Lecture Recital - Lutheran Musical Tradition
(Remarks on the dedicatory recital material I perform for new or refurbished pipe organs)
In its early history the Lutheran Church was commonly referred to as “The Singing Church,” and to the present day, its rich legacy of hymnody and religious art music are regularly performed by Christians in praise of God. Dr. Martin Luther, an Augustinian monk, was not only familiar with Latin plainchant, but was also highly trained as a singer and lute player. He studied composition and could write music in the complex polyphonic style of the early sixteenth century. Luther recognized the power of music as an aid to devotion, to enhance and elevate worship, and—through the texts of hymns—to educate the young to a Christian lifestyle.
CHORALES (The first Lutheran hymnal appeared in 1524 and contained eight chorales, German Protestant hymns.)
“A mighty fortress is our God“ (Ein' feste Burg ist unser Gott) – This hymn (1529) is the most famous of the 38 chorales composed by Luther. The powerful text is based on Psalm 46. (J.S. Bach chorale settings are performed.)
“Christ Jesus lay in death’s strong bands“ (Christ lag in Todesbanden) – This chorale was included in the first Lutheran hymnal (1524). The text, by Luther, is taken from Acts 2:24. The melody, arranged by Johann Walther, is derived from a Latin (Roman Catholic) Easter hymn. J.S. Bach wrote many settings of this chorale, and his first religious cantata is based upon it. (A Bach chorale setting is performed.)
“Christ is arisen” (Christ ist erstanden) – Of this chorale Luther wrote, “…[This Easter hymn] must be sung every year. The Holy Spirit inspired the person who wrote this song.” The text, based on 1 Cor. 15:20, is by an anonymous medieval author. The melody is based on Latin plainchant. The hymn itself dates to 1533. (A Bach chorale setting is performed.)
HYMN MELODIES (The 1982 and 2005 hymnals contain many Renaissance chorales, plus hymns taken from other Christian traditions.)
English (originally Roman Catholic; modern text is Anglican): 1415
“Oh, love, how deep, how broad, how high” (originally known as Agincourt Hymn: "Owre Kynge went forthe to Normandy")-- This is one of the most famous medieval “battle” hymns. Originally written to thank God for the 1415 English victory against the French, the context of the hymn was changed when the melody was used to set a text describing God’s love for humankind. (John Dunstable's hymn setting is performed.)
English (from Southern Harmony collection, designed for “Christian churches of every denomination”): early 19th century
“Amazing grace, how sweet the sound” (originally known as New Britain)— The text of this Christian hymn was written by John Newton, an eighteenth-century sea captain who gave up slave trading after he dramatically experienced God’s grace and converted to Christianity. The origin of the music is traditionally ascribed to W. Walker (1835), but many now believe it is actually an earlier American folk melody. (A shaped-note version is performed.)
RELIGIOUS ART MUSIC
The great German composer Johann Sebastian Bach (1685-1750) was better known as an organist than as a composer during his lifetime. His musical career was devoted to playing and composing for Lutheran churches and schools, and he was, by all accounts, a devout Christian and devoted husband and father. When he signed his name to his compositions, sacred or secular, he would also add the letters “S.D.G.” (Soli Deo Gloria or “To God alone, the glory”). (A Bach fantasia [or prelude] and fugue is performed.)
George Frideric Handel (1685-1759) received his musical training from Friedrich Wilhelm Zachau (1663-1712) at the Lutheran Church of Halle, Germany. Although he wrote many wonderful secular works, Handel’s most famous composition is the religious oratorio, Messiah. (Handel's chorale setting, Jesu meine Freude, is performed.)
The Romantic Era composer Johannes Brahms (1833-97) was a gifted pianist and organist. At the very end of his life, when he knew he was dying of cancer, he composed settings of eleven Lutheran chorales. His final composition (Number 11 of this set) was “O world, I now must leave you” (O Welt, ich muss dich lassen). (Johannes Brahms’ Chorale Preludes are performed)