His Voice - Volume 7, Number 2

From Co-Director Richard C. Resch

Soon after the announcement of this year’s topic for the thirteenthannual Good Shepherd Institute conference, Dr. Just and I realizedthat “Shepherd of Tender Youth: Connecting Postmoderns to Christ”

hit a nerve. We believe that this conference will be a gathering of pastors,church musicians, elders, interested laity, youth leaders, and youth—allwrestling with the complex questions we face in a challenging time for andwith our youth. In fact, this year we decided not to have sectionals orbreak-out sections, so that all could hear every word from what we believeis an outstanding list of plenary speakers.

THE GOOD SHEPHERDI N S T I T U T E

Pastoral Theology andSacred Music for the Church

September 2012Volume 7 - Number 2

VOICEH I S

Here is some additional conference information not in the GSI brochure:

The Sunday afternoon organ recital, by the amazing young performer, Stephen Buzard,will include “Sonata on the 94th Psalm,” by Julius Reubke.

All Saints’ Choral Vespers will include:� “I Will Lift Up Mine Eyes Unto the Hills,” from Herbert Howells’s “Requiem”� J. S. Bach’s funeral motet (BWV 118) “Lord Jesus Christ, My Light and Life”� Three movements from Heinrich Schütz’s Musicalische Exequien� “Oh, How Blest Are They,” by Theodore Beck� “Lord, Now Let Your Servant Depart in Peace,” Luther’s hymn

set by Donald Busarow� The tenor soloist for this service will be Jonathan Busarow (grandson of Donald).

A large portion of the service will be accompanied by strings and brass from theFort Wayne Philharmonic.

Monday’s Hymn Festival will be a part of the on-going “pull out all the stops”celebration at St. Paul’s Lutheran Church in her 175th anniversary year. Without adoubt, this will be a memorable evening, in a stunningly beautiful historic sanctuary,led by Kantor Hildebrand, two choirs, and a professional brass ensemble. The wholeHymn Festival will be recorded for future release from The Good Shepherd Institute.But there is nothing like being there!

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HIS Voice • September 2012 2

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We are pleased to announce that the Journal of the Good Shepherd Institute, containinglectures from the last two years (2010 and 2011), will be available for purchase at theNovember conference:

Sing with All the Saints in Glory:The Theology of the Christian’s Death in Rite and Song

andWhat God Has Joined Together:The Theology and Practice of Christian Marriage in Rite and Song

It gives us great pleasure to announce that The Good Shepherd Institute will be thepublisher of Dr. Daniel Zager’s new book, The Gospel Preached Through Music: ThePurpose and Practice of Lutheran Church Music. Dr. Zager has been responsible from thebeginning for a large part of what is offered from The Good Shepherd Institute. He hasserved as editor of the Institute’s first monograph, Music for the Church: The Life and Workof Walter E. Buszin, for the eight journals, and for two issues annually of the newsletter HISVOICE. He was also the writer for the DVD Singing the Faith: Living the Lutheran MusicalHeritage. It is so right that his new book on this important topic be the latest resourceavailable from The Good Shepherd Institute.

We are hoping to have this new book available at the November conference. However, if itis not ready in time, there will be proofs to view, and it may be ordered.

The Gospel Preached Through Music is remarkable in that it takes a complex subject andmakes it highly accessible and even enjoyable reading. Here Lutheran pastors and musicianswill learn about the wealth of resources that have been handed down and are a perfect fit forus in our life together. I am eager for the church to receive this book, for I believe it will beof great benefit.

At the Seminary’s Opening Service on September 9, I talked with a young lady from Kenyawho is so excited about the new Kenyan hymnal Ibada Takatifu, scheduled to be released inlate fall. If you have not heard about this project, a number of agencies, including many ofus at The Good Shepherd Institute, have been working together for about three years toproduce the first Lutheran hymnal for the Lutheran Church of Kenya. I am writing to youabout this because the Schwann Foundation has offered $60,000 toward this project—if$30,000 is raised by November 1. The total of $90,000 is the amount needed for printingand shipping to Kenya. $18,000 has already been raised, leaving $12,000 still needed toreceive the $60,000 match. If you are able and so inclined to support this wonderful newresource for Kenya, please send your donation to “Kenyan Hymnal” at ConcordiaTheological Seminary, 6600 N. Clinton St., Fort Wayne, IN 46825.

