imitative fragments. This light, rhythmic 14 See https://www.deutschestextarchiv.de/book/show/luther_enchiridion_1524, images 36 and 37. 15 Augsburg Chorale Book, viii. 155 texture contrasts the thicker chorale-like accompaniment and vocal duet. The harmonic language is dominated by simple root position (and occasionally first inversion) triads, congruent with the modal melody and the hymn’s Reformation roots. But appearances of non-dominant seventh chords muddle this harmonic language. Two second inversion chords late in the piece, not associated with a cadence and in close succession, stand out in particular. Perhaps for Langlois, the through-composed melody gave way to a freer harmonic language not rigidly bound by any era-specific conventions. All Glory Be to God on High Chad Fothergill (b. 1984) models his setting of “All Glory Be to God on High” on the Tenorlied. 16 Flexibility is again highlighted: the performance note offers three options including as written unaccompanied, with the accompanying reduction, or with voices singing the cantus firmus tenor in unison while solo instruments cover the other parts. 17 Strictly doubling the opening of the cantus firmus at the major third, Fothergill skillfully uses modal mixture to destabilize F Major almost immediately. The strict doubling alters scale degrees four and five upward (B♭ and C to B and C♯, respectively), which allows Fothergill to destabilize the key of F Major, without going too far afield harmonically, by invoking strains of the relative D minor. The result is that the opening phrase (mm. 1-5, repeated mm. 6-10) oscillates between the keys of F Major and D minor. Example 3.11 includes a rather forced Roman numeral analysis in both the keys of F Major (first line) and D minor only (second line), as well as a Roman numeral analysis that outlines the oscillation between the two keys (third line). The Roman numeral analysis with an asterisk indicates a moment of varied interpretation, given the presence of only two pitches. The most likely candidates for completion of the triad at that moment are an implied G or A. Given the predominance of A in the tenor melody immediately before and after the moment, A is perhaps a more likely implication on which to base the analysis (the analysis in the parentheses is the option with an implied G). Brackets between the F Major analysis and Dm analysis show how common-chord pivots 16 Augsburg Chorale Book, viii. 17 Augsburg Chorale Book, viii. 156 can explain the oscillation between sense of key center. The figure also includes a second-level tonal area analysis (tonic/pre-dominant/dominant) that demonstrates a simpler underlying structure. Example 3.11: Analysis of Fothergill’s “All Glory Be to God on High” mm. 1-5 Later, doubling at the third remains tonal, as the melody itself is inflected, temporarily tonicizing G minor. The closing phrase features a strong perfect authentic cadence in the home key, but it occurs in the middle of the phrase in dramatic fashion—at the moment the soprano and bass are furthest apart over the duration of the setting, and at the highest point the soprano achieves in the setting—followed by a plagal cadence. Having exhausted these two cadences, Fothergill follows by distinguishing the “Amen” with both a lowered seventh scale degree and open fifths at the penultimate chord. 157 Example 3.12: Concluding Cadential Measures of Fothergill’s “All Glory Be to God on High” We All Believe in One True God Helmut Barbe’s two settings (© 1965 Bärenreiter-Verlag) of WIR GLAUBEN ALL, the adaptation of the 13th-century Latin Credo, are included in this 2017 collection. The first setting is for SAB unaccompanied; the second is for two voices (any combination) and instrument. Collection editor Highben notes “Barbe follows a Renaissance-era practice by locating the melody in the lowest voice while treble voices embellish and ornament it.” 18 Highben also includes the suggestion that the “two 18 Augsburg Chorale Book, viii. 158 settings may be performed independently or combined and/or interspersed with assembly singing.” 19 Both settings include all three stanzas of text from ELW to maximize performance options. However, Highben also notes that the chorale in ELW is pitched a step lower. 20 This is also the case in ELH. Thus, interspersing one or both settings with congregation works best when using LSB, LBW, or CW, all of which have the chorale in the same key as the settings in the collection. To say that the upper voices “embellish or ornament” the melody in the first setting may be a bit of a misnomer. Essentially, the setting is a three-voice chorale. Harmonically, one might describe it as neo-Baroque. Only about 20% of the setting contains “standard” triads consisting of a chordal root, third and fifth forming major or minor triads. The horizontal angularity, vertical dissonances, and “standard” triads (or open fifth-octave) occurring at some cadences are reminiscent of the simpler settings in Hugo Distler’s Jahrkreis, published about 30 years prior. The second setting is built using contrapuntal techniques such as transposition, augmentation, inversion, and retrograde. Most of the musical material in the harmony voice and the instrument is derived from fragments of the melody with these contrapuntal techniques applied. Because the voices can be any combination, up to four combinations are possible (assuming the instrument plays in the octave written), each providing a different aural and harmonic experience. Using two equal treble voices would result in the most compact range and crossing between the two voices as well as between the voices and the instrument. Using two equal low voices (singing an octave lower than written) results in the same voice crossing but without crossing the instrument. Singing the cantus firmus an octave lower and the first voice in the octave written results in vertical harmony where the lower voice controls the lowest sounding pitch. Assigning mixed voices in the reverse order inverts the vertical stacking, with first voice controlling the lowest sounding pitch. While traditional Roman numeral analysis would not be appropriate in this case (given the vertical triads are consequent of the melodic counterpoint rather than intentional harmonic progression), the ear would still experience considerable variety among the 19 Augsburg Chorale Book, viii-ix. 20 Augsburg Chorale Book, ix. 159 combinations as the perceived “bass” and stacking of the resulting vertical harmonies shifted based on the voice combination chosen. A conductor may wish to experiment with various combinations, and when performing all three stanzas with choir only may choose to use two different combinations of the second setting with an instance of the first setting, or perform all three stanzas using the second setting with three different combinations. Lord, Keep Us Steadfast in Your Word Jeremy Bankson’s (b. 1975) setting of this Reformation-era hymn is among the more accessible in the collection. Collection editor Highben observes “Bankson’s setting uses dotted and double-dotted rhythms in the instruments to emphasize the regal, stately nature of the tune. Assembly participation is invited on the bolder first and gentler third stanzas; choir sings the middle stanza alone.” The instrument is not essential; cue notes are in the accompaniment for the intro and stanza 2, and the descant in stanza 3 is doubled for the most part, either in the written octave in the accompaniment or in the tenor an octave lower. A note in the score also indicates that if no instrument is present, a few sopranos could sing the descant on “ah.” Stanza 2’s vocal writing is not challenging, a combination of unison and two-part in octaves, with some true four-part writing for the final phrase. This setting utilizes the raised penultimate seventh scale degree in the melody, a note that in some hymnals is not raised. This potential variance is something for conductors to be aware of if involving congregations utilizing pew hymnals to sing along. One additional note for conductors: there is a potential error in m. 40, where the uppermost note in the accompaniment is a G vs. a B minor chord formed by all other parts (the chord is analogously B minor in the stanza 1 accompaniment at m. 14, which is nearly identical to the SATB voices at m. 40; therefore, the tenor F♯ at m. 40 likely is not in error, rather the accompaniment likely is errant.) See Example 3.13. That said, the G in the accompaniment may appear simply to avoid parallel fifths in the accompaniment right-hand; that said, other instances of parallel fifths in the accompaniment occur. In any case, the variance raises these questions. 160 Example 3.13: Voices and Accompaniment at mm. 14,40 in Bankson’s “Lord, Keep Us Steadfast in Your Word” Creator Spirit, Heavenly Dove Collection editor Highben shares this about Anne Krentz Organ’s (b. 1960) setting of “Creator Spirit, Heavenly Dove” for unaccompanied SATB voices, “Organ’s ethereal setting incorporates both Martin Luther’s chorale tune KOMM, GOTT SCHÖPFER, and the Mixolydian chant VENI CREATOR SPIRITUS . . . Here, the first and third ELW stanzas are set to the chant while the concluding sixth stanza . . . is set to the chorale melody. The piece may be sung as a motet, or the stanzas divided in alternation with the assembly, singing either tune. ELW 577/578, LSB 498/499, LBW 472/473.” 21 There are important items to note when considering the options outlined in Highben’s performance note. First, one observes that there is no tempo indication, and the assumption seems to be that the eighth note is of constant value throughout, regardless of meter or melody/setting. All the note values in Organ’s setting are halved as compared to the hymnals listed in Highben’s comments; this relationship is important when alternating with the congregation. Perhaps more important, however, is awareness of textual variations. As Highben highlights, the text included in the collection matches ELW 21 Augsburg Chorale Book, ix. 161 stanzas 1, 3, and 6. The ELW text is a composite translation, carrying the first line title “Creator Spirit, Heavenly Dove.” LSB uses Edward Caswell’s (1814–1878) translation, with the first line title “Come, Holy Ghost, Creator Blest” and is seven full stanzas, regardless of tune. LBW uses John Cosin’s (1594– 1672) translation, with first line title “Come, Holy Ghost, Our Souls Inspire,” and only includes four full stanzas (plus the partial final stanza for VENI CREATOR SPIRITUS, as at ELW 577). If alternating with a congregation, using ELW works most seamlessly and effortlessly from a textual standpoint. Alternation with LSB works fairly well, as textual variations are minimal after the first stanza; choirs using Organ’s setting in alternation with LSB, wishing to avoid textual variations, might consider substituting text into her setting to match LSB. Variations between ELW and LSB are bolded in Table 3.8. An added feature of LSB’s seven-stanza text is that the congregation “gets the last word,” so to speak, when singing in alternation, regardless of tune. LBW’s translation is a bit more problematic. Cosin’s stanzas 1 and 2 correlate to portions of text (or at least themes/ideas) across the first four stanzas in ELW and LSB. An option here for textual coherency (short of completing swapping out texts) might be for the choir to perform ELW stanzas 1 and 3 using the first setting as provided in the chorale book; congregation sings LBW stanza 3; choir sings ELW stanza 6 as provided in the chorale book; and the congregation concludes with the final partial stanza 5 (for LBW 472 only). Another option, particularly when having the congregation use KOMM, GOTT SCHÖPFER, would be for the choir to sing stanzas 1 and 3 using the first setting as provided in the chorale book, followed by the congregation singing stanzas 3 and 4 of LBW 473. Table 3.8 shows all three translations side-by-side for comparison. Other translations of Veni Creator Spiritus—or variations on the translations included in ELW, LSB, and LBW—appear in other hymnals, both Lutheran and non- Lutheran. Two of note are an updated version of “Come, Holy Ghost, Our Souls Inspire” (see for instance LW, hymn 158), and John Webster Grant’s (1919–2006) 20th-century translation, with first line title “O Holy Spirit, by Whose Breath” (see for instance The Hymnal 1982, hymn 502). 162 Table 3.8: English Translations of Veni Creator Spiritus in ELW, LSB, and LBW ELW (composite) LSB (Caswell) LBW (Cosin) 1 Creator Spirit, heav'nly dove, descend upon us from above; with graces manifold restore your creatures as they were before. 1 Come, Holy Ghost, Creator blest, And make our hearts Your place of rest; Come with Your grace and heav'nly aid, And fill the hearts which You have made. 1 Come, Holy Ghost, our souls inspire, And lighten with celestial fire; Thou the anointing Spirit art, Who dost thy sevenfold gifts impart. 2 Thy blessed unction from above Is comfort, life, and fire of love. Enable with perpetual light The dullness of our blinded sight. 2 To you, the Comforter, we cry; to you, the gift of God most high, true fount of life, the fire of love, the soul's anointing from above. 2 To You, the Counselor, we cry, To You, the gift of God Most High; The fount of life, the fire of love, The soul's anointing from above. 3 In you, with graces sevenfold, we God's almighty hand behold; while you with tongues of fire proclaim to all the world God's holy name. 3 In You, with graces seven-fold, We God's almighty hand behold While You with tongues of fire proclaim To all the world His holy name. 4 Your light to ev'ry sense impart, and shed your love in ev'ry heart; your own unfailing might supply to strengthen our infirmity. 4 Your light to ev'ry thought impart, And shed Your love in ev'ry heart; The weakness of our mortal state With deathless might invigorate. 5 Keep far from us our cruel foe, and peace from your own hand bestow; upheld by you, our strength and guide, no evil can our steps betide. 5 Drive far away our wily foe, And Your abiding peace bestow; With You as our protecting guide, No evil can with us abide. 3 Anoint and cheer our soiled face With the abundance of thy grace. Keep far our foes; give peace at home; Where thou art guide, no ill can come. 6 Teach us to know the Father, Son, and you, of both, to be but one; that through the ages all along your praise may be our endless song. 6 Teach us to know the Father, Son, And You, from both, as Three in One That we Your name may ever bless And in our lives the truth confess. 4 Teach us to know the Father, Son, And thee, of both, to be but one; That through the ages all along Thy praise may be our endless song! 7 Praise to your eternal merit, Father, Son, and Holy Spirit. Amen. (VENI CREATOR SPIRITUS only) 7 Praise we the Father and the Son And Holy Spirit, with them One, And may the Son on us bestow The gifts that from the Spirit flow! Amen. 5 Praise to thine eternal merit, Father, Son, and Holy Spirit. Amen. (VENI CREATOR SPIRITUS only) 163 The tune Organ quotes for VENI CREATOR SPIRITUS matches ELW (and LBW) in pitch content, except for one omitted pitch (to exactly match ELW, a pick-up B♭ would be necessary into m. 18). The omission can be explained harmonically, being a non-chord tone dissonant to the underlying F Major harmony. However, a simple shortening of the harmony in the underlying voices followed by an eighth or quarter rest would have allowed for a solo pick-up B♭ in the sopranos with dissonance, thereby avoiding the singular omission. So, the choice is somewhat curious. Conductors using LSB should also be aware that the melodies in ELW and LSB do not match. This is not necessarily an issue, as the choir and congregation are not meant to sing simultaneously in Organ’s arrangement, but it is worth noting. Shifting meters in Organ’s setting of VENI CREATOR SPIRITUS vacillate between duple and triple division of the macro beat (quarter note or dotted quarter note). Conversely, her setting of KOMM, GOTT SCHÖPFER consists entirely of a duple-divided macro beat (quarter note), save the tag she appends to the end of the setting, repeated from the pick-up to m. 25 through m. 28, the first half of which contains a triple-divided macro beat (dotted-quarter note). Other contrasts between the two settings include, for VENI CREATOR SPIRITUS, an introduction, interludes between phrases, and the melody shifting from lower voices to upper voices mid-stanza; as compared to straight-forward presentation of KOMM GOTT SCHÖPFER entirely in the uppermost voice, as the congregation would sing it out of the hymnal. Both settings end with a call and echo among paired voices of the final phrase, and as noted earlier, each is followed by several final bars that are identical musically (there is some variation in meters and barring, but the pitches and note values are identical across all voices). Our Father, God in Heaven Above Collection editor Highben assesses Bradley Ellingboe’s (b. 1958) setting of “Our Father, God in Heaven Above” as “clustered sonorities [surrounding] the medieval tune with twenty-first century harmonies.” 22 While the setting is mostly in triple meter, the melody superimposed in that meter has brackets indicating its duple nature and stress pattern. Highben writes that the setting is for “SATB 22 Augsburg Chorale Book, x. 164 voices, unaccompanied or with optional handbell.” 23 The optionality of the handbell is not mentioned in the score itself via subheading or special note, and conductors will want to give serious consideration to utilizing the handbell, as it serves two very practical purposes. This G handbell, struck periodically and marked “l.v.” serves to aid, in its first two instances, the basses in finding their initial pitch against B♭-C- F (m. 4) and B♭-C-E♭ (m. 8) in the other voices. Throughout, the handbell G serves as a periodic rally point of sorts to assist the choir in maintaining or re-centering their pitch. Though the key signature is two flats, suggesting B♭ Major or G minor, the melody is in fact C dorian. Thus, the handbell G is the dominant of the key, particularly useful in centering the choir for much of the setting. Appearing relatively simple at first glance, there are at least three elements that every conductor will wish to consider and every choir will need to spend time rehearsing. The first is partner breathing among the accompanying voices, with the goal of maintaining an aurally and dynamically smooth sound. Related to that is the onset of the syllable “loo”. The use of “l” will help in making entrances after breaths organic rather than accented; but at the same time, the liquid consonant will require careful execution to avoid a “wobble” of the pitch via an onset that is slightly above or below the intended pitch. Lastly, the accuracy of whole steps and half steps is critical within the tight harmonies. Not only do the individual voices move mostly by half and whole step, but also at the same time two of the voices often are moving into and out of unison or seconds via these small steps and from various directions. In many ways, tuning will be the most challenging facet of this setting for some choirs. Lord, Thee I Love with All My Heart John Ferguson’s 1997 setting of “Lord, Thee I Love with All My Heart” is a straight-forward concertato-style arrangement for SATB, organ, and optional congregation (stanza 3). Collection editor Highben notes that the original publication was titled “Lord, in All Love,” utilizing a translation by Madeleine Marshall. 24 In this collection that translation has been included in italics, below the text as it appears in ELW. Ferguson sets the first stanza in a relatively simple manner; only three bars introduce the 23 Augsburg Chorale Book, x. 24 Augsburg Chorale Book, x. 165 stanza, the melody appears unaltered throughout the stanza, and the voices progress from unison to two- part to four-part chorale. Stanza 2 unfolds with more vocal independence, utilizing contrapuntal techniques such as imitation, canon, and augmentation. Occasionally the melody is altered to accommodate harmony. The final stanza is sung in unison by all voices, inviting congregation participation. Conductors will wish to plan out breathing and phrase junctures carefully. Tempo massages and some elongation of phrase ends may need to be planned, particularly if involving the congregation. The conductor will also wish to be aware of what the hymnal shows for note values at phrase ends, which occasionally do not match Ferguson’s setting. While there are registration changes indicated in the score, no initial registration is offered. Finally, there are some potential editorial oversights/errors of which the conductor should be aware. These are outlined in Example 3.14. 166 Example 3.14: Editorial Oversights and Errors in Ferguson’s “Lord, Thee I Love with All My Heart” 167 Isaiah in a Vision Did of Old Michael Costello’s (b. 1979) setting of Luther’s Sanctus “is set here primarily for two mixed voices, breaking into three parts only at the seraphim’s cry of “Holy, holy, holy!” 25 Costello is detailed in his organ registrations, a feature not always found throughout the collection. Like the through composition of the melody—no two melodic phrases identical—Costello utilizes unique combinations of melody placement in the voices and doubling (or not) by the accompaniment entirely throughout. Table 3.9 outlines the schema. Table 3.9: Costello’s “Isaiah in a Vision Did of Old” Schema by Phrase of Melody Placement in Voices and Doubling by Accompaniment Measure Voicing Accompaniment 5,6 Unison melody baritone Melody present, up octave, uppermost in accompaniment 7,8 Unison melody treble voices, harmony baritone Melody present, same octave, uppermost in accompaniment 9,10 Unison melody treble voices Melody present, same octave, lowest sounding in accompaniment 11,12 Unison melody baritone Melody present, same octave, lowest sounding in accompaniment 13,14 Unison melody treble and baritone voices Melody not present 15,16 Three-part, melody in baritone (Holy 1 and 2) Melody not present 17,18 Three-part, melody in baritone (Holy 3) Melody present, up octave, uppermost in accompaniment 22 Unison melody baritone Melody not present 23,24 Unison melody treble voices, harmony baritone Melody not present The congregation may optionally join on the song of the angels in mm. 15-18. Highben notes the significance of this option for the congregation’s active worship, stating “this allows the choir to sing 25 Augsburg Chorale Book, xi. 168 ‘Isaiah in a Vision’ at the Sanctus in Holy Communion without entirely replacing the assembly’s voice.” 26 For the conductor and singers, breathing is indicated or intuitive according to textual punctation. The organ registration build-up in mm. 13-14 may require a registrant if the organ does not have an electronic crescendo pedal or a foot switch for incremental registration memory level advancement. Now Thank We All Our God Series editor Zebulon Highben offers the final entry in this collection, a setting of “Now Thank We All Our God.” He informs us “This motet is inspired by the opening motive of Heinrich Schütz’s Cantate Domino, SWV 81, and the chorale settings of F. Melius Christiansen. Its ternary form bookends the statelier isometric version of the tune (stanza 2) with an energetic, dance-like interpretation of the rhythmic version (stanzas 1 and 3).” 27 The two-part setting becomes ternary via da capo repeat of the first setting following the second setting. Example 3.15 shows the opening of Schütz’s Cantate Domino side- by-side with Highben’s opening. The horizontal triads in each voice and the canonic entrances one beat apart are analogous, but the effect is a considerably different experience. Schutz’s use of three octaves, combined with his order of canonic entrance, produces two root-position tonic triads vertically at the three-voice moments, and spans an overall range of two octaves plus a fifth; Highben’s use of only two octaves, unfolding in successive same-octave pairs, results in no complete root-position triads vertically and a total span of an octave less than Schütz. 26 Augsburg Chorale Book, xi. 27 Augsburg Chorale Book, xi. 169 Example 3.15: Comparison of Highben’s Opening to “Now Thank We All Our God” and Its Inspirational Opening Motive from Schutz’s Cantate Domino, SWV 81 Highben’s settings include a fair amount of voice pairs moving in parallel thirds and sixths. That prioritization in pairs results, by consequence, in the four parts combined producing at times a) chords that are tonal but not harmonically functional, b) incomplete triads, or c) non-major- or non-minor-triad based harmony. Also, the resulting voice-leading at times may require a bit of additional rehearsal to successfully traverse dissonant intervals (for example, augmented fourth in m. 36 for alto and bass) or leaps into dissonances (for example, the tenor in m. 49, which on the downbeat leaps into a G above a bass A after four consecutive parallel step-wise octaves of C-D-C-B with the bass). Example 3.16 contains the same phrase from each stanza’s setting as a representative example of the consequent four- part anomalies resulting from paired voices proceeding in parallel, where “n.f.” indicates a non-functional 170 consequent harmony, “n.t.” indicates a consequent non-major or non-minor triadic (or non-seventh-chord quartal) harmony, and “inc.” indicates an incomplete triad (i.e. only two pitch classes present in a third relationship, suggesting more than one possible implied major or minor triad within the key). For mm. 15-18, the chord marked “n.t.” is, from bass to soprano, D-B-E-C; identifying a functional root and harmonic progression with the flanking chords is difficult. The chord marked “n.f.” is, from bass to soprano, D-B-F♯-A. At first, the suggested identity may be that of a first inversion iii7. However, with that designation the chordal seventh does not resolve down by step. The chord that follows is labeled “inc.,” an incomplete major or minor triad only containing pitch classes G and B. If the missing pitch class is E (which with G and B would form the vi in G Major), a Bm7 chord preceding it makes some sense, as the last two measures could be analyzed V6-iii65-vi64-V7no3-I. However, the incorrect resolution of the chordal seventh in the iii65 chord, combined with a weak implied second inversion triad following, makes this analysis challenging to accept. If the missing pitch class in the “inc.” chord following it is a D, then the progression could be V6-iii65-I6-V7-I. However, this analysis is also challenging, not only because of the incorrect chordal seventh resolution, but more so because of an intermediary iii chord in what is otherwise a strong dominant-tonic-dominant-tonic phrase ending. A better analysis notes the string of parallel sixths in the tenor and bass in mm. 15-16 as a priority of the voice-writing in those measures, the n.t. chord in the middle of m. 15, the improper resolution of the chordal seventh in the B-D-F♯-A chord, and concludes that a non-functional consequent harmony occurs in the middle of m. 16, as it does analogously in m. 15 due to prioritization of the parallel voice-leading. No “n.t.” or “n.f” have been marked in mm. 42-43, as most can be creatively accounted for via analysis. While there are some consequent oddities, functional chords and harmonic progression are possible for the entire passage. The second half of m. 42 contains two primary consequences forced by the parallel pairings of the voices: a weak second inversion chord on primary beat 3, and the parallel planing of F♯-C-D-A to G-D-E-B into beat four, which results in parallel fifths (soprano-alto) and the incorrect resolution upward of the choral seventh in the F♯-C-D-A V7 chord. 171 Example 3.16: Analysis of mm. 15-18 and 42-43 in Highen’s “Now Thank We All Our God” Summary of Augsburg Fortress Reformation 500th Anniversary Publications Augsburg Fortress made every attempt to offer variety and flexibility as well as exercise a certain liberty in its Reformation 500 anniversary publications. The prevailing spirit of these publications is honoring or connecting with the past while freely reimagining those treasures handed down to the present. This is demonstrated in the text modifications of Miller in “Come, Holy Ghost, God and Lord” and “May God Bestow on Us His Grace” and the blending of source texts by Scott and Organ (the latter in “The Truth Will Make You Free”). Whether intentional or not, it is also sensed in new melodies for historic texts that reflect their melodic predecessors in some way, as in Miller’s stanza 3 of “A Mighty Fortress” and Wentzel’s phrase structure in “Come, Holy Ghost, God and Lord.” Variety and flexibility abounds in every way, from optional instrumentation to writing for conductor’s choice of piano or organ (or both simultaneously as in Croushorn’s “We Trust in God Alone”), from modeling historic forms (particularly as noted in Augsburg Chorale Book) and tonal language to embracing modern style and tonality, from choral-only “performance” style repertoire to settings inviting congregation participation, from explicit performance detail to an absence of score detail that leaves much interpretation to the conductor. Voicing 172 spans the gambit of settings for unison to those for SATB. The church finds from Augsburg Fortress a choral corpus for the 500th Reformation Anniversary, both developed and curated, spanning a range of worship sensibilities and technical possibilities. 173 Chapter 4: 2017 Concordia Publishing House Serving the second largest Lutheran denomination in the United States, Concordia Publishing House (CPH) is the publishing arm of the Lutheran Church—Missouri Synod (LCMS). Their publications associated with the 500th Reformation observance was years in the making, beginning with Five Chorale Motets by Carl F. Schalk published in 2013 and culminating post-2017 with a new edition of Georg Böhm’s setting of Savior of the Nations, Come (ed. William Braun) published in 2019. 1 2020 saw the release of God Is Our Refuge and Strength, commissioned by Concordia University Chicago to commemorate the Reformation quincentennial. CPH’s releases over this period divide into three subcategories—new composition/arrangement, new edition of historical setting, and collections—and is summarized in the following table. Table 4.1: Concordia Publishing House Reformation 500 Choral Publications Title Text Author Composer, Arranger, Editor Type, Publisher Part Number Category Year Published A Mighty Fortress Is Our God Martin Luther Martin Luther, arr. Jeffrey Blersch Choral octavo, 984246 New arrangement 2016 Five Chorale Motets Various Various, arr. Carl F. Schalk Saddle-stitch booklet, 984147 Collection 2013 From Heaven Above to Earth I Come Martin Luther Martin Luther, arr. J. S. Bach, arr. John Leavitt Choral octavo, 984239 New arrangement of historic setting 2016 God Is Our Refuge and Strength Psalm 46, paraphrased Matthew Machemer Choral octavo, 984353 New composition 2020 I Shall Not Die, But Live: Two Reformation Motets Psalm 118:17 (KJV) Ludwig Senfl, Martin Luther, ed. William Braun Choral octavo, 984276 New edition of historical setting 2017 Jesus, Priceless Treasure Johann Franck, tr. Catherine Winkworth Johann Crüger, arr. Dieterich Buxtedhude, ed. William Braun Choral octavo, 984310 New edition of historical setting 2018 1 Peter Reske, email correspondence to author, January 8, 2019. 174 Title Text Author Composer, Arranger, Editor Type, Publisher Part Number Category Year Published Lord, Keep Us Steadfast in Your Word Martin Luther, paraphrased Scripture (Psalm 119:5,6; John 8:31; Ephesians 4:4-6) 16th-century German melody, arr. John A. Behnke Choral octavo, 984262 New arrangement/com position 2017 Luther’s Evening Prayer Martin Luther John A. Behnke Choral octavo, 984291 New composition 2018 Luther's Morning Prayer Martin Luther John A. Behnke Choral octavo, 984290 New composition 2018 O Lord, We Praise Thee German folk song (st. 1) and Martin Luther (sts. 2,3) Johann Walter, arr. Ludwig Daser, ed. Bret A. Heim Choral octavo, 984235 New edition of historical setting 2016 Reformation Hymns for Men’s Voices Various Various, arr. Kevin Hildebrand Saddle-stitched booklet, 977754 Collection 2016 Reformation Hymns for Treble Voices Various Various, arr. Various Saddle-stitched booklet, 977796 Collection 2017 Savior of the Nations, Come Ambrose of Milan (German by Martin Luther) 16th-century German melody, arr. Georg Böhm, ed. William Braun Choral octavo, 984320 New edition of historical setting 2019 The Concordia Children’s Choir Book, Volume 2 Various Various, arr. Various, ed. Melvin A. Machemer Saddle-stitched booklet, 977747 Collection 2016 The Hymns of Martin Luther Martin Luther Martin Luther and Various, arr. Various, ed. Peter C. Reske Perfect-bound book, 992297 Collection 2016 The Praetorius Chorale Book Various Various, arr. Michael Praetorius, ed. Carl F. Schalk Saddle-stitched folio, 977671 New edition of historical setting 2014 175 Title Text Author Composer, Arranger, Editor Type, Publisher Part Number Category Year Published Though All Our Life Is Like a Scroll Wilfred L. Karsten Jeffrey Blersch Choral octavo, 984255 New composition 2017 Thy Strong Word Martin H. Franzmann Thomas J. Williams, arr. John A. Behnke Choral octavo, 984296 New arrangement 2018 We All Believe in One True God Martin Luther 14th-century chant, arr. by J. S. Bach, Richard Heschke, and Matthew Machemer Choral octavo, 984267 New edition of historical setting and new arrangement 2017 We Praise You, Jesus, at Your Birth German, 14th century (st. 1), Martin Luthern (sts. 2-6) Timothy Shaw Choral octavo, 984170 New composition 2014 Who Puts His Trust in God Most Just Joachim Magdeburg (st. 1), 16th- century German collection (sts. 2,3) Joachim Magdeburg, arr. J. S. Bach and Benjamin M. Culli Choral octavo, 984194 New edition of historical setting and new arrangement 2015 The following brief analysis and comments will omit the historical editions by Braun, Heim, and Schalk. Analysis of these settings and/or the general compositional output of their composers are available in other academic literature. The above alphabetical chart will be presented in two groups: octavos followed by collections. Octavos A Mighty Fortress Is Our God Jeffrey Blersch’s (b. 1967) Reformation 500 setting follows a fairly typical concertato form with clear delineation between components: extensive, full-instrumental introduction; opening stanza in a straight-forward chorale setting for congregation; middle stanza dedicated to choir (in this case, stanza 3); and final stanza for congregation with choral descant. The second stanza is also for congregation, with a 176 bit more accompaniment and harmonic embellishment as compared to the first stanza. Choir stanza 3 features the most creative foray of the entire setting, casting the familiar melody in a triple meter marked “Dancelike” at the outset. Phrases are separated by sequential passages, and Blersch avails himself of hemiola frequently. An interlude (based on introductory material) re-establishes the duple meter for the final stanza. God Is Our Refuge and Strength Matthew Machemer’s (b. 1985) paraphrase of Psalm 46 includes portions of almost all the verses of the Psalm (only verses 6 and 9 are entirely omitted). Rhythmicity, metric interplay between duple and triple, and modal inflections characterize the original music supporting this Luther psalm favorite. Verse 1 serves as a sort of refrain. The form of the piece is A, A’, B, A, C, pseudo D (drawing heavily on A and C with regard to harmony, as well as B and A’ with regard to technique), A, A’’. Machemer manipulates and closely derives a limited number of ideas to create a full-length anthem. The B section visits the relative minor (including modal inflection of a raised sixth scale degree). The other sections rely heavily on the III, VI, and VII chords resulting from lowered inflections of scale degrees 3,6,7. Related, the minor v is prevalent throughout; the only major V (in the home key of F Major) that functions in a cadential capacity is found in m. 70, a few measures beyond the piece’s golden mean at the end of the C section (whether this unique appearance and placement of the dominant is intentionally related in any way to the golden mean is unknown). Functionally, combined with a fermata and two following measures unaccompanied, an important pivot in the form is signaled. Harmonically, the D section begins akin to the A section’s harmonic undulation between I and VII. It then ventures into the I-VII-VI-VII-I of the C section. The section concludes over a pedal tone harmonic progression (a technique used in the B section) and the echo effect utilized in A’. To complete the piece, Machemer makes an exact return to the music of section A and ends the piece with A’’, very much like A’ but with variation in the final measures. The vocal writing throughout is simple without being simplistic and breathing comes naturally as written into the music via rests. While all indications are that the two voices can be any combination, similar voices 177 work best to fully experience the overlapping echo effects in A’ and D and the diverging vocal lines in section C. Lord, Keep Us Steadfast in Your Word The Wisconsin Evangelical Lutheran Synod (WELS) commissioned LCMS composer John Behnke (b. 1953) for a setting of the iconic “Lord, Keep Us Steadfast in Your Word” to premiere in the Reformation 500 year at their 8th triennial National Conference on Worship, Music and the Arts. 2 Behnke delivered an anthem that is equally arrangement and composition, combining original music for refrain and related Scripture between stanzas with arrangement of the 1543 hymn melody and three stanzas of Martin Luther’s hymn text. The formula is simple: related Scripture, refrain, stanza. This is repeated three times, with the refrain (music only) serving as the overall introduction to the anthem and final sung refrain providing the anthem’s conclusion. The refrain is original music to the first line of the hymn text. The chosen Scripture passages relate closely to the hymn text, as seen in the following table. Table 4.2: Relationship between Scripture Passages and Hymn Text in Behnke’s “Lord, Keep Us Steadfast in Your Word” Scripture (as paraphrased in anthem) Related hymn text Relationship Psalm 119:5,6—Oh, that my ways may be steadfast in keeping Your statutes! Then I shall not be put to shame. Lord, keep us steadfast in your Word (stanza 1). Psalm 119:5 is essentially the source for this first line of the hymn. John 8:31—And Jesus said, “If you abide in My Word, you are truly My disciples.” Lord, keep us steadfast in your Word (stanza 1). The first line of the hymn is a prayer to do as Jesus has said, to “abide in [his] Word.” Ephesians 4:4-6—There is one body, there is one Spirit, there is one hope for which we live, one Lord, one faith, one baptism, one God and Father of us all. You are Lord of lords alone (stanza 2); O Comforter of priceless worth, send peace and unity on earth; support us in our final strife and lead us out of death to life (the entirety of stanza 3) Ephesians 4 expresses attributes of the one true God, one true faith, and one true Church; these lines of the hymn restate, expound upon, or request the same. 2 John Behnke, “Lord, Keep Us Steadfast in Your Word,” (St. Louis: Concordia Publishing House, 2017), dedication. 178 The overall result is, perhaps, a more enriching approach to a hymn concertato. Instead of the choir occupying unto itself one or more stanzas of this short heritage hymn, the congregation can participate in singing the hymn in full, with the choir featured in the refrain and Scriptural interpolations. The Scripture passages serve the congregation as a source for additional and refreshed thought or reflection on the familiar hymn text itself. Using Scripture set to original music and a refrain to extend a relatively brief hymn via art and the Word is, arguably, superior to extensions achieved solely through lengthy but textless musical introductions and interludes, as is frequently the case (the argument goes beyond purely aesthetic to theological; see Romans 10:14-17 and Colossians 3:16). Luther’s Evening Prayer and Luther’s Morning Prayer John Behnke has set to music the English translations of Luther’s morning and evening prayer as they appear in Luther’s Small Catechism (CPH © 1986). 3 . One melody serves both prayers, with a few deviations to accommodate differences in syllable count. However, in a likely bid to maximize revenue, the nearly identical music is published twice—one fit with the morning prayer and one with the evening prayer—rather than publishing a single octavo with both texts. A side-by-side comparison of the texts is in the following table. Brackets indicate text repetition. 3 Text source according to copyright info in octavo. 179 Table 4.3: Comparison of Luther’s Morning and Evening Prayers and Behnke’s Paraphrases Luther’s Small Catechism, CPH © 1986 Behnke’s anthem paraphrases Morning Prayer I thank You, my heavenly Father, through Jesus Christ, Your dear Son, that You have kept me this night from all harm and danger; and I pray that You would keep me this day also from sin and every evil, that all my doings and life may please You. For into Your hands I commend myself, my body and soul, and all things. Let Your holy angel be with me, that the evil foe may have no power over me. [I thank You, my heavenly Father, through Jesus Christ, Your dear Son, that You have kept me this night from all harm and danger; and I pray that You would keep me this day also from sin and every evil, that all my doings and life may please You.] Amen. Luther’s Morning Prayer I thank You, my heav’nly Father, through Jesus Christ, Your dear Son, that You have kept me from all danger. Keep me from sin and evil, that all I do in life may please you. For into Your hands I commend myself, my body and soul, and all things. Let Your holy angel be with me, that the evil foe may have no power over me. [I thank You, my heav’nly Father, through Jesus Christ, Your dear Son, that You have kept me from all danger. Keep me from sin and evil, that all I do in life may please You.] Amen, amen. Evening Prayer I thank You, my heavenly Father, through Jesus Christ, Your dear Son, that You have graciously kept me this day; and I pray that You would forgive me all my sins where I have done wrong, and graciously keep me this night. For into Your hands I commend myself, my body and soul, and all things. Let Your holy angel be with me, that the evil foe may have no power over me. [I thank You, my heavenly Father, through Jesus Christ, Your dear Son, that You have graciously kept me this day; and I pray that You would forgive me all my sins where I have done wrong,] Amen. Luther's Evening Prayer I thank You, my heav’nly Father, through Jesus Christ, Your dear Son, that You have kept me this day. I pray that you forgive me for all the wrong that I have done this day. For into Your hands I commend myself, my body and soul, and all things. Let Your holy angel be with me, that the evil foe may have no power over me. [I thank You, my heav’nly Father, through Jesus Christ, Your dear Son, that You have kept me this day. I pray that you forgive me for all the wrong that I have done this day.] Keep me this night. Amen. 180 Behnke chose to through-compose the prayer proper and invokes an ABA form by repeating the first part of the prayer. In his setting of the morning prayer, the repeated A section is followed by a three- bar codetta with two instances of Amen. However, in his setting of the evening prayer, this codetta serves as a place to insert the one phrase from the prayer that is not fitted into the music at its expected location. But while the setting of the morning prayer successfully presents the prayer text consecutively, it suffers a more unfortunate sacrifice in that the paraphrase does not retain the words “this night” and “this day,” and therefore the prayer could be offered at any time. The contrast of Luther’s morning vs. evening prayers is somewhat obscured if not completely lost, save the titles of the anthems. Practically, however, and perhaps in a redemptive sort of way, this textual “sacrifice” makes Behnke’s setting of Luther’s Morning Prayer applicable for singing at any time of day, whereas the setting of Luther’s Evening Prayer would be best suited for an evening worship service or performance. Nothing is remarkable or challenging about these musical prayers—the vocal writing is in comfortable ranges for all voice types and is in no way complex; the accompaniment is idiomatic and playable on organ or piano; rests written into the melody make breathing clear and relatively easy (no span of singing is more than two full measures between rests, except for the final three measures of Luther’s Evening Prayer). As a result, the music carries these simple prayers in a straight-forward, direct, and uncomplicated way. Though All Our Life Is Like a Scroll This original text by Wilfred L. Karsten (b. 1957) set to original music by Jeffrey Blersch was commissioned by The Lutheran Church—Missouri Synod and Concordia Publishing House to commemorate the 500th Anniversary of the Reformation. The five stanzas are based on the five solas (Latin: “alone’s”) of the Reformation: Christ alone, grace alone, faith alone, Scripture alone, God’s glory alone. The text’s poetic meter is 87 87 88 7, which matches the poetic meter of Reformation era hymns such as Allein Gott in der höh (text and tune by Nicolas Decius c. 1485–after 1546), Es ist das Heil uns kommon her (text by Paul Speratus, 1484–1551), Aus tiefer not, schrei ich zu dir (text and tune by Martin Luther), Nun freut euch, liebe Christen, g’mein (text by Martin Luther), Wär Gott nicht mit uns diese Zeit 181 (text by Martin Luther), to name a few. One cannot help but speculate that perhaps one of these texts, or more likely a tune with which they are paired, in some way influenced Karsten’s choice of poetic meter. Indeed, the LCMS released a version of the text set “to a familiar tune,” ES IST DAS HEIL UNS KOMMEN HER 4 (one of four tunes in found in the Etlich Cristlich lider of 1524). 5 Blersch pays homage to the solas by giving his original tune the name SOLA. This 3/2 meter tune is composed primarily of two rhythmic patterns: short-short-long-long and long-short-short-short. The melody is in Example 4.1, where one of these two patterns is observed in all but the final two measures. All short-short-long-long patterns are bracketed above the measure; all long-short-short-short patterns are bracketed below the measure. Example 4.1: Blersch’s tune SOLA The phrase structure is AA’BB’C. Again, one may conjecture that Blersch in some way may have been influenced by Reformation era tunes. Both the tune ALLEIN GOTT IN DER HÖH and the tune WÄR GOTT NICHT MIT UNS DIESE ZEIT, for instance, have phrase structure AABB’C, as seen in these figures. 4 Unknown author, “Though All Our Life Is Like a Scroll,” LutheranReformation.org, The Lutheran Church— Missouri Synod, accessed 9/21/21, https://lutheranreformation.org/resources/worship/though-all-our-life-is-like-a- scroll/. 5 Aufdemberge, 408, 922. 182 Example 4.2: ALLEIN GOTT IN DER HÖH Example 4.3: WÄR GOTT NICHT MIT UNS DIESE ZEIT Blersch’s setting is a relatively straight-forward concertato, so clear in its divisions that it supports very well congregational participation. Every stanza boundary is preceded either by a perfect authentic cadence or a half cadence in the accompanying instruments. A lengthy introduction proceeds the first stanza, where the melody is presented in full by solo trumpet, surrounded by musical material that appears in part (either literally or in derivation) between stanzas 3 and 4, 4 and 5, and before the final Amen. Stanza 3 is choir-only, unaccompanied. Blersch passes the melody first from the tenors and basses, then to the altos, and finally to the sopranos. Notably, the stanza melody begins with what has 183 served as the second phrase previously, making the phrase structure of this stanza A’A’BB’C (and thus mirroring exactly the phrase structures of ALLEIN GOTT IN DER HÖH and WÄR GOTT NICHT MIT UNS DIESE ZEIT). The last part of the final phrase is also altered. The only other choir-specific features of the concertato are a descant for the final stanza and a four-part Amen. The descant is simply marked “descant,” suggesting that it could be sung by only high female voices or by all high voices, at the conductor’s discretion. Throughout the entire setting, the phrases break naturally at the following divisions of the poetic meter (indicated by an apostrophe): 87’ 87’ 8’ 8’ 7’; breathing is achieved simply by halving the value of the preceding phrase’s final pitch at the phrase boundary. Thy Strong Word John Behnke’s setting of this 20th-century text-tune pairing includes nuance and variety. From harmonization to singing scheme to transitions between stanzas to the treatment of the choir-only stanzas, nothing is banal, yet at the same time, all arrangement choices are within the bounds of the overall aesthetic. The following table outlines the section structure and the musical forces in each, along with some observations. Table 4.4: Sections and Their Musical Forces in Behnke’s “Thy Strong Word” Section Choir Congregation Organ Handbells Brass Timpani Notes Introduction (mm. 1-9) X X X X motives based on melody’s rhythm, ends with perfect authentic cadence Stanza 1 (mm. 10-26) X X X X X X Transition (mm. 26-29) X ends on half cadence Stanza 2 (mm.30-46) X X TB, then SA, then SATB, melody only present in mm. 42-46 (slightly altered in m. 45) 184 Transition (mm. 46-50) X X X X truncation of introduction (mm. 1,2,7-9) Stanza 3 (mm. 51-67) X treble X X X X Stanza 4 (mm. 68-84) X melody virtually missing, present only on beats 3 and 4 of mm. 74 and 82 Stanza 5 (mm. 85-101) X lower X X tbn Interlude (mm. 101-109) X X X X same as introduction Stanza 6 (mm. 110-126) X X X X X X includes vocal descant, doubled almost note- for-note by trumpet 1 Codetta (mm. 126-131) X X X X X mm. 126,127 repeat opening measures of introduction, m. 128 quotes melody, final measures include perfect authentic cadence with minor v and major I supporting choir Amen. The above table already demonstrates nuance and variety via the assignment of voices, instruments, and how transitions are constructed (or sometimes omitted) from stanza to stanza. Stanzas 1,3,5 are fairly congruent, each including organ, handbells, some amount of brass, and timpani (for two of the three). To further nuance these congregational stanzas, Behnke turns to harmonic variations. A comparison of the first four measures of each stanza’s keyboard accompaniment serves to demonstrate. Note that in Example 4.4 inconclusive dyads are indicated with a “?” in the Roman-numeral analysis. 