So, The Good Shepherd Institute is very muchalive—and it is growing! That means that significantand exciting things happen throughout the year. Weneed a means of communicating with you more thanonce a year at the November conference. Hence, welaunch this, the first GSI newsletter, with plans for asecond issue in August.

I cannot tell you how happy I am that Daniel Zagerhas agreed to serve as editor. Our newsletter has beennamed His Voice, with art design by Steve Blakey. Ineach issue we will recommend recent resources in theareas of pastoral theology and sacred music, thusproviding yet another avenue by which The GoodShepherd Institute endeavors to help pastors andchurch musicians in their work. Kantor KevinHildebrand will direct you to new and recommendedchurch music resources—choral music, organ music,and books, and Professor John Pless will do the samefor new publications in the area of pastoral theology.Daniel Zager will provide recommendations forrecent articles, books, and recordings in the area ofchurch music, and the GSI Co-Directors will bringyou the GSI news. We encourage you to downloadthis newsletter and share it with friends. Send newemail addresses for His Voice toHisVoice@ctsfw.edu.

What is new since we met in November? Check outthe GSI website! Our good friend, Connie Seddon,

has completed the enormous task of editing andpreparing all seven volumes of “The MusicalHeritage of the Church” from the ValparaisoUniversity Church Music Series. Here you will finda feast of essays by all the leading church musiciansin Lutheranism from 1944 to 1969. I believe thatyou will find their insights both enlightening andamazingly timely.

Also, check out the Sponsor Opportunities pageon the GSI website. There you can read about threemajor projects currently underway at The GoodShepherd Institute. I will give you an update in theAugust issue of His Voice concerning theseimportant new resources for the church.

Next year’s GSI November conference will have thetheme: The History and Practice of LutheranService Book. The key leaders of this monumentalproject will be present to provide a historical andpractical approach to the newest hymnal inLutheranism. Lectures, practical break-outs, hymnfestivals, and children’s choirs will help all to learnabout the production of and the wonderful resourcescontained in the Lutheran Service Book.

By God’s grace—these are good and exciting timesfor The Good Shepherd Institute!

Kantor Richard C. Resch

From Co-DirectorRichard C. ReschWe believe that with our 2005 conference, “Luther on Music and Liturgy,”The Good Shepherd Institute truly came into its own. We now have six years ofsuccessful conferences, journals, and publications under our belt. We gratefullyreport that the response to all aspects of the recent conference was overwhelminglypositive, and this response was from attendees representing the broadestspectrum of the church that we have ever had in attendance. Deo Gracias!

THE GOOD SHEPHERDI N S T I T U T E

Pastoral Theology andSacred Music for the Church

HISFebruary 2006Volume 1 - Number 1

VOICE

When TimeWas Full, God Sent His Son(Music: Walter L. Pelz; Text: Stephen P. Starke).SATB, Congregation, Brass Quartet, Organ, Opt.Timpani.CPH 98-3831, $1.65

This setting is a powerful combination of text andtune, appropriate for Easter and its season. There aresome similarities to “Our Paschal Lamb, Who Sets UsFree”—in overall style and spirit, in some melodicphrases, and even its comparison to Jonah and Christ.The well-crafted text, typical of Stephen Starke’swork, is full of other Scripture references and stirringimagery of death and resurrection, conquered Satanand conquering Christ. A hearty soprano descant andsignificant brass writing complement the setting. Areproducible insert page provides for inclusion of thecongregation on the first and last stanzas._______________________________________

Open Are Our Savior’s Lips(Music: John Ferguson; Text: Chad L. Bird). SATB,Organ, Opt. Congregation.CPH 98-3824, $1.65

Commissioned for a church’s dedication of a carillon,both text and tune refer to bells—in the text’s “bellsare chiming, ringing, pealing with the joy of life,”while complemented by the music’s imitation of peal-ing bells. The text itself is a feast of rich imagery andclearly confesses Christ and His love for His bride,the church. Musically, the piece is unique in that thetune shifts in mid-stanza from G minor to G major,along with occasional meter changes. The music isstill very accessible for average choirs, and the partwriting has a healthy balance between unison andSATB (with some divisi). Especially appropriate forAll Saints’ Day and the end of the church year, andfor funerals._______________________________________

Arisen is Our Holy Lord(Melchior Vulpius, ed. and arr. Kenneth T. Kosche).SATB, Brass Quartet, or Organ.CPH 98-3852, $1.60

Choirs with limited resources will find this piece quiteaccessible. Originally written for double choir,