THE GOOD SHEPHERDI N S T I T U T E

Pastoral Theology and Sacred Music for the Church

Journal for theEleventh and Twelfth Annual Conferences

2010/2011

Sing with Allthe Saints in Glory:

The Theology of the Christian’s Death in Rite and Song

What God Has Joined Together:

The Theology and Practice of Christian Marriage in Rite and Song

The Gospel Preached Through Music:

The Purpose and Practice of Lutheran Church Music

By Daniel Zager

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Albrecht Peters, Commentary onLuther’s Catechisms: Lord’s Prayer,trans. Daniel Theis. (Concordia Publishing House,2011), 221 pp. ISBN 9780758611505.[$42.99]

Albrecht Peters masterfully unfolds thedevelopment of Luther’s understanding of theLord’s Prayer in the context of the reformer’stheological career. Foundational for Luther wasGod’s command and promise, which authorizesprayer and gives certainty to the believer’s petitions.The Lord’s Prayer is the prayer of faith, for itembodies God’s command to pray and it promisesthat we will be heard. Comparing and contrastingLuther’s insights with earlier theologians as well asmore recent exegetes, Peters provides a treasure-filled commentary on the use of the Lord’s Prayer inthe catechisms, with frequent gems that cannot helpbut enrich preaching and teaching._______________________________________

Albrecht Peters, Commentary onLuther’s Catechisms: Baptism andLord’s Supper, trans. Thomas Trapp(Concordia Publishing House, 2012), 248 pp.ISBN 9780758611512.[$42.99]

After an introductory section on “Luther’sSacramental Witness: Relationship to the WesternTradition and Internal Development,” where Peterslocates Luther’s “new beginning” with his use of“promise and faith,” the author turns to anexposition of Baptism and the Lord’s Supper.Peters’s treatment is a systematic unfolding ofLuther’s confession of Baptism and the Lord’sSupper. It is both a commentary on Luther’scatechisms and a miniature dogmatic theology ofthe Sacraments._______________________________________

Robert Kolb, Luther and the Storiesof God: Biblical Narratives as aFoundation for Christian Living(Baker Academic, 2012), 188 pp.ISBN 9780801038914.[$21.99]

Readers will reap a bountiful harvest from RobertKolb’s prolific career of researching, teaching, andwriting about Martin Luther. Kolb demonstrates howLuther preaches and teaches the biblical narrativesso that Christian lives are geared to repentance, faith,and vocation. Seeing repentance as the“metanarrative” of the Christian life, Kolb paints arobust picture of Luther as “the story teller,” drawingon recent Luther scholarship along the way. Kolbaccents Luther’s commitment to the pastoral care ofthe Lord’s people in and through the use of God’sWord. Crisply written, this little volume is a must forparish libraries and could easily be used as acenterpiece for lay study groups. It is a good practicefor pastors to set aside time to read Luther and abook on Luther each fall before Reformation. Thiswould be an excellent pick for 2012._______________________________________

Ernst Walter Zeeden, Faith and Act:The Survival of Medieval Ceremoniesin the Lutheran Reformation,trans. Kevin G. Walker (Concordia PublishingHouse, 2012), 147 pp. ISBN 9780758627018.[$36.99]

This meticulous historical study examines thecomplexities of liturgical practices in sixteenth-century Lutheranism as reflected in the churchorders. Faith and Act is an invaluable handbookproviding detailed and documented data that givescontemporary readers a glimpse into the way thatliturgical texts and ceremonies were retained,modified, or rejected in various territories.Liturgical scholars as well as pastors will find thisvolume to be a useful guide to understanding theevangelical reception and appropriation of thecatholic legacy of liturgical forms and practices inlight of the immediate background of the medievalchurch._______________________________________