185 Example 4.4: First Four Measures of Accompaniment from Stanzas 1,3,5 in Behnke’s “Thy Strong Word” Breathing very naturally occurs every two measures throughout the anthem, supported by punctuation in the text and sometimes by written rests in the music. The one exception is in stanza 4, where the first eight measures are better sung as four-bar phrases. This choice is supported both harmonically and textually. Harmonically, the ends of m. 69 and m. 73—where a breath is most likely taken in all other stanzas at the analogous moments—feature no sense of cadence. In stanzas 1,3,5,6 these analogous moments contain the tonic in the melody supported by a tonic triad. In stanza 2, a rest is written into the music every two measures. But in stanza 4, not only has Behnke jettisoned the melody, 186 but at these moments he is moving through a harmonic progression rather than coming to a tonic rest, however momentary it might be in other stanzas. Textually, stanza 4 is the only one for which there is no punctuation at these moments; where other stanzas feature a comma or semi-colon at these analogous moments, the text of stanza 4 at these moments contains continuous thoughts and phrase structures uninterrupted by punctuation. We All Believe in One True God This setting of Martin Luther’s versification of the creed was compiled and arranged by Matthew Machemer. The introduction is a trio for two instruments and organ attributed in the anthem to Johann Sebastian Bach (the Bach Archive in Leipzig reports the attribution as doubtful 6 ). Machemer’s transcription doubles the instruments throughout, and therefore instruments are not required (note that a likely error is observed in the keyboard at m. 16, where the sixteenth notes in the right hand likely are to be D4 and C4 in succession, strictly doubling the second instrument as throughout the rest of the setting—whether or not written by Bach, the egregious parallel octaves in the keyboard as written are unlikely of the era, though possible at the hands of a lesser composer than Bach. Another possibility is Machemer faithfully transcribed a source facsimile that contained a copy error; the source Machemer consulted is not identified). The setting for stanza 1 is by Richard Heschke (1939–2016), a harmonization dominated by root-position triads. The settings for stanzas 2 and 3 are by Machemer. Stanza 2 has a baroque flavor with instrumental passages that employ imitation and sequence, the motives for which are derived from the melody that follows. The keyboard only contains three voices and about half of the time consists of incomplete triads that omit the chordal third or fifth. Stanza 3 is more robustly harmonized and utilizes more advanced harmonic language, including chordal sevenths, ninths, pedal tones, and a few chords that are harmonically non-functional. With no musically overlapping transitions between the introduction or the stanzas, this collection of settings presents as a multi-movement work. 6 Unknown author; “Wir glauben all an einen Gott BWV Anh. 70; BWV Anh. II 70; Emans 192;” Bach Digital; joint project by Berlin State Library–Prussian Cultural Heritage, the Saxon State and University Library in Dresden, the State and University Library in Hamburg, and the Leipzig Bach Archive with the Computer Centre at Leipzig University; accessed 10/5/21; https://www.bach-digital.de/receive/BachDigitalWork_work_00001379. 187 We Praise You, Jesus, at Your Birth This German hymn stanza and five expansion stanzas by Martin Luther have been paired with original music from Timothy Shaw. Rather than strictly strophic treatment, Shaw employs two melodies, two key centers, and judicious use of the “Alleluias” to create a more complex musical structure that remains familiar throughout without being grossly predictable. The following table outlines the structure according to these parameters. Table 4.5: Structure in Shaw’s “We Praise You, Jesus, at Your Birth” Measures Stanza Melodic Material Key mm. 1-19 1 with Alleluias A D Major mm. 20-27 2 A D Major mm. 28-35 3 B F Major mm. 36-50 4 with Alleluias B’ F Major, D Major mm. 51-58 5 A D Major mm. 59-end 6 with Alleluias A’ F Major, D Major The expectation (or possibility) of strophic melodic treatment exists through m. 27. But instead of following stanza 2 with its Alleluias, a common tone modulation leads directly into stanza 3 and a new, although related, melody. Stanza 3 also omits the Alleluias, going directly into stanza 4 while remaining in the same key as the previous stanza. The Alleluias return in stanza 4, the last pitch of which rises by step to the mediant (rather than going downward to the tonic as at the end of stanza 1), allowing it to serve as a common-tone modulation back to the original key (mediant scale degree of F Major = dominant scale degree of D Major). What appears at first in stanza 5 to be a nearly identical return to the opening musical material, Shaw disrupts late in the stanza by omitting the Alleluias, utilizing again the common-tone modulation from D Major to F Major directly into the final stanza. Stanza 6 concludes with the Alleluias, but like stanza 4 modulates via common tone on the final pitch back to starting key of D Major, closing the anthem on three bars of D Major tonic arpeggiation. If anything can be argued as “strophic” it is the 188 harmonic structure from stanza to stanza (save the portion of stanza 4 in the relative minor). The following table outlines the progression by measure across the six stanzas (a chord preceding a semi- colon last two beats; a chord preceding a comma lasts one beat). Table 4.6: Roman-Numeral Analysis across Stanzas in Shaw’s “We Praise You, Jesus, at Your Birth” St.\mm. 1 2 3 4 5 6 7 8 1 I; ii 42 ; I; ii 42 ; vi; I 43 ; ii 65 ; V; I; ii 42 ; I; ii 42 , V 6 , vi; I 6 ; VII; V 4-3 2 I; v 7 ; I; v 7 ; vi; I 43 ; ii 65 ; V; I; v 7 ; I; ii 42 , V 6 , vi; I 6 ; VII; V 4-42 ;* 3 I; ii 42 ; I; ii 42 ; I, V 6 , vi 7 ; ii 7 ; V; I; ii 42 ; I; ii 42 , V 6 , ii 65 ; I 6 , I, VII; V 6 4 relative minor ii 65 ; I 6 , I, VII; V 5 I; v 7 ; I; v 7 ; vi; I 43 ; ii 65 ; V; I; v 7 ; I; ii 42 , V 6 , vi; I 6 ; VII; V 4-42 ;* 6 I; ii 42 ; I; ii 42 ; vi; I 43 ; ii 65 ; V; I; ii 42 ; I; ii 42 , V 6 , vi; I 65 ; VII; V *resolution to V 42 assists with transition to key of F Major Similarity is observed between the A melodic material (first presented in stanza 1) and the B melodic material (first presented in stanza 3). The following figure presents both melodies (without Alleluias) from these stanzas for comparison (the melody from stanza 3 has been transposed down to D Major for more direct comparison). 189 Example 4.5: Melodies from Stanzas 1 and 3 of Shaw’s “We Praise You, Jesus, at Your Birth” That the melodies are related is clear from some similarity in contours and much similarity in rhythmic structures. Because the accompaniment harmonies only differ slightly between stanzas, Shaw is able to create the second melody mostly by applying transformations to the first melody. It is possible to analyze the second melody from that perspective. The following table outlines the rhythmic and melodic transformations applied to the first melody to create the second melody, measure by measure. Table 4.7: Explaining the B Melody as Transformations Applied to the A Melody in Shaw’s “We Praise You, Jesus, at Your Birth” Measure in eight-bar melody Melodic transformations Rhythmic transformations Pick-up down a third length halved 1 final pitch displaced down octave first two beats’ rhythms reversed (eighth-eighth-quarter becomes quarter-eighth-eighth) 2 first three pitches retrograde, final pitch up third none 3 first three pitches retrograde none 190 4 first three pitches transposed down third and melodic order of melodic intervals reversed (third down-step down becomes step down-third down) none 5 final pitch displaced down octave first two beats’ rhythms reversed (eighth-eighth-quarter becomes quarter-eighth-eighth) 6 first three pitches transposed down a third none 7 first three pitches transposed down a third none 8 none none Rather than introducing a second melody characterized by heavy contrast, these select alterations, along with the key change, create the sense of a new melody while maintaining a strong sense of correlation to the first melody. It is also important to mention that the alterations to the melodies in stanzas 4 and 6 are rather slight, easily explained, and in the case of stanza 6, quite effective psychologically. The alterations in stanza 4 are to accommodate a momentary visit to the relative key of D minor. In stanza 6, the first three pitches of m. 1 and m. 5 are identical to m. 1 and m. 5 of stanza 3, but the remainder of the stanza’s melody is identical to the first stanza. Additionally in stanza 6, Shaw recalls the accompaniment style (block chords) of stanza 3 initially. These subtle connections to stanza 3 combined with the key change may cause the listener to sense a return to the second melody when, in fact, they are mostly experiencing the first melody for the first time in the key of F Major. Overall, what appears at first glance as a relatively simple SAB anthem with idiomatic accompaniment is subtly complex in its construction. However, though the analysis demonstrates skillful compositional craft, little challenge will be experienced by the singers. The ranges are not extreme and it is logical to apply breathing by phrase (every four bars) in all stanzas. For variety, some additional breaths (or breaks) could be applied at shorter intervals as suggested by punctuation or thought. 191 Who Puts His Trust in God Most Just Benjamin Culli (b. 1975) pairs J. S. Bach’s 4-part harmonization of this 16th-century tune bearing the same name as the text (WER GOTT VERTRAUT, HAT WOHL GEBAUT) with his own Baroque-like setting for unison voices, solo instrument, and keyboard. Phrases in Culli’s setting are separated by ritornelli passages. The anthem utilizes Catherine Winkworth’s translation of the original German text rather than the more frequently encountered translation “Who Trusts in God, a Strong Abode” by Benjamin Kennedy (included in TLH, ELH, and LCMS’ own LSB). Culli’s setting accompanies stanza 1, Bach’s harmonization accompanies stanza 2, and a da capo results in an ABA structure overall, with Culli’s setting again accompanying stanza 3. Collections Five Chorale Motets This collection features five stalwarts of the Reformation era (or shortly thereafter): “Christ Is Arisen;” “From Depths of Woe I Cry to Thee;” “Grant Peace, We Pray, in Mercy, Lord;” “If God Himself Be for Me;” and “O Morning Star, How Fair and Bright.” The settings are meant to be sung unaccompanied; all reductions are marked as being for rehearsal only. Most of the settings employ a free contrapuntal treatment. Typical techniques include frequent canonic or imitative entrances, paired voices, the melody passing from voice to voice, and the intervallic interplay of voices (at times) adhering to expected contrapuntal norms. However, canonic and imitative entrances sometimes morph via devices such as embellishment, truncation, and partial augmentation, their use often stemming from prioritizing vertical harmonic implications of intentional modernity rather than resulting consequentially from prescribed period-specific rules. Thus, these chorale motets echo the forms of the era from which these tunes originate but with structural freedom and moments of tonal harmony and progressions from beyond the era. The one exception, and perhaps rightfully so as the “youngest” of the entries (text and tune originating in the 17th century), is the setting of “If God Himself Be for Me.” Instead of using the free contrapuntal style, arranger Carl Schalk (1929–2021) introduces each phrase in the tenor (optionally solo), followed by a cantional-style setting of the phrase. This motet is driven by harmonic progression; 192 the melody in the four-part sections is exclusively located in the uppermost voice, with the underlying parts subservient to the vertical harmony and harmonic progression. The beginning of each phrase is written so that all four voices never begin simultaneously and according to a different scheme each time; this makes the boundary between the solo tenor and the chorale setting of the phrase irregular and unpredictable, and hence more interesting for the listener than a recurring formulaic approach. The following figure demonstrates the variety. 193 Example 4.6: Schalk’s “If God Himself Be for Me” Introduction by Phrase Reformation Hymns for Men’s Voices Arranger Kevin Hildebrand’s (b. 1973) six-hymn collection features Reformation-themed hymns spanning the centuries. The oldest entry is the iconic “A Mighty Fortress Is Our God” by Luther. From four centuries later comes the youngest entry by Richard Resch, “The Gifts Christ Freely Gives.” Five of 194 the six arrangements call for organ accompaniment (some feature an a cappella interior stanza). A fair amount of performance interpretation is left to the conductor: there are no tempo indications, no registration suggestions, and few dynamics indicated. Typical of male vocal writing, the melody is passed from voice to voice with some frequency, sometimes within the phrase. Occasionally, the melody disappears entirely, but when this occurs it is brief. Hildebrand achieves variety within the collection primarily by varying his vocal texture and strophic setting schemas. It is worth noting that none of the settings are through-composed; one possible reason for this choice is to facilitate the use of any one stanza’s setting as a choir-only stanza during a congregational hymn. The following table details the vocal and accompaniment schema for each text. For each setting within a schema, the vocal description is listed first, followed by the accompaniment description after the semi-colon. Note that no two schema are identical—if vocal aspects are identical, the accompaniment varies (or vice versa). A single setting’s attributes may be identical to another setting in another schema, but the overall schema varies between the two arrangements (whether in number or order of the settings within the schema). Some devices are unique—the use of descant is unique to “The Church’s One Foundation;” an unaccompanied first stanza is unique to “The Gifts Christ Freely Gives;” “Thy Strong Word” features the only setting in which the organ accompaniment does not double the melody. Table 4.8: Vocal and Accompaniment Schema for Arrangements in Reformation Hymns for Men’s Voices Title Setting 1 Setting 2 Setting 3 A Mighty Fortress Is Our God first two identical phrases begin unison and then move to three-part; the rest of the setting proceeds mostly three-part except for a few isolated unison or two-part passages at the start of phrases; organ (manuals only) chorale that doubles melody, includes organ introduction n/a n/a 195 All My Heart Again Rejoices unison accompanied by organ (with pedal) chorale doubling melody four-part unaccompanied unison to start, three-part to finish; accompanied by idiomatic organ (with pedal) that doubles melody Lord, Thee I Love with All My Heart first two identical phrases begin unison and move to three-part, mostly four- part to end; unaccompanied n/a n/a The Church’s One Foundation unison accompanied by idiomatic organ (with pedal) that doubles melody first phrase two-part, remainder mostly four- part; unaccompanied melody and descant; accompanied by idiomatic organ (with pedal) that doubles melody The Gifts Christ Freely Gives organ introduction followed by four-part voices unaccompanied unison; accompanied by idiomatic organ (with pedal) that doubles melody n/a Thy Strong Word unison; accompanied by idiomatic organ (manuals only), melody not doubled by accompaniment two-part throughout until final two bars in three-part (unison final); unaccompanied begins unison then quickly moves into four parts; unaccompanied Following are a few observations on the individual anthems from both the compositional and conducting perspectives. All My Heart Again Rejoices Hildebrand has hidden a few aural curiosities in his setting of Johann Crüger’s (1598–1662) tune. In stanza 2, Hildebrand moves the melody to another voice seven times, including one passage in the basses. In the penultimate measure the melody almost disappears for the first two beats (though it can be argued to be found in tenor 2 on the downbeat and somewhat artificially assigned to baritone on beat 2). In the same measure on beat 4 the only ninth chord in the entire setting occurs (as a ii 9 , the chordal ninth occurring in the melody). In stanza 3 Hildebrand utilizes a construction unique to this setting at m. 36— 196 on beat 3 only the melody sounds in the accompaniment simultaneously with the unison voices, the underlying accompaniment harmonies delayed to beat 4. Perhaps antithetically, this stanza unexpectedly includes three instances of parallel fifths in the accompaniment, all of which are unnecessary. Whether this unconventional part-writing is intentional or not is difficult to assess, but it is curious that these appear after carefully crafted part-writing in the preceding stanzas that avoids such parallels. This setting (along with “Thy Strong Word”—see later paragraph) includes the odd stanzas of the text. Although the arrangement and its three stanzas provide a structurally balanced stand-alone anthem, it is likely that the intended use for this arrangement is in alternatim for a congregational hymn. Lord, Thee I Love with All My Heart The conductor will wish to consider balance in the first fourteen measures of this setting. Two options are readily apparent, each offering a different result. Assuming a balanced group of tenors and basses, one approach is to sing these measures by assigning voices as indicated; the writing will result in a balance that favors the melody in mm. 6,7,13,14. For a more equal sound among all parts over the entire passage, evenly divided upper, middle, and lower parts could be assigned. The upper and middle voices sing the opening phrase, the middle and lower sing the second phrase, and the evenly divided three parts sing mm. 6,7,13,14; this assignment will balance the melody equally with the underlying harmony in the three-part passages. Thy Strong Word This setting is the only one to include organ accompaniment for which the final stanza of the arrangement is unaccompanied. Without performance notes or any score-based indication, there are at least two possible reasons for this. The first is that the four-part chorale setting of the final stanza of the arrangement may be optionally doubled by organ. Like Hildebrand’s setting of “All My Heart Again Rejoices,” this would result in a structurally balanced stand-alone anthem. The second possibility (and perhaps the more likely in this case) is that this arrangement is intended primarily for use with a congregational hymn in alternatim. Stanza 5 is then no longer a final unaccompanied stanza, but an 197 unaccompanied interior choral stanza between congregation stanzas 4 and 6. Doubling stanza 5 with organ is still an option should the conductor so choose. Reformation Hymns for Treble Voices This collection contrasts Reformation Hymns for Men’s Voices in several ways. The hymns originate from a narrower time period—the 16th to early 17th century. All the arrangements in this collection set all stanzas of the text (as they appear in LSB). All arrangements include initial tempo markings and three of the five contain extensive tempo, dynamic, and performance markings throughout (as dictated by the needs of the arrangement). Because the collection comes from four contributors, variety occurs more organically and widely than the singly-sourced men’s collection. The following chart briefly summarizes the content of the collection. Table 4.9: Content Summary of Reformation Hymns for Treble Voices Title Arranger Voicing Structure Accompaniment A Mighty Fortress Is Our God Benjamin M. Culli SSAA four-movement “little cantata” keyboard (organ or piano) Lord Jesus Christ with Us Abide Kenneth T. Kosche SSA through-composed organ Lord, Keep Us Steadfast in Your Word Timothy Shaw SSA ABA with Amen unaccompanied Lord, Thee I Love with All My Heart Kevin Hildebrand SSAA single setting unaccompanied Now Thank We All Our God Kevin Hildebrand SSA ABA keyboard (organ or piano) Following are a few observations from both the compositional and conducting perspectives. A Mighty Fortress Is Our God Benjamin Culli has contributed an excellent, versatile setting (dubbed “A Little Cantata”) to the oeuvre on Luther’s Reformation flagship hymn. 7 Movement one’s three-bar keyboard introduction serves 7 Benjamin M. Culli, “A Little Cantata on A Mighty Fortress Is Our God” in Reformation Hymns for Treble Voices, (St. Louis: Concordia Publishing House, 2017), 4. 198 as a brief interlude between phrases 2 and 3 and as a codetta for the movement. The isometric version of the melody is sung by unison voices. Movement two thoroughly contrasts the previous movement by using the rhythmic version of the melody in a four-voice unaccompanied setting. Culli takes his cue from the textual content of stanza 3 as opportunity to cast the stanza in the relative minor. With a return to unison (or solo, much like an aria), contours of the original melody are present, but alteration occurs to accommodate the minor key and the text painting. Finally, movement four begins as movement one, but the introduction is expanded through the use of sequence. This same material then serves as the accompaniment for several phrases of the stanza and as both more extended interludes between phrases and a longer closing codetta (by comparison with movement one). This final movement is for SSA voices, with a version of the melody that is hybrid of the rhythmic and isometric versions. Beyond a full performance of the work, the versatility of Culli’s individual movements in cooperation with a congregational hymn should be apparent to the thoughtful conductor. Following are some performance possibilities. Movement one could be used as an introductory choir-only stanza. Because of the familiarity of this hymn, it could be followed by either the rhythmic or isometric versions of the congregational hymn. Additionally, this unison movement could be used by mixed choir. Movements two or three (or both) could be used as internal choir-only stanzas during a congregational hymn. Movement three is especially striking given its text painting. Additionally, this movement again offers the option of unison singing by a mixed choir, or perhaps a soloist. Because movement four does not match exactly either the rhythmic or isometric version of the congregational hymn melody, it would not likely be used with a congregational hymn, as a choir-only stanza rarely closes a congregational hymn. Nevertheless, the option exists. Culli demonstrates fine craft in a number of ways. One of the most prominent is in movement three where Culli sets the stanza in the style of a Baroque aria, with passages in both the accompaniment and the movement’s melody derived from the familiar original hymn tune. The following figures demonstrate this facet. 199 Example 4.7: Accompaniment Figures Derived from the Melody in Movement Three of Culli’s “A Mighty Fortress Is Our God” In each of these examples, the top pitches are derived from prominent features of the melody; the first and third examples mirror the opening three repeated notes followed by descent a fourth, and the middle example recalls the descending step-wise fourth ending several phrases in the original melody. 200 Example 4.8: Comparison of Movement Three Melody in Culli’s “A Mighty Fortress Is Our God” to Isometric Original Melody 201 Example 4.8 shows the phrases in Culli’s third movement with the isometric version of the melody superimposed in the lower staff. The solid brackets indicate intervallic correlations between the two (over and under brackets correspond in order between the two staves, respectively). The first half of the opening phrase is nearly identical; the overlap of the second and third brackets in the movement three melody result in an overall span of the half-phrase of a fifth as compared to the overall span of the isometric original of a fourth. The first five intervals of the second half of the first phrase are identical between the two melodies, as is the overall span of an octave from first to last pitch. Culli does not use an exact repetition of the opening phrase for the second phrase as in the original hymn tune; instead, he alters the second half of the phrase. But several similarities are still observed, including two four-note step-wise descending patterns, and a variation on the mid-phrase change of direction (indicated by the dotted bracket); where the original is step up followed by leap down, the movement three melody is leap up followed by step down. In the next phrases Culli utilizes more sequence-like construction (indicated by slurs). While the sequence models are closely related to their original melody counterparts (by interpreting the circled pitches as melodic embellishments), the copies are difficult to correlate to their counterparts. The final phrase mirrors the second half of phrase two. Lord Jesus Christ, with Us Abide Essentially, arranger Kenneth Kosche (b. 1947) has created a six-stanza concertato in disguise. After a brief introduction drawing its motives from the melody, the six stanzas unfold one after another without transition; rather, each is its own stand-alone arrangement or free composition. A brief interlude—a truncated version of the introduction—is located between the final two stanzas. The melody in stanzas 1, 3, and 6 is clearly presented, affording the opportunity for congregational participation if desired. Stanzas 1 and 3 have the rhythmic version of the melody (with meters vacillating between 4/4 and 6/4), while the final stanza has the isometric version in triple meter. Stanzas 2, 4, and 5 function much like choir-only stanzas in a concertato, with the melody abandoned shortly after the stanza begins (stanza 2), absent (stanza 4), or modified (stanza 5). Stanzas 2 and 4 are unaccompanied, but Kosche has cleverly built-in a safeguard should pitch suffer. The first safeguard is the melody beginning after the downbeat 202 for stanza 3; the chord on the downbeat reestablishes pitch if needed before the singing commences on beat 2. Stanza 5 begins with a short introit that reestablishes pitch if needed and assists the choir in transitioning from duple to triple meter. Breathing throughout is, for the most part, intuitive by written rests or textual punctuation; stanza 2 requires some thoughtful breath planning for the conductor. Lord, Keep Us Steadfast in Your Word Timothy Shaw’s straight-forward ABA form SSA a cappella setting of this Reformation-era hymn presents few technical challenges. The writing is strictly diatonic, the voices never cross, and the ranges are manageable. Breathing is the biggest technical hurdle; Shaw notes with dashed slurs that breathes should not be taken at certain musical phrase boundaries—which would be natural moments to breathe—so as not to disrupt the flow of the text. In most cases, partner breathing may be the best solution. Some first sopranos may stumble over the penultimate melody note in stanzas 1 and 3, as some traditions inflect this pitch up a half step; in his setting Shaw has used the lowered seventh as it appears in LSB’s hymn melody. Lord, Thee I Love with All My Heart Hildebrand’s TTBB setting from Reformation Hymns for Men’s Voices appears identically in this collection for SSAA. See the previous discussion about balance and voice assignment considerations in the first 14 measures. Now Thank We All Our God Kevin Hildebrand contributes an arrangement of “Now Thank We All Our God” for SSA and keyboard that only appears in this collection. The two-stanza setting is ultimately ABA via da capo for stanza 3. Although stanza 2 is written unaccompanied, its harmonic scheme is nearly identical to the accompanied first stanza; with few modifications, the first stanza accompaniment could be used with stanza 2 for any choir requiring the support of accompaniment (or another option, perhaps obvious, is that a keyboard could double the vocal lines of stanza 2 if support is needed). 203 The Concordia Children’s Choir Book, Volume 2: Six Settings for Reformation This collection bears similarities to its Reformation 500 co-publications, but also mirrors its partners in the Concordia Children’s Choir Book series. Like the men’s collection, the content spans several centuries, from "A Mighty Fortress” (the oldest text and tune entry) to the 20th century text “I Want to Walk as a Child of the Light” and two 21st century tunes, one of which was written for the release of this collection. Like the women’s collection, the settings come from multiple arrangers. Like the other volumes in the Concordia Children’s Choir Book series, all the arrangements are accompanied, some include optional instruments, and at least one title in the collection features new music first published in the collection. The following chart briefly summarizes the contents of this collection. Table 4.10: Content Summary of The Concordia Children’s Choir Book, Volume 2: Six Settings for Reformation Title Arranger/Composer Voicing Structure Accompaniment A Mighty Fortress Is Our God David von Kampen two-part AAA’B piano Lord, Help Us Ever to Retain Jacob Weber unison or two- part AB*A’ keyboard (organ or piano) Built on the Rock Matthew Machemer two-part ABCB’A’ with codetta piano, flute Entrust Your Days and Burdens Stephen R. Johnson unison or two- part ABAB’AB’’A’ piano I Want to Walk as a Child of the Light William R. Brusick two-part through-composed piano With High Delight Let Us Unite Philip Gehring unison or two- part three-movement cantata keyboard (organ or piano), opt. instruments *the B section includes several stanzas Following are a few observations from both the compositional and conducting perspectives. 204 A Mighty Fortress Is Our God David von Kampen’s (b. 1986) contribution to settings of EIN FESTE BURG uses the rhythmic version of the melody. In his first setting of the melody (stanzas 1 and 2) a pulsing eighth-note accompaniment serves as steady metric counterpoint to the syncopations and rhythmicity of the melody. For the rest of the stanza, however, the accompaniment functions more homophonically, mirroring the rhythmicity of the melody and, for the most part, assuming the melody itself. von Kampen’s setting of stanza 3 is essentially a variation on his opening setting. It begins with construction identical to the opening accompaniment, adjusted harmonically into the relative minor. At the same phrase boundary as the first setting, von Kampen switches to a more homophonic accompaniment, almost identical harmonically (though with different chordal inversions occasionally) to the first setting. However, for the final phrase he reverts to the steady pulsing accompaniment over the pre-dominant pedal. A strong V7 precedes the launch into the final stanza and setting. As noted in the score, this final setting is based on one by Paul Bunjes. It is a modern chorale, wholly different from the accompaniment of the preceding stanzas. Here the melody is doubled in the accompaniment for the stanza’s entirety and the accompaniment’s voice-leading, for the most part, follows convention. Overall, the economy of musical material combined with the thoughtful balance and interplay of idiomatic piano and homophonic accompaniment results in a simple arrangement that avoids being simplistic—there is a constant familiarity without banality. There are really no surprises or difficulties vocally in this setting. Breathing is by phrase, clearly marked by eighth rests that separate phrases. Stanza 3 is the only one that is two-part. The first two phrases are treated in strict canon of the melody at the unison a measure apart; the remainder of the stanza is mostly unison, save four measures of two-part harmony, mostly in thirds, for the text “Scowl fierce as he will. He can harm us none.” Lord, Help Us Ever to Retain This entry stands out among all others in this collection and in both the men’s collection and women’s collection in that it is the only setting to offer a melody newly composed for the publication. In 205 at least five Lutheran hymnals, this text is paired with HERR JESU CHRIST, MEINS. Jacob Weber’s (b. 1988) original melody demonstrates both departures and similarities to HERR JESU CHRIST, MEINS. The most noticeable departure is his use of a minor key. He has also contrasted the through-composed HERR JESU CHRIST, MEINS melody by crafting a melody for which the phrase structure is ABA’B. Additionally, the metrical stresses vary. HERR JESU CHRIST, MEINS is in simple triple meter, which supports a stress pattern musically and poetically of stress every three beats (where primary subdivision = quarter note). Weber’s melody is in compound duple, creating a dual stress pattern (primary and secondary) every six beats (where primary subdivision = eighth note). Additionally, Weber includes a melismatic extension in the second and fourth phrases of his melody so that the text only falls on one secondary stress in these phrases, as compared to falling on two secondary stresses in the first and third phrases. The result is a three-bar phrase for phrases two and four. In other words, Weber has not simply chosen compound duple instead of simple triple (when compared to HERR JESU CHRIST, MEINS), at least where the text is concerned; rather, he has created a more complex interplay between the musical and textual stress resulting in phrases of uneven length (again, as compared to HERR JESU CHRIST, MEINS). The following example demonstrates the extension of phrases two and four. The first two measures demonstrate a logical option that could have been used for phrases two and four to ensure equal length of all phrases; the second three measures are Weber’s actual melody, with the extension bracketed. Example 4.9: Extension Producing a Three-bar Phrase in Weber’s “Lord, Help Us Ever to Retain” The following chart compares the musical stresses as they relate to the text (using the lyrics of stanza 1) in compound duple. All-caps syllables are primary stressed; all-lowercase syllables are unstressed; capitalized syllables are secondary stressed. 206 Table 4.11: Musical-Textual Stress Comparison between HERR JESU CHRIST, MEINS and Weber’s Melody HERR JESU CHRIST, MEINS Weber’s melody (without melismatic extension) Weber’s melody as written Simple triple Compound duple Compound duple LORD help us EV-er TO re-TAIN THE cat-e-CHIS-m’s DOC-trine PLAIN AS lu-ther TAUGHT the WORD of TRUTH IN sim-ple STYLE to TEN-der YOUTH. LORD help us Ev-er TO re-Tain THE cat-e-Chis-m’s DOC-trine Plain AS lu-ther Taught the WORD of Truth IN sim-ple Style to TEN-der Youth. LORD help us Ev-er TO re-Tain THE cat-e-Chis-m’s DOC-trine PLAIN AS lu-ther Taught the WORD of Truth IN sim-ple Style to TEN-der YOUTH. The result of the melismatic extension is that the primary textual stresses at the end of phrases two and four align across both melodies (indicated in bold). However, it is possible that the intent was not to align those stresses, but rather to have the final syllable of each line in Weber’s original melody fall on a downbeat, rather than a secondary beat, while maintaining his chosen musical meter. It also facilitates or informs certain compositional decisions regarding phrase and section transitions. With these departures noted, consider the following similarities. Although in different modes, the ranges are nearly identical, Weber’s melody spanning D4 to D5 and HERR JESU CHRIST, MEINS spanning D4 to C5. More striking is some noted similarity in melodic contour. The following figure casts HERR JESU CHRIST, MEINS in compound duple for ease of comparison. 207 Example 4.10: Comparison of HERR JESU CHRIST, MEINS with Weber’s Original Melody In both melodies, the end of phrase one has an identical contour of descending fourth. After the initial two pitches in the melodies, and by removing some embellishment in both melodies (i.e. disregarding all notes connected by a slur, after the first), phrase two is identical, save the inflection of F due to the differing modes. Phrase three differs a bit more, but note the rise of a third in the first measure of both phrases and the fall from C to A in the second measure of both phrases. The final phrases differ most dramatically of all; Weber’s traverses a space from scale degrees 5 to 1, where HERR JESU CHRIST, MEINS begins and ends on scale degree 1, hovering closing around it and through it between the phrase’s endpoints. Though ending rather differently, the similarities in the preceding phrases may suggest some influence on Weber’s original melody by HERR JESU CHRIST, MEINS, perhaps without his even realizing it. One performance note is worth mentioning: while the subtitle indicates that the accompaniment is for organ or piano, it is written in a way that favors organ. To this point, in the first place, the pedal D2 in stanza 3 (mm. 36-46) will necessarily need re-striking when played on piano. How often will depend on 208 several factors, some of which can be manipulated according to the conductor’s artistic interpretation. The following table outlines the factors and what, if anything, the conductor is able to influence. Table 4.12: Considerations for Re-striking the D2 Pedal Tone (mm. 36-46) When Accompanying Weber’s “Lord, Help Us Ever to Retain” with Piano Factor Conductor manipulation Affect Velocity and pressure of keystroke Can request accompanist to play louder and/or more aggressively or, conversely, softer and/or with a lighter touch The former will increase the decay time; the latter will decrease the decay time. The natural decay of the keyboard None Outside of the conductor’s control, the age and condition of the piano will serve as the starting point for the conductor’s requests about increased or decreased velocity and pressure, based on how the piano responds to changes in these The acoustics of the room None The acoustics of the room will affect the perception of decay—a “wetter” or more live room will increase decay; a “dryer” or less live room will not enhance the decay as much, or possibly at all. Tempo Conductor’s choice The conductor may choose a tempo that coincides with decay over measure length, phrase length, etc. in some markedly correlated way Re-strikes Conductor's choice Re-striking the note in this passage results in percussive and aural stress throughout the stanza at each re-strike. This introduces an affect not present in the steadily sustained sound when accompanied by an organ. The decision of when to re-strike is not only influenced by the aforementioned factors, but also in part by an aesthetic preference for how often and where to introduce these stresses. 209 Doublings Conductor's choice When accompanied by organ, registration can result in doublings of the fundamental at octaves above and below the written pitch (and also possibly at other intervals). Similar doublings would be warranted when played on piano. To this point, in the second place, there are three instances of chords spanning more than an octave between two consecutive notes in the left hand and between the top notes of both hands simultaneously (m. 26,49,63). The result is either a need to role the chords on piano to successfully play all the notes in the chord as written (for most players, though in all instances some players may be able to span a tenth with their left hand), or alteration that will impact the character of the original. Some suggestions for alteration follow for m. 26, along with analysis. Similar alterations can be applied at m. 49 and m. 63 with similar results. Table 4.13: Alterations for Wide Chords when Accompanying Weber’s “Lord, Help Us Ever to Retain” with Piano Original: the right hand would play the B♭3, but the right hand would be unable to play the A3. (The suggestions that follow write the B♭3 in the right hand as it would be played.) Omit: simply to omit the A3. 210 Displace: the A3 could be played an octave higher. The drawback to this solution is that the spacing of the original is compromised; where the smallest interval between consecutive chord pitches is a fifth in the original, this stacking results in a tight upper triad separated by a full two octaves from the bass. Re-write: though this alters the chordal doubling, this solution allows for a four-note chord with consecutive interval stackings closer to the original (from bass to soprano, the original consecutive interval sizes are tenth, sixth, fifth; this re-write is twelfth, sixth, third). Built on the Rock Norwegian Ludvig Lindeman’s (1812–1887) KIRKEN DEN ER ET GAMMELT HUS melody presents unique opportunities for any setting’s tonality. When taking only the melody pitch collection, it is a Dorian scale with tonic C, the sixth scale degree A always appearing raised (i.e. natural). Matthew Machemer’s setting, like many others, adopts a C minor key signature, the melody’s A♮ being treated as a raised alteration within the Aeolian mode (i.e. natural minor) on C. The regularly occurring A♮ can function in a number of ways harmonically, and Machemer sees fit to include several of the available possibilities within standard tonal systems. Those include modal mixture, effecting temporary tonicization, functioning momentarily within a closely related key, chordal seventh, and simply a non- chordal passing tone. Examples of each follow. By utilizing the inflection of the sixth scale degree in these various ways, Machemer manages to maintain interest for this oft-occurring melodic pitch over the duration of five stanzas. 211 Example 4.11: mm. 1-7 A♮ as Modal Mixture in Machemer’s “Built on the Rock” In m. 2 and m. 4 the A♭ is inflected up a half-step. In m. 5 and m. 6 the A♭ functions as written in the key signature. 212 Example 4.12: mm. 24-25 A♮ Affecting Temporary Tonicization in Machemer’s “Built on the Rock” The A♮ in m. 24 on beat 3 functions as a chordal third in an F7 chord, the dominant seventh of the chord that follows on the downbeat of the next measure. Within the larger context this results in a temporary tonicization of B♭ Major rather than a modulation; the entire phrase (mm. 24-27) begins and ends in C minor. These two measures also form a sequence with model and single copy. Example 4.13: mm. 28-31 Passage Uniformly Using A♮ Temporarily Functioning in a Closely-related Key in Machemer’s “Built on the Rock” In this complete phrase, every appearance of A is natural. The phrase can be analyzed in the home key of C minor, but it lacks elegance. Except for the final chord, those used in this phrase are borrowed from the closely related key of G minor. Additionally, analyzing in C minor makes the cadence at the end of the phrase difficult to analyze; although the root movement is that of an authentic cadence, 213 the chordal major seventh diminishes the aural effect of a dominant-tonic relationship between the two cadential chords. Analyzing the phrase instead in the key of G minor results as shown in the figure (the final chord analyzed III in C minor provides a common-chord pivot back to C minor). In this analysis, none of the chords are borrowed, and the bulk of the phrase is explained by circle progression: ii-V-i, passing motion of soprano and bass produce III7 (in second inversion), which moves by fifth progression to VI. 214 Example 4.14: mm. 38-45 A♮ Functioning as Chordal Seventh and as Non-harmonic Passing Tone in Machemer’s “Built on the Rock” The accompaniment figure at the start of this stanza is built largely of seventh chords, as seen in the above excerpt. In this phrase, the A♮ serves as a chordal seventh in m. 42 and m. 44, forming a VII +7 in C minor. In m. 42, the choice of A♮ on the downbeat is informed by the A♮ in the melody. According to the pattern established in the four measures prior, Machemer matches the chord in m. 44. Additionally in 215 the passage, Machemer wrote an A♮ into the descanting instrument in m. 43, where it functions as a non- chordal passing tone. Example 4.15: mm. 71-78 A♮ Functioning as Non-chordal Passing Tone in Machemer’s “Built on the Rock” This passage, locally in the key of F minor, places the melody in the instrument. Unlike other excerpts to this point, only the melody contains the altered sixth scale degree; all D’s in the voice and 216 accompaniment are altered flat, according to the local key center. The inflection in the melody (m. 75 beat 2) caused by following the key signature rather than inflecting therefore functions solely as a non-chordal passing tone. Machemer employs ABCB’A’ with codetta as his form, corresponding to the five stanzas. When comparing the B sections, one sees that the harmonic progression is nearly identical. The echoing flute lines of stanza 2 has been assumed by the piano in stanza 4 (displaced an octave), and the left-hand chords of stanza two are now arpeggiated. A unique feature of the C section (stanza 3) is that during its temporary tonicization of F minor, the raised melody D serves no functional harmonic purpose throughout the entire stanza; every D in the accompaniment is flat, and any D♮ in the vocal or flute parts are non-harmonic passing tones. The accompaniment of stanza 5 is identical to stanza 1 until the final phrase, where the harmony (along with the codetta) remains in the relative E♭ Major, appropriately text- painting the final phrase of stanza 5 “My peace I leave with you always.” Entrust Your Days and Burdens Stephen R. Johnson’s (b. 1966) tune SUFFICIENTIA is paired with Paul Gerhardt’s (1607–1676) text in LSB. Johnson has provided an arrangement of the tune for this collection, essentially theme and variations. The accompaniment is idiomatic and only doubles the melody on stanza 1. The harmonic progression is nearly identical across all three stanzas, and the brief intro serves as a short transition between stanzas 2 and 3 and as a tag to the final stanza. The third stanza includes a descant; it is relatively high, topping out on a G5 and approaching or passing through F5 eight times. For smaller groups or those without sufficient vocal development to safely and excellently execute the descant, it could either be omitted or instead played by an instrument. I Want to Walk as a Child of the Light William Brusick’s (b. ?) setting of Kathleen Thomerson’s (b. 1934) text and tune uses a set of identifiable musical building materials constructed in such a way to disguise or disrupt musical expectation. Brusick begins his brief introduction with a figure derived from the first four pitches of the refrain. After stating this twice over a descending bass line that traverses a fifth, Brusick uses a sequence- 217 like ascending passage over a descending bass line that, combined, forms a musical wedge. The right- hand figure consists of a quarter note followed by a downward leap to an eighth note that is followed by three step-wise ascending eighth notes. This construction first appears in m. 2. While the downward leap varies in size to accommodate the harmonic progression, the four eighth notes are consistently step-wise ascending. The progression includes pitch adjustments so that all downbeat chords, after the first, are major. The entire progression follows: Root analysis: Dm-F/C-B♭-Dm 7 /A-G-G/F-E♭-G7/D-C Roman-numeral analysis: ii-IV64-VII-ii43-V-V43-III-V43-I Brusick then begins stanza 1 with an accompaniment that employs musical space; rests in both hands establish a punctuated accompaniment that at first seems to be what Brusick will use for the stanza. As he moves toward the refrain, however, rests become sparser so that as the refrain begins the musical space in the opening measures has been abandoned. For much of the refrain, an accompaniment figure of six eighth notes serves to unify, but Brusick’s use of it is neither mundane nor predictable. The first appearance is in the first measure of the refrain in the left hand. Two measures later it can be argued to appear again in the left hand, but modified for voice-leading and harmonic considerations. In the following measure it appears as first introduced, but now in the uppermost part of the right hand. Two measures pass before it appears again, modified to accommodate voice-leading and now in an inner position. Two measures later it is back in its original form and in the left hand. Before the final phrase of the refrain comes its final appearance (in this stanza) in both hands, forming parallel tenths. 218 Example 4.16: Unifying Accompaniment Figure in First Refrain of Brusick’s “I Want to Walk as a Child of the Light” The two altered figures are in dashed boxes; the first is altered to have four ascending eighth notes rather than beginning with the lower neighbor, and the second ends with a step down rather than a third. A cadential accompaniment figure unifies the first stanza more consistently than any other figure in the setting. At the end of the first, second, and final phrases is a four-eighth-note pattern followed by a quarter note. At each appearance it is found in the uppermost part of the right hand with intervals in consistent sequence: third up-step down-third up-step up. The following figure has all three instances side-by-side for comparison. 219 Example 4.17: Unifying Cadential Figure in Stanza 1 Brusick’s “I Want to Walk as a Child of the Light” Brusick bridges stanza 1 to stanza 2 via an eight-bar phrase. The proportions are derived from the introduction, but the musical material is different. The first four bars serve as a sequence-like two- measure model followed by a two-measure copy (though it is not a strict copy). The next three measures are related with their right-hand eighth-note figures that mimic the figure in the right hand of the first measure of the bridge. In these three measures, the first figure matches the bridge’s opening measure right-hand figure in interval and sequence; the following two are modified (the last one so much so that it is only related in that it is six consecutive eighth notes). The final measure includes a leaping octave in the right hand like those in the second and fourth measures of the bridge. Like the introduction, the bass line descends by step, but not as quickly nor for the entire eight bars. Mirroring some aspects of the introduction like length, proportion and a portion of the bass line motion, while at the same time introducing new material and more modification to the materials, results in a bridge that is fitting without being blatantly predictable or a mere repetition of the introduction. Stanza 2 begins with a figure-driven accompaniment that is fairly regular and predictable over the first eight measures. In the fourth measure, the unifying figure from the first refrain appears momentarily in the right hand. As stanza 2 continues the next eight measures are again figure-driven, but the rocking eighth notes that were in the right hand of the first eight measure move to the left hand. The right hand in the second eight measures is sequence-like every two measures. Again at the cadence, the unifying figure from the previous refrain appears, this time in the left hand and slightly modified. An interesting facet of this stanza is that the harmonic progression slows to mostly one harmony per measure. The result is that 220 unlike the first stanza, where melody pitches were always part of the underlying harmony, some melody pitches in stanza two now function as non-harmonic passing tones. The refrain following stanza 2 returns to a more active harmonic progression, with two or three harmonies per measure. As a result, most of the melody pitches return to functioning harmonically with the accompanying chords. The right hand of the refrain following stanza 2 begins with the unifying figure from the first refrain, and the right hand of the first four measures continue the sequence-like two- measure pattern established in stanza 2. The refrain moves away from the figure-driven accompaniment of stanza 2, and by the fifth measure of the refrain the accompaniment is nearly chorale-like. As the final phrases of this refrain unfold, musical space via rests begins to appear again, as at the opening of the first stanza. The transition between stanzas 2 and 3 is again eight bars, and it begins sounding as though it will be a reprise of the introduction. But after stating the first two measure of the introduction almost identically, the rest of the transition unfolds in a sequence-like passage based on its first two measures. Like the introduction, and to a greater extent, pitch modification occurs, this time to accommodate a change of key up a full step via enharmonic modulation in m. 86 (G♭=F♯). Stanza 3 includes a mixture of techniques used in previous stanzas and refrains. The accompaniment for the first phrases are figure-driven but with new figures; the same is true of the following phrases, though their figures differ from the stanza’s opening phrases. After the refrain’s first figure-driven phrase, the accompaniment of the second phrase is chorale-like. The third phrase mirrors the first, and the final phrase opens up like the opening phrase of the first stanza. Eliding with the final note of the refrain is an exact return (transposed to the new key) of the introduction. This often-predictable compositional move is actually, by this point, an unpredictable choice, given Brusick’s penchant for modifying and morphing the figures he uses to construct his accompaniment to this point. After presenting the note-for-note introduction, Brusick has the choir sing the opening phrase again accompanied by another musical wedge that ends the piece on an exciting but not overly abrupt flourish, punctuated by a multi-octave staccato tonic that follows the final sung note. 221 Vocally, the conductor and the choir are faced with a wide but still manageable range spanning C4-E5. There is a moment at m. 76 where the harmonizing voice may falter. The parallel thirds of the vocal writing in the preceding measure suggests an E on the downbeat of m. 76. But both the harmonic progression suggests, and the underlying harmony on the first two beats combined of the measure spell a G Major triad. These may lead to an uncertain or unstable E, or even wrongly sung D on the downbeat of m. 76 in the harmonizing voice, as it is not reinforced harmonically until beat three of the measure. See Example 4.18. Example 4.18: Alto Voice-leading into m. 76 Not Immediately Supported by Accompaniment in Brusick’s “I Want to Walk as a Child of the Light” Breathing throughout the setting is guided almost entirely by punctuation, and the solution is almost always to shorten the final pitch of the phrase or passage by a quarter note. There are two places to note that deviate from this guiding principle: m. 100 and m. 104. Both are places where the harmonizing voice is moving below a longer melody note at the phrase’s end; in both these places, shortening of both voices can only be by an eighth note, so that the melody voice stays on its pitch and harmonizing voice reaches its final pitch before both break together. With High Delight Let Us Unite For the last entry in this collection, Philip Gehring (1925–2020) contributed a three-movement, Baroque-inspired mini cantata. The first movement, “Aria,” utilizes a long-note cantus firmus supported 222 by an accompaniment constructed mostly of figures based on melodic fragments. Inter-phrase accompaniment passages foreshadow the opening segments of the cantus firmus that follow. Movement two, “Recitative,” sets stanza 2 to music unrelated to the chorale melody. This brief movement combines the two main classes of recitative; the first half utilizes the metrically free and sparsely accompanied secco, whereas the second half uses the more metrically steady and figure-driven accompagnato. In the final bars, the accompaniment departs from figures and instead doubles the melody. Although the key signature remains the same as the surrounding D Major movements, the Recitative’s opening relative minor tonality of B minor is quickly abandoned for the closely related keys of E minor and ultimately G Major. Vocally, this movement is more technically demanding than most of the collection. Marked for a solo or small group of children, the movement begins at the very edges of vocal range at an F♯5 and tops out moments later at G5. Both of these are relatively unsupported by accompaniment, occurring in the opening secco portion of the recitative. Having finished the preceding movement on a D4, the conductor will wish to exercise special care in preparing the child(ren)’s voice for this register shift. Overall, the vocal range of the movement is an octave plus a fourth (D4 to G5). Another technically challenging moment occurs in m. 9 on the text “O’er death and grave,” where the G4 on “O’er” competes with the non-harmonic A4 in the accompaniment and then the singers execute a downward octave leap from D5 to D4. Again, special attention will need to be given to this moment so that the G4 is sung in tune and the downward octave leap is both accurate and lightly weighted on an unaccented word and beat. Offsetting these vocal challenges are several simpler step-wise passages in this original melody. The final movement is, perhaps predictably in the spirit of a Bach cantata, a chorale. Effectively, the melody is in the alto voice of the chorale, with the descanting voice doubled for the most part by the accompaniment. A note indicates that the sung descant is optional, and because it is doubled almost entirely by the accompaniment, the entire mini cantata could, therefore, be for unison voices. 