Kenneth T. Kosche, has arranged the choir II part forbrass quartet (or organ). Both the voice parts and thebrass parts are homophonic and fairly predictable,without being tiresome, interspersed and concludingwith sparkling alleluias. This would be an excellentintroduction to late-Renaissance literature for choirsand congregations. Consider using this for EasterVigil, Easter Sunday, and throughout the Easter season._______________________________________

Arise and Shine in Splendor(Music: Heinrich Isaac, ed. and arr. Christopher Johns;Text: Martin Opitz). SATB, Opt. Keyboard.CPH 98-3842, $1.65

This is a new edition of a choral classic, perhapsunknown by many directors and congregations. It ishighly recommended for choirs to have this piece intheir choral library and to perform it. The text andtune are in TLH and LW, arranged in this homophon-ic Renaissance motet. The last phrase is a delightfulcombination of rhythms and melismas, providingsome good musical teaching moments for the discern-ing choir director. For Epiphany and its season._______________________________________

O Splendor of the Father’s Light(Music: Sam Eatherton). SAB, Keyboard.CPH 98-3837, $1.50

This composition is an interesting coupling of St.Ambrose’s fourth-century text (translated by GraciaGrindal and found at LW 481) with a twenty-first-century musical setting by Dallas-based composerSam Eatherton. His setting is a good example of SABwriting that sounds complete and has integrity. Themelody and part writing has much stepwise motion,making learning easier. Some well-placed harmonicalterations add interest. Even choirs that typically singSATB should consider well-written SAB settings suchas this one. Especially appropriate for Epiphany andits season._______________________________________

CHORALMUSICby KEVIN HILDEBRAND

Recommended

HIS Voice • February 2006 2

Jesus, Sun of Life, My Splendor(Music: George Frideric Handel; arr. HenryV. Gerike). TTBB, Organ, Optional Strings.CPH 98-3838, $1.80

The SATB setting of this chorale from Handel’sBrockes Passion has been around for many years(notably in Paul Bunjes’s edition), so this arrange-ment for men’s voices will be well-known to somechoirs already. The voice parts are easy, and theorgan arrangement lies in the hands and feet well.Using the string quartet parts (available electroni-cally upon request) would be even better. The textis from the hymn, “Soul, Adorn Yourself withGladness,” so this piece can get a lot of use with amen’s choir, as it could be sung each time the choirsings at the celebration of Holy Communion._______________________________________

Our Father, Who in Heaven Reigns(Music: Dietrich Buxtehude; arr. Don Petering). SBor TB, Opt. Two Violins, Opt. Cello, Organ.CPH 98-3814, $1.65

Don Petering has taken Buxtehude’s cantatamovement, also in the CPH chestnut volumeWedding Blessings, and arranged it with a para-phrase of the Lord’s Prayer. Scored for SB or TB,this setting would work equally well with twosoloists or a choir. Also add this work to yourchoir repertoire in preparation for the 300thanniversary of Buxtehude’s death in 2007._______________________________________

Lord, Support Us All Day Long(Music: Walter L. Pelz; Text: Stephen P. Starke).SATB, Organ, Opt. Congregation.CPH 98-3832, $1.50

This hymn text is a summary of the collects forCompline, paired with the Welsh tuneGWALCHMAI. The tune is beautiful in its utter sim-plicity without being simplistic and can be veryeasily learned. Walter L. Pelz’s organ accompani-ment and choral writing complements the tune inits simplicity. A reproducible congregational pagecan introduce this hymn to a congregation, per-haps as one of the new hymns to learn in prepara-tion for Lutheran Service Book._______________________________________

Know That the Lord Is God(Music: George Frideric Handel; ed. WilliamBraun). Two-part Mixed, 2 Treble Instruments,Continuo.CPH 98-3817, $1.75

There is a real need for good two-part mixedchoral writing, and this setting of Psalm 100:3 is afine example of such writing. (Much of the writ-ing is imitative, making the men’s part extremelyeasy to learn—just repeat what the women sang.)This is a good introduction or example of poly-phonic singing, appropriate for youth choirs aswell as seasoned singers. There is one measurewith a long melisma, with many sixteenth-notesand one pair of thirty-second notes, which looksmore difficult than it actually sings. Two trebleinstruments complete the harmonies._______________________________________

Cast Thy Burden upon the Lord(Music: Felix Mendelssohn-Bartholdy; ed.Christopher Johns). SATB, Piano.CPH 98-3819, $1.50

This simple four-part hymn-tune setting from theoratorio Elijah is well within the grasp of mostchurch choirs. Singers unfamiliar withMendelssohn’s writing will enjoy his warm har-monies. The piano part is also easy, with blockchords and arpeggios. One warning to pianists,however: be sure to play the sixteenth-note arpeg-gios in strict time, and not as freely-rolled chords._______________________________________

CHORALMUSIC continuedRecommended

HIS Voice • February 2006 3

The Master Organ Worksof Jan Bender, 1909–94,ed. David Fienen (5 volumes)CPH 97-7098, 97-7099, 97-7100, 97-7101,97-7102; $30.00 per volume.