PASTORAL RESOURCESby JOHN PLESS


Justification Is for Preaching,ed. Virgil Thompson (Pickwick Publications, 2012),261 pp. ISBN 9781610974097.[$31.00]

Justification Is for Preaching is refreshinglyradical—not in the sense that it promotes yetanother rhetorical device for the homiletic craft, butbecause it goes to the root of God’s own design forpreaching, the bestowal of a promise that createsfaith in Christ Jesus. Preaching is not abouttransformation of character or political advocacy butGod’s own declaration of righteousness for theungodly. In essays from both sides of the Atlantic,theologians in the tradition of Luther carry out hisapproach to the renewal of the church, that is, thereformation of the church through the preaching ofChrist crucified. Authors include Oswald Bayer,Mark Mattes, Gerhard Forde, Steven Paulson,Wilfried Härle, Virgil Thompson, James Nestingen,and Klaus Schwarzwäller. Seminarians as well asseasoned preachers will be invigorated andchallenged by and for the proclamation elucidatedin this fine book._______________________________________

Walter Sundberg, Worship asRepentance: Lutheran LiturgicalTraditions and Catholic Consensus(Eerdmans, 2012), 190 pp. ISBN 9780802867322.[$18.00]

This book is a fine-tuned polemic against thereplacement of the historical Lutheran emphasis onrepentance and faith in liturgical life with themes ofcelebration and affirmation that have emerged overthe last half century. Sundberg describes this as aclash between “penitential piety” and “eucharisticpiety.” The author, a church historian at LutherSeminary in Saint Paul, takes a careful look at thehistory of confession and absolution in Lutheranhistory but especially on the use of the binding key.While some of his proposals are debatable, thisbook is worthy of careful study by pastors who arecharged with both forgiving and retaining sins._______________________________________

Gregory P. Schulz, The Problemof Suffering: A Father’s Hope(Concordia Publishing House, 2011), 144 pp.ISBN 9780758626615.[$14.99]

Gregory Schulz, Lutheran pastor and philosopher,writes in a way that brings together carefultheological reflection and his own deep experiencewith suffering. Readers might readily recall C. S.Lewis’s The Problem of Pain and A GriefObserved. Not only did Schulz encounter sufferingin the lives of his parishioners, he and his wifeendured the deaths of an infant daughter andadolescent son. Werner Elert describes the problemwith theodicy projects post-Leibniz as attempting todefend God by ensnaring Him in human ethicalcategories. You will find none of that in Schulz’swork. He knows that the truth of the Gospel issufficient even in the face of suffering that cannotbe explained. The book is written in aconversational style and is accompanied by “ACompanion Study Guide and Resources for Pastorsand Christian Caregivers” in electronic format. Boththe book and the accompanying studyguide/resources are highly recommended._______________________________________

Mark C. Mattes “Discipleshipin Lutheran Perspective,”Lutheran Quarterly 26 (Summer 2012): 142–63.

The language of discipleship is both biblical andLutheran. Mark Mattes recognizes and affirms thisbut raises questions as to how the term is used incontemporary Lutheranism. For example, Mattespoints out that some would make the (unbiblicaland un-Lutheran) distinction between “members”and “disciples,” failing to grasp that to be baptizedinto the Body of Christ is to be a disciple. Otherswould equate discipleship with commitment to aparticular social agenda (peace and justice, etc.).Mattes takes a more careful look at the Lutherantradition, suggesting that discipleship does not haveto do with “fixing the church” or “fixing the world”but living in repentance and faith within one’scalling in the world. Mattes provides a coherent andclarifying corrective for the misuse of an importantword in our Christian vocabulary._______________________________________

PASTORAL RESOURCES continued


“Logia After Twenty Years,”Logia 21 (Holy Trinity, 2012).