223 The Hymns of Martin Luther CPH music editor Peter Reske (b. 1976) edited an anniversary collection of hymns “widely credited to Luther.” 8 The preface outlines the purpose, sources and unique features of this Luther hymns compilation, and as a result, little further comment is necessary. One conscious decision regarding settings is implied in these prefatory remarks by Reske: “It is a rare thing to have all of Martin Luther’s hymns and music brought together under one cover. . . . with practical musical settings for a general audience.” He later describes these “practical musical settings” as selected to support congregational singing, many of them well-suited to four-part SATB singing. 9 As the majority of settings in this collection come from 20th century Lutheran hymnals and arrangers, the implication may be that historic settings are by and large impractical for a general audience. Only two of the 38 settings are based on historic settings—the setting of AUS TIEFER NOT (“From Depths of Woe I Cry to Thee”) is by Johann Hermann Schein, and the setting of ERHALT UNS, HERR (“Lord, Keep Us Steadfast in Your Word”) is by Hans Leo Hassler. As a plethora of historic settings by Lutheran composers are available for many of these tunes, another approach to an anniversary edition might have been to highlight more historic settings, which like those by Schein and Hassler included in the collection, can be altered (if needed) to accommodate “practical” needs. A Reformation 500 publication by CPH, “The Praetorius Chorale Book: Easy Four-Part Settings for the Church Year,” includes nearly a dozen settings by Michael Praetorius (1571–1621) matching the tunes in the Luther collection. A quick perusal of the table of contents in Riemenschneider’s (1878–1950) “371 Harmonized Chorales and 69 Chorale Melodies with figured bass by Johann Sebastian Bach” (G. Schirmer, 1941) reveals dozens of possible harmonizations correlating to better than half of the tunes included in the Luther collection. Reske’s collection could serve as a source for church choir repertoire, but it may have served that use more effectively if it included historic settings for use as choral alternate stanzas in conjunction with congregational singing. As the collection has been compiled, the settings match or may differ rather insignificantly in comparison to settings in 8 Peter Reske, ed., The Hymns of Martin Luther, (St. Louis: Concordia Publishing House, 2016), Preface. 9 Reske, Preface. 224 congregational hymnals and may not offer much variety for the choral director looking for distinct choral alternate stanzas to these hymns. Summary of Concordia Publishing House Reformation 500th Anniversary Publications The CPH Reformation anniversary publication corpus demonstrates deep respect for the heritage of Lutheran music, its timelessness, and its capacity for continual reinvention. The repertoire relies on the foundation of 500 years of sacred Lutheran text, melody, and composition. Only Machemer’s “God Is Our Refuge and Strength” and Karsten’s “Though All Our Life Is Like a Scroll” were newly conceived texts at the time of their publication for Reformation 500. Few texts from non-Lutheran authors are among the corpus, though even these may appear in Lutheran hymnals, such as Thomerson’s “I Want to Walk as a Child of the Light.” The use of melodies centuries old eclipse new composition several times over. New composition, in part, pairs with heritage texts, such as Shaw’s setting of Luther’s “We Praise You, Jesus, at Your Birth” and Weber’s setting of Hembold’s (1532–1598) “Lord, Help Us Ever to Retain.” Some new melodies show the influence of centuries-old hymn tunes, as demonstrated in Weber’s tune for “Lord, Help Us Ever to Retain” and the form of Blersch’s SOLA. Newly prepared editions of settings by Reformation era composers and an edited collection of motets arranged by Michael Praetorius find a market hundreds of years beyond their conception. The capacity for reinvention is seen in multiple arrangements of a single text and tune among the publications, such as those of “A Mighty Fortress” (five), “Lord Keep Us Steadfast in Your Word” (four), and others; incorporation or modeling of historic settings or styles, such as Machemer’s compilation of settings by J. S. Bach (18th century), Heschke (20th century), and himself (21st century) of “WIR GLAUBEN ALL,” and Culli’s flanking of Bach’s harmonization of WER GOTT VERTRAUT, HAT WOHL GEBAUT with his own Baroque-style setting; and expansion of pre-existing materials as seen in Behnke’s interpolations and refrain for “Lord, Keep Us Steadfast in Your Word.” The church finds from Concordia Publishing House a buffet of sacred choral music serving many aesthetics, in a variety of vocal combinations and for a variety of instrumental resources, designed for the continued proliferation and flourishing of the Lutheran musical identity. 225 Chapter 5: 2017 Other Sacred Music Publishers A number of other sacred music publishers marked the milestone Reformation anniversary with special releases, though with less fanfare or volume than the Lutheran denominational publishers. These publications are summarized in the following table: Table 5.1: Reformation 500 Publications by Other Sacred Music Publishers Title Composer/Arranger Performance forces Publisher Type, Publisher Part Number A Mighty Fortress Is Our God arr. Michael Costello SATB, organ, opt. brass sextet and percussion (isorhythmic and metric versions) MorningStar Music Publishers (ECS Publishing Group) Vocal Octavo, 60- 6400 (rhythmic), 60-6450 (isometric) A Mighty Fortress Is Our God arr. Dan Forrest SATB or SSAA or TTBB, organ (opt. piano), brass sextet, percussion Beckenhorst Press SATB Vocal Octavo, BP2101 A Mighty Fortress Is Our God arr. Duane Funderburk SATB, organ, opt. brass, opt. orchestra Jubal House Publicatoins (distributed by Hal Leonard) Octavo, JH1320 (HL# 00201000) A Mighty Fortress Is Our God arr. Kyle Pedersen SATB, electric guitar, piano Galaxy Music Corp. (ECS Publishing Group) Octavo, 1.3573 Christ Is Made the Sure Foundation Jeremy Bankson SATB, organ, opt. congregation, opt. treble choir, opt. two trumpets, opt. timpani MorningStar Music Publishers (ECS Publishing Group) Octavo, 60-7040 Dear Christians, One and All, Rejoice Joseph M. Martin SATB, piano, opt. brass, opt. timpani Hal Leonard Octavo, 35032143 God Is Our Refuge Edwin Childs SATB, congregation, organ GIA Octavo, G9517 God Is Our Refuge, God Is Our Strength Marty Haugen SATB, congregation, keyboard, opt. guitar GIA Octavo, G9577 226 I Rest within God’s Gentle Arms William Beckstrand Solo, SATB, organ, opt. congregation MorningStar Music Publishers (ECS Publishing Group) Octavo, 50-5025 I Still Possess Connor Koppin SATB divisi unaccompanied MorningStar Music Publishers (ECS Publishing Group) Octavo, 50-8403 It Started with an Idle Tale Sally Ann Morris SATB, congregation, piano, opt. organ, opt. guitar, opt. brass quartet, opt. castanets and timpani GIA Octavo, G9572 Jesus, Author of Salvation Robert Hobby SATB, trumpet or treble instrument, organ, opt. congregation MorningStar Music Publishers (ECS Publishing Group) Octavo, 50-4420 O Glorious Word Steven Aldredge SATB and piano Lorenz Octavo, 10/5196L The Holy Spirit Mass Kim André Arnesen SATB, organ or strings and piano Boosey & Hawkes* Perfect-bound book, M060135668 You Are God David Cherwien SATB, organ, opt. treble instrument in C, opt. cello MorningStar Music Publishers (ECS Publishing Group) Octavo, 50-8953 *While Boosey & Hawkes is not a U.S. publisher, The Holy Spirit Mass was commissioned and premiered by an important U.S. Lutheran choral organization, The National Lutheran Choir, for the observance of Reformation 500. Published by Boosey & Hawkes and distributed in the U.S. by Hal Leonard, the work is therefore included in this research. Beckenhorst Press Inc. A Mighty Fortress Is Our God According to music co-editor Dan Forrest (b. 1978), his arrangement of “A Mighty Fortress Is Our God” for SATB, organ, optional congregation, optional brass sextet (2 trumpets, horn, 2 trombones, tuba), and optional percussion (two parts: timpani and auxiliary percussion) (optional orchestral 227 accompaniment also available) is the only publication by Beckenhorst Press Inc. related directly to observation of the 500th anniversary of the Reformation. 1 It was commissioned by Concordia University Irvine in honor of the 500th anniversary of the Reformation. 2 The published edition includes two versions of Luther’s text. The main text (in normal typeface) is attributed as “the Hedge translation (common in broad Protestant use).” 3 While this statement is true at face value, this public domain translation appears with considerable variety among Protestant sources. Thus, comparing Forrest’s text with mainline Protestant hymnals that attribute the translation to Hedge (1805–1890) reveals variations. For the conductor, this may require adjustments of this public domain text as it appears in the published octavo for the sake of matching pew hymnals containing a Hedge translation derivative, particularly if inviting congregational participation using their pew hymnals on the stanzas indicated in the score. The italicized octavo text in Forrest’s setting comes from LBW. 4 Like many 15th- and 16th-century hymn tunes, EIN FESTE BURG has both rhythmic and isometric versions, both often included in modern hymnals. Forrest includes both versions in his setting, along with rhythmic variations on fragments of both as material for interludes. A baritone soloist sings the rhythmic version for the first stanza. The interlude between rhythmic stanza 1 and isometric stanza 2 introduces the first phrase of the isometric version of the melody augmented and slightly altered (see Example 5.1 for a comparison of the strictly isometric melody that begins stanza 2, augmented to twice the note values, with Forrest’s statement in the interlude). Forrest follows the isometric melody exactly in stanza 2, making addition of the congregation (marked optional) easily accomplished. Relying on the familiarity of the melody for congregational participation, Forrest places the melody in lower voices (primarily the alto) for much of the stanza. 1 Dan Forrest, email correspondence to author, January 5, 2019. 2 Dan Forrest, “A Mighty Fortress Is Our God,” (Columbus, OH: Beckenhorst Press, 2016), dedication. 3 Forrest, Program Notes. 4 Forrest, Program Notes. 228 Example 5.1: Augmented Opening Melody of Stanza 2 Compared with Interlude Prior in Forrest’s “A Mighty Fortress Is Our God” Stanza 3 also utilizes the isometric version of the melody, with some liberty. This choir-only stanza features transposition of a portion of the melody, two measures where the melody disappears, and the augmentation of the final phrase. These all occur in the second half of the stanza beginning with the downbeat at m. 72. Instead of completing the phrase ending at that moment on the tonic B♭ as expected Forrest returns up to D, harmonized with a G Major triad. The next semi-phrase begins in the key of G Major with the melody in the tenor, but Forrest does not end on the expected half-cadence D Major triad, even though that expectation is preceded by a secondary dominant A Major triad. Instead, Forrest follows the A Major triad with a non-standard G triad, containing a chordal second instead of a chordal third (G- A-D). The melody in the next semi-phrase begins on the new tonic G (melody still in the tenor) but is followed by a step down to F♮, after which the melody proceeds up by step as expected in the home key of B♭. Example 5.2 shows mm. 71-78 with simplified Roman numeral analysis and the scale degrees in mm. 74-78 for the active key indicated above the tenor melody. 229 Example 5.2: Forrest’s “A Mighty Fortress Is Our God” mm. 71-78 The loss of the melody in mm. 81-82 is the result of prioritizing compositional apparatuses over strict melodic rendering. The alto suspension in m. 78 is utilized again in m. 80 and m. 82; the result is a slight alteration of the melody, located in the alto, at m. 80. A chromatic keyboard bass line is initiated in m. 78 230 that concludes in m. 82, as does a series of sequence-like vocal movements. Prioritizing these processes results in the loss of the melody in mm. 81-82. Example 5.3 shows mm. 78-82 with these features annotated. The melody as it would have strictly continued (in the alto) in mm. 81-82 is included in cue- sized notes. The harmony at mm. 81—which continues the chromatic bass line, pseudo-sequence from mm. 79-80—precludes the use of the melody; the bass F♯ conflicts directly with the F♮ that would occur were the melody to continue. After completing this passage, Forrest returns the melody in augmentation in the topmost voice to finish the stanza. 231 Example 5.3: Forrest’s “A Mighty Fortress Is Our God” mm. 78-82 Stanza 4 concludes with optional congregation, using the isometric melody. Conductors should take note that the ends of the A phrase are extended (at variance to congregations singing along from a pew hymnal rather than a prepared sheet). A choral repeat of the final phrase results in seven-part divisi 232 and the requirement of staggered breathing for six measures. For smaller choirs, the D5 and A3 can be omitted in m. 148 and the A5, D5 and A3 omitted in m. 149 to the end, resulting in a complete triad for SATB without divisi. For the most part, the vocal ranges are reasonable, and both the phrasing and breathing clearly indicated and manageable without significant challenge. Rehearsing will likely focus on unexpected harmonic passages (especially for the singers) and for both instrumentalists and singers the varied rhythms and the “seams” in the setting. After the initial tempo marking, nine changes occur throughout the score. Forrest’s setting is available for SATB, TTBB and SSAA voicing. Instrumental parts are identical regardless of voicing option, and the equal voice versions are essentially octave displacements of each other (though a few variations are observed). For those without an organ or organist, an optional piano part is available. For those wishing to utilize the brass, agile intermediate to advanced players likely are required; the trumpet 1 range extends high, and all parts are rhythmic with meticulous articulation indications. The auxiliary percussionist, too, should be intermediate to advanced, ready to play a half dozen instruments (indications for anvil or bass drum, tambourine, crash cymbal, snare drum, suspended cymbal, chimes), sometimes with fairly quick changes required. At least four timpani are required (initial F, G, B♭, D), with two requiring re-tuning to accommodate the key change prior to stanza 4. The time to re-tune the F to F♯ is sufficient; the time available for re-tuning B♭ to A is only a matter of seconds. In short, smaller organizations wishing to execute the full experience of the setting may find it necessary to hire adequately trained musicians and/or potentially rent instruments (particularly percussion) to meet full performance requirements. Boosey & Hawkes The Holy Spirit Mass The National Lutheran Choir commissioned Norwegian composer Kim André Arnesen (b. 1980) to write The Holy Spirit Mass to commemorate the 500th anniversary of the Reformation. The published version is for mixed voices and organ, with parts for piano and strings (as commissioned and premiered by the National Lutheran Choir) available on hire from the publisher. The text “is based on English 233 translations of the Veni Creator Spiritus (Rhabanus Maurus); Martin Luther’s hymn, Come Holy Ghost, God and Lord and the Ordinary of the Mass, in the translation of the English Language Liturgical Consultation, 1988.” 5 The latter is available at www.englishtexts.org. The translation of Veni Creator Spiritus seems to be sourced primarily from ELW. The following table shows the two texts side-by-side for comparison. Arnesen’s alterations are bolded. The third column lists in which movement of the mass each stanza appears. Table 5.2: Text Comparison of “Creator Spirit, Heav’nly Dove” (ELW) and Arnesen’s The Holy Spirit Mass ELW 577 The Holy Spirit Mass Movement Stanza Appears 1 Creator Spirit, heav’nly dove, descent upon us from above; with graces manifold restore your creatures as they were before. Creator Spirit, heav’nly dove, descent upon us from above; with graces manifold restore your creatures as they were before. 1 Creator Spirit (Kyrie) 2 To you, the Comforter, we cry; to you, the gift of God most high, true fount of life, the fire of love, the soul’s anointing from above. To you, the Comforter, we cry; to you, the gift of God most high, true fount of life, the fire of love, the sweet anointing from above. 2 Fount of Life (Gloria) 3 In you, with graces seven-fold, we God’s almighty hand behold; while you with tongues of fire proclaim to all the world God’s holy name. In you, with graces seven-fold, we God’s almighty hand behold; while you with tongues of fire proclaim to all the world God’s holy name. 4 Blessed (Sanctus and Benedictus) 4 Your light to ev’ry sense impart, and shed your love in ev’ry heart; your own unfailing might supply to strengthen our infirmity. Your light to ev’ry sense impart, and shed your love in ev’ry heart; your own unfailing might supply to strengthen our infirmity. 5 Peace (Agnus Dei) 5 Keep far from us our cruel foe, and peace from your own hand bestow; upheld by you, our strength and guide, no evil can our steps betide. Keep far from us despair, our foe, and peace from your own hand bestow. So, by your ever-gracious call we fear no threat and live for all. 5 Peace (Agnus Dei) 6 Teach us to know the Father, Son, and you, of both, to be but one; that through the ages all along your praise may be our endless song. [Oh, may your grace on us bestow the Father and the Son to know,]* that through the ages all along your praise may be our endless song. 3 The Spirit’s Work (Credo) *The text in brackets is a variant of these two phrases found in some hymnals. 5 Kim André Arnesen, The Holy Spirit Mass (London: Boosey & Hawkes Music Publishers Ltd., 2017), introductory page. 234 For the most part, Arnesen has retained the composite translation from ELW. The alterations for stanza five may be motivated by another stated goal of the overall work, commemoration of “50 years of productive Lutheran-Catholic dialogues. Themes that are prominent in the composition include mercy, grace, the promises given to us all by a faithful God, oneness, praise, hope, vision for a reconciled future, and mutual service to the world” (emphasis mine). 6 These two altered lines, more than any other in the compiled text, express directly the italicized sentiments. Besides the main text sources cited in the introduction to the vocal score, additional text is drawn from Luther’s Small Catechism and the book of Ephesians, both appearing in movement “The Spirit’s Work (Credo).” The unfolding of the text in this movement is unique as compared to the movements that surround it. In movements 1, 2, 4, and 5, each begins with a stanza (or two, in the case of movement 5) from Veni Creator Spiritus followed by its Ordinary of the mass text pairing. Movement 3 begins with a stanza from the Maurus (776–856) hymn followed by the beginning of the excerpted Credo text, but then an alternation of texts follows for the balance of the movement, switching between the Credo text and the additional texts not cited in the score introduction. Table 5.3 outlines the entire text of movement 3, along with its sources. Table 5.3: Text from Arnesen’s “The Spirit’s Work (Credo)” and Its Sources The Spirit’s Work (Credo) Source Oh, may your grace on us bestow the Father and the Son to know, that through the ages all along your praise may be our endless song. Composite English translation of stanza from Rhabanus Maurus’ Veni Creator Spiritus We believe in the Holy Spirit, the Lord, the giver of life, who proceeds from the Father and the Son, who with the Father and the Son is worshiped and glorified, who has spoken through the prophets. Nicene Creed 6 Arnesen, introductory page. 235 Come, Holy Spirit. Attributed to Luther in score, thus likely considered sourced from the opening words of Luther’s hymn “Come, Holy Ghost, God and Lord” (the text for movement 6). However, this brief prayer could come or be derived from any number sources. For example, it succinctly paraphrases the beginning of stanza 1 from the Maurus text, “Creator Spirit, heav’nly dove, descent upon us from above.” You call, enlighten, sanctify and keep us all. Luther’s Small Catechism, explanation to the Third Article of the Apostles’ Creed. We believe in one holy catholic and apostolic Church. Nicene Creed You call, gather, enlighten, and sanctify the whole Church on earth, You keep it with Jesus Christ. Luther’s Small Catechism, explanation to the Third Article of the Apostles’ Creed. We acknowledge one baptism for the forgiveness of sins, Nicene Creed one faith, one baptism, one God and Creator of all. Ephesians 4:5,6 (NIV): “. . .one faith, one baptism, one God and Father of all . . .” (“Creator” substituted for “Father”, line attributed to Luther in score) We look for the resurrection of the dead, Nicene Creed You are the Lord, the giver of Life. Attributed to Luther in score, but seems to be derived from first line of the portion of the Nicene Creed that begins this movement, “We believe in the Holy Spirit, the Lord, the giver of life . . .” And the life of the world to come. Nicene Creed You are the presence of the living God. No attribution in score, and not part of the Nicene Creed. Amen. Nicene Creed Commissioned by a premiere Lutheran performance organization, the work features extensive vocal divisi, wide vocal ranges, and is written for singers with well developed breath management and stamina. The majority of the vocal writing is homophonic, often chorale-like, and lushly harmonic. With only a few exceptions, every iteration of voicing possible from unison section(s) to SSAATTBB is present at some moment in the work. Designated solos, as well as unaccompanied passages, are relatively 236 few. The overall experience of the work is that of moving from solid color to solid color, the boundaries and character of each quickly recognizable and transparent. Arnesen’s writing relies heavily on diatonic and modal harmonies. Key, tempo, and meter changes occur frequently throughout. Some movements utilize repetition of thematic material from within the movement to unify the individual movement, but not always. On a larger scale, thematic material from earlier movements appears in the final movement, but truncated and re-imagined within its new context. Key centers for the most part are closely related, though exceptions exist, most notably the relationship early in the work between movements one and two (tritone: D minor to G♭ Major). In general, modulations are short and rely on common chords or tones, though neither of these are exclusive. Table 5.4 outlines the various key centers and some facets of the junctures between. Table 5.4: Arnesen’s The Holy Spirit Mass Key Centers and Junctures Mvt Section Key 1 Intro F major, ends on D minor triad and foreshadows end of movement Creator Spirit, st. 1, x2 F major (ends with IV-III cadence, III is V of D minor) Transition D minor Kyrie D minor 2 Fount of Life G♭ Major (ends on V which becomes new I) Transition D♭ Major Gloria, part 1 D♭ Major (ends on IV6-III cadence, III is V of B♭ Major) Introduction of new musical material and key B♭ Major Gloria, part 2 B♭ Major (ends on IV9; G is common tone) Gloria, part 3 C Major Gloria, part 4 C Major Gloria, part 5 C Major Gloria, part 6 C Major (like part 2, different key; B♭ inflection leads to new key; formally modulation via common chord A minor triad) 237 Gloria, part 7 F Major (based on part 3 initially, different key; common chord with next movement) 3 Intro A minor The Spirit’s Work and Credo part 1 A minor (modulation via modal mixture DM used previously and progression: Am-DM-BM-Em) Credo part 2 E minor Credo part 3 E minor Quote from Luther E minor (morphed to E diminished triad, introducing B♭) Credo part 4 and Quote from Luther G minor (begins with material from previous section in new key) Transition B♭ minor (via common tone B♭ from previous) Credo part 5 and Ephesians 4:6 B♭ minor (immediate; G♭ Major 7 triad gives way to C minor triad via step-wise manipulations) Credo part 6 Key ambiguity: Cm key signature and triad initially, but also F dorian with inflection of E♮ and C Major-F minor (V-I) cadence, at same time maintaining D♮ Final phrase and Amen F dorian (moving toward what appears to be F minor through inflection of D♭ until final chord where D is natural in B♭ Major triad) 4 Blessed B♭ Major Sanctus B♭ Major or G minor (preceded by B♭ Major but built almost entirely of alternating E♭ Major and G minor triads; transition to D♭ Major via common tone B♭ of E♭ Major triad and G♭ Major triad) Benedictus D♭ Major (ends on V, which shares common tone with E♭ Major Benedictus (Hosanna) B♭ Major or G minor (same material as Sanctus Hosanna; ends on B♭ Major triad, modified version of which begins next movement) 5 Peace F Major (reprise of st. 1 music; ends on E Major triad, V of next movement) Agnus Dei A minor, ends by moving toward relative C Major and then deceptively cadencing on A Major. 6 Together in Hope A Major (only movement in single key, essentially a one-stanza accompanied chorale) 7 Alleluia D Major (immediate, G Major triad to C7), F Major (modal and chromatic manipulation), D Major (enharmonic), D♭ Major 238 The judicious use of unaccompanied passages highlights important moments in the text or musical structure. The following table outlines these passages and their relationship to text and structure. Table 5.5: Unaccompanied Passages and Their Relationship to Text and Structure in Arnesen’s The Holy Spirit Mass Movement/Measures Text Relationship to Text/Structure Fount of Life (Gloria), mm. 39-42 “and peace to God’s” accentuating contrast from accompanied divisi and high tessituras for “Glory to God in the highest” to the text focusing on “earth,” set not only in a lower tessitura but further unaccompanied; anticipating transition to new key and first extended triple meter of the entire work Fount of Life (Gloria), mm. 213- 223 “you are seated at the right hand of the Father; receive our prayer.” occurs about 2/3 of the way through this movement—the longest in the entire work— offering a significant respite from accompaniment; highlights the only section in the entire work with rhythms written most like the rhythm and cadence of speech, including the indication for flexible tempo (setting the passage apart from the speech- rhythm-like passage in movement 3 mm. 120-132) The Work of the Spirit (Credo), mm. 164-165 “-men” Considering this an “unaccompanied passage” may be a misnomer, but its brevity and abruptness calls attention to the end of the movement, its juncture with the only movement for which the voices begin immediately in harmony, and the dominant tone of the key for the following movement. Although not designated attacca, the juncture as written can have that effect, at the discretion of the conductor. 239 Blessed (Sanctus and Benedictus), mm. 59-76 “Blessed is he who comes in the name of the Lord.” This text, unique to the Benedictus (unlike “Hosanna in the highest” which is in both the Sanctus and Benedictus) is set in another key and further set apart from the Sanctus and the shared “Hosanna in the highest” by being unaccompanied. Together these two attributes (key and unaccompanied) reinforces the unique ABA’ structure of this movement. Peace (Agnus Dei), mm. 70-85 “Agnus Dei, qui tollis peccata mundi, miserere nobis.” This passage is unaccompanied only in the organ version. In the piano/strings version, the passage prior to this is a piano solo. At the entrance of the choir the piano is tacet for the duration of the passage and the choir is doubled by the strings. While a registration change on organ could emulate this change in timbre to an extent, singing the passage unaccompanied offers greater contrast when the organ is the only instrument. Peace (Agnus Dei), mm. 132-134 “pacem” Like the very end of the Credo, this brief unaccompanied passage highlights the end of the movement and the transition to the next movement’s opening key. In this case, the unaccompanied passage facilitates the modulation fully prior to the new movement; the accompanied portion having ended in Am, the unaccompanied passage moves toward the relative C Major as the harmonic progression sets up an authentic cadence in C Major. However, the final chord functions as a deceptive cadence to the submediant, but with a raised chordal third forming an A Major triad—the opening key of the next movement. This final sung chord is supported an eighth note later by the 240 instruments, also on an A Major chord. Together in Hope (Hymn), mm. 29-32 (m. 32 indicated a 10’ unaccompanied aleatoric passage) “be sung” highlights the only (officially indicated) attacca movement juncture and builds unpredictable anticipation (at the discretion of the conductor via aleatorics) to the climactic unaccompanied unison quote of the Veni Creator Spiritus chant to begin the final movement. Alleluia, mm. 1-2 “Alleluia” In addition to contrasting the aleatoric passage prior (which ended accompanied), this moment is fittingly sung in the unaccompanied unison style of the quoted genre (medieval chant). It serves as a climactic and unique way musically to launch the final movement, while at the same time honoring the historic chant paired with the Veni Creator Spiritus text and its inspiration for the mass title. 241 Alleluia, mm. 84-98 “Alleluia" This first portion of this passage is the first of several in the final movement that recall musical material from earlier movements. Attention is drawn to this via presenting it unaccompanied (when previously it was accompanied). Mm. 84-88 are based on mm. 207-212 from Fount of Life (Gloria). Mm. 89- 98 recall more immediately from within the final movement the material found in mm. 73-83. Put another way, the section that begins with a key change at m. 73 and concludes at m. 98 has an ABA’ structure, the B material coming from the earlier Gloria, with the B and A’ material presented as the final instance of an unaccompanied passage within the entire work. ECS Publishing Group ECS Publishing Group notes seven anthems released in conjunction with Reformation 500 under the MorningStar Music Publishers imprint: “A Mighty Fortress Is Our God” (in two versions: one rhythmic and one isometric); “Christ Is Made the Sure Foundation;” “I Rest within God’s Gentle Arms;” “Jesus, Author of Salvation;” “I Still Possess;” and “You Are God.” 7 Not mentioned, but likely an outgrowth of Reformation 500 (and worth cataloguing in this research) is the 2019 publication under the Galaxy Music Corporation imprint of Kyle Pederson’s “A Mighty Fortress Is Our God.” The corpus released by ECS Publishing Group is the most robust and diverse offering of Reformation 500 choral music among the non-denominational publishers. Following are summaries and analyses of these eight anthems. 7 Customer Service Representative Melissa Schelich, email correspondence to author, January 9, 2019. 242 A Mighty Fortress Is Our God (Costello) The Wisconsin Evangelical Lutheran Synod commissioned Michael Costello (b. 1979) to write a concertato setting of “A Mighty Fortress Is Our God” for the 2017 National Conference on Worship, Music, and the Arts. 8 The setting was published in both rhythmic and isometric versions, the latter an adaptation of the former. Following a common concertato blueprint, Costello’s setting begins with an extensive introduction that previews the full hymn, stanzas 1 and 2 are for congregation and choir in unison, stanza 3 is a choral feature, and stanza 4 is for congregation and choir with soprano descant. Brass sextet and percussion are optional; notes within brackets are provided in the organ accompaniment to be played only in the absence of brass. Common to both versions are the introduction, the inter-stanza transitions, choral stanza 3, and the closing instrumental passage. The settings of the congregational stanzas in the rhythmic version are by Costello; the organ accompaniments across these stanzas are largely similar (though no setting is entirely repeated). The use of brass, percussion, and changing organ registrations are sources of more substantial variety between the congregational stanzas in the rhythmic version, along with the stanza 4 soprano descant. Costello indicates in the isometric version that the setting for stanza 1 is a public domain setting appearing in both LBW and ELW, and that stanza 2 is by J. S. Bach. Lacking any special note, presumably the setting of stanza 4 is by Costello, with a descant that complements the setting. The public domain setting may have been informed by the Bach setting, as a number of similarities are observed, often in the form of the same harmonic function but with different voicing, or a simplification of the Bach setting by removing passing motion in the supporting voices. A simple Roman-numeral analysis of both settings is more than 80% identical. Costello’s isometric stanza 4 setting varies more dramatically harmonically from the preceding stanzas 1 and 2. The extra-musical material surrounding phrases of the chorale in the anthem’s extensive introduction preview features of choral stanza 3. The accompaniment in mm. 25-27 and mm. 7-8/30-31 8 Michael Costello, “A Mighty Fortress Is Our God,” (St. Louis: Birnamwood Publications, a division of MorningStar Music Publishers, Inc., 2017), dedication. 243 are identical to mm. 101-103 and mm. 105-106 respectively. Example 5.4 demonstrates a more subtle connection. The construction in the first two measures of Example 5.4 appears three times in the introduction. The modification in the second two measures of Example 5.4 precedes the material in mm. 25-27 of the introduction (which as noted appears again in mm. 101-103 in the accompaniment). Combined and slightly modified, these materials form the vocal codetta of stanza 3 at mm. 111-113. Example 5.4: Musical Material in Introduction Previewing or Informing Portions of Choral Stanza 3 in Costello’s “A Mighty Fortress Is Our God” Because the settings are designed for significant involvement by the congregation, most of the technical difficulty is left to the instrumental passages and choral stanza 3. Even in stanza 3, consideration is given for smaller or less advanced choirs; phrases are short to allow for ample breathing, a majority of the setting is unison or two-part, and a note indicates that the tenor part can be omitted for SAB choirs. The pseudo-contrapuntal phrase at mm. 101-102 is mostly step-wise for all voices. The a cappella SATB with soprano solo passage at mm. 111-113 is perhaps the most challenging moment; the passage includes 244 dissonances approached to and departed from by leap, several minor seconds in the SA voices, and the need for five voice parts for the most effective execution of the passage. For the choir singing SAB, the passage could be performed without tenor, but the result is several incomplete triads and an aural void between bass and alto not compensated for by accompaniment, as the passage is a cappella. However, Costello’s indication that the passage be executed by “A few voices per part” should make the presence of all five voices possible for most choirs, except perhaps for the most depleted or technically challenged choirs. In the most extreme circumstances, the passage could be doubled by a soft registration on the organ. The stanza 4 soprano descant is in a fairly typical range and is effectively a harmonic extension; it entirely mirrors the melody both rhythmically and in placement of all text syllables. A Mighty Fortress Is Our God (Pederson) Kyle Pederson (b. 1971) introduces his setting of Luther’s “A Mighty Fortress Is Our God” in this way: “This arrangement is a re-imagining of Martin Luther’s iconic melody. New harmonies and ambient electric guitar accompaniment create an ancient/modern feel giving new life to this classic hymn.” 9 His re-imagining manifests itself in several ways and with increasing alteration from source materials as the anthem unfolds—not just in regards to melody, but also to text. The translation by Frederick H. Hedge in GtG serves as a source for comparative analysis of Pederson’s text adaptation, along with the original German. Pederson sets three of the four stanzas found in most hymnals. Table 5.6 provides all three texts side-by-side. 9 Kyle Peterson, “A Mighty Fortress Is Our God,” (St. Louis: Galaxy Music Corp., 2019), Program Note. 245 Table 5.6: Comparison of stanzas 1, 2, and 4 of “Ein feste Burg ist unser Gott,” GtG’s English Translation, and Pederson’s Adaptation German GtG Pederson’s adaptation 1 Ein’ feste Burg is unser Gott, ein’ gute Wehr und Waffen; Er hilft uns frei aus aller Not, die uns jetzt hat betroffen. Der alt’ böse Feind, mit Ernst er’s jetzt meint, gross’ Macht und viel List sein’ grausam’ Rüstung ist, auf Erd’ ist nicht seinsgleichen. 1 A mighty fortress is our God, a bulwark never failing. Our helper he, amid the flood of mortal ills prevailing. For still our ancient foe doth seek to work us woe. His craft and power are great, and armed with cruel hate, on earth is not his equal. 1 A Mighty Fortress is our God, a refuge never failing. Our helper He amid the flood of mortal winds prevailing. For still our spirit’s foes doth seek to work us woe; they lure with pow’r so great, with judgment and with hate; Shield us e’er guard us as Thy own. 2 Mit unsrer Macht ist nichts getan, wir sind gar bald verloren; er streit’t für uns der rechte Mann, den Gott hat selbst erkoren. Fragst du, wer der ist? Er heisst Jesus Christ. Der Herr Zebaoth. Und ist kein andrer Gott, das Feld muss er behalten. 2 Did we in our own strength confide, our striving would be losing, were not the right man on our side, the man of God's own choosing. Dost ask who that may be? Christ Jesus, it is he. Lord Sabaoth his name, from age to age the same, and he must win the battle. 2 If we in our own strength confide, our striving would be losing. Were not the right Man on our side, the Man of God’s own choosing. You ask who this may be? Christ Jesus, it is He. Emmanuel His name, from age to age the same! Who was, who is, who e’er shall be. 4 Das Wort sie sollen lassen stahn und kein’n Dank dazu haben; er ist bei uns wohl auf dem Plan mit seinem Geist und Gaben. Nehmen sie den Leib, Gut, Ehr’, Kind und Weib: lass fahren dahin, sie haben’s kein’n Gewinn. Das Reich muss uns doch bleiben. 4 That word above all earthly powers, no thanks to them, abideth. The Spirit and the gifts are ours through him who with us sideth. Let goods and kindred go, this mortal life also. The body they may kill; God's truth abideth still. His kingdom is forever. 4 Thy Word above all earthly pow’r; Thy Love above all earthly pow’r; Thy Hope above all earthly pow’r; My God above all earthly pow’r; Let goods and kindred go, this mortal life also; The body they may kill, God’s truth abideth still. The Kingdom is forever. The German is provided to see where Pederson’s alterations (indicated in bold) as compared to the GtG text are informed, if at all, by the original German. Pederson uses “refuge” instead of “bulwark." The choice is not derived from the German (“Wehr” is a defensive structure or weir and “Waffen” is weapons). “Refuge” is likely preferred to the antiquated “bulwark,” and may have been drawn from 246 Psalm 46:1, which in most English translation begins “God is our refuge and strength . . .” (emphasis added). As Luther’s text is considered a paraphrase of Psalm 46, this alteration, although not directly rendered from the German, is logical. Pederson takes considerable liberty with the final phrases of stanza 1. Whereas the GtG translation recognizes the reference in German to a specific foe—namely, the devil— Pederson replaces this direct and specific reference with multiple negative forces. Pederson’s last phrase is a completely new idea not in the original German or in GtG's fairly accurate rendering of it. Pederson repeats the process in stanza 2. He retains much of the GtG text for the first six phrases, but then departs in phrase seven and introduces completely new text for the final phrase. In phrase seven Pederson elects to substitute “Lord Sabaoth” with a different name for Jesus, “Emmanuel.” Again, it may be a choice driven by familiarity, “Emmanuel” being more widely recognizable (Isaiah 7:14, quoted in Matthew 1:23) than “Lord Sabaoth.” For the final phrase of the stanza, Pederson departs from both the German and GtG. The last two German phrases literally translate “And there is no other God who must keep the field” (that is, “there is no other god, who, like the true God, must always win or retain command on any battlefield”). The penultimate phrase in GtG is not really derived from the German. The punctuation in German shows that this phrase is related to the final phrase, whereas in the GtG translation it is related in thought and by punctuation to the previous phrase. Pederson has retained “from age to age the same,” perhaps inspired by Hebrews 13:8 for translator Hedge. For the final phrase, Pederson departs entirely from both the German and GtG's related translation by changing the text to “Who was and is, and e’er shall be” which may have been drawn from Revelation 1:8 or 4:8. Pederson applies an aggressive lyric modification to a portion of stanza 4. The choice has nothing to do with translation accuracy but rather serves his musical treatment of these phrases, which will be discussed in more detail following. After retaining most of the first phrase from GtG, Pederson follows with three nearly identical phrases. Each begins with a substitute for “Word” and ends with “above all earthly pow’r.” For the balance of the stanza, Pederson nearly matches GtG. Pederson’s re-imagining is seen in the treatment of Luther’s classic hymn melody. Initially, pitch and rhythmic deviations are minimal. The melody is largely retained in stanza 1 as it appears in modern 247 hymnals. After presenting the first four phrases identically to the isometric melody (with extension of the final pitch in each phrase), the most notable alterations are removal from phrase five of the raised fourth scale degree, the rhythmic alterations and phrase extensions in phrases five and six, and the additional pitch at the end of phrase seven. Example 5.5 compares the second half of the isometric melody (ELW 504, transposed to A Major) with Pederson’s. The first two systems demonstrate the augmentation Pederson utilizes; in the second two systems he reduces those augmentations for a note-by-note comparison to more directly highlight Pederson’s pitch alterations. 248 Example 5.5: Comparison of ELW’s Isometric EIN FESTE BURG with Pederson, Phrases 5-8 In stanza 2 the melody is again preserved in the first half, but it is traded off between like voice pairings mid-phrase in phrases one and three (it is in the lower voice in full in phrases two and four). Phrase five again omits the raised fourth scale degree, but in a different manner than the previous stanza. A new alteration is found in phrase seven where the penultimate pitch (scale degree four) is 249 missing/replaced. Throughout the stanza, Pederson retains the phrase proportions established via augmentation in stanza 1. The third stanza (text of hymn stanza 4) deviates most dramatically from the hymn tune. In the first half, Pederson writes pseudo-contrapuntally by utilizing only the first/third melody phrases (or fragments thereof) in at least two voices, with the remainder entering contrapuntally using harmonically complementary non-melody-based vocal lines. The melody of the second/fourth descending phrases is omitted from this stanza. The text alterations discussed earlier mirror the repetition of this opening melody phrase. Each of the four text phrases—sharing largely similar text as the opening phrase—is presented just shy of four complete times in succession. The effect is a cascading build to the climactic moment mid-stanza where all four voices come together and proceed from there homophonically. The melody for the remainder of the stanza appears nearly in full, though some omissions/alterations occur, as does passing between voices. Pederson supports the text and melody in his re-imagining with “new harmonies and ambient electric guitar accompaniment [for] an ancient/modern feel . . .” 10 He includes guidance specifically for the guitarist regarding pickup type, reverb, and mild distortion. For ensembles without a guitarist (or that choose to perform without guitar), a piano solo accompaniment is available for separate purchase. At its most basic, two harmonic approaches dominate Pederson's setting. The introduction, first half of each stanza, inter-stanza accompaniment, and codetta consist of a rhythmic two-measure ostinato based on the chord progression D-F♯m-Eadd4. Example 5.6 excerpts the ostinato in the guitar (stanza 1), piano (stanza 2) and both (stanza 3). 10 Pederson, Program Note. 250 Example 5.6: D-F♯m-Eadd4 Ostinato by Stanza in Pederson’s “A Mighty Fortress Is Our God” The second half of each stanza is accompanied by block chords in one or both instruments. The harmonic progression is unique to each stanza. Powerfully, Pederson reserves the only root-position tonic A Major chord for the text identifying the world’s Savior: “Christ Jesus it is he” (m. 60). Technically, breathing is intuitive according to written rests and ranges are reasonable for average singers. However, the vocal lines are exposed (i.e. not doubled by accompaniment most of the time), and in stanza 3, completely independent of each other in the contrapuntal first half of the stanza. Likely, the bulk of rehearsal, especially for average singers, will focus on independent vocal confidence among the many simultaneous layers of instruments and voice parts. 251 Christ Is Made the Sure Foundation Perhaps the most approachable of the ECS Publishing Group releases, Jeremy Bankson’s (b. 1975) setting of Purcell’s (1659–1695) WESTMINSTER ABBEY is for SATB and organ, with additionally optional congregation, treble choir, two trumpets, and timpani. The vocal writing is not rhythmically or harmonically challenging and, excepting the descant (see discussion following), within a comfortable range for amateur singers. The organ writing is varied but not overly challenging technically. Although the trumpets offer a welcome rhythmic counterpoint to the mostly chorale-like vocal and keyboard writing and also carry the melody in stanza 3 (versus the masking of the melody in the choir and non- presence in the keyboard), the piece can easily and functionally be performed without them. Notes indicate in the score that the treble choir can simply be the soprano and alto sections of a mixed choir, and that the congregation may optionally join on the opening and closing stanzas. Effectively, the anthem can be performed with only SATB and organ. Stanza 3 utilizes for the SATB vocal parts nearly identically what was the keyboard accompaniment supporting a unison stanza 2. While the presence of the trumpets assures that the melody is perceived (played verbatim by one of the trumpets), the majority of the melody can be traced throughout the SATB vocal parts, mostly in the soprano but also in the alto and tenor at times. The example that follows demonstrates this; square note heads indicate a melody note occurring at the correct moment; triangle note heads indicate a melody note happening one beat before or after where it would normally occur; Xs indicate where the melody note is effectively absent, at least, from the voice carrying the melody at that moment; carrots indicate a register shift from the previous melody pitch. The conductor performing without trumpets may wish to highlight these voices as they coincide with the melody, though doing so is entirely a performance and aesthetic preference for the conductor to decide. 