A treasury of music is contained in this new collec-tion. Organists of all ability levels will find muchuseful material, and are strongly encouraged to addthese volumes to their libraries. While the collection isnewly published, most of the music in it is not “new”to many organists, since these compositions haveappeared in previously-published volumes, such as theseveral volumes of hymn introductions, or individualpieces in the classic Parish Organist series. However,since a generation or more has passed since theoriginal publication of these older volumes, it is likelythat many younger organists are unfamiliar with or donot own much, if any, of Bender’s works. But thereare also several never-before-published works in thisnew collection, making it valuable as well to organistswho already own some of Bender’s material.

The collection is contained in five volumes,as follows:Vol. 1: Hymn preludes for manuals onlyVols. 2 and 3: Hymn preludes including pedal,arranged alphabetically over two volumesVol. 4: Chorale preludes, fantasias, and partitasVol. 5: Three “triptychs” (almost entirely non-hymn-based material)

Beginning organists will find vol. 1 most accessible,followed by vols. 2 and 3. Most of the material invols. 1–3 are two pages in length, appropriate forservice music or hymn introductions. The writing invols. 4 and 5 is more advanced. Volume 4 also pro-vides some hymn harmonizations.

Whether it is a short hymn setting or a substantialfantasia, Bender’s writing is always intelligent andwell-crafted. Even a simple hymn tune such asWEM IN LEIDENSTAGEN (“Glory Be to Jesus”) iscrafted into a master work, as the title of the seriesso aptly describes.

One further note about price: At $30.00 per volume,and with about fifty compositions in vols. 1–3, forinstance, the price really is a bargain. Arguably, therecould be something played from this series everyweek, making this a useful investment both for theorganist and for the congregation._______________________________________

AMighty Fortress is Our God:Reformation Suite for Trumpetand Organ in 7 Movements.Robert Powell, based on the music of J. S. Bach.CPH 97-7142, $12.00

This suite will provide sturdy and useful material onthis hymn tune, perfect for Reformation services.The writing is moderate to difficult, from a four-partchorale setting (with trumpet doubling the soprano) toan ambitious fugue. Two movements are for organalone, making this suite useful even if an instrumen-talist is unavailable (and for giving the trumpeter aneeded break if performed in its entirety!). Severalmovements are based on Bach’s Cantata BWV 80(Ein feste Burg). A very good trumpeter isrequired—notes written above the staff are plentiful._______________________________________

Partita on NETTLETON,Charles Callahan.CPH 97-7121, $12.00

This partita is a welcome answer to a void in compo-sitions on this tune, a new addition to some hymnals(e.g., located in Hymnal Supplement 98 as “Come,Thou Fount of Every Blessing”). Those familiar withCallahan’s other well-constructed partitas will findsimilarities here. Eight varying movements will pro-vide much useful material, even if organists choosenot to learn every movement. The settings are short(six are only one page in length) and lie comfortablyin the hands and feet (one movement is manuals only,and several movements have slow rhythmic move-ment in the pedals, making them accessible for noviceorganists as well). The neo-Romantic “Meditation”setting has some colorful harmonies on top of thepedal melody (played by a 2 ft. flute), closing thepartita in a refreshingly reflective manner._______________________________________

ORGANMUSICby KEVIN HILDEBRAND

Recommended

HIS Voice • February 2006 4

ORGANMUSIC continuedRecommended

Introductions, Harmonizations,Accompaniments,Interpretations, Vols. I and 2,Jeffrey Blersch.CPH 97-7124 (vol. 1) and 97-7125 (vol. 2),$16.00 each.

The name of these volumes says it all in describingthe contents. These settings are designed for congre-gational hymn singing . . . either for introducing thehymn or as harmonizations during congregationalsinging. These volumes provide organists who arenot comfortable or knowledgeable about extemporiz-ing at the keyboard a resource for playing somethingother than what is “right out of the hymnal.”Discerning players will probably find the alternateharmonizations more readily accessible than theintroductions, which are often more aggressive incomposition and structure. Dr. Blersch models wellthe connection between harmonizations and textof the hymn stanza, often designating the specificstanzas for which the setting is intended._______________________________________

Musica Sacra, Vol. 4:Easy Hymn Preludes for Organ,Wilbur Held.CPH 97-7132, $18.00