Logia: A Journal of Lutheran Theology wasfounded on Easter Monday, 1992 in a meeting heldin the Walther Room at University Lutheran Chapelin Minneapolis, the first issue appearing atReformation that same year. One critic opined thatthe journal would not last five years. Launched inthe heat of the “worship wars,” and in skirmishesover the “Church Growth Movement” and“Lutheran substance with Evangelical style,” Logiahit the ground running as a journal beholden to noLutheran body, global and pan-Lutheran in scope.After twenty years it is still moving along at asteady pace as a vehicle for confessional Lutherantheology. This twentieth anniversary issue featuresarticles published over the last two decades, articlesselected by the editors as “the best of Logia.”Articles in this anniversary issue include NormanNagel, “Lured from the Water, the Little FishPerish”; James Nestingen, “Forgiveness of Sins andRestoration to Office”; John Kleinig, “Bach,Chronicles, and Church Music”; James Tiefel,“Liturgical Worship for Evangelism and Outreach”;Leiv Aalen, “The Word as Means of Grace”; GeraldKrispin, “Philip Jacob Spener and the Demise of thePractice of Holy Absolution in the LutheranChurch”; and much more._______________________________________

Lucas V. Woodford, GreatCommission, Great Confusion,or Great Confession? The Missionof the Holy Christian Church(Wipf and Stock Publishers, 2012), 230 pp.ISBN 9781610978774.[$28.00]

Lucas Woodford, senior pastor at Zion LutheranChurch in Mayer, Minnesota, has provided thechurch with a thoughtful approach to missionanchored in the Third Article of the Apostles’ Creed.Woodford describes his own struggles anddisappointments as a young pastor and the magneticpower of the church’s Confessions and liturgy toorient and sustain his life and ministry.Conversational and somewhat autobiographical intone and content, this book grows out of PastorWoodford’s work in our Seminary’s Doctor ofMinistry program, and it demonstrates how a pastormight work to lead a congregation away from amerely programmatic approach to mission, to onethat is driven by the Gospel, which alone is thepower for salvation. Woodford provides a critique ofthe Church Growth Movement and the newspirituality of the “emerging church,” but he is morethan a critic; he is a theologically informed shepherdseeking to be faithful to the Lord’s mandate inMatthew 28:18–20. This would be an excellent bookfor discussion in the circuit Winkel or for use withthe lay leadership in the congregation._______________________________________



Charles P. Arand, Robert Kolb, andJames A. Nestingen, The LutheranConfessions: History and Theologyof The Book of Concord(Fortress Press, 2012), 341 pp. ISBN9780800627416.[$39.00]

Not since the publication of F. Bente’s HistoricalIntroduction to the Lutheran Confessions in theearly twentieth century have English-speakingreaders been treated to such a comprehensive studyof the history of the documents included in TheBook of Concord. Bringing a wealth of freshscholarship combined with a deep love for theLutheran Confessions, Arand, Kolb, and Nestingenhave provided scholars and pastors with acomprehensive yet compact guide to the history andtheology of The Book of Concord. This will be thestandard reference work in English on The Book ofConcord for years to come._______________________________________

Baker Academicwww.bakeracademic.com

Concordia Publishing Housewww.cph.org

Eerdmanswww.eerdmans.com

Fortress Presswww.fortresspress.com

Pickwick Publicationswww.wipfandstock.com/pickwick_publications

Wipf and Stockwww.wipfandstock.com




A Mighty FortressNancy RaabeSATB, Organ, Trumpet, CongregationAugsburg Fortress ED018818, $1.90

Nancy Raabe’s energetic and well-written setting,which enjoyably employs the original rhythmicversion of the tune, is a welcome new addition tohymn settings of this well-known Reformationchorale. Scored for organ, trumpet, choir,congregation (and optional tambourine!), stanzathree is set for SATB choir only (a cappella oraccompanied). The choral writing has a comfortableruggedness appropriate for this chorale, and the finalwords of the third stanza (“one little word . . .”) areappropriately subdued. Translation adjustments forLutheran Service Book will be necessary._______________________________________

Come and Rejoice! Seasonal Music forTrumpet and OrganDallas BlairMorningStar Music 20-245, $18.00