252 Example 5.7: Tracing the Melody in Stanza 3 of Bankson’s “Christ Is Made the Sure Foundation” 253 No breathing is indicated in the score via written rests or indicated breath marks; conductors will wish to study the score and make decisions according to phrase, punctuation, and congregational involvement. The stanza 4 vocal descant is expansive, spanning an eleventh in total, and is characterized by both leaps and steps. It is marked for sopranos, optional tenor, and treble choir (though a note indicates that if a treble choir is involved it could instead sing the melody). Regardless, preparation will necessarily include successfully navigating the passaggio repeatedly throughout the descant, as well as proper breath management over relatively wide passages within the course of a phrase (each phrase of the descant spans at least a fifth, the largest spanning a tenth). I Rest within God’s Gentle Arms This harmonically lush work for SATB, organ, and optional congregation combines Martin Franzmann’s (1907–1976) “O Thou, Who Hast of Thy Pure Grace” to the tune VATER UNSER with a text by Gracia Grindal (b. 1943) to a melody by William Beckstrand (b. 1962), both newly written for this anthem. The basic musical structure is ABA’B’intB’C, where A is paired Grindal’s text, B is paired with Franzmann’s text, and C is the coda Amen. The “int” refers to a brief interlude between stanzas 2 and 3 of Franzmann’s hymn, the interlude’s “Amen” and the music supporting it serving to foreshadow what will become an ostinato progression for the coda. Grindal’s newly composed text is in many ways is a paraphrase of ideas in Franzmann’s text. Her text as it unfolds according to the musical structure of the anthem follows: I rest within God’s gentle arms, a trusting child kept free from harm. Our God is holy, rules all things, a trusting child I freely sing. To God from whom all life is giv’n, whose will is done, on earth and heaven. Each day the world is springing green, the seas, the mountains, and the plains; the grains of wheat, the golden fields, for daily bread, the harvest yields. God gives us all so we can live, as we’re forgiven and we forgive, and keeps the evil one away, with thankfulness and joy we pray! 254 The following table distributes the lines of Grindal’s text next to the corresponding couplets in Franzmann’s text. Table 5.7: Correspondences between Grindal’s Text and Franzmann’s Text from “I Rest with God’s Gentle Arms” Franzmann’s text Lines from Grindal’s text as they correspond to Franzmann’s text O thou, who hast of thy pure grace, made shine on us a Father’s face: arise, thy holy name make known; take up thy pow’r and reign alone; on earth in us, let thy sole will be done as angels do it still. a trusting child kept free from harm.* Our God is holy, rules all things, whose will is done, on earth and heaven. O King and Father, kind and dread, give us this day our daily bread; forgive us, who have learned to bless our enemies, all trespasses; spare us temptation, let us be from Satan set forever free. for daily bread, the harvest yields. as we’re forgiven and we forgive, and keeps the evil one away, Thine is the kingdom; unto thee shall bow in homage ev’ry knee. And thine the pow’r; no pow’r shall be that is not overcome by thee. The glory thine; by ev’ry tongue thy praise shall be forever sung! with thankfulness and joy we pray! a trusting child I freely sing. (from stanza 1) *This correlation is less direct than the others. “Father’s” in Franzmann is mirrored by “child” in Grindal. The lines of Grindal’s text not listed in the above table are less directly related but still relevant. A result of the Father’s face shining (looking favorably) on us is resting in his arms. The first lines of her second stanza detail the places of earth from which the harvest for daily bread comes and sustains our lives. Beckstrand’s writing may present challenges for the choir and its conductor in regards to balance and breathing. While some breathing is indicated via breath marks and written rests, a fair amount is left 255 to the study and decisions of the conductor. Many of the choices will be informed by musical phrase, textual cues, and function of the voices by phrase or section (whether as accompaniment to a solo, equal participants with the melody, or interpolations). As examples, switching from English text to German text or vice versa is a natural moment to breath. Extended sections of “oo” may be handled by partner breathing. Where text does not align in all voices at the same moment (due to variances in the phrase boundaries by voice or multiple phrases occurring simultaneously), voices may independently breath as the text dictates by thought or punctuation, a sort of partner breathing by voice part as the text dictates. The issue of balance is perhaps the most sophisticated challenge inherent to this anthem. Division ranges from three to six voice parts, sometimes within the span of only a few measures. The conscientious conductor will need to devote practice to these changing divisions and may need to employ creative voice assignment to ensure an organic navigation through the shifting textures. A study of two passages serves to illustrate this. Example 5.8: SATB mm. 1-4 in Beckstrand’s “I Rest within God’s Gentle Arms” The issues to navigate in these opening measures include balancing three-part tenor/bass with unison soprano/alto in the first three measures, and divisi bass with unison tenor switching to divisi tenor with unison bass at the end of m. 3. In some ways, the writing is informed by the characteristics of typical voices. Although the sopranos and altos begin in unison—a potential imbalance by number of voices as compared to the tenor and bass parts—the relatively low range means the sopranos will contribute less to the overall sound of the unison sopranos/altos than if the passage were higher. With similar consideration, 256 Beckstrand begins the divisi in the lower voices with the basses and passes the divisi to the tenors as the passage rises—as the tenors rise into their stronger and potentially louder range (invited by a written crescendo), they divide and the basses come into unison. The tenor division will mitigate overpowering the basses were the tenors to continue in unison; at the same time, the bass unification increases their overall volume to balance the increase in volume as the tenors pass into their stronger range. Despite these well-informed decisions by Beckstrand, following the divisi as written may still result in imbalances due to factors such as significant variance in size of sections and characteristics of sectional sound (or individuals within a section). To help correct a top-heavy imbalance in the opening measures of soprano/alto over tenor/bass, the first two measures could be sung by alto alone, with the sopranos waiting to join until m. 3 (addition on the downbeat rather than on beat 3 at the division is suggested due to the text). If either the tenors or the basses prove too dominant in their unison passages, and/or if the passing of divisi bass/unison tenor to divisi tenor/unison bass is aurally jarring in some way, an even three-part division could be utilized. Similar considerations apply to other passages. The pick-up to m. 73 through m. 76 is one such passage with similar balance factors. It serves to highlight another aspect for the conductor's consideration. The passage begins with three parts (soprano, alto, and unison tenor/bass) marked forte and by its conclusion has expanded to six parts marked fortissimo. For some choirs, the crescendo from forte to fortissimo may be stunted or negated by the rapid voice-part division, if the passage begins too loudly. With a larger concentration of voices on each part at forte going to a smaller concentration of voices on each part at fortissismo, the conductor and the choir will need to execute the dynamics relative to and informed by the voice part concentrations; in other words, for the fortissimo to sound louder than the forte in light of the divisi scheme, the forte may need to begin softer relative to the fortissimo and to other forte in the anthem for an effective and well-perceived crescendo to occur. 257 Example 5.9: From SAB to SAATBB in mm. 73-76 of Beckstrand’s “I Rest within God’s Gentle Arms” I Still Possess Conner Koppin’s (b. 1991) ambitious SATB divisi a cappella setting of text by Martin Luther is constructed in three sections. Music setting a quote from Martin Luther flank a middle section that quotes a portion of the text “Wir glauben all an einen Gott” paired with a transformation of the tune by the same name. The quote comes from a letter Luther wrote to Justus Jonas (1493–1555) in 1530, vacillating between German and Latin: Ich hab ihr viel in manu mea gehabt, und alle verloren, nicht eine behalten. Quas vero extra manus meas in illum reiicere hactenus potui, adhue habeo salvas et integras. 11 The proportions of the three sections are roughly equal on paper (by measure), though varying tempo, shifting meter, and fermatas obscure any sense of strict proportion. Harmonically, the music is characterized by extended tonal harmonies and chord clusters, with heavy emphasis on the minor second (or its inversion, the major seventh), invoking the Lydian mode. The latter is especially the case in the presentation of the transformed WIR GLAUBEN ALL tune to the end of the anthem. The key signature beginning at m. 26, at which point the initial quote of WIR GLAUBEN ALL commences, is two sharps. This often corresponds to D Major; however, every instance of G in the passage is sharp, rendering the passage effectively D lydian. By using the key signature corresponding to D Major and raising every G in the passage, Koppin communicates the tonic “at a glance” (most would 11 G. Bebermeyer and D. Clemen, D. Martin Luther’s Briefwechsel: fünfter Band 1929–1930 (Weimar: Hermann Böhlaus Nachfolger, 1934), 409. 258 first assume D Major at the sight of two sharps and, therefore, D as tonic) while ensuring an awareness and careful execution of the mode at every occurrence of G♯. This intentional approach is repeated at the m. 31 key change, where the signature is 4 sharps (evoking E Major and E as tonic) and every occurrence of A is sharp until m. 42. Example 5.10 and 6.11 shows the portion of the Dorian-mode WIR GLAUBEN ALL as it appears in several modern hymnals (rhythmic values and tonics have been matched to Koppin’s for ease of comparison) alongside the lydian transformations and alterations by Koppin. The alterations avoid strict adherence to the original intervals at the imposition of lydian on the original melody, as well as skirt rote repetition between instances in the two keys within the piece itself. Example 5.10: WIR GLAUBEN ALL in D Dorian Compared to Koppin’s D Lydian 259 Example 5.11: WIR GLAUBEN ALL in E Dorian Compared to Koppin’s E Lydian The key signature at m. 31, however, serves a dual or even triple purpose from its appearance until the end of the anthem. Initially it invokes E Major/E tonic while E lydian persists to m. 42 (via consistently raised A). With the change to A♮s at m. 42 and a seeming plagal cadence in E Major at m. 48, the four-sharp signature now serves E Major. However, as the piece progresses to its end, the sense of A lydian—which is also served by a key signature of four sharps (without the need for written accidentals to raise the fourth scale degree)—takes over. Beginning at m. 49, immediately after the plagal E Major cadence, the progression F♯m-E/G♯-A is repeated six times before the piece concludes on the final A chord. What begins heard as a ii-I6-IV progression in E Major, by its final repetition has morphed into a sense of rest on the A Major triad, with a tonic now in A lydian. 260 Aside from the obvious challenges of balancing and tuning extensive divisi throughout, breathing is mostly intuitive according to where written rests are indicated, breath marks are given, or through partner breathing. The score is meticulously marked with tempos, dynamics, and articulations for the shaping of phrases and sections. Jesus, Author of Salvation This original anthem by Robert Hobby (b. 1962), commissioned for the 500th anniversary of the Reformation and in memory of Sarah Dornacker (whose last name serves as the tune name), is a conventional concertato for SATB, trumpet (or treble instrument), organ, and optional congregation. 12 The original tune is presented transparently over the first three stanzas; it is always in the uppermost voice for any given passage and is neither altered in any way nor abandoned momentarily. This breeds congregation familiarity for involvement on the final stanza. The solo instrument is independent without being integral—it does not introduce, carry exclusively or double the melody at any time, nor does it provide any structurally vital role in the setting. The one exception may be at m. 21 where the solo instrument provides some overlap and forward impetus between the choir’s static final chord of stanza 1 and the interlude before stanza 2. However, this passage of the solo instrument can be feasibly covered by organ alone the achieve the effect; whether intentional or not, Hobby has arranged in such a way that the organ can play its entire accompaniment and the solo instrument on the organ alone. See Example 5.12. In fact, Hobby’s writing through much of the anthem is such that this approach can be achieved in most passages written for the organ and solo instrument only (introduction, mm. 1-8; interlude between stanzas 1 and 2, mm. 21-25; and interlude between stanzas 3 and 4, mm. 55-62). In other words, the writing for manuals in these passages never exceeds an octave and can therefore be feasibly played with one hand. The only passage this approach does not strictly work is mm. 36-42, though the enterprising organist may find a way to re-write the one “problematic” measure, m. 38 (where the manuals exceed an octave momentarily), so that this passage involving the solo instrument, too, can be covered by organ alone. 12 Robert A. Hobby, “Jesus, Author of Salvation,” (St. Louis: Birnamwood Publications, a division of MorningStar Music Publishers, Inc., 2018), dedication and subtitle. 261 Example 5.12: Organ Assuming Solo Instrument in mm. 21-25 of Hobby’s “Jesus, Author of Salvation” Contributing to the approachability of this anthem for both choir and congregation are a melody that only spans a ninth in a comfortable range (C to D), conservative vocal ranges for the supporting voices (the altos span a comfortable A3 to G4 unless singing melody; the tenors and basses never exceed D4, whether singing melody or harmony), clearly and exhaustively marked breathing in the first three stanzas that never exceeds four measures between breaths, and a vocal descant capped at G5 (or F5 if utilizing cue notes only and the “short ending”). Hobby’s primary means for variety in his strophic presentation is changing textures; more than a half dozen unique combinations are found in the anthem, and only the final stanza utilizes a single texture for its entirety. 262 You Are God David Cherwien’s (b. 1957) setting of Psalm 90:1,2,14,17 from the Book of Common Prayer for SATB, organ, optional C instrument, and optional cello, was released a year before the Reformation 500 celebration. It was commissioned for the 50th ministry anniversary of the Chapel of the Cross Lutheran Church in St. Louis, Missouri. 13 Although it does not seem directly related to Reformation 500—it is not based on a Reformation chorale, nor the psalm appointed for Reformation, nor dedicated for the centennial celebration—the ECS Publishing Group customer service representative included the anthem in her list of Reformation 500-related publications. Perhaps it is because of David Cherwien’s connection to the Lutheran church and his career of contributions to Lutheran church music, in particular his directorship of the National Lutheran Chorale and their observance of Reformation 500 with the commissioning of Holy Spirit Mass, that ECS Publishing Group counts this anthem among their Reformation 500-related releases. The text is fitting for Reformation, most notably in that verse 1, “Lord, you have been our refuge . . .” connects closely to verse 1 of the appointed psalm for Reformation in most lectionaries, Psalm 46:1 (NIV), “God is our refuge and strength…” Cherwien’s form is at the simplest and highest level ABA’. Each of the larger sections can further be divided into two sub-sections. The opening A material supports verses 1 and 2 of the Psalm. The B material sets verses 14 and 17. The text that ends verse 1 and ends verse 2, along with their opening musical material, close the anthem. Not only does this make for a three-part form, but textually the fusion works. After the supplications of verses 14 and 17, the ends of verses 1 and 2 reiterate to whom these supplications are addressed—the eternal God. Cherwien utilizes four main musical ideas in various combinations to construct the sections and sub-sections of the anthem: long chords, four-part chorale, additive contrapuntal techniques, and flowing isorhythmic passages. Figures 6.13 contains the voice parts and accompaniment for mm. 6-10 and mm. 16-19, which are representative of these four basic music materials. 13 David Cherwien, “You Are God,” (St. Louis: Birnamwood Publications, a division of MorningStar Music Publishers, Inc., 2016), dedication. 263 Example 5.13: Four Main Musical Ideas in Cherwien’s “You Are God” 264 The opening sub-section of the A section begins with long chords in the organ supporting the voices as they use additive contrapuntal techniques. The second subsection, setting the final portion of verse 2, is set to four-part chorale in the voices paired with flowing isometric accompaniment. Verse 14 begins the first sub-section of the B section and consists of optionally unaccompanied four-part vocal chorale for the first phrase. The phrase that follows uses additive contrapuntal technique in the voices, doubled by the organ. The final word of verse 14 is the culmination of the additive process, a four-part chord under which the flowing isometric accompaniment returns to round off the verse and the first sub- section of the B section. The final three measures (mm. 36-38) are the same as the measures that preceded the B section (mm. 25-27). Thus, perhaps according to expectation created by this repetition, the second subsection of the B section—the setting of verse 17—begins with music almost identical to verse 14, much like a strophic hymn. But unlike the conclusion of verse 14, Cherwien finishes setting verse 17 by staying with four-part optionally unaccompanied chorale. At the verse’s conclusion (m. 45), Cherwien reintroduces the A section, without transition, by returning to the material first seen at m. 6. To the end of the piece, the material comes entirely from the opening A section, truncated and slightly amended. Pentatonic clusters pervade Cherwien’s harmonic language, both horizontally and vertically, sometimes simultaneously. Mm. 2-4 contain only pitch classes D, E, G, A, and C. The voices in m. 11 through the first part of m. 13 contain only pitch classes F, G, A, C, and D. Mm. 16-17 contain only pitch classes G, A, B, D, E across all voices and instruments. Every 2-3 consecutive measures of the C instrument part from mm. 16-24 is consecutive five-pitch collections. The first macro-beat of m. 34 contains only pitch classes C, D, E, G, A in all voices and instruments. The final chord is a pentatonic collection: G, A, B, D, E. And other similar collections can be cited. The work is not exclusively pentatonic collections, but it is clearly a foundational harmonic building block. Adding to the sense of pentatonic treatment is the relative scarcity of the leading tone F♯. A truly pentatonic treatment in G would likely exclude F♯ from the available pitch collection. All seven pitches of diatonic G are used in the anthem, but the scarcity of F♯—and subsequent scarcity of the dominant D triad—only serve to 265 reinforce the pentatonic sound world without being strictly pentatonic. In 61 measures, the leading tone appears only 11 times, and at only five instances is it used in conjunction with a dominant D Major triad. While breathing is fairly straight-forward, some of the harmonic and rhythmic constructions may prove a bit challenging for average singers when compared to more standard diatonic fare. Shifting tempos and meters create a number of seams that the conductor will need to carefully navigate the choir through. The instrumental parts are not overly challenging, nor are they required to execute the anthem. The organ writing in the flowing 6/8 meter sections will require some aptitude at the indicated tempos. Taken together, this is an anthem that is attainable but likely not for learning in short-order for most choirs. GIA Publications, Inc. In a January 2019 email, Senior Project Editor Michael Silhavy stated that “[GIA] as a company, did not initiate or solicit any publications related to the Reformation. . . . This is not to say we didn’t consciously accept pieces for the Reformation. Many of our composers submitted music in honor of the Reformation, which we were happy to publish.” 14 He then indicated three anthems newly published at the observance of Reformation 500. He also mentioned GIA’s distribution of “Reform and Renewal: A festival service book of words and music to celebrate the renewal of the church over the centuries.” Compiled and published by the Royal School of Church Music in England, it will not be considered in this discussion. Like Holy Spirit Mass, it was published in Europe and distributed by a U.S. publisher, but because the content was not developed or commissioned by a U.S. institution (as was the case with the commissioning of Holy Spirit Mass by Minneapolis-based The National Lutheran Choir), only mention of its connection to GIA is made here. Following are additional analysis and comments on the three anthems highlighted by Silhavy. 14 Michael Silhavy, email correspondence to author, January 7, 2019. 266 God Is Our Refuge Edwin Childs (b. 1945) offers his original metric paraphrase paired with original music to history’s choral oeuvre for Psalm 46. Both the text and music are strophic, with an option for the congregation to join on the final stanza. The text’s poetic meter is 87 87 with rhyme scheme ABAB. The phrase structure of the tune mirrors the poetic meter; consisting of four phrases, the lengths by phrase are 4 measures, 3 measures, 4 measures, 3 measures, respectively. Musical material by phrase forms an ABA’C structure. Childs’ paraphrase is loosely based on Psalm 46. While Childs incorporates ideas from the Psalm, he takes liberties including changing proclamation to supplication and introducing material that is conceivably relevant but certainly not derived from the Psalm itself. Whether these were thoughtful additions by Childs perceived (by him) as appropriate and relevant (be it theologically complementary and/or catechetically useful) to the paraphrase, or simply driven by constraints for poetic meter and rhyme scheme, is not known. A side-by-side comparison of the text with Psalm 46 (NIV) follows. Some connections to Psalm 46 are apparent. Some are conjectures. Some do not appear related but rather supplementary. The verse(s) that a phrase does or may correspond to are indicated in parentheses following the phrase (conjectures are indicated with a question mark following the verse indicated; the conjecture is based on an interpretation or consequence of what the Bible text says that may have informed Childs’ choice of words for the given phrase). Table 5.8: Comparison of Psalm 46 (NIV) with Childs’ Metric Paraphrase Psalm 46 (NIV) Childs 1 God is our refuge and strength, an ever-present help in trouble. 2 Therefore we will not fear, though the earth give way and the mountains fall into the heart of the sea, 3 though its waters roar and foam and the mountains quake with their surging. God is our refuge, strong and sure; (v.1) a help in time of need. (v.1) By him alone we shall endure. (v.5?) His word is life indeed. Though nations rage and kingdoms fall (v.6) and earth’s foundations shake, (v.2) we trust in God to hear our call. (v.1?) For us his love is great. 267 4 There is a river whose streams make glad the city of God, the holy place where the Most High dwells. 5 God is within her, she will not fall; God will help her at break of day. 6 Nations are in uproar, kingdoms fall; he lifts his voice, the earth melts. 7 The Lord Almighty is with us; the God of Jacob is our fortress. 8 Come and see what the Lord has done, the desolations he has brought on the earth. 9 He makes wars cease to the ends of the earth. He breaks the bow and shatters the spear; he burns the shields with fire. 10 He says, “Be still, and know that I am God; I will be exalted among the nations, I will be exalted in the earth.” 11 The Lord Almighty is with us; the God of Jacob is our fortress. Be still and know that God is peace. (v.10) His promise makes us strong; his pow’r can make all wars to cease. (v.9) His presence is our song. O God of truth and providence, protect us by your grace. Be now our shield and firm defense, (v.7,11?) our Rock and hiding place. (v.7,11?) Amen. Childs constructed his anthem in a conventional concertato style. Stanzas 1 and 2 present the melody in the uppermost voice (tenor in stanza 1, soprano in stanza 2), and the presentation in stanza 2 undergoes no alteration compared to stanza 1. While these are not congregational stanzas, their direct presentation of the melody could allow for such a possibility, were the tune already familiar to the congregation. Nevertheless, Childs wisely presents the melody back-to-back identically as a means to prepare the congregation for participation in the final stanza. Stanza 3 is a female choir feature, with treatment that obscures or even abandons the melody at times and reaches maximum divisi of SSAA. The final stanza returns to the original unaltered melody in unison and includes a choral descant (with divisi) and choral Amen (also with divisi). Variances throughout the strophic setting are subtle and achieved by means of harmonic alterations from stanza-to-stanza, shifting registers in the accompaniment, and transformations to the music that connects stanzas. For the choir, little is rhythmically or harmonically challenging, but the divisi requires adequate numbers of singers (or in smaller groups, confident singers), especially sopranos and altos, to successfully perform the piece as written. Childs offers some guidance for smaller or amateur 268 groups, indicating some notes as optional in stanza 3 and specifying equal division in the six-part divisi for the Amen. Because of much doubling by the accompaniment, it is possible to reduce divisi in stanza 3 to two-part SA and in the final Amen to four-part SATB, making the anthem even more accessible to average singers. See figures 6.14 and 6.15 for some reduction possibilities. Example 5.14: Original mm. 47-53 in Childs’ “God Is Our Refuge” 269 Example 5.15: Childs’ “God Is Our Refuge” mm. 47-54 with Vocal Reduction (removed notes indicated by x note head) A similar approach can be used to reduce divisi in the Amen to four-part SATB. God Is Our Refuge, God Is Our Strength Marty Haugen (b. 1950) contributes a version of Psalm 46 that prioritizes two stated goals. The first is relational: Haugen dedicates the anthem “for all those laboring for reconciliation and common 270 ministry between faith communities.” 15 Haugen sees Psalm 46 as a place of common ground when he begins his notes on the anthem “Psalm 46 is a beloved psalm for Jews and Christians alike. Lutherans have a special affection for the Psalm: Martin Luther’s hymn Ein’ feste Burg ist unser Gott . . . is the best- known setting of Psalm 46.” 16 Haugen’s second goal is musical. He further writes in his notes “This setting is intended to offer a more folk-like version of the psalm for ensembles using instruments other than organ.” 17 Haugen’s paraphrase is more closely related to Psalm 46 than Childs’. A side-by-side comparison of Haugen’s paraphrase with Psalm 46 (NIV) follows. Table 5.9: Comparison of Psalm 46 (NIV) with Haugen’s Paraphrase Psalm 46 (NIV) Haugen 1 God is our refuge and strength, an ever-present help in trouble. 2 Therefore we will not fear, though the earth give way and the mountains fall into the heart of the sea, 3 though its waters roar and foam and the mountains quake with their surging. 4 There is a river whose streams make glad the city of God, the holy place where the Most High dwells. 5 God is within her, she will not fall; God will help her at break of day. 6 Nations are in uproar, kingdoms fall; he lifts his voice, the earth melts. 7 The Lord Almighty is with us; the God of Jacob is our fortress. 8 Come and see what the Lord has done, the desolations he has brought on the earth. God is our refuge, God is our strength, our help when troubles surround us. We will not fear though the mountains shake We will not fear though the earth should quake, We will not fear though the storm clouds break, and roaring seas rise up to drown us; God is our refuge, God is our refuge, God is our refuge and strength. There is a river, bright flowing stream, that fills God’s city with gladness. God makes a home in this holy land; keeping her safe, she will always stand; sure as the dawn is God’s constant hand, her shield against violence and madness; justice like waters, love overflowing, God’s holy river of life. 15 Marty Haugen, “God Is Our Refuge and Strength,” (Chicago: GIA Publications, Inc., 2018), 3. 16 Haugen, 2. 17 Haugen, 2. 271 9 He makes wars cease to the ends of the earth. He breaks the bow and shatters the spear; he burns the shields with fire. 10 He says, “Be still, and know that I am God; I will be exalted among the nations, I will be exalted in the earth.” 11 The Lord Almighty is with us; the God of Jacob is our fortress. Come now and witness all God can do, God’s awesome presence and power. Moving the nations from war to peace, teaching compassion so hate might cease; voice that speaks wisdom and love’s increase. O listen, God sings in this dark hour, “I am beside you, close by to guide you, Be still and know I am God.” Stanza 1 of Haugen’s paraphrase very clearly corresponds to verses 1-3 of Psalm 46; the first five phrases of stanza 2 correlate to verses 4 and 5 of Psalm 46; phrases 1-3 of stanza 3 are drawn from verses 8-9 of Psalm 46 and the final phrase is the first part of verse 10 of the psalm. Significant portions of stanzas 2 and 3 do not appear to have a direct correlation to Psalm 46. Phrase 5 of stanza 2 says “her shield against violence and madness;” this is a continuation of thought from the previous phrase, perhaps Haugen’s own exposition on what the sure hand of God, or God’s help at break of day (Psalm 46:5), offers. The final phrases of stanza 2 may be drawn from Amos 5:24 which says “let justice roll down like waters, and righteousness like an ever-flowing stream.” (ESV). The sources, if there are any, for the phrases in stanza 3 that are not drawn from Psalm 46 are unclear. Some possibilities are (from the NIV) Zechariah 7:9,10 (“Show mercy and compassion to one another . . . Do not plot evil against each other”); Psalm 49:3 (“My mouth shall speak words of wisdom”); and 1 Thessalonians 3:12 (“May the Lord make your love increase . . .”). The original music Haugen crafted is eminently accessible; the melody falls within a comfortable range for most voices (D to D), the key is guitar-friendly, the harmonic language falls almost entirely within the key (only two instances do not—a lowered VII chord and a secondary dominant to B minor), the form (on the written score) is strictly strophic (though “folk-style” music invites improvisation), and the keyboard accompaniment never requires the right hand to cover a note from the left hand (i.e. the bass clef span no more than an octave throughout). 272 It Started with an Idle Tale This text from 2000 and tune from 2009 was arranged anew by Sally Ann Morris (b. 1952) and published as part of GIA’s Reformation 500 offerings. Unlike many sacred anthems, whose texts primarily are drawn from or informed by Scripture for the purpose of proclaiming Biblical truth or teaching doctrine, “It Started as an Idle Tale” functions more like a story-telling folksong, reporting on Bible accounts as well as people and events in church history and the church’s activities in society. Each stanza attempts to demonstrate the threads that tie the time of the New Testament to events in church history and finally with the church at present day. These include the following: from the New Testament Easter Sunday, Pentecost, and Jesus’ sermon known as The Beatitudes; from church history martyrdom and the Reformation, including mentioning by name Perpetua (c. 182–203), Polycarp (69–155), Loyola (1491–1556), and Luther; and from today activities such as caring for the hurting and promoting peace. The key signature contains B♭ and E♭ and the stanzas begin in C dorian. By the end of each stanza, the key transitions to G minor. Stanzas follow back-to-back without any kind of musical interlude or transition. The first stanza ends on an open fifth (G-D), and the others end with an inflected G Major triad (the dominant V of C dorian), making the immediate transition possible. The harmonic progression does not vary from stanza to stanza; Morris achieves some interest by varying the voicing and accompaniment on every stanza, particularly in the full orchestration for piano, organ, guitar, brass quartet, castanets and timpani (piano alone varies much less). Stanza 1 is SA unison, stanza 2 is SA two- part, stanza 3 is TB unison, stanza 4 is SATB, and stanza 5 is all voices unison (with optional congregation). The relative simplicity of compositional technique may be intentional to allow the focus to reside more squarely on the text, as the listener’s mind is drawn to recalling a number of events and activities in somewhat short order from 2000 years of history. Hal Leonard A Mighty Fortress Is Our God Duane Funderburk’s concertato setting of Luther’s hymn uses the isometric version of the melody and a version of Hedge’s translation. Congregation may optionally join on stanzas 1, 2, and 4; stanza 3 is 273 for choir-only featuring original music painting the text. Stanza 1 is presented in unison; stanzas 2 and 4 rely on congregation familiarity with the melody as the choral writing features frequent octave shifts or momentary melody omission. The original music for stanza 3 departs from strophic treatment and most of the phrase structures of the original hymn tune; the text is through-composed as guided by the text topic and mood. G minor serves as the key center, though accidentals introduce dissonances for text painting. Mm. 64-67 serve as a representative example. Example 5.16: Funderburk’s “A Mighty Fortress Is Our God” mm. 64-67 Dear Christians, One and All, Rejoice Commissioned by Concordia University (Austin, Texas), Joseph Martin (b. 1959) sets stanzas 1,4,5 of Martin Luther’s “Nun freut euch, liebe Christen g’mein” to original music for SATB divisi, piano, and optional brass and timpani. The translation is a modified composite, similar in large part to the text as it appears in LSB. Martin sets stanza 1 with an AAB melodic structure, mirroring the structure of the historic tune first paired with Luther’s text, NUN FREUT EUCH. This forms the A section of the anthem, reprised and modified at the end. Stanzas 4 and 5 form the middle of the larger ABA’ structure. Each stanza is in its own key and divided into various episodes, according to the subjects/moods of the phrases. 274 Martin makes extensive use of modal mixtures (particularly the ♭VI and ♭VII) and 3+3+2 rhythmic structures. Breathing is straight-forward according to rests written in the music; no phrases or sections are of a length suggesting the need for planned breaks or partner breathing. As with any episodic writing, the seams connecting sections and moods will occupy conductor study and rehearsal. Divisi when it occurs is usually in three parts for upper or lower (or both) voices; each conductor will need to assess using divisi as indicated vs. applying equal divisi based on the balance needs of his or her singers. The Lorenz Corporation O Glorious Word Steven Aldredge’s (b. ?) setting of an amended and supplemented text by Horatius Bonar (1808– 1889) won the Reformation 500 Choral Composition Competition sponsored by the ELCA’s South Dakota Synod. 18 Bonar’s original text is a simple strophic poem entitled “Christ for Us” from his collection Communion Hymns. 19 The original text follows: 1 On merit not my own I stand; On doings which I have not done, Merit beyond what I can claim, Doings more perfect than my own. 2 Upon a life I have not lived, Upon a death I did not die, Another’s life, another’s death, I stake my whole eternity. 3 Not on the tears which I have shed; Not on the sorrows I have known, Another’s tears, another’s griefs, On them I rest, on them alone. 4 Jesus, O Son of God, I build On what Thy cross has done for me; There both my death and life I read, My guilt, my pardon there I see. 5 Lord, I believe; oh deal with me As one who has Thy word believed; I take the gift, Lord look on me As one who has Thy gift received. 18 Steven Aldredge, “O Glorious Word,” (Dayton, OH: Lorenz Publishing Company, 2018), 2. 19 Steven Aldredge, email correspondence to author, October 22, 2020. 275 6 I taste the love the gift contains, I clasp the pardon which it brings, And pass up to the living source Above, whence all this fulness springs. 7 Here at Thy feast, I grasp the pledge Which life eternal to me seals, Here in the bread and wine I read The grace and peace thy death reveals. 8 O fulness of the eternal grace, O wonders past all wondering! Here in the hall of love and song, We sing the praises of the King. 20 Aldredge crafted a more complex text (complemented by a more complex musical structure) by re-working, re-ordering, and supplementing the first four stanzas (perhaps drawing a bit on stanza 5) of Bonar’s original text. Of this process, Aldredge shares “A couple of the quatrains I left almost exact, and other parts I added my own words. I was particularly worried about adding (or rephrasing) Bonar text, not just because he is a great writer, but his style is very representative of sacred poetry of his age, so I steeped myself in his poetry to get his ‘sound’ right.” 21 The result was four longer stanzas with a refrain that occurs after each stanza pair (and is repeated to end the anthem). Table 5.10: Analysis of Aldredge’s Text (slashes indicate places where text is layered across voices) O Glorious Word by Aldredge Sources from Bonar’s Original Not on my merit do I stand, not on the things which I have done; another’s worth, another’s blood, on them I rest and them alone; the love and life God’s Word has shone, on them I rest, and them alone. 1 On merit not my own I stand; On doings which I have not done, . . . similar to the third lines of stanzas 2 and 3 3 On them I rest, on them alone. 3 On them I rest, on them alone. Upon a life I have not lived, upon a death I did not die; upon another’s sacrifice I place my hope for endless life; O Word of hope and love of Christ, I trust the glorious Word of life! 2 Upon a life I have not lived, Upon a death I did not die, Another’s life, another’s death, I stake my whole eternity. 20 Horatius Bonar, Communion Hymns (London: James Nisbet & Co., 1881), 73-74. 21 Steve Aldredge, email correspondence to author, October 22, 2020. 276 O Word of grace, O Word that long-sustained our faith; Word of love and of sacrifice; O Word of hope and love of Christ, I trust the glorious Word of life! O Jesus, Son of God, I lean on what Thy Word has given me, there both my death and life I read, my guilt and pardon there I see, O sacrifice that set us free, the Word of life I have believed. 4 Jesus, O Son of God, I build On what Thy cross has done for me; There both my death and life I read, My guilt, my pardon there I see. 5 As one who has Thy word believed; Not on the tears that I have shed, not on the sorrows I have known, another’s tears, O sorrow/another’s wounds/grief another’s blood/death gave us life! I place my hope for endless life upon the cross of Christ! 3 Not on the tears which I have shed; Not on the sorrows I have known, Another’s tears, another’s griefs, . . . 2 Another’s life, another’s death, I stake my whole eternity. 4 On what Thy cross has done for me; O Word of grace, O Word that long-sustained our faith; Word of love and of sacrifice; O Word of hope and love of Christ, I trust the glorious Word of life! O Word of grace, O Word that long-sustained our faith; Word of love and of sacrifice; The Word of grace/sacrifice/hope and life/Christ, O Word of hope and love of Christ, O glorious Word of life! Without much alteration to the harmonic progression from stanza to stanza or refrain to refrain, Aldredge achieves a great deal of variety through his vocal schema, textual layering in some four-part passages, a very effective mid-stanza key change in the final stanza that momentarily alters the established meter, and a closing repeat of the refrain complete with soprano descant and an extension. The anthem is a fine example of compositional craft that is unified without all its nuances and layers being readily or wholly obvious on first listen. The result is an anthem that can be enjoyed repeatedly from church year to church year not just for its rich text but also for a growing understanding and awareness of its construction with each performance, for singer and listener alike. 277 Whether intentional or not, Aldredge utilizes a fair amount of non-traditional voice-leading in the form of parallel fifths and octaves. Nearly two dozen appear throughout the anthem in sections governed primarily by conventional voice-leading. The reason for this departure is unclear; it appears to be an intentional choice not attributable to any self-imposed compositional rule. The chord progression is in part the cause, as adjacent chords in succession (such as iii-IV-V) tend toward parallel fifths and octaves if adhering strictly to standard chord tone doubling hierarchy. However, there does not appear to be a strict preference or hierarchy as a rule throughout the anthem for which chord tones are doubled in the voices during three- and four-part passages. In other words, these instances of unconventional voice- leading appear intentional as they were neither forced by rule nor avoided by choice. This is further supported by repetition of the same voice movements at analogous moments in the strophic form. The prominent passages that demonstrate these considerations are in the following figure. 278 Example 5.17: SATB Voice-Leading Parallels in Aldredge’s “O Glorious Word” Parallel fifths and octaves are indicated by parallel lines (in mm. 38-41 and mm. 53-56, only parallels not appearing in the previous passage are marked). One notes that while much is similar from passage to passage, the repetition is not strict. Arrows indicate pitches in the alto that could have been identical but are not. Most of the parallels could be eliminated with some amendments to the voice- leading and chord tone doubling scheme. The following figure demonstrates this. 279 Example 5.18: Alterations Avoiding Most Parallels (alterations indicated by triangle note heads) in Aldredge’s “O Glorious Word” These changes follow more conventional voice-leading practice and eliminate most of the parallels (the one that remains is marked in the first passage and occurs in all three). They do change the chord tone doubling, and in some cases, introduce a tone not originally in the voices (though still within the chord; see the alto triangular note heads in m. 30 and m. 40). It seems, therefore, that Aldredge’s choice to write the parallels as they appear in the anthem was intentional. Aurally, the parallel octaves in the soprano and alto in m. 29, m. 39, and m. 54 are particularly noticeable. 280 The conductor preparing this anthem will note some elements are easy to prepare and others more challenging to prepare with an amateur choir. Aldredge assists by making breathing relatively straight- forward, occurring naturally through rests or by indicating where breaths are to be taken. Aware of the low range of the opening passage, Aldredge indicates bass only until the pick-up to m. 9, where the tenors join. Mm. 45-52 present two challenges: some independence of the individual voice parts (as compared to the almost exclusively homophonic writing to that point), as well as eight bars unaccompanied where care to maintain pitch will be critical. The optional soprano descant is dramatic and enhances the repeat of the refrain to close the anthem, but resides in a challenging range for some amateur and/or older sopranos. Aldredge indicates the descant is optional; therefore, the conductor should not feel obligated to include it if it is beyond the abilities of the choir. Summary of Other Sacred Publishers’ Reformation 500th Anniversary Publications As might be expected, the corpus of Reformation 500 choral music from other sacred music publishers is widely diverse, not governed so much by denominational identity or congregational profile but more so by personal expression of individual composers and tailoring to the culture and resources of commissioning organizations. Some are explicitly stated, like the themes highlighted in the dedication of The Holy Spirit Mass and Haugen’s “folk-like” purpose for “God Is Our Refuge, God Is Our Strength.” Others are implied, such as the work of Koppin’s “I Still Possess,” commissioned for Wartburg choir and, likely, beyond the capabilities of most parish choirs; or Morris’ “It Started with an Idle Tale” with text suitable more for concert or choral pageant than for worship—particularly Lutheran liturgical worship. This is not to say, however, that denominational identity or congregational profile, particularly of the Lutheran vein, are left unserved. Another half-dozen arrangements of “A Mighty Fortress Is Our God”/Psalm 46 are added to the long history of choral music for this hymn and associated psalm. Aesthetically and technically these span the gambit of voicing, instrumentation, and style. The strophic concertato-style with congregational involvement is still well-represented in the overall corpus. The church finds from these publishers repertoire from expanded or alternate vantage points serving wider 281 aims and applications, while still offering options that may function, to varying degrees, within congregational choral practice. 282 Chapter 6: Conclusion The aims of this effort are in part extremely practical. Catalogued in the previous chapters are twenty-one choral works published for the 1917 centennial celebration of the Lutheran Reformation: six cantatas (four in-hand, two referenced in other literature) and fifteen smaller works (eleven in-hand, including one collection of multiple works; four referenced in other literature, including one publication potentially containing multiple works); and forty-five choral works published for the 2017 centennial celebration of the Lutheran Reformation: thirty-seven anthems, seven collections, and one large-scale work (The Holy Spirit Mass). The 1917 works in-hand have been included in Appendix A, in the order they appear in the preceding chapters. Common to both centennial corpuses is the primacy of the chorale. A majority of works include, arrange, quote, or derive motives from chorale tunes. Its high regard is demonstrated in Matthews’ sole focus on the chorales of The City of God in the work’s synopsis, along with their hymnic settings in his cantata; the intentional inclusion of and complimentary remarks regarding the four chorales in Dahle’s Reformation-Songs collection; and the overwhelming majority of chorale-based anthems and collections published for the 2017 celebration—most notably by Concordia Publishing House, including an edited collection of all of Luther’s hymns. “A Mighty Fortress Is Our God” to EIN FESTE BURG appears more than a dozen times between the two corpuses—in hymnic form (Matthews' and Christiansen’s 1917 cantatas, Dahle’s 1917 collection, Reske’s 2016 collection), arranged (Schumacher and Bergquist 1917 cantatas, 2017 concertatos and anthems, 2017 historic editions), and one unique instance of the majority of Luther’s text set to new music (stanzas 1-3 in Evans, 1917). Other chorales to garner repeated attention at both occasions include ERHALT UNS, HERR; AUS TIEFER NOT; NUN DANKET ALLE GOTT; and KIRKEN DEN ER ET GAMMELT HUS. Official hymns marked both centennials (Cooke and Weaver’s 1917 “Light,” Leech’s 1917 “The Reformation Call,” Karsten and Blersch’s 2017 “Though All Our Life Is Like a Scroll”). Arneson sets stanza 1 of “Come, Holy Ghost, God and Lord” (text for The Holy Spirit Mass, 283 Movement 6 “Together in Hope (Hymn)”) in the chorale style. The chorale is nearly ubiquitous as it is honored, mimicked, interwoven and re-imagined. Related, both eras include historic chorale texts set to new music. In 1917 the practice, at least as far as this research effort uncovered, is relegated primarily to periodicals (“A Mighty Fortress” by Evans) and pamphlets (“Come, Holy Spirit, Lord Our God” by Lewars). The one exception is Schumacher’s Dies Irae in his 1917 cantata published by Concordia Publishing House, though there it is couched in a larger work, alone in its new composition as compared to the other chorales included in his cantata. By 2017 the practice has blossomed and found a place among publisher’s regular activities (Miller’s “Come, Holy Spirit, God and Lord” and “May God Bestow on Us His Grace” from Augsburg Fortress Publishing; Weber’s “Lord, Help Us Ever to Retain” in The Concordia Children’s Choir Book: Volume 2 from Concordia Publishing House; Martin’s “Dear Christians, One and All, Rejoice” from Hal Leonard; the text of “Creator Spirit Heav'nly Dove” dispersed throughout Arneson’s The Holy Spirit Mass from Boosey & Hawkes). With the increase in 2017 also comes the free altering of these historic texts in many cases, chronicled in the preceding chapters. Considered each in their entirety, some primary differences emerge between the 1917 and 2017 repertoire. The most obvious are inclusion of “secular” texts portraying the events or voices of Reformation characters in the 1917 repertoire compared to a dearth of such texts in 2017 (Bringle’s “It Started with an Idle Tale” being the lone exception), the proportionally smaller concentration of large- scale works in 2017 as compared to 1917, and the varied compositional structures and harmonic language profiles outlined throughout the previous chapters for the two corpuses. While there are exceptions, the prevailing resource profile for the 1917 corpus is SATB accompanied. Regardless of voicing, accompaniment is nearly ubiquitous in 1917; the exceptions are but one movement among all four cantatas and the possibility that certain settings in Dahle’s collection could be sung unaccompanied. Brief passages sung without accompaniment occur with some regularity, but unaccompanied entire movements or a cappella complete works appear to be rare. Exceptions to SATB voicing are a bit more common (both of Hahn’s anthem’s, for instance), and the ability to reduce SATB 284 writing to smaller combinations with the use of colla voce techniques is possible in some cases, but statistically among the 1917 corpus gathered herein, as written and indicated, SATB voicing occupies majority. Whether these trends hold with the uncovering of further Reformation quadricentennial repertoire (in the United States or beyond), or in the greater context of sacred music publications of the early 20th century in the United States or beyond, is for further study. The 2017 corpus, in contrast, features a more balanced mixture of voicing and accompanied versus unaccompanied repertoire. However, particularly where voicing options are concerned, the variety is concentrated in the Lutheran denominational publishers. All the Reformation 500 music published outside of the two Lutheran denominational publishers is for SATB. Even within the denominational publisher corpus the number of SATB selections outnumbers other simpler voice combinations. This suggests that while overall voice combination is more diverse than 1917, in particular with the addition of a subset unseen in the 1917 corpus (SAB), the prevailing publisher assumption today is that four-part mixed choral music still serves the largest segment of customers. Sales may suggest the same, though there is an extra-musical symbiotic relationship operating for further exploration: Is SATB choral music truly the dominant consumer desire, or is SATB music appearing as preferred simply a result of publisher majority output and therefore greatest consumer options for and market saturation of repertoire with that voicing? The goal of this effort is in large part to begin formulating a picture of choral repertoire, primarily from a textual and compositional standpoint, for the two corpuses studied, their common link being centennial celebrations of the Reformation in the United States. There are other vantage points and contexts from which this body of work could be further studied. One has just been outlined briefly—the supply-demand context and nuances of the choral music publishing industry. Related is the consumer- business/ministry dichotomy of denominational publishing. Dahle’s comments in his 1917 Reformation- Songs suggest one purpose in denominational publishing is “leading by example,” of offering resources that model and improve the content and art form of sacred choral music within the denomination through the resources produced (whether stated explicitly as by Dahle or tacitly). The summaries in chapters four 285 and five regarding the denominational publishers posit similarly, each with a slightly different focus. But the volume and diversity of the 2017 repertoire also suggests the competing side to that dichotomy—a publisher needs to sell to stay in business, and to that end, provide what the customer wants, which may compete with the purest or loftiest of ministry or artistic goals. For the denominational publishers of 2017, that may be a greater diversity of voicing options and styles to maximize appeal and subsequently sales. Both the supply-demand context and the business/ministry dichotomy are vantage points for further research. The 1917 corpus would benefit from additional research in view of the context of the time. Celebrated as the United States was entering World War I, the Reformation quadricentennial had association (whether real, or fearfully or advantageously imagined) with a German man, German culture, and German nationalism. What effect these had on the development of this repertoire, if any, is not addressed here. There is a logical correlation to Schmauk’s response to the accusation of idolizing Luther that omission of his mention in Reed’s cantata libretto nullified that spiritual issue; it also excised any potential accusations of glorifying the German state or German ideals. At a time when much of the Lutheran church was still very much functioning in two languages—English and each denomination’s given language of European ancestry—it is noteworthy that two of the four cantatas (The City of God and Augsburg Publishing’s Reformation Cantata) as well as all of the Joint Lutheran Committee’s prize anthems were published in English only. The issue invites further study. The Lutheran musical heritage in the United States continues its evolutionary journey. The centennial Reformation celebrations of 1917 and 2017 are important landmarks within that heritage. A rich and diverse body of choral works, each useful in their celebratory moment, and, as dictated by prevailing preference and purpose, well beyond their moment, is available to perform and to study further. 286 Bibliography 1917 Sources Bergquist, J. Victor. Reformation Cantata. Rock Island, IL: Augustana Book Concern, 1917. Christiansen, F. Melius. Reformation Cantata. Minneapolis: Augsburg Publishing House, 1917. Cooke, Sidney T., Edward E. Weaver, and John Hermann Loud. “Light.” 1917. Craig, David Scheetz. “Tacoma Notes: Rev. Bloomquist, A Composer.” Music and Musicians: Devoted Principally to the Interests of the Northwest 3, no. 9 (October, 1917): 13. Dahle, John, ed. Reformation Songs (Reformationssänge): Short Anthems for Reformation Services. Minneapolis: Augsburg Publishing House, 1917. Evans, George Marks. “A Mighty Fortress.” The Church Choir 20, no. 9 (June 1917): 198-203. Graebner, Theodore. “The Reviewer: Luther Songs and Ballads.” The Lutheran Witness 35, no. 25 (December 12, 1916): 394. Gehring, Franz, E.M. Oakeley, and Michael Musgrave. “Schneider family.” Grove Music Online. 2001, accessed 6/24/22, https://doi-org.libproxy1.usc.edu/10.1093/gmo/9781561592630.article.24983. Hahn, Herman M. Psalm 46. Fort Wayne: Herman H. Hahm, 1917. Hahn, Herman M. Praise and Thank the Lord. St. Louis: Concordia Publishing House, 1917. Hall, A.C.A. The Advent Antiphons. Milwaukee: The Young Churchman, n.d. but c. 1914. Accessed at Anglicanhistory.org. Project Canterbury. Accessed 6/11/22, http://anglicanhistory.org/usa/acahall/antiphons.html. Herzberger, F. W. and B. Schumacher. At Eventide (zur Abendzeit): A Sacred Cantata. St. Louis: Concordia Publishing House, 1917. Herzberger, F. W. Luther Songs and Ballads: A Jubilee Offering. St. Louis: self-published, 1916. Hoffman, Julius, ed. Deutsches Liederbuch: Sammlung von Chorälen und Liedern für Schule und Haus. Baltimore: Sonntags-Schule der Zions-Gemeinde, 1895. https://hymnary.org/hymnal/DLSC1895, accessed 6/7/2022. Joint Lutheran Committee. “The 400th Anniversary of the Reformation: A Program for Sunday Schools.” Philadelphia, 1917. Knubel, F. H. and Scherer, M. G. G. Our Church: An Official Study Book. Philadelphia: The United Lutheran Publication House, 1924. Lauritzen, Johannes. The Nightingale of Wittenberg. Knoxville: Laurtizen’s Standard Edition of Church Music, 1916. 287 Leech, Lida Sheevers. “The Reformation Call.” Augsburg Senior Lesson Book 39, no. 4 (October 1, 1917): 33. Lewars, Ralph. Blessing, Glory, Wisdom and Thanks. Philadelphia: Theodore Presser Company, 1917. MacDougall, H. C. “The Echo Organ.” The Musician 22, no. 4 (April, 1917): 307. Matthews, H. Alexander. The City of God: A Church Cantata. New York: G. Schrimer, Inc., 1917. Gehring, Franz, E. M. Oakeley, and Michael Musgrave. “Schneider family” in Grove Music Online. Oxford University Press, 2001. https://doi- org.libproxy1.usc.edu/10.1093/gmo/9781561592630.article.24983. Morehead, John A. (secretary). “Minutes of the Meeting of the Joint Lutheran Committee on Celebration of the Quadricentennial of the Reformation at the City Club.” Philadelphia, April 18, 1917. New York Reformation Quadricentenary Committee. “Reformation Music.” The New York Reformation Anniversary Bulletin 1, no. 10 (May 1, 1917): 2. Ohl, J. F. I Will Extol Thee. Philadelphia: Theodore Presser Company, 1917. Pratt, Waldo Selden and Boyd, Charles N., eds. Grove’s Dictionary of Music and Musicians: American Supplement. New York: The MacMillan Company, 1920. Rile, Le Roy M. I Will Extol, Thee, My God, O King. Philadelphia: Theodore Presser Company, 1917. Schmauk, Theodore E. “Article X: Prolong the Reformation.” The Lutheran Church Review 36 (April, 1917): 239-244. Schneider, Friedrich. Das Weltgericht. Leipzig: Breitkopf & Hertel, n.d. Schneider, Frederich. “Erhalt uns, o Herr, dein Wort.” Edited by Oberdorf, Stefan. CPDL.org, July 17, 2021. Accessed 6/24/22. https://www.cpdl.org/wiki/images/e/e1/ScF_ErhaltUnsDeinWort_TTBB_2014- 03-05.pdf. Schutz, Heinrich. Cantate Domino, SWV 81. Edited. James Gibbs. Accessed 6/24/22. https://www.cpdl.org/wiki/images/0/0d/Cantate_Domino_Schutz.pdf Sommers, Rev. Martin S. “Praise and Thank the Lord.” The Lutheran Witness 36, no. 19 (September 18, 1917): 298-300. The Library of Congress Copyright Office. Catalog of Copyright Entries Part 3: Musical Compositions 13 (1916): 1239 United Church Praise Committee. The Anthem Book of the United Free Church of Scotland. London: Novello and Company, Limited, 1905. Unknown author, “303 Nun bricht aus allen zweigen das liebe,” Hymnary.org, accessed 6/24/22, https://hymnary.org/hymn/DLSC1895/303. Unknown author. “Büchertisch” in Theologische Quartalschrift 14, no. 1 (1917): 79. 288 Unknown author. “Church Topics for Tomorrow.” The Tacoma Times (September 22, 1917): 6. Unknown author. “Church Topics for Tomorrow.” The Tacoma Times (September 29, 1917): 6. Unknown author. “Erhalt uns, o Herr, dein Wort die reine Lehre (Friedrich Schneider).” CPDL.org, July 17, 2021. Accessed 6/24/22. https://www.cpdl.org/wiki/index.php/Erhalt_uns,_o_Herr,_dein_Wort_die_reine_Lehre_(Friedrich_Schne ider). Unknown author. “Glorious Things of Thee Are Spoken.” Hymnary.org. Accessed 6/11/22. https://hymnary.org/text/glorious_things_of_thee_are_spoken. Unknown author. “Lutheran Brevities.” American Lutheran Survey 4, no. 25 (October 11, 1916): 849. Unknown author, “New Music: Vocal and Instrumental,” Musical America 26, no. 10 (July 7, 1917), 24. Unknown author. “Reformation Cantata.” The Lutheran Companion 24, no. 45 (November 4, 1916): 1,9. Unknown author. “Reformation Jubilee Notes.” American Lutheran Survey 4, no. 16 (August 9, 1916): 556. Unknown author. “Repose.” Hymnary.org, accessed 6/24/22, https://hymnary.org/text/there_is_an_hour_of_hallowed_peace. Unknown author. “From Ocean to Ocean.” Musical America 26, no. 24 (October 13, 1917): 38 Unknown author. “The City of God.” Musical Courier 74, no. 13 (March 29, 1917): 14. Unknown author. (General announcements). The Hays Free Press 38, no. 29 (June 20, 1918). 2017 Sources Aldredge, Steven. O Glorious Word. Dayton, OH: Lorenz Publishing Company, 2018. Arneson, Kim André. The Holy Spirit Mass. London: Boosey & Hawkes Music Publishers Ltd., 2017. Bankson, Jeremy J. Christ Is Made the Sure Foundation. St. Louis: Birnamwood Publications, a division of MorningStar Music Publishers, Inc., 2018. Bebermeyer, G. and D. Clemen, eds. D. Martin Luthers Briefwechsel: Fünfter Band 1529–1530. Weimar: Hermann Böhlaus Nachfolger, 1934. Beckstrand, William. I Rest within God’s Gentle Arms. St. Louis: Birnamwood Publications, a division of MorningStar Music Publishers, Inc., 2016. Behnke, John A. Lord, Keep Us Steadfast in Your Word. St. Louis: Concordia Publishing House, 2017. Behnke, John A. Luther’s Evening Prayer. St. Louis: Concordia Publishing House, 2018. Behnke, John A. Luther’s Morning Prayer. St. Louis: Concordia Publishing House, 2018. 289 Behnke, John A. Thy Strong Word. St. Louis: Concordia Publishing House, 2018. Blersch, Jeffrey. A Mighty Fortress Is Our God. St. Louis: Concordia Publishing House, 2016. Blersch, Jeffrey. Though All Our Life Is Like a Scroll. St. Louis: Concordia Publishing House, 2017. Böhn, Georg. Savior of the Nations, Come. Edited by William Braun. St. Louis: Concordia Publishing House, 2019. Bonar, Horatius. Communion Hymns. London: James Nisbet & Co., 1881. Bringle, Mary Louise. It Started with an Idle Tale. Chicago: GIA Publications, Inc., 2018 Brusick, William R. “I Want to Walk as a Child of the Light” in The Concordia Children’s Choir Book, Volume 2: Six Settings for Reformation. St. Louis, Concordia Publishing House, 2016. Buxtehude, Dietrich. Jesus, Priceless Treasure. Edited William Braun. St Louis: Concordia Publishing House, 2018. Cherwien, David. You Are God. St. Louis: Birnamwood Publications, a division of MorningStar Music Publishers, Inc., 2016. Childs, Edwin T. God Is Our Refuge. Chicago: GIA Publications, Inc., 2018. Costello, Michael D. A Mighty Fortress Is Our God. St. Louis: Birnamwood Publications, a division of MorningStar Music Publishers, Inc., 2017. Croushorn, Brad. We Trust in God Alone. Minneapolis: Augsburg Fortress, 2017. Culli, Benjamin M. “ A Little Cantata on A Mighty Fortress Is Our God” in Reformation Hymns for Treble Voices. St. Louis: Concordia Publishing House, 2017. Culli, Benjamin M. Who Puts His Trust in God Most Just. St. Louis: Concordia Publishing House, 2015. Forrest, Dan. A Mighty Fortress Is Our God. Columbus, OH: Beckenhorst Press, Inc., 2016. Funderburk, Duane. A Mighty Fortress Is Our God. Jubal House Publications, 2016. Gehring, Philip. “With High Delight Let Us Unite” in The Concordia Children’s Choir Book, Volume 2: Six Settings for Reformation. St. Louis, Concordia Publishing House, 2016. Haugen, Marty. God Is Our Refuge, God Is Our Strength. Chicago: GIA Publications, Inc., 2018. Highben, Zebulon, ed. Augsburg Chorale Book. Minneapolis: Augsburg Fortress, 2017. Highben, Zebulon. God Alone Be Praised: Ad Lucem. Minneapolis: Augsburg Fortress, 2018. Highben, Zebulon. God Alone Be Praised: Per Crucem. Minneapolis: Augsburg Fortress, 2018. Hildebrand, Kevin. “A Mighty Fortress Is Our God” in Reformation Hymns for Men’s Voices. St. Louis: Concordia Publishing House, 2016. 290 Hildebrand, Kevin. “All My Heart Again Rejoices” in Reformation Hymns for Men’s Voices. St. Louis: Concordia Publishing House, 2016. Hildebrand, Kevin. “Lord, Thee I Love with All My Heart” in Reformation Hymns for Men’s Voices. St. Louis: Concordia Publishing House, 2016. Hildebrand, Kevin. “Lord, Thee I Love with All My Heart” in Reformation Hymns for Treble Voices. St. Louis: Concordia Publishing House, 2017. Hildebrand, Kevin. “Now Thank We All Our God” in Reformation Hymns for Treble Voices. St. Louis: Concordia Publishing House, 2017. Hildebrand, Kevin. “The Church’s One Foundation” in Reformation Hymns for Men’s Voices. St. Louis: Concordia Publishing House, 2016. Hildebrand, Kevin. “The Gifts Christ Freely Gives” in Reformation Hymns for Men’s Voices. St. Louis: Concordia Publishing House, 2016. Hildebrand, Kevin. “Thy Strong Word” in Reformation Hymns for Men’s Voices. St. Louis: Concordia Publishing House, 2016. Hobby, Robert A. Jesus, Author of Salvation. St. Louis: Birnamwood Publications, a division of MorningStar Music Publishers, Inc., 2018. Johnson, Stephen R. “Entrust Your Days and Burdens” in The Concordia Children’s Choir Book, Volume 2: Six Settings for Reformation. St. Louis, Concordia Publishing House, 2016. Koppin, Connor. I Still Possess. St. Louis: Birnamwood Publications, a division of MorningStar Music Publishers, Inc., 2018. Kosche, Kenneth T. “Lord Jesus Christ, with Us Abide” in Reformation Hymns for Treble Voices. St. Louis: Concordia Publishing House, 2017. Luther, Martin and Ludwig Senfl. I Shall Not Die, But Live: Two Reformation Motets. Edited by William Braun. St. Louis: Concordia Publishing House, 2017. Machemer, Matthew. “Built on the Rock” in The Concordia Children’s Choir Book, Volume 2: Six Settings for Reformation. St. Louis, Concordia Publishing House, 2016. Machemer, Matthew. God Is Our Refuge and Strength. St. Louis: Concordia Publishing House, 2020. Machemer, Matthew. We All Believe in One True God. St. Louis: Concordia Publishing House, 2017. Martin, Joseph M. Dear Christians, One and All, Rejoice. Milwaukee: Hal Leonard, 2018. Miller, Aaron David. A Mighty Fortress Is Our God. Minneapolis: Augsburg Fortress, 2017. Miller, Aaron David. Come, Holy Spirit, God and Lord. Minneapolis: Augsburg Fortress, 2017. Miller, Aaron David. May God Bestow on Us Grace. Minneapolis: Augsburg Fortress, 2017. 291 Morris, Sally Ann. It Started with an Idle Tale. Chicago: GIA Publications Inc., 2018. Organ, Anne Krentz. The Truth Will Make Your Free. Minneapolis: Augsburg Fortress, 2017. Pederson, Kyle. A Mighty Fortress Is Our God. St. Louis: Galaxy Music Corporation, Inc., a division of ECS Publishing Group, 2019. Reske, Peter C., ed. The Hymns of Martin Luther. St. Louis, Concordia Publishing House, 2016. Schalk, Carl. “Christ Is Arisen” in Five Chorale Motets. St. Louis: Concordia Publishing House, 2013. Schalk, Carl. “From Depths of Woe I Cry to Thee” in Five Chorale Motets. St. Louis: Concordia Publishing House, 2013. Schalk, Carl. “Grant Peace, We Pray, in Mercy Lord” in Five Chorale Motets. St. Louis: Concordia Publishing House, 2013. Schalk, Carl. “If God Himself Be for Me” in Five Chorale Motets. St. Louis: Concordia Publishing House, 2013. Schalk, Carl. “O Morning Star, How Fair and Bright” in Five Chorale Motets. St. Louis: Concordia Publishing House, 2013. Schalk, Carl, ed. The Praetorious Chorale Book: Easy Four-Part Settings for the Church Year. St. Louis: Concordia Publishing House, 2014. Scott, K. Lee. Lord, Be Thy Word My Rule. Minneapolis: Augsburg Fortress, 2017. Shaw, Timothy. “Lord, Keep Us Steadfast in Your Word” in Reformation Hymns for Treble Voices. St. Louis: Concordia Publishing House, 2017. Shaw, Timothy. We Praise You, Jesus, at Your Birth. St. Louis: Concordia Publishing House, 2014. Unknown author. “Though All Our Life Is Like a Scroll.” LutheranReformation.org. The Lutheran Church—Missouri Synod, accessed 9/21/21, https://lutheranreformation.org/resources/worship/though- all-our-life-is-like-a-scroll/. Unknown author. “Wir glauben all an einen Gott BWV Anh. 70; BWV Anh. II 70; Emans 192.” Bach Digital. Joint project by Berlin State Library–Prussian Cultural Heritage, the Saxon State and University Library in Dresden, the State and University Library in Hamburg, and the Leipzig Bach Archive with the Computer Centre at Leipzig University; accessed 10/5/21; https://www.bach- digital.de/receive/BachDigitalWork_work_00001379. Von Kampen, David. “A Mighty Fortress Is Our God” in The Concordia Children’s Choir Book, Volume 2: Six Settings for Reformation. St. Louis, Concordia Publishing House, 2016. Walter, Johann and Ludwig Daser. O Lord, We Praise Thee. Edited by Bret A. Heim. St. Louis: Concordia Publishing House, 2016. Weber, Jacob B. “Lord, Help Us Ever to Retain” in The Concordia Children’s Choir Book, Volume 2: Six Settings for Reformation. St. Louis, Concordia Publishing House, 2016. 292 Wordsworth, Christopher. The Holy Year, 6th edition. London: Gilbert and Rivington, 1872. General Sources Aufdemberge, C. T. Christian Worship: Handbook. Milwaukee: Northwestern Publishing House, 1997. Book of Common Prayer. New York: Church Publishing Incorporated, 2006. Braun, John A. Luther’s Protest. Milwaukee: Northwestern Publishing House, 2016. Christian Worship: Hymnal. Waukesha: Northwestern Publishing House, 2021. Del Norsk Bibelselskep, 1930 (accessed at biblegateway.com). Evangelical Lutheran Hymnary. St. Louis: MorningStar Music Publishers, Inc., 1996. Evangelical Lutheran Worship. Minneapolis: Augsburg Fortress Press, 2006. Glory to God. Louisville: Presbyterian Publishing Corporation, 2013 (accessed at https://hymnary.org/hymnal/GG2013). Hymnary.org Laitz, Steven G. The Complete Musician, 3rd edition. Oxford University Press, 2012. Lutheran Book of Worship. Minneapolis: Augsburg Publishing House, 1978. Lutheran Service Book. St. Louis: Concordia Publishing House, 2006. Lutheran Worship. St. Louis: Concordia Publishing House, 1982. The Holy Bible (ESV). Accessed at biblegateway.com. The Holy Bible (KJV). Accessed at biblegateway.com. The Holy Bible (NIV). Accessed at biblegateway.com. The Hymnal 1982. New York: The Church Hymnal Corporation, 1985. The Lutheran Hymnal. St. Louis: Concordia Publishing House, 1941. The Lutheran Hymnary. Minneapolis: Augsburg Publishing House, 1913 (accessed at https://hymnary.org/hymnal/LHPN1913). translate.google.com 293 Appendix A: 1917 Scores in Research Order 294 295 296 297 298 299 300 301 302 303 304 305 306 307 308 309 310 311 312 313 314 315 316 317 318 319 320 321 322 323 324 325 326 327 328 329 330 331 332 333 334 335 336 337 338 339 340 341 342 343 344 345 346 347 348 349 350 351 352 353 354 355 356 357 358 359 360 361 362 363 364 365 366 367 368 369 370 371 372 373 374 375 376 377 378 379 380 381 382 383 384 385 386 387 388 389 390 391 392 393 394 395 396 397 398 399 400 401 402 403 404 405 406 407 408 409 410 411 412 413 414 415 416 417 418 419 420 421 422 423 424 425 426 427 428 429 430 431 432 433 434 435 436 437 438 439 440 441 442 443 444 445 446 447 448 449 450 451 452 453 454 455 456 457 458 459 460 461 462 463 464 465 466 467 468 469 470 471 472 473 474 475 476 477 478 479 480 481 482 483 484 485 REFORMATION CANTATA FOR THE QUADRICENTENNIAL CELEBRATION OF THE REFORMATION WRITTEN BY ERNST W. OLSON COMPOSED FOR SOPRANO, TENOR, BASS, QUARTETTE, CHORUS AND ORCHESTRA BY J. VICTOR BERGQUIST PUBLISHED BY AUTHORITY OF THE AUGUSTANA SYNOD ORCHESTRAL PARTS TO BE HAD FROM PUBLISHERS AUGUSTANA BOOK CONCERN ROCK ISLAND, ILL. 1917 486 CONTENTS I. E TENEBRIS. PAGE CHORUS: From out the gloom of ages past 1 RECITATIvE AND AnaosO—TEN0R: The Lord looked down upon their dire distress 5 QuTErr1: Therefore, ye shepherds 9 CHORUS: How long, 0 Lord, shall hirelings drive 17 THE COMMISSION. AEzoso—BAss: The Lord put forth His mighty hand 30 INTERMEZZO—ORCHESTRA 37 DAYBREAK. AsiA—SOPRANo: Like watchmen waiting for the morning 42 COPYRIGHT, 1917, CHoRus: While still the prince of this world reigneth 46 SoPRANo AND CHORUS: Give harvest joys to workers weary 48 BY AUGu5TANA BOOK CoNcERN II. THE CONFLICT. [Printed in the United States of America] The Protest. REcITATIvE—BASS: Let the silence of centuries 52 ABT0SO—TEN0R AND CHORUS: A sword, a sword ‘t is sharp and furbished 53 REcITATIvE—TENoR: Out of Thy Sacred Writ, forsooth 56 ARroso—SoPI&No AND CHORUS: Prophesy, 0 thou son of man 57 The Cieansng. REcITATivE—Bss: 0 man, how durst thou mock the living God 59 TENOR AND CHORUS: List, he scoffs at thee, 0 Holy Mother 63 BASS AND CHORUS: Your priests obtrude themselves 64 BASS: Nay, Christ alone makes intercession 66 4 TENOR: Archheretlc, recant 68 CHORUS: Kyrie Eleison 70 TENOR AND CHORUS: The mark of the Great Beast be on thy forehead.. 71 BASS: The blood of saints is on thy hands, 0 Rome 74 CHORUS: How is the faithful city turned 76 BASS: The Word of God hath conquered every nation 79 INTERMEZzo—ORCHESTRA 80 oa Fide. ARI.&—BAss: Behold, by sovereign grace alone 83 THANKSGIVING AND TRIUMPH. CHORUS: Praise the Lord for this hero bold 91 PRESS OF THE CHORALE—CHORU AND ASSEMBLY: God’s Word, despite all evil powers 106 AUGUSTANA BOOK CONCERN CHORUS: Amen 109 ROCK ISLAND, ILL. 487 Reformation Cantata I. E Tenebris Chorus. From out the gloom of ages past, From depths of human passions, There came a voice, a trumpet.blast, A cry from out the nations. The spirit of a shackled age, Clenching his fist in helpless rage O’er his unending vassalage, With pleading eyes turns Godward. How long, 0 God, shall Falsehood hold Thy people bound in fetters, And Learning’s faithless scribes make bold To hide Thy truth in letters? How long shall Babylon enthrall Beneath her yoke Thy people all, Who prone before her idols fall? — 0 Lord, have mercy on us. Recitative and Arioso (Ez. 34 and 22). The Lord looked down upon their dire distress, And bent his ear unto their lamentation; He sware his children’s grievance to redress, When full the measure of their castigation. To crush the yoke and break the rod, From heaven He descended, And Zion’s bondage was forever ended. Hear ye the oath of God: Woe to thy shepherds, Israel, who fatten Upon the flock they’ve neglected. Woe to thy prophets, conspired for working evil, Like roaring lions ravening the prey. Souls of men they do devour, Taking treasure and much plunder; My law they violate, My temple they profane, Between the clean and the unclean they discern not. Woe to thy princes, like wolves in their fury, That thirst to shed the people’s blood, The souls of men destroying f 9 r dishonest gain. Quartette (Es. 4). Therefore, ye shepherds, behold, thus saith the Lord Jehovah, I will require my sheep from out your hands, And wrest them from the mouth of wolves, And o’er my flock appoint another shepherd, The guardian of my fold. He will pasture them In verdant fields once by your feet downtroddoai; By the waters fouled before by faithless hirelings He will lead my flock to drink. Chorus. How long, 0 Lord, shall hirelings drive Thy flock to pastures barren, Who but for worldly profit strive, To whom Thy truth is foreign? Alas, Thy people are comprised Under the rule of Antichrist, Thy Church corrupted and despised— 0 Lord, have mercy on us. Arioso (Jer. 1). The Commission The Lord put forth his mighty hand, His finger touched my mouth; An angel with a living coal From off the altar purged my sinful lips. Then spake the Lord unto his servant, saying, Gird up thy loins, arise! Behold, I have made thee a defencéd city, And speak unto the people all that I command An iron pillar, thee. A wall of brass against the land, Be not dismayed; For I, the Lord, have put my words into thy mouth, And my message in thy keeping. Be not dismayed. 488 VI VII Against the kings and princes, Against the priests and the high priest withal, Against the wicked in the land. A mighty champion have I made thee, And ordained thee A prophet unto the nations. Lo, I have set thee to root up the evil doctrine, And to pull down the fanes of falsehood, To cast them down and destroy them. Cast out the idols from my sanctuary, Aria. Like watchmen waiting for the morning To rise and shed its light o’er Zion’s towers, Thy faithful flock, 0 Lord, are yearning For sweet deliverance from evil powers. Our anxious eyes are now discerning The star of hope through dawning hours; The blessed gospel light revealing, The sun of righteousness, on wings of healing, Shall bring anon the perfect day. Ere Thy just wrath in voice of thunder Unto the world shall strike dismay, Grant that our faith shall not go under, Avouch Thy truth upon the earth; Through fires of heavenly wrath and fury Let Thy Church purified come forth. Thy vineyard’s waste, thy workers weary; Wrest them from stewards false and wrong. Mine holy temple cleanse. Plant the pure faith; And preach my truth unto the people. I clothe thee with my strength as with a mantle; And arm thee with my word as with a two-edged sword. Arise; go! Be not dismayed, For I, the Lord, am with thee. Change Thou our plaintive Miserere Into a joyful harvest song. Chorus. While still the prince of this world reigneth, Thine earthly kingdom, Lord, to press, A little flock there yet remaineth Who thirst for Thy full righteousness. Give harvest joys to workers weary, Let justice end their ancient wrong, And for her present Miserere Restore the Church’s morning song; For now the morning star presages The dawning of the gospel day, When, vanquishing the gloom of ages, The sun of righteousness holds sway. Now let our plaintive Miserere Be changed into a morning song. II. Recitative. O man, how durst thou mock the living God By spurning Christ’s atonement for thy sinful works? Think ye your gold will purchase righteousness; Can filthy shekels shrive your souls? Ye practice sorcery with sacred things, And desecrate the sacrament by heathen rites; A man-made godhead worship ye, The earthly shadow of a thing divine; Ye know not that High Priest who once for all Offered himself a sacrifice for ulan’s transgressions. What of your endless chain of prayers— But incense burnt before your sacred Idols, But feeble sighs before a sinful virgin’s shrine! (A Voice: List, he scoffs at thee, 0 Holy Mother! Chorus: Ave Maria! Aye, ave immaculata!) Your priests obtrude themselves ‘twixt you and your Redeemer To take their toll for every mumbled mass And parcel out God’s mercy in return. Think ye in vain the temple’s veil was sundered, The middle wall was broken down? Nay, Christ alone makes intercession for the sinner, By faith in Him ye gain the mercy seat. Ye would be justified with barter, With bribes ye seek to reconcile your God, With prayers and penances, With pain and flagellation. Hath not Christ suffered in the fullest measure, His precious blood atoned for all the world’s trans gressions? Who placed a Judas on St. Peter’s throne? How is this Antichrist o’er Christ exalted? (A Voice: Archheretic, recant thy ravings sacrilegious. The mark of the great Beast be on thy forehead. The ban of our Most Holy Church I lay on thee.) The blood of saints is on thy hands, 0 Rome, And with the keys of heaven The gates of heav’n were barred to many a witness Because thou hast provoked the Holy One of God, By fire of holy wrath be thou consumed. O holy Rome, 0 city whilom glorious, That stood like heaven’s high gate upon the earth, But now accurs’d, of hell the hungry entrance! Chorus (Isa. 1: 21ff.). How is the faithful city turned into a harlot! In it lodged righteousness secure, but now mur derers. Thy silver is turned to dross, Thy wine diluted with water. Therefore saith the Lord Jehovah, I will turn my hand upon thee and thoroughly purge thy dross; Afterward shalt thou be the Seat of the just, a faithful town. Recitative. The Word of God hath conquered every nation; It is the touchstone of all human doctrine: On this foundation shall His Church be builded; Upon the Word I build, my conscience bears me witness. Convict me by the Word, and I am doomed. On this, no other ground, I stand,—my trust in THE PROTEST. Recitative. Let the silence of centuries Now in the Church be broken! Shatter her thousand tyrannies, Now let the truth be spoken! Let the sores of corruption smart, Lanced by the Word and salted; Sword of the Spirit, pierce each heart, Ne’er let thy zeal be halted. Arioso (Ez. 21). Chorus: Kyrie Eleison. A sword, a sword, ‘t is sharp and furbished; A sword to be wielded, yea, trebly wielded, A levin of light, sharpened for slaughter. Gather, gather and smite on the right and the left hand. A sword is furbished, sharpened for slaughter, A sword that smiteth and biteth. Recitative. Out of Thy sacred Writ, forsooth, Lord, may the world be lighted. Heavenly well-spring, eternal Truth, Shine into sepulchers whited, Bare the bones of Hypocrisy, Silence the Lying Spirit; Preach life’s message from sea to sea, That all nations may hear it. Arioso (Ez. 37: 9). Chorus: Come, 0 Spirit, come. Prophesy, 0 thou son of man, and say to the spirit: Thus saith the Lord Jehovah, From the four winds of heaven come, 0 spirit, And breathe upon these dry bones of Israel’s dead, That they return again to the living. Aria. Behold, by sovereign grace alone Hath God the Father from His throne Ordained our full salvation. Unto the utmost ends of earth The Sun of Mercy sendeth forth His light to every nation. The way of life is open, free, O mortal man, to thee, to thee. Through love alone His Son was sent To bear the law’s dread punishment For all our dire transgression. Our sins He bore, our guilt He owned, For all our deeds His death atoned. 0 bountiful possession! His righteousness is full and free, O sinful man, to thee, to thee. For this o’erwhelming sacrifice The Lord will nevermore despise A contrite heart and spirit. By Jesus’ death, by Jesus’ blood, Full pleasing in the sight of God, His mercy we inherit. The fount of grace flows full and free, 0 pardoned soul, for thee, for thee. By faith alone, for Jesus’ sake, Each ransomed sinner may partake Of His abounding merit. If in His promise ye abide, By faith shall ye be justified And blest with His free Spirit. His righteousness the just shall own By faith alone, by faith alone. THE CLEANSING. Daybreak true. The Conflict God. SOLA FIDE. 489 Chorus. Praise the Lord for this hero bold, Molded of fire and spirit; Voice of thunder, like prophets of old— All the people shall hear it;— Beacon of truth on a storm-swept coast, Lighted by fire from heaven, Flaming tongue of a Pentecost Now to the faithful given. Chorale. (Chorus and Assembly.) God’s Word, despite all evil powers, For evermore abideth; The Spirit and the gifts are ours, Through Him who with us sideth. And though they take our life, Goods, name, child and wife, When all our wealth is gone, From us they nought have won: The Kingdom still remaineth. VIII Thanksgiving and Triumph I 1 Chorus. Amen, Amen, Amen. REFORMATIONSKANTAT. (REFORMATION CANTATA.) Ernst W. Olson. J. Victor Bergquist. Grave. I—I ( 4 1 I < p - 1)4I \ H —p . Soprano and Alto. . [ cJ dI I Ur skug - gan af ett ti - do - hvarf, Ur From out the gloom of a - ges past, From Tenor and Bass, J {ii I I I ddI ivI I I F—-- 490 :• • ) ) - m—-- I, —{ I it I e t L— ) T i*— -- I —l i ; — r1 I -, b s -I-.’. I? •tck I.TJ ) ) C C CI) 491 “ii I C )‘ 492 C C CI) C C CI) ‘-3 493 0 ‘9 494 0 0 z -‘ 495 _w çw• I 496 14 REFORMATIONSKANTAT. REFORMATIONSKANTAT. 15 Andante relzioso. __________________________________________________________________________ _______ I IF F - Skall han ye - der - kyle - ka dem, Skall han ye - der-kvic - ka dem. lef - ver, s sant jag lef - ver, s - ger Her - ren, sit - ger He will lead my flock to drink, He will lead my flock to drink. saith the Lord Je - ho - vah, Saith the Lord, thus saith the __________________ I N I ___________ __________________________________________________ N N I i i I . I • I N ________________________________________________________________ I I I 0. 0 0 ____________ ____________________ _______ I ______________________________________________ ________________ .. ‘— 0 • . . . • _____ ______ _________ _________ ____________________ ________________ . I __________ ______________________ _________________ I F___ I _______________________________________________________ Skall han ye - der - kvic - ka dem, Skall han vs - der-kvic - ka dem. lef - ver, s? sant jag lef - ver, sit - ger Her - ren, sit - ger He will lead my flock to drink, He will lead my flock to drink. saith the Lord Je - ho - vah, Saith the Lord, thus saith the _________________________ __ __ r7. I : ___________________________ __________________________________ Andante relzioso. H — i) _________________________ F : __ ____ crest. ____________________________ _____ I ___________________________ _________ _______ , ._:1_,,____________________ 4— ______ I _____ Ir 14- Allegro moderato. ____________ F IrlIr?. Fl I I ___________________________ ________ I• Dltr - for, I her - dar, Ditr - fOr, I her - dar, SP sant jag There - fore, ye shep - herds, There - fore, ye shep - herds, Be - hold, thus Her - ren, sit - ger Her - ren, sit ger Her - ron, _________________ I I • .j I I Lord, thus saith the Lord Lord Je - ho - vah, _______ I _______________________ _____________________ jz r F I ______________________________ There - fore, ye shep - herds, There - fore, ye shep - herds, Be - hold, thus F DlLr - fOr, I her - dar, far - fOr, I her - dar, Sâ sant jag _____________________________________________________________________________________________ Her - ren, sit - ger Her - ron, sit - ger Her - ren, •• _____________ ______________________________________________________________________________________ Lord Je - ho - vah, I F F F Lord, thus saith the Lord _________________ I Allegro moderato. )4 F F __________________________________________________ — I. d1 _______________________ __________________ : F 1 1 1 _____ _____________________________ __ __ I U I _____ 7z — ‘I __________ ____ ( I I)• ____ ________________________ 4—4--1 _____ _____________________ I ____ _______________________ 497 0 0 0 I 498 499 20 .1 REFORMATIONSKANTAT. REFORMATIONSKANTAT. 21 Hur lang - e skall din ar - ma hjord, How long, 0 Lord, shall hire-lings drive cresc. Af fals - ka her - dar Thy flock to pas - turos 4L. fals - ka her - dar drif - vas, Af flock to pas - tures bar - ron, Thy £ I I r cresc. p. fals - ka her - dar drif flock to pas - tures bar Hur lang - e skall din ar - ma How long, 0 Lord, shall hirelings - U drif bar J Hur lang - e, Hur lang - e How long, 0 Lord, how long shall vas? ren? J Hur lang - e, Hur lang - e How long, 0 Lord, how long shall I- ( ..- . cresc. r drif - vas, bar - ren, I I vas, ren, Af fals - ka her - dar Thy flock to pas - tures a .1 Af fals - ka her - dar drif - vas, Af fals - ka her - dar Thy flock to pas - tures bar - ron, Thy flock to pas - tures I Af fals - ka her - dar drif - vas, Af fals - ka her - dar Thy flock to pas - tures bar - ron, Thy flock to pas - tures U r r U — T skall din ar - ma hjord drif - vas, Af fals - ka her - dar hire - hugs drive Thy flock to pas - tures, Thy flock to pas - tures . 4 -0• F7 skall din ar - ma hjord hire - lings drive Thy flock drif - vas, hur Ing - to pas - tures bar - ren? Ii 4 I 500 22 REFORMATIONSKANTAT. REFORMATIONSKANTAT. 23 _____________________ __________________________ ml F ••fl F -F F F F in skall din ar - ma hjord Af fals-ka her - dar drif - vas, Af Lord, shall hire-hugs drive Thy flock to pas - tures bar - ren, Thy Som grum - la, Gud, ditt kla - ra Shall hire - hings drive Thy flock, 0 I ___________________________________________ F H Ix u . : .r drif - vas, Af fals-ka her - dar drif - - - vas, Af bar - ren, Thy flock to pas - tures bar * - - ren, Thy F I ] F 1 F t I drif - vas, Fals-ka her - dar, fals-ka her - dar drif - vas, Af Af fals - ka her - dar drif - vas, Som grum - ha, Gud, ditt kia - ra bar - ren, How long, 0 Lord, how long Shall Thy flock to pas - tures bar - ren; Shall hire - lings drive Thy flock, 0 fi F j Fi I. I _______________________________________________________________________________________________ e, hur lang - - - e? A! how long, 0 Lord, Shall _____________________________________________________________________________________ _____________ I.. ______________________________ [: H:?. 0 I — I ______ I I I ii I ml .L _______________________________________ I H ()4 x - I li iF IF I I fals - ka her - dar drif - vas, Hur lang - e skall din ar - ma hjord, ord, flock to pas - tures bar - ren, How long, 0 Lord, shall hire-lings drive Lord? cresc. FF I 1 I i. I I I I fals - ka her - dar drif - vas, Hur lang - e skall din ar - ma hjord, flock to pas - tures bar - ren, How long, 0 Lord, shall hire-lings drive Som grum - la, Gud, ditt kia - ra ord, Och -F Who but for world - ly prof - it strive, To F I ___ I hire - lings drive Thy flock.... fals - ka her - dar drif - vas, ord, Som grum - la, som grum - la, som grum - ha, • I I j F Lord? Who but for world - ly prof - it _________ I I I F F _____________________ I I l F cresc. r ! A -_:_I- ________ 501 24 REFORMATIONSKANTAT. REFORMATIONSKANTAT. 25 ____________________________________ F Fl F I I • F - ro vi for - visst At syn - dens mn - ska, An - ti - krist, peo - pie are com-prised Un - der the rule of An - ti- christ, Som grum - Ia, Gud, ditt kla - ra _____________________________________________ __________________________________________ Who but for world - iy prof - it •t-.. peo - pie are com-prised Un - der the rule of Au - ti - christ, - ro vi fOr - viast At syn - dens mn - ska, An - ti - krist, blott om 10 - non kif - vas? Som grum - la, som grurn - la, ___________________________ _________________________________________________________________ whom Thy truth is for - eign, To whom Thy truth is for - eign, To i. iJ _____________________________________________ 11. - ro vi fOr - visat At syn - dens man - ska, An - ti - krist, Hem _________________________ ____________________________ ________ I peo - pie are com-prised Un - der the rule of An - ti - christ, A Gud, ditt kia- ra ord, Som grum - la, Gud, ditt ord, ____________________________________________________________________________________ ___ - : jj strive, Who but for worid - ly prof - it strive, F F L I. r ne, Hem - fall - ne a - ro __________________________________________________________________________________________ A - las, Thy peo Gud, ditt ord, som grum - - Ia, _ 1 __ strive, for world - ly prof - - it strive, _____________________________________________ ________________________________________________ H __ _______ a - ____________ I ___ ________________ ___________ - -- __ _____ ________________________ I.. I _____________ _______________ __________ I _________ I . ____________ ______________________________ II I F—I zE F Fli L’ _______________________________________________________________________________________________ Hem - fall - no a - ro vi fOr-visst At syn-dens man - ska, ord Och biott om 10 - non kif - vas? Hem - fail - ne A - las, Thy peo - pie are com-prised Un - der the rule of strive, To whom Thy truth is for - eign’? A - las, Thy _______ i F ‘i • . . -LJ - I I I /— I— _______ ____ Ir- ii .0 • Hem - fall - no - ro vi At syndens man - ska, man - ska, Un - der the rule, the rule, the rule of grum - la, Gud, ditt kla ra ord? Hem - fall - no _________________________________0_ whom Thy truth is for - - - eign? A - las, Thy F F F I a Ii F F I I I fall - ne i - ro vi fOr - visst At syndens man - ska, man - ska, grum - Ia, Gud, ditt kla - ra ord, ditt ord? Hem - fall - ne las, Thy peo - pie are corn - prised Un - der the rule of ______________________________ __ I _[7F but for world - ly, world-ly prof - it strive. A - las, Thy • • r ________________ I _________ vi, vi fOr - visat At man - ska, Gud, ditt kia - ra ord? Hem - fall- - pie, A - las, the rule of world - - iy prof it strive. A - las ___________________ ___ F [ _______________________________ ______________________ [0• I I I ___ l _____ 502 REFORMATIONSKANTAT. 27 26 REFORMATIONSKANTAT. __________________________________ I I I all.. ____________________________________ _______________________ II ____________________________________ _______________________________ Id Au - ti - krist, Syn - dens man - ska, An - ti - krist. Hem - fall - ne a - ro skall din ar - ma hjord Af fals - ka her - dar drif - vas, An ti - christ, The rule of An - ti christ; A - las, Thy peo - pie Lord, shall hire - hugs drive Thy flock to pas - tures bar - ren, : I _____ __________________ p ______________ __________________________________________________ d I I F : • . I • I _________________________________________ ‘H’ I • i An - ti - krist, Syn - dens man - ska, An - ti - krist. An - ti - christ, The rule of An - ti - christ; I . • ___________________________________________________ _I. ___________________________ I ••‘I — skall din ar - ma hjord Af fals ka her - dar drif - vas, I I An - ti - krist, Syn - dens man - ska, An - ti - krist. Lord, shall hire - lings drive Thy flock to pas tures bar - ren, An - ti - christ, The rule of An - ti - christ; • V -- I I F z An - ti - krist, At syn - dens man - ska, An - ti - krist. I - An - ti - christ, The rule of An - ti - christ; ______________ __________ S • ________ ___________________________________ (p I : I ______________________ I ________________ Ii F F ___ ‘H. I I • _____________________________________________ F • F F F fr I fl VI I — I j Som grurn - la, Gud, ditt kia - ra ord Och blott om hO - nen ______________________________________________________________________________________________ Who but for world - ly prof - it strive, To whom Thy truth is 1 I vi for - visst, Hur lang - e _______________________________________________________ are corn - prised, How long, 0 I I J. IT I Som grum - la, Gud, ditt kla - ra ord Och blott om 10 - _______________________________________________________________________________________________ Who but for world - ly prof - it strive, To whom Thy truth is % 1 JJ p. _________________________ ___________________________________________________ r ______________________________________________________________________________________ Who but, who but for world - ly prof - it strive, To whom Thy truth is N _______ _____ Som grum - la, Gud, dltt ord, ditt kia - ra ord Och blott om ho - nen At syn - dens man- ska, An - ti - krist, Hur lang - e r ff• __________________________________________________________________________ I IJn - der the rule of An - ti - christ. How long, 0 • ____________ F —p—-F.. _____________________ ______________________________________________________________ Som grurn - la, Och blott om 10 - nen ____________________ — -1 But for prof - it, To whom Thy truth is I ______ __________________________________ _____ II I I I — 1 -r r 2 I _______________________ _______ _______ F F 1 ________________________________ ________ _____ 1 503 r REFORMATIONSKANTAT. 29 , p Molto esftr. — I’4_ I I 114 Be - te 085, Gud, din n - do! o Lord, have mer - cy on us. — 114 I I-I ____ . [: II 114 N — — ‘ II ‘Ii Be - to 088, Gud, din n - do! O Lord, have mer - cy on us. — 114 • nI. I : J L: 1I • 4 F• I ffz p Motto Csftr. i — “4 S I 114 Adagio — — 28 REFORMATJONSKANTAT kif - vas, Och biott om UI - nen kif - vas? Hem - fall - ne - ro vi for- for - eign, To whom Thy truth is for - eign? A - las, Thy peo. pie are corn- kif - vas, Och blott om 10 - nen kif - vas? Hem - fall - no - ro vi fOr- for - eign, To whom Thy truth is or - eign? A - las, Thy peo. pie are corn- At syn-dens man-ska, An - ti - krist, Ty he - lo du din kyr - kas brist. Un - der the rule of An. ti - christ, Thy church cor-rupt-ed and do spised. At syn-dens man-ska, An - ti - krist, Ty he - le du din kyr. kas brist. Un - der the rule of An - ti - christ, Thy church cor-nupt-ed and de - spised. Ty he - le dii din kyr - kas bnist. Thy church cor-rupt-ed and de - spised. I 504 •1 Ct 4 4 4 C + ‘ 1 4 t12 1b L 1 4 I-—— 4- 4sf 00 505 1 506 ) —o •- o 0 ro -I ) C C 507 \Wrni I / 41- 41- \\\ttts I —‘ri-i* I I V V ) ‘[1-141- ‘[1-1-41- ‘wjtti 141- 41 -‘Ml*I -tt4I -rrt5I _-[ff4 I -‘111*1 C H C rJ2 H H H •—‘i1114 I 508 —-‘ -4 -7 C I-I C - 1J) —v 1 - —‘1-1t41 \Wi i ‘11141 ‘I1t4 I I 5 —ttI .4 4 4 -4- / / 0 C I / 1 509 D 4 4 4 4 4 ‘1 510 I I (. — 0: 0 . 0 LL 511 REFORMATIONSKANTAT. REFORMATIONSKANTAT. Esftr. andante. _______________ ________________________________________________________ __________ ________________________________ I I FOrr un din vre - des v - gor viii - ta Ut-öf-ver oss din do - me Ere Thy just wrath in voice of thun - der Un - to the world shall strike dis mor - gon-bloss; Med situ - het un - der 51 - na ving - - ar Rittt- dawn - ing hours; The bless - ed gos - pel light re-veal - - ing, The I — _______________________________ ________________________________________ — I __________________ - H ...H _____________________________ (r ______________ ____ : _________________________ __________ __ __ a7jjir2 F_t -h-. _r dag, Gif att ditt salt ej mist sin sal - ta, Din kraft l 088 ej blif - vit der, A - vouch Thy truth up - on the may, Grant that our faith shall not go un p- Fri I _____ _______________________________________ ____________ I )‘—r fiir - dig - he - tens sol, som mörk - ret tying ar, Skall ____________________________________________________________________________________ sun of right - eous - ness, on wings of heal - lug, Shall I I I--- _________ ----—: ________________________________________ — __\ • : j F F H FI ifl F— svag. Niir kyr - kans slagg din eld skall smil - - ta, Ditt — — ‘ earth; Thro’ fires of heav’n - ly wrath and fu - - ry Let __ - ‘ ____ _____________________________ :1 --_* Id ______________________________________________ I r • • I I I i snar - ligt upp - ga of - ver 085. F F F F F F F bring a - non the per - - feet day. siif-ver ut - ur de - gem tag. Din yin - giird, Her-re, hg - ger tie - re, Din kyr - ka Thy Church pu-ri-fled come forth. Thy vine-yard’s waste, Thy workers wea - ry, Wrest them from _______________________________________ , _____________________________________________________________ _______________________________________________ ______________________ I • .i:’_ _____________ ____ ___ 1 rr ____ ______ __ I I :fr Fi ___ _______ ________ ___ ____________ ____ _____________ _____ t . 4L-- Ii I -- -- 512 47 ( la arg för-tret, dom, Lord, to press, - la arg for - tret, king - dom, Lord, to press, -fç:i••• — - -. . (VV ___*t —, .1 Her - re, törs - re main - . r j - - ter - for - 1. .•. — I ______ izvt i__--- H — .1 IA I) I. cIY• I I REFORMATIONSKANTAT. in vâl - la arg fOr-tret, vAl - la arg for - tret, En ring - a hop, 0 king - dom, Lord, to press, king. dom, Lord, to press, A lit - tie flock there vAl arg fOr-tret, En ring - a hop, o king - Lord, to press, A lit - tie flock there - iPrHnrH arg for . tret, En ring - a hop, 0 Lord, to press, A lit tie flock there F 46 REFORMATIONSKANTAT. :F.ii7::J un - der vlirldens tvdng. Byt ut dess tung - a mi- se - re - re, Byt Ut dess tung. a mi- se stewards false and wrong. Change Thou our plaintive Mis-e . re - re,Change Thou our plaintive Mis-e - jr - - - F r re - re Mot ny-a da - gars skOr - de- sAngt ro - re In - to a joy - ful har . vest song. I) I ___ -- CHORUS. Moderalo. ml Soprano. H• r L 4 När van . dens vAl . di - ge och fOrs - tar Ditt ri ke While still the Prince of this world reign - eth, Thine earth - Iy Alto. J i H Nlir van - dens väl - di - go och fOrs - tar Ditt ri - ke While atill the Prince of this world reign - eth, Thine earth - ly Tenor. • F När van - dens viii - di - go och fOre - tar Ditt ri he While still the Prince of this world reign - eth, Thine earth - ly BaBs. ) I l fl I. Ji Hi I ‘ - F ‘ - - ml Moderalo. —‘ ,- —\ yet ...: ••• .... I. ._ •••. rp—v ) t:’ ‘-S j) tar Dock of - - - ter eth Who thirst for Her yet re, tOrs re - main - tar Dock of eth Who thirst Her yet ter for re, tOrs re - main - tar Dock ef eth Who thirst -J ‘-_ 513 D e ) C 0 tgi . o .- .. ( C. . o , C C D p Ct P 0 0 C) 0 0 - . C — $1 - — C: — . C. ‘4* Cl ro CD Cl C: C 1 Cl .. C ocD (DC. _C 3, (D Ct C. cO : ‘- (D C. 114 . s: O(D (D C. C. (D C. a Cl (D . ‘1 C. -it C C D:cL ( • C. C. C. + CC C - — Q C. to Cl CD l1 (DC. Cl • —‘ E• C (D’. I C. UI E UI , I UI (D(D I ClCl (D(D . C. C. Cl •, CD ‘ UI Cl UI • UI I: ) -j Cl C) UI C: Cl UI O UI UI 4 ii I 514 4- to 0 0 oq to 0 0 to 0 i1i t toto 0 to 00 qq 4 to 0 00 s 0 00 to to Uq 0 too 0 00 E. 0 to S. 0 00 (DO 0 -* to to Co 07 0 00 toO tOO -t to (DO to ::!. C — C 0 C toO to 0 -t to C )3 4 I 4 4 )i to •1 ) 0 0 C 5— 00 o 1 tot 07 0 too. toO -to. 00 to (DO too. to :i. C (DO to - 0 0 to C- I C — 00. 00 00 (DC. q to’ t03 CDO —o. to I C-I 0 *0. CO to - to . 1 .1to (DO C. too C 0 (DC. C. 00 (D 0 too (DO — C. b b b C I. C Ci) z I fr 4 -to to to. to ‘P J J. J 515 C 0 H 0 0 516 REFORMATIONSKANTAT. 55 54 REFORMATIONSKANTAT. Red/afive. Li I I 1 — I • ____________________________________________________ slakt - ning, Ett svard, som bi - ter och blixt - rar. Sam - la, sam - la din kraft, hugg till slaugh ter, A sword that smit - eth and bit - eth. Oath - er, gath - er and smite, on the ____________________ ________ — I — - le - i - son. on. ______________________________ I I I IMI I I I I I le - i - SOn. on. _____________________ [—I I ___ - _________________ LW — F ho - ger och väns.ter! Ett svärd är dra - get, fe - jadt till right and the left hand. A sword is fur - bished, sharp-ened for ________________________________________________________________________________ — — - - - - I ftm lenlo : I: Ky - ri - e e - le - i - son. — —— I,. I I P1) I I Li • Ky - - - ri - e e - Ky - ri - e e - le - I - son. 1 __________________ 4’ JJHLri pp 517 ff4 ff4 ff4 1-14 ff4 ff5 ff4 ff4 tt4 ff4 ff4 ff4 ff4 1* ff4 1-14 ff4 ff5 14 ff4 ff4 ff4 ff4 Ifs 114 114 1* ff5 14 a 518 H C I. C 519 0 0 z Ci) P1 z 520 I. Lj C C 521 C 4 4 4 4 4 4 4 . 0: cD •1 0 B B 0 e. — 1’ C ) 522 0 523 C C cI:1 I ITJ C C z C12 I-j j 524 C 1-4 C CI) 21 C 1 525 -4 e 4 4 (D L4jL_ I 4 144— ) ) ) ) I) ) 526 BASS. Moa’erato. Recitative a iacere. Vid di - na han - der 1 - der hel - gons blod. Med him - mel-ri - kets The blood of saints j on thy hands, 0 Rome, And with the keys of ... ut-af e - vig eld! be thou con-sumed! Her-rens the Ho-ly •0- 74 REFORMATIONSKANTAT. N L V I REFORMATIONSKANTAT. 75 -I — -I he - ii - ga, FOr-Ut - ras skall du One of God, By fire of ho - ly wrath -1 I — I u vu Den hel-ga 0 Ho-ly jI...4• nyck - Jar , heav - en = = For mâng-et Kris - ti vitt - ne - - — = The gates of heav’n were barred -- to du stAngt him - len man-y a wit - ness =— 0 - 1 .J_ L - .l I stad, det for - dom stol-ta Ro - ma, Som en gang stod Rome, 0 Cit - y whil- om gb - ri - ous, That stood like heav’n’s som him - lens Opp-na high gate up - on the J r till. -* ..- -0- •-. - true. k1’ p. ii E - me - dan du be - drOf - vat Be-cause thou hast pro-yoked III • I— kEk_ - - — Har du fOr-vand-lat But now ac-curs’d, - -- - till en af - grunds- ku - Ta. of hell the hungry en-trance! - — - -r 527 76 REFORMATIONSKANTAT. CHO:auS. Allegro moderafo. .i1i I 1!... — — — I I id_ Hu - ru liar den trog - na eta - den blif - vit till . How is the faith - ful cit - y turned in - to I I I -“ -f I I REFORMATIONSKANTAT. 