Some church music libraries are full of resourcesthat assume professional-level instrumentalists. Forthose of us who also work with volunteer andstudent musicians, this collection providesenjoyable and useful settings. Both range andrhythms are within the grasp of most churchtrumpeters of moderate ability. For that matter, theorgan parts are written in a moderate range ofdifficulty as well. Included are tunes especially forAdvent and Christmas: VENI EMMANUEL, IN DULCI

JUBILO, PICARDY, ADESTE FIDELES, and PUER NOBIS._______________________________________

Come, Let Us Fix Our Eyes on JesusBret HeimSATBCPH 98-4096, $1.85

This piece is written in a classic a cappella motetstyle (think Healey Willan or Carl Schalk), withhomophonic phrases alternating with polyphonicphrases, treating the short text of Hebrews 12:2 in athorough manner. This text is part of the Gradual forLent; it could be sung several Sundays in Lent to getmore mileage out of your well-spent rehearsal time._______________________________________

Comfort, Comfort Now My PeopleDonald BusarowSATB, Organ, C InstrumentCPH 98-4102, $2.00

The musical legacy of the late Donald Busarow(1934–2011) includes this wonderful commissionedpiece, joining the text of Isaiah 40 with the chorale“Comfort, Comfort Now My People.” The writing,alternating with unison, SA, SAT, and SATBvoicings, pairs quasi-chant writing of the Scriptureverses with chorale harmonizations. A C instrumentweaves the two themes together. These verses arethe Old Testament reading for Advent 2B or Advent3 (one-year lectionary), and could also be reusedthroughout the Advent season, particularly forspecial choral services._______________________________________

Continue in the Things That You HaveLearnedBarry BobbSATB, Piano, Optional Congregation, Flute,Violoncello, PercussionCPH 98-4094, $2.00

A new tune by fellow Hoosier Barry Bobb (CarmelLutheran Church, Carmel, Indiana) paired with anew text by Rev. Stephen P. Starke becomes auseful and flexible setting centering on a paraphraseof 2 Timothy1 (“Guard well that treasure given toyou—the Word of God’s pure truth”). Originallycomposed for a pastor’s anniversary of service tothe church, it would be appropriate for installationsand ordinations, or a focus on remaining steadfast inGod’s Word (perhaps this could be a reflectiveaddition to Reformation Day). The instrumentationof keyboard, flute, cello, wind chimes, andsuspended cymbal provides a fresh accompaniment._______________________________________

TEN RESOURCES FOR FALL, ADVENT, AND WINTERby KEVIN HILDEBRAND


For the Lord Is GoodMatthew MachemerTwo-part Equal Voices, OrganCPH 98-4112, $1.90

This reflective, ethereal setting of Psalm 100 (atasteful textual paraphrase by the composer)employs unison and two-part singing, and would beaccessible for any combination of voices, but wouldsound particularly good with treble ensembles; itwould also work very well with two soloists. Itcould be a quiet addition for Thanksgiving services,or a nice psalm-solo for a wedding._______________________________________

God So Loved the WorldK. Lee ScottSATB, Organ, Optional ViolinCPH 98-4109, $2.25

As ubiquitous as John 3:16 is in slogans, sermons,religious merchandise, and the like, there really is adearth of usable choral settings on this text, save theclassic John Stainer setting. K. Lee Scott’s settinghelps to fill that void. Written for SATB, organ, anda moderately skilled violinist (optional), the “Godso loved” text frames the piece, set in the reflectivekey of D minor. The B section employs the text of1 Timothy 1:15 (“This is a true saying . . . ChristJesus came into the world to save sinners.”), a well-chosen pairing of Scripture verses. The B section isa little more aggressive in rhythm, harmony, andability level, but is still well within the grasp ofchurch choirs accustomed to singing in four parts._______________________________________