77 silf - ver eu ver Rn - ru liar den trog - na eta - den blif - vit till . How is the faith - mi cit - y turned in - to b- . L. har blif - vit till slagg, is turned . . to dross, en a - a. a a a Allegro moderato. Bitt yin Thy wine 9 I di- f I - I I -- 9 vit till elagg, to dross, F ,‘ I F vi - sa bod - de där - Ut - i, men nu it lodged right - eons- ness so - cure, but now r I m3r - da - re. Bitt mur - der - ers. Thy F — vi - sa hod - do där - Ut - 1, men nu It lodged right - eons- ness so - cure, but now ,‘J4 - - — -:j J -1;) —• U ten. Bar - for sa - ger Her - ron, Her - ron: ter, There - fore saith the Lord Je - ho - vah: Ut - spadt med vat in - ted with wa I-J— ‘-K p... +— 4. I— zfri I-. V. ten. Bar - fOr sa - ger Her - ron, Her - ter, There - fore saith the Lord Jo - ho -- -0-. * •. -- a. a ( I rz1 528 Se - dan skail du kal - las Aft - er-ward thou shalt be REFORMATIONSKANTAT. I r” . L 1 i r r och bort - ren - sa alit ditt slagg. and thorough-ly purge thy dross. - . Jag viii van - da mm hand e - mot dig I will turn my hand up - on thee och bort - ren - Ba alit ditt siagg. and thorough-ly purge thy dross. BASS. Maesoso. REFORMATIONSKANTAT. 79 - — _ Jag viii van - da mm hand e - mot dig I will turn my hand up - on thee 1 a —. • - Med Her - rens rd ilr varl - den of - ver - vim The Word of God hath con - quered ev - ‘r ma .1 I 1.-I men; tion; mf Med or - dets It Is the r’.. I - -p-. I - I I I prOf - vo-sten touch - stone I I -. • •1 all l - ra skall be - dO - of all liii - man doe - mas. trine: - — I I Pa or - det blott shah Kris-ti kyr - ka On this foun-da-tion shall His Church be en rAtt - vi - sans stad, en tro gen stad. the seat of the just, a faith - ful town. ... * I-, — U U -, — — - —c_y U — byg - gas; build - ed; Ii. -0- Se - dan skall dii kal - 1a8 Aft - er-ward thou shalt be 1 P. or - det har jag Up - on the Word I I I Ii. — byggt,— build, ‘I •. — en ratt - vi - sans stad, en tro - gen stad. the seat of the just, a faith - ful town. mitt my sam - vet con - science $ - ( r • - - -_ - - IL r bar mig vitt - ne: bears me wit - ness. fb% —- — *. •IL • i5l — Fail mig med det, och jag flr e - vigt Laud. Con - vict me by the Word and I am doomed. -4 --. -b-. r ml e espr. 529 C 0 Cl) / 530 I’ / ITJ C I-I C 531 ITJ C 0 •1 0 Ui ) 532 ‘I C 533 534 0 0 4 ii, I A 535 92 REFORMATIONSKANTAT. I -___ W N e II ____________________ Tor - döns-rds - ten ut - af Guds folk Hdrd in-i al - lo Voice of thun-der like proph-etB of old,— All the peo-ple shall r I LJ •C- an - de, Tor - döns-rös - ten Ut - af Guds folk Hdrd Ut- al - lo spir - it, Voice of thun-der like proph-ets of old,— All the peo-ple shall 8va...-..-..-#-- I-f4 -0- —I---4- I __ 4 _______ I ____ I REFORMATIONSKTAT. 93 536 94 REFORMATIONSKANTAT. REFORMATIONSKANTAT. 95 ) Tack, o Gud, fr din san - nings tolk, Man - nen Praise the Lord for this be - ro bold, Mold - ed .- af of eld fire - och and - de! Tack, o Giid, for din san - flings tolk, Man - nen af eld och it Praise the Lord for this he - ro bold, Mold - ed of fire and Ii. 1 1 -u - -- —-- If -- Tack, o Gud, for din San - flings tolk, Man-nen af eld och Praise the Lord for this he - ro bold, Mold-ed of fire and I Man-nen af eld och an - de! Tack, o Gud, fOr din Mold- ed of fire and spir - it, Praise the Lord for this Spir - - F Man-nen af eld och an del Tack, o Gud, fOr din Mold- ed of fire and spir - it, Praise the Lord for this ff 537 san - flings tolk, ho - ro bold, REFORMATIONSKANTAT. Tack, o Gud, Praise the Lord, Tack, o Gud, Praise the Lord, 96 F’ 4. -. Ban - nings tolk, he - ro bold, Man - nen af eld Mold - ed of fire I-, och an and spir de! it! REFORMATIONSKANTAT 97 Man - nen af eld Mold - ed of fire och an and spir Man - nen af eld och an Mold - ed of fire and spir de! it! a. a ...-- Man - nen af eld och Mold - ed of fire and 4. ! -- “ I] ‘I 1 JL:4. ]---- L r-.. Tack, Praise 1 - o Gud, for din the Lord for this Tack, o Gud, fOr din san-nings tolk, Tack, Praise the Lord for this he - ro bold, Praise 0 the - —.. .“- fOr din for this Gud, Lord I Tack, o Gud, fOr din san-nings tolk, Tack, Praise the Lord for this he - ro bold, Praise -0-• - a a a a. a Tack, o Gud, fOr din san - nings tolk! Tack, o Gud, fOr din san - nings tolk, Praise the Lord for this he - ro bold! Praise the Lord for this he - ro bold, o Gud, the Lord ( fOr din for this Ii U Tack, o Ond, fOr din san - nings tolk! Tack, o Gud, fOr din San - flings tolk, Praise the Lord for this he • ro bold! Praise the Lord for this he - ro bold, IL 4 • 4. .‘. 4- F’ IL e1 F 538 — 0 •1 C C C,, 00 0 C C C,, z LJ 539 100 REFORMATIONSKANTAT. Tack, o Gud, for din Praise the Lord for this j.. - IL . dd REFORMATIONSKANTAT. Man - nen af eld Mold - ed of fire t’J 1 Praise Tack, o Gud, the Lord lA LLT1 fOr din for this LL a--i ( Tor - Voice I - I I ti dOns - rOs - ten Ut- of thun - der, like a a a a I I I -I- Tor - dOns - rOs - ten ut Voice of thun - der, like 1 •• 540 102 REFORMATIONSKA:NTAT. — af Guds folk prophets of old,— I) Hörd nt-i al - Jo lan - de, All the peo-ple shall hear it;— REFORMATIONSKANTAT. af Guds folk prophets of old,— IL . r 103 Hörd ut-i al - Jo All the peo-ple -an..4.—• Ian - de, shall hear it;— 4. I o Gud, fr din san - nings tolk, Man - nen af eld the Lord for this he - ro bold, Mold - ed of fire 8va...-.-.....-....,..-.. loco. 8va.........-.--.-..—.... loco. 4.0-il - --- L i --- ‘-‘•l Tack, 0 Oud, for din san - nings Praise the Lord for this he - ro LI tolk’ bold’ lb. lb. lb. Tack, Praise o Gud, fOr din the Lord for this IL il. san - he - nings ro ____. p tolk’ bold’ -0- LI I j t j SJ F -.—- -- 541 104 E - van-ge - 11 - I pingstvinds brus Flam - ing tongue of a Pen - to - cost E - van-go - ii - I pingstvlnds brus Flam - ing tongue of a Pen - to - cost II ‘A Of - ver do tro - en-des ska Now to the faith - ful giv rr I I I a I I I REFOR1’vIATIONSKANTAT. - — -.- — - -- REFORIVIATIONSKANTAT. 105 TI . a Fack-lan, som spri - der din san - flings ijus, Tltnd vid ditt ord det kla - ra, Boa - con of truth on a storm-swept coast, Light-ed by fire from heav - en, II ) 1 - * — 4r - ___ 4 U — - -- -0- -0- IL Of - ver do tro - en-des ska Now to the faith - ful giv ( IL U. I J.F -:f -J ____ I 542 0 0 0 543 .j1 C 544 I To be had at the Au6ustana Book Concern, Rock Il 8 d, IlL GOLGOTHA Swedish and En6lisla Text An ORATORIO J. VICTOR BERGQUIST for Tenor, Bass, Chorus and Orchest a PRESS EXTRA CTS: “The first part of the Oratorio and the first half of the second part are beautiful indeed.” —Minneapolis Tribune, April, 1906. “It is the mood rather than the matter that Mr. Bergquist succeeds in incorporating in his music. The work contains many strong evidences of a genuine creative talent.”—St. Paul Dispatch, October, 1908. “Mr. Bergquist has prepared a splendid work and one that must take place among the essentially artistic descriptive compositions. It is an expression of a beautiful story, ‘For God so loved the world.’ “—Rock Island Union, May, 1915. A review of the Oratorio Golgotha may be found in Musical America, July 22, 1916. 545 Published by the Auustana Book Concern Kôrsãllger for Gudstjäflstell Samlade, bearbetade och komponerade af J Victor Bergquist PASKTONER JUBILATE FASTLAGSSANGER Och de korsfäste honom (from “0-olgotha”). Jesus, lât inig hvila ut (from “Golgotha”). Passionssng. Passionsbön (bearbetad fran H. S. 430). Lida vi med, sâ skola vi ock med regera. o hufvud, blodigt, saradt. En buck pit den korsfäste (bearbetad fran H. S. 256). Har du mod att följa Jesus? Och de konimo till den plats (from “Crucifixion”) Stauzer Mitste ock af törnen vara Slenhcimmar Se, Guds Lamm ? Woren Sannerlig, han bar vitr krankhet (from “Messiah”) Handel JULKANTAT Swedish and English Text Text by Dr. A. BERGIN. Music by J. VICTOR BERGQUIST For Mixed Voices, Children’s Voices, Quartette Soprano; Alto, Tenor and Bass Especially adopted for the Christmas Entertainments by the Sunday-schools PRESS EXTRACTS: “An abundance of earnest and beautiful melody, working up to a glorious strength, is characteristic of this work.”—Minneapolis Daily News, December, 1910. “In the writing Mr. Bergquist has kept well within the bounds of difficulties and, at the same time, has wrought with good workmanship music that is frequently expressive and effect ful.”—The Bellman, December, 1910. 546 547 548 549 550 551 552 553 554 555 556 557 558 559 560 561 562 563 564 565 566 567 568 569 570 571 572 573 574 575 576 577 578 579 580 581 582 583 584 585 586 587 588 589 590 591 592 593 594 595 596 597 598 599 600 601 602 603 604 605 606 607 608 609 610 611 612 613 614 615 616 617 618 619 620 621 622 623 624 625 626 627 628 629 630 631 632 633 634 635 THEO. PRESSER CO I WILL EXTOL THEE FOR MASS CHORUS No. 10929 12 CENTS FESTIVAL ANTHEMS CENTS THEODORE PRESSER COMPANY 1712 CHESTNUT STREET, PHILADELPHIA' No. 10929 12 CENTS I WILL EXTOL THEE FOR MASS CHORUS By J. F. OHL Granted Second Award by the Joint Lutheran CuinHlletee in the Prize Competition for An theme for the Celebration of the Four Hundredth Anniversary of the Protestant Reformation, 1917. No. 10930 12 CENTS I WILL EXTOL THEE, MY GOD, O KING FOR BARITONE SOLO. QUARTET AND CHORUS By LE ROY M. RILE Granted Third Award by the Joint Lutheran Committee in the Prize Com. petition for Anthems for the Celebration of the Four Hundredth Anniver sary of the Protestant Reformation, 1917. NO. 10928 12 BLESSING, GLORY, WISDOM AND THANKS FOR MASS CHORUS By RALPH LEWARS Granted First Award by the Joint Lutheran Committee in the Prize Com. petition for Anthems for the Celebration of the Four Hundredth Anni versary of the Protestant Reformation, 1917. 636 \ a 2ft I WILL EXTOL THEE N_ 10. 29 FESTIVAL ANTHEM for MASS CHORUS Psalm CXLV. 1-4,21,10-12. Moderato M M. J= 108 SOPRANO ALTO TENOR BASS fc rr r ir J < I will ex - tol Thee, I will ex - tol Thee, I will ex - tol Thee, my jW i 1 1 '-j j i J J j i "f, 't i r r * I will ex-tol Thee, I will ex - tol Thee, I will ex - tol Thee,my ORGAN -}• 7r r r i r r * i r r •)- n j * i J J j it J *.| ^ i m f f r i r J m J J J i r j God, 0 King; I will ex - tol Thee, I will ex - tol Thee, i .1 J 1.1 t J ' I h r i r m j J r i God, 0 King; ?\ J J I J 'dJ I will ex - tol Thee, i— I will ex - tol Thee, if 1, j 1 9 P sj * iP gy y s ' r f si ^ P Copyright 1917 by Theo. Presser Co. - 5 British Copyright secured 637 I Will ex - tol Thee, my God, 0 King, and I will bless Thy )|J N l|J I J M J J J lip P —f-' II' Hr 1 r M J J m \ I will ex - tol Thee, my God, 0 King, and I will bless Thy ShJJL-U-C-t 11 | I II' _— * BTt. -I J i •' i;H i i ' 14 I j, f" F If 1 t If 1 I IT~ £ w . i f J i r r r i* i r J r i Lf r Name for ev-er and ev-er, for ev-er and ev-er Thy Name will I i J J J u J a i If • I*- I Name for ev-er and ev-er, for ev-er and ev-er Thy Name will 1 *>••1, r "'Mr rr 4 ^-^-^ J J 1 r r J i J.J ^ i i . J i J •/] > ^ J P—p~i£ bless. Ev-ry day will 1 bless Thee,and 1 will praise Thy Name, ev'-ry day will I M-frfrU J J 1J Ji J .fiiiliil =!• ri i,ji j' i j J r i r JlJ * * bless Ev'-ry day will I bless Thee,and I will praise Thy Name, ev'-ry day will I 1 J'.1'11 I r if U' J j 1 J 1 ^ • H=i j J j t ' n- ra 1 , =—r «LT < S tl» 1 ' J J * 1 Mil > s H L/% I'p! L[" f r r LI 1 L _| 638 dim. . __T-1f 7 r ir • m * ' r i^ i ? r |i.] bless Thee, Thy Name will I praise, Thy Name will I praise, Thy Name will I p r N —i— . w .r r r ir -^4r •» J u_J rfim. . $ 1 bless Thee, Thy Name will I praise, Thy Name will I praise, Thy Name will I l" ! i r ' 11 i'r r r ir r ir j iiJ praise for ev-er and ev - - er yi J j IJ J JI J- i J- -i—»- i - ^ mm i J ir 1 will ex - tol Thee, I will ex - tol Thee, I will ex - tol Tliee, my 1 will ex - tol Thee, I will ex - tol Thee, I will ex^- tol Thee, my f Gr ikM 10929-5 639 Maestoso ^ L,Cpd,^^ rJa-F-f'-t^^ tolllie^my God tolThee,my God Maestoso M M.«= 80 prais 640 and His greatness Great is the Lord, prais and His greatness Great is the Lord prais a - tion shall praise Thy search - a - ble a - tion shall praise Thy search - a and shall de - clare works to an - oth and shall de - clare works to an - oth - er, 10929-5 641 Moderato SOPRANO and ALTO DUET„,, My soul shall speak the praise of the TF= Moderato M.M. J = 113 J J—-ft- 1 m & Sw. ^rf= r j mm Ped. t~T N Ji M 1 r f r r Lord; and let all flesh bless His ho - ly Name His ho - ly * i.J 1UPFM tibi t -4-i & =& it&L mmb .BU senza Ped. Ped. i ^Jr r r g 7 r ^ f Name, His ho- - ly Name for ev - er and ev- - er. - & • W i i J. J 1 i m — ~o m j j J s s» r~r~ it Sw." PPf 1®: £• i3 SEiz= senza Ped. * rtV. _ wa * =£i pti H O o o 642 Allegro moderato y-i. 17 « - P All Thy works shall praise Thee, 0 Lord; and Thy saints— shall GT. Allegro moderato M M. * = 120 9^ o - mf I - I T "' ^ f i j J J J" 1 J 1 1 r ^ - All Thy All TTiy works shall praise Thee, 0 Lord; and Thy saints shall blesslheeAll Thy 9 s £ r + r r I* ^ * bless Thee. AllTTiy works shall praise, shall praise Thee, O Lord; and Thy m b-MiiUJl 1 i pj'r M + J i f pi TB. • I - =t= All Thy works shall praise Thee; O Lord and Thy saints shall bless Thee; and Thy * works—— shall praise Thee 0 Lord; and Thy J J | J J J I J J. j - 10929-5 643 9 works shall praise Thee, O Lord} K * J' up and Thy saints shall bless Thee. All 5 1 HP jyj J" "3 1 * saints, Thy saints shall bless Thee, Thy saints i«r~r r r if~r r saints shall bless Thee,shall bless Thee, 0 shall bless Thee. All T- Lord. All Thy S Thy Thy r r r r i».f .ffr ' i T r r t ^ works — ty) J zzf ' — ' ' — 1 1 -~ f -- praise Thee,shall praise Thee, 0 Lord. All shall praise Thee, all Thy works, shall praise Thee} and Thy saints,Thy J I J J PPbFj works, O Lord, shall praise Thee, Thy works, 0 Lord, shall praiseThee} =p shall praiseThee IT f'fF^ works, 0 Lord, s wr.f i works (P*- 1 " ^ T -t rff' z c YYi-f , all Thy works, 0 Lord, shall prais -f-1 r r f shall praise Thee,Thy works, praise Thee} and Thy saints,Thy - r i r r r' t ' r M * r r Ft# shall praiseThee; mm 9 1 f=^= -f 2 P— r r J i r r 10 J . J i r-f-j lii Thee-, they shall speak, shall speak of the glo-ry of Thy saints shall bless - saints shall bless Thee; they shall speak, shall speak of the glo-ry of Thy i r * r't i ^ j J j i r ft-if J r r ^ Jc NH J irt T i* =F= #- p ' I g ? 3E O 644 E-i-P— Thy power; p ^1 f " ^ ir tr ^ 1/i». rr «4 rtm \ f Q 1 King-dom, And t t r'r i talk, and r r i f talk of. illj r J iJ f, i ilJ- =E ^=f ,/* Add reeds J- -\f r I ° I " 1 Tb make known to the sons of men ,i. S if-f p i r r His might - y io 1 Iff! ° I " ^ To make known to the sons of men q^./r fi I |^-)hrfL-fa± His might - y !=£= -o- r" m r r -o- And the glo - rious maj - es - ty of Thy King - K- J 1 -e, I ^ 1 P I J J J i-jlH acts - dom. " i •-- "f r i ° i ° * r jr acts. And the glo - rious maj-es - ty of Thy King- B^r- i- r n 1 '" i' 1 " 10929-5 645 11 fGr. ' " B 4 J 1 >. Johann Criiger 1648 Jf 4-fr:l Id ill ' - a ^ Now thank we Who won - drous jr. o F 1 f r f Small notes Ped. 1 •P-tr «1 6 1- r\ II i J 1 1—i ! hH i I =a ' 0 sJ 1 & \ & 2.3 \i H 1 1 pi ll all our God, With heart and hands and voi - ces, things hath done, In whom His earth re - joi - ces; a r r r r rr- > i 14 d i j U i ^-—£=1 Who from y i P i i^p our moth - er's arms Hath blessed us rr f •i if- T T r <7\ -Li- H id j i i on our way With count - less «' gifts of love, * * - I I If 1:^ " n r r *> n fi f vy • I Vi/ i i T ivJ i H s And •» still is ours P- to - - day A - -ii - men. o The congregation mag join 646 647 THEO. PRESSER CO. ANTHEMS FOR MIXED VOICES I WILL EXTOL THEE, MY GOD, 0 KING FOR BARITONE SOLO, QUARTET AND CHORUS By LE ROY M. RILE 12 CENTS No. 10930 FESTIVAL ANTHEMS 12 CENTS No. 10928 BLESSING, GLORY, WISDOM AND THANKS FOR MASS CHORUS By RALPH LEWARS Granted First Award by the Joint Lutheran Committee In the Prize Com petition for Anthems for the Celebration of the Four Hundredth Anni versary of the Protestant Reformation, 1917. 12 CENTS No. 10929 I WILL EXTOL THEE FOR MASS CHORUS By J. F. OHL Granted Second Award by the Joint Lutheran Committee In the Prize Competition for Anthems for the Celebration of the Four Hundredth Anniversary of the Protestant Reformation, 1917. No. 10930 I WILL EXTOL THEE, MY GOD, O KING FOR BARITONE SOLO, QUARTET AND CHORUS By LE ROY M. RILE Granted Third Award by the Joint Lutheran Committee In the Prize Com petition for Anthems for the Celebration of the Four Hundredth Anniver sary of the Protestant Reformation, 1917. THEODORE PRESSER COMPANY 1712 CHESTNUT STREET, PHILADELPHI A 648 No. 10930 I Will Extol Thee, My God, O King Festal Anthem for Baritone Solo,Quartet and Chorus Psalm 145: 1.5,8,9,10,11,13,14,18,21. Psalm 148: I. Andante con moto, molto maestoso fma rcato i ^ j- ^ LE ROY M. RILE £ £ * J J. ± ^ yj i b BARITONE SOLO declamando o p p f r m I willex-tol Thee, my God, 0 King, ^ ^ o - and I will bless * ff#F# ji-J. (.a "i/" J- J ' poco ollary. speak of the glo-rious hon-our of Thy Ma-jes-ty and of Thy won - drous works, I will poco allarg a tempo Poco piu mosso a tempo Copyright 1917 by Theo.Presser Co. 6 British Copyright secured 649 poco cresc poco cresc. a tempo poco accel. e cresc poco accel. e cres mj' a tempo are o - ver all ^ p Andante tranquillo won-drous works. The Lord is gra-cious, and full of com- Andante tranpuillo Piu lento pas-sion ; slow to an-ger,and of great mer-cy,TheLord is good to all,_ the Lord is good to all: and His ten - der mer-cies, His ten- der 650 CHORUS Allegro con gioja SO PR. All Thy works shall praiseThee,0 Lord ALTO TENOR All Thy works shall praiseThee,0 Lord,Thy works shall praiseThee BASS His works. Allegro con gioja They shall speak of the glo-ry, the glo r ry of Thy and Thy saints shall bless Thee and talk of Thy power fb f J" 1 J 1 ' I and talk of Thy power power, andtalk of Thy power, and 651 Poco piu moderato ffrrr . -6b- 3fc m T cresc. poco a poco. —_ H h— £ J*/* dur - eth through - out cresc. poco a g poco .F I 'r all =±= gen \- e - ra - tions,Thy en - dur - eth through - out all cresc- poco a poco UP CO . gen r f I r 'r r-r ra - tions, min-ion en-dur - eth through-out all cresc. poco o poco ^ g-M r n, B?TT gen ra - tions,Thy ' cresc. poco a poco 652 piu maestoso e or esc. kingdom is an ev - er-last-ing king - dom,andThydo - min - ion,Thydo-min - ion en , ° piu maestoso e cresc. pin t/iaesioso e cresc. lo - min-ion,Thydo - min-ion en piu maestoso e cresc. king-dom is an ev-er-last-ing king-dom,andThyd< piu maestoso e cresc. r-^r r ir Allegro con tions.AHThy through-out all gen - e dur - eth through - out dur - eth through-out,throughout through - out all gen - e through - out tions gioja works shall praise Thee, 0 Lord works shall praise Thee,' 0 Lord; Thy works shall praiseThee gioja 653 7 m,and talk of Thy molto a!lore. ower molto a liarg. jf glo - ry of Thy king-dom,and talk of Thy power. molto allorg. molto a liar i saints shall bless Thee.They shall speak of the BARITONE SOLO molto allorg. JJ' 654 molto rail. i=£ fall, and rais-eth up all those that be bowed down. ~Vtn mz- QUARTET Andante quasi lento J A a # % dolce m ^ ' erase. ^ ?' Tj a .j. "'if 'J ntfrVi nn.tn nil t. h ATTI t. h flf". nnll is Ilip*h Ull-t O tll£JTl t-licit o m » i ^ « -I y» I ^ gi » J K K 1 TheLord is nigh un-to all them that call— is nigh un-to them that „ _ firt.se. is nighun-to them TheLord is nigh un-to all them that call _ is nighun-to them that , P dolce . . > cva.sc. ;>¥» r J j iij-J'J'i j I juy s H Andante quasi lento ili P senza accon p. -M * * \i 1 =fe ty Lr is nigh un-to them 1 I J^iJ. .h rr*pff . * j =l^r £ 1=6 . . ji — poco erase. dim. j j j i j j^ h-7 i r- J i J i -u J J m call_ up - on Him, to all them that call — poco erase. up - on Him,— call up - dim. i J i" 1 1 - -O- =E —t— poco eresc. dim. call up - on Him, to all them that poco eresc. r r r i i J call up - on Him, call up dim. . 10930-6 655 poco truth. truth AllegTo moderato poco a I poco cresc. poco rail. CHORUS my mouth shall speak the praise of the My mouth shall speak the praise of the Lord my mouthshallspeakthepraiseof the My mouthshall speak the praise of the Lord Lord:and let all fleshblessHis ho - ly—Name for ev - er and ev Lordrimdlet all flesh bless His ho - ly Name for ev - er and ev iPT ' *f K 1 T 1 - - i f r r r 656 lL u s con etiergta ——= \ I J =f -9 Igl Praise ye the Lord. Praise ye the Lordfromthe heav-ens: praise heights. Praise ye, 4- | — _ praise the the Lord, fcon energia Praise ye the 0V£]f j. I — Him in the heights.Praise ye the Lord from the heav-ens: i^^PP r- £ ? I" * ; * ! • Lord in the heights. Praise ye the Lord from the heav-ens: praise Him W930-6 657 pin-rnmm 658 Lord Praise the Lord from Lord from the heav-ens: Praise Lord the Lord Praise the_ Lord rnolto rail. Him in the molto rail. praise Him in the molto rail. praise Him in the heights praise molto from molto rail. Praise ye, praise Praise ye, * Largamentp i0930-6 659 660 661 662 663 664 665 666 667 668 669 670 671 672 673 674 675 676 677 678 679 680 681 682 683 684 685 686 687 688 198 MARTIN LUTHER. fm Moderato Maestoso A lpnty Fortress in' Feste Burg Geo. Marks Evans, Mus.Bac. A mighty fortress Ein fe ste Burg ist £ Moderato Maestoso. A mighty fortress Ein fe ste Burg ist is our God A trusty shield and wea pon; He helps us free from un ser Gott, Ein gu te Wchr und Waf fen. Er hit ft uns frei aus * i j. Jh is our God A trust y shield and wea pon; He helps us free from un ser Gott, Ein gu te Wchr und Waf . fen. Er hilft uns frei aus "V fTT = r = ^ E J i i r 1=^ grfJrJ j J j]1jrjq ev'ry need That hath us now o'er tak en, That hath us now o'er tak en. The aller Not, Die uns jetzt hat be troffen, Die nhs jetzt hat be troffen. Der 3 3 3 cr 8ifc J /T\ r r > i r r 3 J evTy need That hath us now o'er tak en, That hath us now o'er tak en. aller Not, Die uns jetzt hat bp troffen, Die uns jetzt hat be troffen. r F p IJ ~r~r r Octavo Copyright MCMXVII by Geo F. Rosche, "THE CHURCH CHOIR" for June. A Mighty Fortress 1 199 old bit ter foe a I te, bo se Feind Listesso tempo earth is not his e earth is not his e qual Erd ist nicht seinsgleichen. L istesso tempo hty Fortress 2 Deep guile and great Gross Macht und viel might Are his dread arms in fight, List Sein grausam Bitstung ist, on earth is not his e qual, on Avf Erd ist nicht seins glei chen, Auf might Are his dread arms in fight, on earth is not his e qual, on List Sein graursam Riistung ist, Auf Erd ist nicht scins glei chen, Avf mm Erd ist nicht seinsgleich en. With might of ours can naught be Mit unsrer Macht ist nichts ge k ' With might of ours can naught be Mit u nsrer Macht ist nichts ge kj Means us deadly woe; Mit Ernst er es jetzt meintj Deep guile and great Gross Macht und viel 689 198 MARTIN LUTHER. fm Moderato Maestoso A lpnty Fortress in' Feste Burg Geo. Marks Evans, Mus.Bac. A mighty fortress Ein fe ste Burg ist £ Moderato Maestoso. A mighty fortress Ein fe ste Burg ist is our God A trusty shield and wea pon; He helps us free from un ser Gott, Ein gu te Wchr und Waf fen. Er hit ft uns frei aus * i j. Jh is our God A trust y shield and wea pon; He helps us free from un ser Gott, Ein gu te Wchr und Waf . fen. Er hilft uns frei aus "V fTT = r = ^ E J i i r 1=^ grfJrJ j J j]1jrjq ev'ry need That hath us now o'er tak en, That hath us now o'er tak en. The aller Not, Die uns jetzt hat be troffen, Die nhs jetzt hat be troffen. Der 3 3 3 cr 8ifc J /T\ r r > i r r 3 J evTy need That hath us now o'er tak en, That hath us now o'er tak en. aller Not, Die uns jetzt hat bp troffen, Die uns jetzt hat be troffen. r F p IJ ~r~r r Octavo Copyright MCMXVII by Geo F. Rosche, "THE CHURCH CHOIR" for June. A Mighty Fortress 1 199 old bit ter foe a I te, bo se Feind Listesso tempo earth is not his e earth is not his e qual Erd ist nicht seinsgleichen. L istesso tempo hty Fortress 2 Deep guile and great Gross Macht und viel might Are his dread arms in fight, List Sein grausam Bitstung ist, on earth is not his e qual, on Avf Erd ist nicht seins glei chen, Auf might Are his dread arms in fight, on earth is not his e qual, on List Sein graursam Riistung ist, Auf Erd ist nicht scins glei chen, Avf mm Erd ist nicht seinsgleich en. With might of ours can naught be Mit unsrer Macht ist nichts ge k ' With might of ours can naught be Mit u nsrer Macht ist nichts ge kj Means us deadly woe; Mit Ernst er es jetzt meintj Deep guile and great Gross Macht und viel 690 200 But for us fights the Va liant One Whom Es streift fur uns der rechte Mann, Den done, Soon were our loss ef fected; tan Wir sind gar bald ver lo ren; done, Soon were our tan Wir sind gar Who is wer der God Himself e lected, Whom God Himself e lected. Ask ye, Gott hat selbst er ko ren, Den Gott hat selbst er ko ren Frags t du Jod Himself Gott hat selbst e lect ed, er ko ren, Whom God Himself e lected. Den Gott hat selbst er ko ren. Jesus Christ Er hcisst Je sus Christ, Der Herr Zeba oth, A Mighty Fortress 3 201 .88 er be hal the world shouldfill,All Und wcnn die Welt voll Tcvfel war,End a r I r; mrjigj watching to de vour us, We tremble not we fear no ill, They cannot o ver wollt uns gar verschlingen, So fiirchten voir uns nicht sosehr, Es soil uns duch ge watching to de . vour us, We tremble not we fear no ill, They cannot o ver wollt uns gar ver schlingen, So fiirchten wir uns nicht so sehr, Es soil uns doch ge A Mighty Fortress 4 691 200 But for us fights the Va liant One Whom Es streift fur uns der rechte Mann, Den done, Soon were our loss ef fected; tan Wir sind gar bald ver lo ren; done, Soon were our tan Wir sind gar Who is wer der God Himself e lected, Whom God Himself e lected. Ask ye, Gott hat selbst er ko ren, Den Gott hat selbst er ko ren Frags t du Jod Himself Gott hat selbst e lect ed, er ko ren, Whom God Himself e lected. Den Gott hat selbst er ko ren. Jesus Christ Er hcisst Je sus Christ, Der Herr Zeba oth, A Mighty Fortress 3 201 .88 er be hal the world shouldfill,All Und wcnn die Welt voll Tcvfel war,End a r I r; mrjigj watching to de vour us, We tremble not we fear no ill, They cannot o ver wollt uns gar verschlingen, So fiirchten voir uns nicht sosehr, Es soil uns duch ge watching to de . vour us, We tremble not we fear no ill, They cannot o ver wollt uns gar ver schlingen, So fiirchten wir uns nicht so sehr, Es soil uns doch ge A Mighty Fortress 4 692 z02 He can harm us Tut er uns dock ow'r us This worlds prince may still in gen.Der Fiirst dieser Welt He can harm us Tut er uns dock Scowl fierce as he will Wie sauer er sich stellt One lit tie word o'erthrows him, He's Ein Wdrtlein kann ihn fal len, Das done, richt't word o'erthrows him acht, er ist ge rich ft; Ein Wdrtleinkann ihn fal len, ein Wortlein kannihn/dllen. . fa « ' , , 7 ' —nyjt iudtr'd the deed is d<m^ 3ne lit tie word oerthrows him,One lit tie word o'erthrows him. macht,er ist ge richt't; Ein Wortlein kann ihn fill len, ein Wortlein kann ihn falten. A Mighty ^ Fortress 5 none, nichts He's judg'd, the deed is done, Das macht, er ist gc richt't; One Ein lit tie word Wdrtlein kann o'erthrows him, He's ihn fal len, Das none, He's judg'd , the deed is nichts Das macht, er ist ge CHORAL 203 The word they still shall let remain, And not a thank have Das Wort sie sol len las sen stahn End kein Dank da zu SOP. /Ts onb for it, He's by our side up on the plain,WithHis good gifts and Spir it.Take ha ben. Er ist bei uns wohl auf dem Plan Mit scinem Geist und Ga ben. Neh they then our life; GoodS)fame>child and wife; When their worst is done, Sie men den Lcib, Qut ^ Rind und Weih( Lass fah rcn child and wife; When their worst is done, Sie men den Lcib, Qut ^ Rind und Weih( Lass fah rcn - -G>- if. Thy Word is a lamp unto my feet. TA I.MS. if. Glory he the Father, and to the Son, and to tho Holy Ghost: TAI.I.IS, I —&— — R . As it was in tho beginning, is now, and over shall ho, h5H \&l •v- I -m- world with - out end. A - men. Hal - lo - hi - jah. a - Ho -|g>- -fg- \e?\ -o——^ a I £ 697 The Psalm. Dew nosier refugium. GOD is our Refuge and Strength: a very present help in trouble. Therefore will not we fear, though the earth be removed: and though the mountains be carried into the midst of the sea; Though the waters thereof roar and be troubled: though the mount ains shake with tho swelling thereof. There is a river, the streams whereof shall make glad the city of God: the holy place of the tabernacles of the Most High. God is in tho midst of her, she shall not bo moved: God shall help her, and that right early. The heathen raged, the kingdoms were moved: He uttered I lis voice, the earth melted. Tho LORD of boats is with us: the God of Jacob is our Refuge. Gome, behold tho works of the LORD: what desolations He hath made in the earth. He maketh wars to cease unto the end of the earth: lie breaketh the how, and eutteth the spear in sunder, lie burnetii tho chariot in the lire. Be still, and know that I am God: 1 will ho exalted among the hea then, I will be oxalted in the earth. Tho LORD of hosts is with us: the God of Jacob is our Refuge. Gloria Patri. LUTHER. $ "zr iliiilljiisii Glory bo to the Father, and to the Son, and to the 1 lo - ly Ghost; $ I.5U- -% £ -i - As it was in the is now II m ' • ><'u;iniiin^, j Qv _ or H1iall he .world with-outend. A-men. v, and J fe f FIRST LESSON 1 Cor. 3: 11-23. 698 The Church's One Foundation. Samuel John Stone, 1866, (Aurelia.) Samuel 8. Wenley, 1864. "• I : m M 5 1. The Church's one foun • da - tion 2. E - lect from ev - 'ry na - tion, 3. Tho', with a scorn-ful won-der, 4. 'Mid toil and trib - u • la - tion, Is Je - sus Christ, her Lord; Yet one o'er all the earth, Men see her sore op-pressed, And tu-mult of her war, f=f ilHl She is His new ere - a - tion By wa - ter and the Word; Iler char-ter of sal - va - tion One Lord, one Faith, one Birth; By schisms rent a - sun - der, By her - e - sies dis-tressed; She waits the con-sum - ma - tion Of peace for - ev - er - more; r I gSil From heav'n He came and sought her To be His ho - ly Bride, With One ho - ly Name she bless - es, Partakes one ho - ly Food, ^ And Yet saints their watch are keeping, Their cry goes up," I low long ? And Till, with the vis - ion glo - rious, Her long-ing eyes are blest, And 1111, Wll.ll VIO aw.. « — • His own Blood He bought her, And for her life He died, to one hope she press - es, With ev - 'ry grace en dued, soon the night of weep - ing Shall be the morn of song, the great Church vic-to - rious Shall be the Church at rest. P1PPP A - men. SECOND LESSON Matt. 13: 31-33. 699 Glorious Things of Thee are Spoken. John Newton, 1779. (St. Asaph.) William 8. BnmbrldKe, 1872. 1. Glo-rious things of thee are spok-en, Zi - on, Cit - y of our God; 2. See the streams of liv-ing wa-ters, Springing from e - ter-nal love, 3. Round each hab-i - ta - tion hov'ring, See the cloud and fire ap - pear 4. Sav - iour, if on Zi - on's cit - y I, thro* grace, a mem ber am, iLn £ 1- fc= - V t— r i '£=1 9 F=- 1- — — H H 9 p— i i r~r> He, Whose word cannot be bro ken, Form'd thee for His own a - bode, Well sup-ply thy sons and daughters, And all fear of want re-move. For a glo - ry and a cov'rlng, Show - ing that the Lord is near; Let the world de-ride or pit - y, I will glo - ry in Thy Name. On the Rock of A - ges founded, What can shake thy sure re - pose ? Who can faint while such a riv - er Ev - er flows their thirst to assuage, T lius de - riv - ing from their ban-ner Light by night and shade by day, Fad - ing is the worldling's pleasure, All his boast - ed pomp and show ; With salvation's walls surrounded,Thou may'st smile at all thy foes. Grace,which,like the Lord,the Giver,Nev-er fails from age to age. Safe they feed upon the manna Which He gives them when they pray. Sol - id joys and lasting treasure None but Zion's children know. Amen. f frr^r THIRD LESSON (I Gal. 2 : 16-21. 700 Coine, Holy Spirit, Lord Our God. Lnllu hymn, revised by Martin Luther, 1514. Music by Ralph Lewars, 1917. Translation chiefly by Arthur *Tozer RuMOll. Maestoso. M.M. 1 — 54. / 1. Come, Ho • ly mf 2. 0 holi • est p 3. O holi-est £ TT*T=jr L Spir - it, Lord our God, Light! O Rock a - dored! Fire! O Source of rest! And pour Thy gifts of Give us Thy light, Thy Grant that with joy and grace a • broad; liv - ing word, Thy faith-ful peo-ple fill with To God Ilim - self our spir - its And in Thy serv-ice kept for- -<5 r Copyright, 1917, by Ralph Lewars. 7 701 Come, Holy Spirit, Lord Our God.—Continued. 702 Come, Holy Spirit, Lord and God.—Concluded. faith u - nite ff Thro' all the world a ho - ly lone at - tend, / In Him with faith unfeigned a- pare each heart; ff On • ward to press, our foes de- 703 ADDRESS. Lord, Keep Us Steadfast in Thy Word. (Erlinlt uns, Herr, bei Deinem Wort.) Martin Luther, 1511. Miss Winkworth, Tr. 1862. Joseph King's QeUtliche IAetler, 1548. s I •» i « L : N I * i 1. Lord, keep us stead-fast in Thy Word: Curb those who 2. Lord Je - sus Christ, Thy pow'r make known; For Thou art 3. O Com - fort - er, of price - less worth, Send peace and g C f P » » I <iV I ; I •' f fain by Lord of or sword Would wrest the king-dom from Thy a - lone: De - fend Thy Chris - ten - dom, that on earth, Sup - port us in our ft - nal ADDRESS OR QUESTIONS AND ANSWERS on the Reformation. A Mighty Fortress is Our God. Mnrtiu Luther, 1529. (Eln fcste Burg ist unser Gott.) Martin Luther, 1529. i v our A might - y For - tress is ou? God, With might of ours can naught be done, Tho' dev - ils all the world should fill, The Word they still shall let re - main, A trust - y Soon were our All watch- ing And not a n" num H'i" ^ 704 A Mighty Fortress is Our God.—Concluded. Upi'-'-U l Shield and Weap - on; loss ef - feet - ed; to de - vour us, thank have for it, £ He helps us free from ev - 'ry need But for us fights the Val - iant One We trem-ble not, we fear no ill, He's by our side up - on the plain, That hath us now o'er - tak Whom God Him-self e - lect They can - not o - ver - pow'r With His good gifts and Spir The old bit - ter foe Ask ye, Who is this? This world's prince may still Take they then our life, Means us dead - ly woe: Deep guile and great might Are his dread Je - sus Christ it is, Of Sa - ba - otli Lord, And there's none Scowl fierce as he will. He can harm us none, He's judged, the Goods, fame, child, and wife; When their worst is done, They yet have J.- 1 ' 'i ' ' U J' '|i ' J 'J 1 arms in fight, On earth is not his e - qual. oth - er God, He holds the field for - ev - er. deed is done, One lit - tie word o'er-throws him. noth - ing won, The King-dom ours re - main - eth. A • men. nif.ii icy i 11 705 Then shall be said the Prayers. The Prayer. Lord, have mercy upon us. TALLIN. -$± mm m r* =?—?A l.ord, have mer-cy up - on us. Christ, have mer-cy up - on us. --<9- -P- \ -a- i rf $ -Or m Lord) liave mer - cy up - on i*-- . . —P o us. g~T f Then shall all say the Lord's Prayer. OUR Father, Who art in heaven; Hallowed he Thy name; Thy kingdom come; Thy will ho done on earth, as it is in heaven; (Jive us this day our daily hread; And forgive us our trespasses, as we forgive those who trespass against us: And lead us not into temptation; hut deliver us from evil; for Thine is the kingdom, and the power, and the glory, for ever and ever. Amen. . The Lord he with you. * I St m 2 R. And with thy spir - it. -P m 706 O LORD God, Heavenly Father; Pour out, we bej&jSoh Thee, Thy Holy Spirit upon Thy faithful people, keep them steadfast in Thy grace and truth, protect and comfort thorn in all temptation, defend them against all enemies of Thy Word, and btjftow upon Christ's Church militant Thy saving peace; through the same, Thy Son, our Lord, Who livoth and reigneth with Thee and the Holy Ghost, ever one God, world without end. After each Collect. $ * -<9- 11101). n -<&- ALMIGHTY and Everlasting God, Who dost will that not one of these little ones shall perish, and hast sent Thine Only Son to seek and to save that which was lost, and through Him hast said, Sufi'er the little children to come unto Me, and forbid them not; for of such is the kingdom of God: Most heartily wo beseech Thee so to bless and govern the children of Thy Church, by Thy Holy Spirit, that they may grow in grace and in the knowledge of Thy Word; protect and defend them against all danger and harm, giving Thy holy Angels charge over them; through Jesus Christ our Lord. Amen. f. The Lord will give strength unto His people. **=====e=^ -rei U. The Lord will bless His peoplo with peace. J«|r i The Collect for Pence. 0 GOI), from Whom all holy desires, all good counsels, and all just works do proceed: Give unto Thy servants that peace, which the world cannot give; that our hearts may he set to ohey Thy commandments, and also that by Thee, we, being defonded from the fear of our enemies, may pass our time in rest and quietness; through the merits of Jesus 18 707 Christ our Saviour, Who livofrh and reigneth with Tlioo, and the Holy Ghost, over One God, world without end. -55- A 1IKM). - a if. Sjesa we the Loffl § li . Thanks to •& (iod. Srzr: 1 Now Thank We All Our God. Martin Rinkart, 1680. (Nun dnnket nil* r»tt ) Miss Wlnkwortli, Tr. 1858, a. 1 a " e Gott - } Johann Crflffor, 1618. 1. Now thank we all our God, With heart and hands and voic • es, 2. O may this bounteous God, Thro' all our life be near us, 3. All praise and thanks to God The Fa-thernow be giv - en j— .' emuNifiitmmm Who wondrous things hath done, In whom His earth re - joic - es; With ev-er joy - ful hearts And bless - ed peace to cheer us;' The Son, and Him who reigns With them in high-est heav - en'; ±=*— r g— r p •* .r r • . 708 Now Thank We All Our God.—Concluded. Who from our moth - er's arms Hath bless'd us on our way And keep us in His grace, And guide us when per - plexed, The One e - ter - nal God, Whom earth and heav'n a - dore; With countless gifts of love, And still is ours to - day. And free us from all ills, In this world and the next. For thus it was, is now, And shall be ev - er - more. A - men. TITE Grace of our Lord Jesus Christ, and the Love of God, and the Communion of tho Holy Ghost, bo with you all. A - men. ^ -g" i —e? NOTE.—Schools which desire may insert proper reoitatlonH instead of two of tho Scripture lessons, or at other places in tho order of service. Such recitations are furnished on a separate sheet. 15 709 Sift Hull} anil Okmutlj uf Protestantism 1. What was the historic beginning of the Reformation t Luther's nailing of the 95 Theses against tho sale of Indulgences to tlio door of the Castlo Church, at Witten berg, October 31, 1517. t. TP/iaf were these indulgencesf "Tickets" bought from the Pope's agents. Insuring forgiveness of sins, a share in the grace of God and freedom from purgatory. 3. What wax the next principal eventf Luther's trial at the Diet of Worms, before the Emperor, Charles V., and Alexander, the Pope's Legate. Luther refused to recant, was put under the ban of the Empire thus his life wa» forfeited ; but his friends carried him away by force and hid him In the Wartburg Castlo, where ho translated tho Now Testament. i. What was the next great Diet and what was its historic signifi cance T Tho Dlot of Spires. Certain privi leges granted at a previous diet to-the followers of Luther were taken from them. The Lutheran Princes protested to the Emperor. Hence they were called Protestants. 5. What was the crowning event T Tho Diet of Augsburg, when the Evangelical Princes presented their "Sum of Doctrine" before Charles V., June 25th. 1530. This Is the Augsburg Confession, the particular Creed of all Lutherans. if. Who preserved the I'rotestant faith by his heroism f King Oustavus Adolphus, who won the victory In the Thirty Years' War on the Field of Llltzen. 7. When did Lutherans first come to Am erica f Danish Lutherans came to America eight months before the Pilgrim Fath ers ; Swedish Lutherans to Pennsyl vania before William Penn ; Dutch Lutherans we r e among the earliest settlers In New York. Muhlenberg, who organized tho church, came In 1742. 8. How many Lutherans are there in America todayf There are 2,500,000 communicants and fully 8,000,000 souls. 0. How do Lutherans compare with those of other creeds in the world today t There are about 512,000,000 Chris tians. Of these there are 232,000,000 Roman Catholics, 105,000,000 Greek Catholics, 175,000,000 Protestants, of whom 70,000,000 are Lutherans and 99,000,000 are divided Into 111 different bodies of Protestants. to What arc Lutherans in America doing today t They have more missions and mis sionaries In North America today than they had ministers and parishes twenty-live years ago. They have 29 theological seminaries, 4 1 colleges and 09 academies and colleges for girls. They have 04 orphnns' homes, 4 4 homes for aged, 9 deaconess mother houses, 50 hospitals, 19 hospices and 68 other Inner mission institutions and agencies. It. To what do we as Lutherans in America look for ward t As one of the fruits of these Refor mation Quadrlcentennial Jubilee Cele brations, we look forward to and pray for "The United Lutheran Church of America." 12. What is the spirit in which we celebratet The Committee on the Quadrlcenten nial of the Reformation, in view of tho chastening hand of war, which has been lnid upon our beloved land, and the deep sorrow that has come upon so many of our brethren In tho faith in the various lands affectod by tho con flict which has so long been raging, recommends: That during this jubilee year every celebration of the great event whence lias come tho civil and religious liberty which has given our nation its being and distinctive place among tho na tions, he tempered by the remembrance of tho sufferings of the present time, accompanied by earnest prayer for tho Church, the nation and tho world, and he directed towards a general return to the religious prlnolplos of the Reforma tion In the roappllentlon of the Gospel of our Lord Jesus Christ, In Its purity and simplicity, to the needs of a sinful and dying world. 710 ®lyr 4lI0tif Anniorrsarg of tiff Information Prices 100 Copies - - $ 1.75 500 Copies - - 8.00 1000 Copies - - 15.00 A Program far £>itttimij Srljnols "To Celebrate the Reformation of the Sixteenth Century and to Hasten the Transformation of the Twentieth." :::::: Furaiihed bf the JOINT LUTHERAN COMMITTEE 925 CHESTNUT STREET - - PHILADELPHIA, PA. 711 712 Lauritzen's Standard Edition of Church Music, Knoxville, Tenn. No. 560. THE SONG OF The Nightingale of Wittenberg Bas Utrti tier Wtttenberger j&aebttgall OCTOBER 31 o ? X u > -M in CS o en u u > c o u a; 3 u c3 C C " < 3 bJD E Q J £ aj OCTOBER 31 n> £ 2. O S 3 zr 0Q 3 h—< 3 CTQ £ 5" 2 CTQ n 3 r H -1 CD C/D o O -J ^3 —5 n> 3 r-f ft) ft> 3 o ft3 * o CO — ? £ » fe 3 cn > = D- 1/5 9 > I s o g I < o n o O 3 T3 ft: 3 3 CD 3 cn X. o o> cn Written anc/ Published by REV. JOHANNES RUDOLPH LAURITZEN, 7976 Publisher of Lauritzen's Standard Edition, of Church Music KNOXVILLE, TENN. 713 Laurilzen's Standard Edition of Sacred Music, Knoxville, Tenn. Reformation, Dedication and Church Festivals PART No. 1. No. Price Dozen 560 The Song of the Nightingale of Wittenberg $0.15 $1.50 (Original Composition.) Praise the Lord with Jubilee, and A Mighty Fortress is 14 2 (Original Composition.) Praise the Lord with Jubilee, and A Mighty Fortress is our God.... (Original Composition.) Lauritzen .10 1.00 548 Go Ye Into All the World. Original Composition.) .10 1.00 146 The Heavens are Telling the .03 .30 145 The Great Hallelujah Chorus .10 1.00 98 Glorious is the Name .10 1.00 143 House of the Lord. Thou Temple of God .10 1.00 125 Be Lifted Up, Ye Gates of the World Gluck .10 1.00 119 Praise the Lord, All Ye Nations .06 .60 117 Praise Ye the Lord Forevermore .05 .50 116 Praise Ye the Lord, All the World .05 .50 115 Lord, We Rejoice in Thee .05 .50 114 Praise the Lord, Ye Righteous .06 .60 .110 Das ist ein koestlich Ding. . . . .06 .60 109 Jehovah, Jehovah, to Thy Name .06 .60 108 The Lord Is My Shepherd Lord God, We Give Thee Praise .06 .60 107 The Lord Is My Shepherd Lord God, We Give Thee Praise ... Lauritzen .06 .60 (O A Mighty Fortress is Our God .03 .30 57 When the Lord Shall Build Up Zion .03 .30 18 Lord, Thine are the Heavens Palmer .03 .30 17 O Lord, We Serve Thee Here On Earth Grell .02 .20 P. S.—Samples for retail price. When ordering an amount <f any number, take off the price and have your sample copy free of charge. of sample Lauritzen's Standard Editing of Sacred Music, Knoxviile, Tenn. Reformation, Dedications, Cornerstone Layings, and Church Festivals PART No. 2. No. Price Dozen 172 O Come, Let Us Worship and Kneel .05 .50 196 And the Glory of the Lord .10 LOO 205 Reformation Jubilee Psalm .10 LOO 207 But Thanks Be to God who .10 1.00 245 0 Glorious Sabbath Morn (Duet) .05 .50 251 The Heavens are Telling the .15 1,50 260 Praise Ye the Lord. . . Emerson .10 1.00 261 Praise the Lord, All Ye Lands . . Kreutzer .10 1.00 424 Glorious Is Thy Name, Almighty God Mozart .08 .80 428 Then Shall Be Brought to Pass (Soprano or Tenor Solo) . . I lav del .10 1.00 489 A Song Bursts Forth From Loyal Hearts .03 .30 444 Come, Let Us Sing Unto the Lord . Lauritzen .06 .60 445 Sing Unto the Lord a New Song Day .06 .60 473 Praise God in His Holy Temple .06 .60 477 Thank and Praise Jehovah's Name .06 .60 486 This Place, O How Holy .06 .60 518 O Praise the Lord, All Ye Lands .05 .50 535 God Is My Song, 11 is Name Benda .05 .50 543 The Heavens are Telling the Lord's (Baritone Solo) . . Beethoven .05 .50 548 Go Ye Into All the World 10 1.00 560 The Song of the Nightingale of Wittenberg . Lauritzen .15 1.50 142 Praise the Lord With Jubilee, and A Mighty Fortress . .. . Lauritzen .10 1.00 P. S.—Samples for retail price. When ordering an amount of any number, take off the price of sample and have your s..7iiplc copy fre'c of charge. 714 2co. 560. I>as ikb bev lUittcnbcrgcr Hacbtigall. No. 560. The Nightingale of Wittenberg. ttoiKtycn—SJlittler. Sotyanne* vaurifcetl. » * 9 f TENOR OR IIASS SOLO.-*- * _ -v / Vivace. -0- 4— 1 | Cre*. _ g I"' 4 ;rt; : -a- *• - f £ «- *•00 r ; •j ipier fte=l;e id), $d) tann nid)t anberd fa = gen, <Sptad> ttutfyet einft, "Here now I stand ! I can't do oth:er ev - er!" Thus Luther said, :9 \ I..•••a: f ; * - - f / Vivace. ZZ- Cres. I ^ J J *'*. » * • t» >TTj nr^F* IH ."r.T.r bet treu • e 63ot=te-=5 fnedjt; his soul free from all fright, :a a a .N ^ —^ -&-.T0— -0- ^9 -a- -#- * V • - -^-i| -a SOPRANO ANI) ALTO DUET.» f SOPRA1 h' # 4; v i a i f ? V Cres. a a. |a 'af- a -a- - A —W7r 0- * ^ 2BaS er er •= ftritt in je * nen gto - Ren 2a * gen-, %)t un « frer tfir= What he did win, in bat - tie's bold en - deav - or, Christ's church main - tains, f r^_*—t ~ ft—- j r — { • g 9 . N 0 • t l=K \—.. |-«— ~ ' S s S —j-_ zg a •a a a a 1 •)• V a : -f== i=i i : Cres. ?:z =t= ^ * a a a. _ -a ^ — 1 1 r~ - u - - FULL CHORUS. Pin allegro. jb=4=' * •' 1^*-i. : si- 1-J f=FF=i d *i* r: • f*. | i=Eig • die t)ei = lig @ut unb s Jled|t. £)ier ©faubenS Qprei- Ijeit f)eu = te, a ho - ly, sa - cred right. To - day in fes - tive spir - it S . ®e3 „ s Bor - te3" §eft= Re - lig - ious free- > - r~^~— \9 #33=[0 - 44E=E=^^^E 3= -a- M I - * a a- i- a Ji.—1_ — z^r-0-1 a • S I*"- » t 1 ^ 0 • n e _ " ? zj?— # a^ , s .-"1 5 ?: Hi g L: ^ ^ Piu allegro. 9 : - » p = a T "»~^-= it ! ^__r i# S i S I • r 0 0 010 9 -L .d , Z hTf ... (8) 715 Pie IDittenberger Hacbtigall. (gortfefcung.) The Nig-hting-ale of Wittenberg-. Continued. ge * tau dom's mer tc; Siittt un - fcr £)erj mit fii « pern iiie » bcr«fd)aU, Tie iiu - lljet it We sing in songs that we from child-hood know, Which Luth - er m='--1! i SH E5T~~fc f»- • g -V Cr«n. 4= I- 0 —i- # • -f-r?— ffl —-• :j> "*—* t » < ^S=S I > ; I f V A 0 & # <5 -f i 0 -0- 0 •#• mir!" fo l;bt i : <C\ • 0 * ' ' — -» r 1 1 J 1- 1 . U— s :zz]i# J: -+-j EgiiiU.. I » S— l.arto. © f- 1 • t t I 19 -A 1 N • 1 • f * —& * ~i ®—aPa^—s.—5—3-T # • te -*-•• Slow. a=i si ~ J | J» « ~3 J o * J -+*=" - * £F 0 # • < —I # i~ c F v -r ^ Grave. irfezxirr > # ^ 3 * O (9- 1 <cs 1 9 - : \ tent &- * 1 r —&- 9 CS II V I „9Jlein ©ott! int fd)ioe = ren flampf ft«V bu "My God, stand by me through the bat TV ^ A<lasio :4= » 2? --4 d -J- J a -& zt_ mit bci, SBor 4fai « fet iReid) unb tie great, Thy name must be con- 1 2 • • G ' 0 * - & <9 T\ • -: f: % t E % : h g—p 1 : -^Tp-i-c:: (•> IT 716 Die IDittenberger Hacbti^all. (Sortfefcung.) Cren. The Nightingale of Wittenberg-. Continued. » ! f t :9— '•0 &- ^tie - fter I;in = jit ire fessed x. by me, Thy ser : aL ten, vant, * • ' J* : : t: ; mm -r V 2 s Diit fe = ftem ®cf)titt, unb ol) - nc gurdfjt unb ®d)eu!" He - fore the No - bles of the Church and State." k r & L— m • -0- tfcE 0 • I & 0 k & ±: ' 1 -i • f- & t&Mr- -(2. >;/ Sjj =J <5 C res. « Hill A if i si? *•> 2 0- 0 1 j2 tf? 0— * : : : : • it VzlX- (2 •~r i s ! • >—fr: tt—r: I s * 0_ # 0 Pn£— iK s • t: -(2—, £=: t—: ff -ftS- ( 0 ' "*0 % 0 > - N l —' - ^ 0 fh?) m ^ 9 \' y ? 0,0 ES 0 - 0 \ & • * 0 ^ 0 W^hi ^ -f— f -k=r-cr v-i- -ix- &. 5k F (5> 1- 1 9-^ die £u « tl)er^ lann nid^t un « ter=get>n; ©ott bau « te fie, 'ran church, with gos - pel free and pure, Built on God's word, ^ ± t?j2. • -*—& #—rri- —r*-e-0—&-rW f~> • i. ? I ' -&• ftetjn. brum e « toig loirb^ be = will ev - er - more en - dure. I /TN | fK misr & . -w or—re z ^-FE^EExh t ^ • >^2. j^. •2 -fSX»-r?e=g 6- * fe-xi ±iz (5) =^=TZ±l 1" -N_, d&i. —; k-- 1 --! ^ -0-' -0- 'J • -r 0 ^ V ^ X £+ *=& J TV 2 S : •(— K ^ I '/' /-<2. f9- 2 :t=txp=:p- *• » ^ ^ k ' IE- -^0—^ is <2-«~r— GL- a. •si/ Si/ 717 Die IDittenberger ttacbtigall. ©ortfefcung.) The Nightingale of Wittenberg. Continued. f f TENOR SOLO. rfcjjZrp- ~~H~ Z&L * O ~l—O— —x- £=zpr —I ftier ftc * he iA, idE> tann nicf>t an - bet* fa - gen, ©ott f)el - fe ... .... "• " ... .. .« • ™ - <r- •" • V 3 ^|=»=ES I « ^ I =?? • » • ' & . * \ rJ B » f ito # » <y t 0 £E? :Ert_ *—r: i I SOI'HANO AM) ALTO SOI.I.J r 3= =T # A » ! mit!" foli aud) mein SSaljlfptuA fcin; me!" be my con - fes - sion known; - ; ' @3 gilt, t>ott ©lau = ben3= mut, feft, treu When asked God's word and Luth - er's doc- I'?. - -tin$ fecfc* i .FS-.h 2 !- ±= " ] p • S | s=i§gj=sM " 5 " ># —5"—•— &' I - I It-- 0 0 0 0-0 _#z=q I t'- ' NNffB ' 1 •• * : .1 fl i i •z±tt=c. ? # 1 * [* '• j-p- • 7,2^ rt =*=T±=Z _ sr . S[?2 ju « ma gen, trine ful - ly, Siit ©ot * te3 Sffiort unb fiu - t^er3 iieljt ftetjn ein; A - long life's path - way to de - fend and own. 07 >, ±iB5= * s 4P=g < I5L 8 P * -V * IT * . SETUPS 2 hi '' A JSL *=&: M. JZL Jr.— * # %• & M. AX. :r£=pr^t=par.—: t±=c=Sp^—• l & 75* '!M >9 1 N OTE —Those who choose may sing the whole chorus to the tune: "Ich bin ein Deutseher, kennt ihr meine Karben. Die Kahne sebwebl mir Schwartz, roth, gold voran." * ' 718 Die tPittenberger Hacbtigall. (Srfjlufj.) The Nig-hting-ale of Wittenberg-. Concluded. 8= CHORUS. Pill allegro. g 72 & '% * * K * i ^ :b= id? $)ic £ir * dje Gttjri = fti To Luth - er's church ad f ^ el) « ten, her - ing, ' S in - nig an« Her faith and hymns N I d-d d *=*z 3-1-3 3—|3 1 —M—k- -3—pxziz »c,., . - S I ihFg-e^f^E ^ l! I . - s s J J: St Pin allegro. , & |_ at —Hri —&~ „ .J S " f rf - | ? -v,. ge « 1)6 re - ver a & ren, ing, Unfc blfi Till join -t" • eL fap & I: 6» - ben bis cxn§ fel ing heav - en's host . =Z3 g I ir-1 i ; S e by @n « be tteu, call di - vine, S a 0 —&— —, -rizmq & :t --1 1- g Cres. sv £=f ' tJIZB £ fc£= f —I - » L -^ 3=**3 —f2~ f t : P —>— * ^: •9- i • ~ ?—f 2 — 0 ^ ^ i—#-* V "5 I: s * P • „ £ P l: E5=dE=ElE h> -r^i L 5>ie§ ntit unb mei = nen i3ic - ben, pert, »er=leif). This vow to keep, grant Sav-iour, me and mine. 4V ? *; igrpf r * 719 Four Hundreth Centennial Edition # Lutheran English New Testament and Psalms Emphasized Edition, 4x6inches. Paragraphed. References Under Each Stanza. Gospel and Epistel Lessons Given The 21 Books of the New Testament To be had al 5 Cents in the following order: No. Chapters Price No. Chapters Price 1 Matthew 28 5 cents 13 I Thessalonians 5( , 2 Mark 16 5 cents 14 11 Thessalonians 3 ) cen 8 3 1 uke 24 5 cents 15 \ Timothy 6 ) 4 John 21 5 cents 16 II Timothy ... . 4 5 cents 5 The Acts . . .28 5 cents " Titus 3 S 6 To the Romans 16 5 cents 13, 14, 15, 16, 17 / 5 and 6 bound in I ,« bound in one .. ( cen one book ( n s i8 Philemon 1 ) , 7 1 Corinthians 16 5cents 19 To the Hebrews 13' cen s 8 II Corinthian, 13 5ce.lt, 20 Epistle of James 5 , 7 and 8 bound in / ,0ccnts 21 I Peter 5 Scents one book V wcents ^ n ? ^ 9 Galatians 6 ) c 10 Ephesians 6< 5 cents 23 I John 5| IS SS' 1; Scents It !ll J J°„ h h n n [, Scents 12 Golossians ...... 4^ 26 j d , 9, 10, 11, 12 bound ( in one book \ ccn s 27 Revelation 22 5cents Each book is to be had separately, neatly bound by itself for 5 cents and postage; double issues for 10 cents and postage; one hundred 5 cent books for $5; one hundred 10 cent books for $10 and postage. The Hook of Psalms, bound and gilt-edged, 30 cents; common bound, 15 cents. The Bible-Workers' Studien Hook of Psalms, bound, 50 cents. The Four Gospels and the Book of Psalms, gilt-edged, 50 cents; common bound, 25 cents. The Four Gospels Only, 20 cents. Church Choir Music from 2 cents to 15 cents per copy. One copy for 2 cents, twelve copies for 20 cents. One copy 3 cents, twelve copies 30 cents, etc. Address REV. J. R. LAURITZEN Knoxville, Tenn. 266 720 721

Abstract (if available)

Abstract Centennial celebrations of the Lutheran Reformation in the United States serve as impetus for production of sacred choral music marking the occasion. Since the formation of Luther denominations and their publishing houses in the United States in the mid-to-late 19th century, two Reformation centennial choral corpuses now exist. Previously, some works of the 1917 quadricentennial celebration of the Reformation have been considered within the context of an individual composer’s output, but rarely together with the corpus of works marking the celebration. At the publishing of this research, the 2017 quincentennial celebration corpus is a relatively new one.
In this research, the two corpuses are considered together. The profile of the corpuses published in the United States for the 400th and 500th Reformation anniversaries of 1917 and 2017, respectively, begin to be developed, primarily from textual and compositional analyses of the individual works. The 1917 corpus is organized and analyzed according to two sub-categories: cantatas and shorter works. The 2017 corpus is organized and analyzed by publisher: Augsburg Fortress Publishing (publishing arm of the Evangelical Lutheran Church of America), Concordia Publishing House (publishing arm of the Lutheran Church—Missouri Synod), and other publishers of sacred music. Through the analyses employed, the primacy of Reformation chorale texts and tunes emerges in both eras, but with differing preservation/proliferation, manipulation, and re-imagination of the same (both within each individual era and within the whole). Observed differences between the 1917 and 2017 corpuses include voicing options, accompaniment flexibility, form, and the use/relationship of key centers. Spectra of compositional practice and perceived purpose among the sub-categories are noted, such as those among the cantatas (1917) or of Lutheran denominational vs. non-Lutheran publishers (2017). Questions appropriate to other research contexts and efforts are occasionally referenced, including theological, historical, social, and publishing practice.