Psalm 100Kenney PotterTwo-part Voices, PianoChoristers Guild CGA1270, $2.10

This setting for two-part treble voices uses the textof Psalm 100 (a usable translation, not a paraphrase)in an enjoyable 6/8 meter (with a few hemiolas forgood measure). The two-part writing is easilylearned, as the parts are more partner tunes thansoprano and alto harmonies. The keyboard andvocal parts also include quotations of LASST UNS

ERFREUEN. The ability level, key (E Major), andusefulness makes this just right for children to sing,although the writing is easy enough even for adultsto handle!_______________________________________

Sing It Simply (25 CongregationalHymn Accompaniments for Piano,with opt. Guitar, Bass, and Handbells)Thomas KeeseckerMorningStar Music 80-790, $25.00

This unique collection contains simple keyboardaccompaniments for hymns (all but two tunes arefound in Lutheran Service Book), with options forhandbells (just a few per setting), guitar, and bass.These might not be useful for every parish, butcould be a very usable resource for a congregationthat uses this instrumental ensemble and desiresmore congregational singing from the hymnal.Several music examples are available for viewingand listening at the publisher’s website._______________________________________

RESOURCES continued


This Is My Beloved SonJohn BehnkeTwo-part Voices, Keyboard or 3-OctaveHandbells/HandchimesCPH 98-4106, $1.90

John Behnke’s setting of Matthew 17:5–7 is anexample of a historic Gospel motet in an accessibleand useful arrangement. The accompaniment is setfor either handbells or keyboard, with two-partvoices telling the story of Christ’s transfiguration.An option is for a solo voice to sing the words ofChrist; optional windchimes also add an etherealtone. It is reminiscent of a Heinrich Schütz two-partmotet, but using twenty-first-century musicalwriting._______________________________________

Augsburg Fortresswww.augsburgfortress.org

Choristers Guildwww.choristersguild.org

Concordia Publishing Housewww.cph.org

MorningStar Music Publisherswww.morningstarmusic.com

RESOURCES continued


READINGJaroslav Vajda, “Slovak LutheranHymnody and Its Influence,”Lutheran Forum 46 (Spring 2012): 30–32.

In 1988, Lutheran pastor and hymn writer JaroslavVajda (1919–2008) delivered a lecture on SlovakLutheran hymnody as part of the Slovak ZionSynod Lecture Series, held at the LutheranTheological Seminary in Philadelphia. It is good tohave this lecture available now in printed form,providing a succinct historical outline of SlovakLutheran hymnody as well as a brief assessment ofits influence. I was also struck by Vajda’sintroductory remarks, especially the following: “Ihardly need repeat the truism—but I shall—namely,that one should never underestimate the power andimportance of hymnody. . . . it not only reveals butexpresses and molds the theology of mostworshipers” (30)._______________________________________

Mary Jane Haemig, “Puttingthe Advents Back into Advent,”Lutheran Forum 46 (Summer 2012): 27–30.

Mary Jane Haemig (Luther Seminary, St. Paul,Minnesota) states her premise early on: “In manychurches we hear what we are supposed to doduring Advent, rather than what God does for us inthe past, present, and future advents (arrivals orcomings) of Christ. . . . The result? Instead of ajoyous proclamation in preaching, teaching, andsong of the coming of God to us, listeners are urgedto focus on themselves, prepare, wait, and plead forGod to come (as if that were somehow in question)”(27). Haemig reviews the Advent preachingemphases of Reformation-era Lutheran pastors,including Martin Luther, concluding: “For Lutheranpreachers, preparation was something God doesthrough the preaching of the word, not somethingwe do through virtuous actions” (29). She alsocompares more recent Advent hymn texts withtraditional Lutheran Advent hymns (cf. pages29–30), with telling results. Haemig concludes that“It is time for Lutherans once again to use theAdvent season as the Lutheran Reformers did andreject recent moves that focus on human activitiesduring this season” (30). This thoughtful article willbenefit Lutheran church musicians as they choosehymns and choral music for the Advent season._______________________________________

READING AND LISTENINGby DANIEL ZAGER


LISTENINGJohannes Eccard,Mit Freudemusizieren: Sacred and Secular Works(Opella Musica, Ensemble NOEMA,Gregor Meyer)[2011, cpo 777 700-2]

For the third consecutive newsletter, here is yetanother new recording of music by Johannes Eccard(1553–1611), the 2011 anniversary of his deathbringing the welcome appearance of several CDsdevoted entirely to the music of this late-Renaissance master. Eccard’s work as a composerfocused largely, though not exclusively, on theLutheran chorale. Together with the composer LucasOsiander (1534–1604), Eccard contributed to the so-called cantional style of setting chorales, where themelody was made more prominent by transferring itfrom its earlier position in the tenor voice to thesoprano voice. Among the sacred works recordedhere are cantional-style settings of Lutheran choralesfrom Eccard’s 1597 Geistlicher Lieder auff denChoral: Nun komm, der Heiden Heiland” (LSB332), “Christ ist erstanden” (LSB 459), and “Komm,Heiliger Geist, Herre Gott” (LSB 497). GregorMeyer elicits rhythmically vital performances fromthe singers of Opella Musica and the instrumentalistsof Ensemble NOEMALeipzig._______________________________________

Michael Praetorius,Ostermesse/Easter Mass(Weser-Renaissance Bremen, Manfred Cordes)[2012, cpo 999 953-2]

Michael Praetorius, one of the great Lutherancantors, was amazingly productive, both as acomposer of Latin polyphony and German choralesettings for the Lutheran church, and as a musictheorist writing comprehensively on the musical artof his age. On this recording, Manfred Cordesdraws solely on the music of Praetorius—Latin- andGerman-texted settings—to furnish a completeProper and Ordinary for Easter, according to the1569 church order of Duke Julius of Braunschweig-Lüneburg, the church order that was in effect duringthe years Praetorius worked in Wolfenbüttel. Thus,the present recording provides us an opportunity astwenty-first-century listeners to imagine theLutheran Divine Service as heard and sung by someof our Lutheran forebears in the early seventeenthcentury. As always, Manfred Cordes and the singersand instrumentalists of Weser-Renaissance Bremenprovide excellent performances._______________________________________

READING AND LISTENING continued


Philipp Dulichius, Sacred Motets(Weser-Renaissance Bremen, Manfred Cordes)[2012, cpo 777 352-2]

While the name Michael Praetorius is reasonablywell known to twenty-first-century Lutheran churchmusicians (not least for his cantional-style setting ofthe Christmas chorale “Es ist ein Ros” [LSB 359]),the same cannot be said for Philipp Dulichius(1562–1631). Born in Chemnitz and educated inLeipzig and Wittenberg, he spent his career workingas a Lutheran church musician in Stettin. All of hissurviving compositions are liturgical works, most ofthem Latin-texted works rather than settings ofchorales. He paid particular attention to centralpassages from the Gospel texts appointed forSundays and feast days, i.e., Gospel motets.Manfred Cordes includes Dulichius’s motets onMatthew 6:31–32, Matthew 6:33, Matthew22:17–22, and Luke 24:46–47, in addition to psalmmotets and settings of other Old Testament andEpistle texts. This recording illumines a little-knowncorner of our Lutheran musical heritage._______________________________________

René Clausen, Life andBreath: Choral Works(Kansas City Chorale, Charles Bruffy)[2012, Chandos CHSA 5105]

René Clausen (b. 1953) is well known as conductorof the Concordia Choir at Concordia College inMoorhead, Minnesota. He is also a prolificcomposer of choral music, a sampling of which isprovided on this recording, expertly sung by theKansas City Chorale conducted by Charles Bruffy.While you likely won’t find repertory for yourparish choir among these a cappella works, there ismuch beautiful choral writing and singing here, notleast Clausen’s well-known setting of “Set Me as aSeal Upon Your Heart.”_______________________________________

ArkivMusicwww.arkivmusic.com

Chandoswww.chandos.net

cpowww.jpc.de/jpcng/cpo/home

READING AND LISTENING continued

His Voice - Volume 7, Number 2

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Transcript of His Voice - Volume 7, Number 2