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University of Southern California Dissertations and Theses

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Asset Metadata

Creator Bakken, Jeremy Scott (author)

Core Title Choral music published in the Unites States associated with centennial celebrations of the Lutheran Reformation in 1917 and 2017

School Thornton School of Music

Degree Doctor of Musical Arts

Degree Program Choral Music

Degree Conferral Date 2022-12

Publication Date 11/03/2022

Defense Date 11/02/2022

Publisher University of Southern California (original), University of Southern California. Libraries (digital)

Tag 1917,2017,a mighty fortress is our God,augsburg fortress,augsburg publishing house,Augustana book concern,aus tiefer not,Bergquist,cantata,chorale,Christiansen,city of God,concertato,Concordia publishing house,dahle,ein feste burg,erhalt uns,Hahn,herr,Herzberger,Hymn,Lewars,Luther,lutheran,Lutheran worship,Matthews,nun danket alle gott,OAI-PMH Harvest,Ohl,Olson,Pettersen,quadricentennial,quincentennial,Reed,Reformation,rile,Schumacher

Format theses (aat)

Language English

Contributor Electronically uploaded by the author (provenance)

Advisor Sparks, Tram (committee chair), Grases, Cristian (committee member), Strimple, Nick (committee member)

Creator Email jbakken@usc.edu,jsbakken1981@gmail.com

Permanent Link (DOI) https://doi.org/10.25549/usctheses-oUC112212331

Unique identifier UC112212331

Identifier etd-BakkenJere-11296.pdf (filename)

Legacy Identifier etd-BakkenJere-11296

Document Type Dissertation

Format theses (aat)

Rights Bakken, Jeremy Scott

Internet Media Type application/pdf

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Source 20221103-usctheses-batch-989 (batch), University of Southern California (contributing entity), University of Southern California Dissertations and Theses (collection)

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