This continuation of a series of “easy hymn preludes”demonstrates that “easy” does not mean simplistic oruninteresting. Novice organists will appreciate thelimited pedal writing with ample half notes andwhole notes, playable with alternating feet. A fewcompositions are manuals only. The hymn tunesemployed are a good mix of those in extremelycommon usage (EASTER HYMN, “Jesus Christ IsRisen Today” and ANTIOCH, “Joy to the World”) aswell as tunes that are being enjoyed relatively recent-ly in many congregations (GABRIEL’S MESSAGE, “TheAngel Gabriel from Heaven Came”; BEACH SPRING,“Praise the One Who Breaks the Darkness”)._______________________________________

Glorious Things of Thee AreSpoken: Suite for Organ on AUSTRIA,Benjamin M. Culli.CPH 97-7148, $15.00

This is an ambitious, seven-movement suite on atune for which little has been written. Some move-ments will provide the organist with a welcome chal-lenge, such as the neo-Romantic (almost Reger-esqe)“Intrada.” Others (like the Baroque-style “Chorale”or “Etude” in 12/8) are for manuals only. The com-poser demonstrates a mastery of harmonic vocabu-lary, painting the music with many fresh sounds._______________________________________

Passiontide Suite for Organ,Kenneth T. Kosche.CPH 97-7143, $15.00

This four-setting collection provides a hymn preludefor several days of Holy Week and Easter, namely,ST. THEODULPH (Palm Sunday), UBI CARITAS(Maundy Thursday), O MEIN JESU, ICH MUSS STERBEN(Good Friday), and GAUDEAMUS PARITER (EasterSunday). Perhaps the plainsong melody of UBICARITAS will be obscure to many, but the othertunes are commonly found in hymnals. Of particularrecommendation is the trumpet tune on ST.THEODULPH (“All Glory, Laud, and Honor”),which presents the tune in an ornamented fashion,especially appropriate for a tune that is likelywell-known in most congregations._______________________________________

Jesus Christ Is Risen Today: AnOrgan Partita on EASTER HYMN,William H. Bates.CPH 97-7053, $16.00

Since there is no lack of settings of this tune, it isrefreshing to find interesting—and even quiet andreflective—settings of this common Easter hymn.Yes, there is a big introduction and a quite aggressive“Finale,” but perhaps the best setting is theslow and quiet “Meditation,” demonstrating thatmusic on Easter Sunday can also be meaningfullyquiet. This movement for two manuals and pedalpresents the melody in a dialogue between swell andgreat divisions, quite beautiful when registered andplayed correctly._______________________________________

HIS Voice • February 2006 5

READINGANDLISTENINGby KEVIN HILDEBRAND, JOHN PLESS, and DANIEL ZAGER

James L. Brauer,Worship,Gottesdienst, Cultus Dei:What the Lutheran ConfessionsSay About Worship(Concordia Publishing House, 2005), 304 pp.[CPH 53-1126, $29.99]

The Lutheran Confessions argue that faith is thehighest worship of God, for faith receives what Godgives. James Brauer, dean of the chapel at ConcordiaSeminary, St. Louis, has provided students andpastors with an excellent map to the way that theLutheran Confessions extol the gifts of Christ Jesusbestowed to create and sustain faith. A conciseintroduction examines the various traditions ofChristian worship and demonstrates commonalitiesand contrasts with the Lutheran tradition. The teach-ings of the Book of Concord on worship, the Word,Baptism, the Lord’s Supper, absolution, prayer,praise, and rites and ceremonies are organized ineight chapters. Each chapter concludes with asynopsis that summarizes the central confessionalthemes. A final chapter offers some suggestions forthe application of these teachings in contemporarypractice. Worship, Gottesdienst, Cultus Dei willaid the reader in grasping what the LutheranConfessions actually assert regarding liturgy. I planto use this book as a required text in the Liturgics Icourse here at Concordia Theological Seminary. Itdeserves a place in every pastor’s library as a basicreference book. [John Pless]_______________________________________

Christopher Boyd Brown, Singingthe Gospel: Lutheran Hymns and theSuccess of the Reformation(Harvard University Press, 2005), 292 pp.[$39.95]

Christopher Brown is an LCMS pastor serving asassistant professor of church history at the BostonUniversity School of Theology. Brown has provideda detailed and scholarly study of the place ofLutheran hymns in church and home in theReformation. In his study of church life in theGerman town of Joachimsthal, Brown demonstrateshow Lutheran hymnody shaped a “shared religiousculture” that engendered faithfulness to evangelicalidentity. [John Pless]_______________________________________

Hans Conrad Fischer,Johann Sebastian Bach: HisLife in Pictures and Documents(Augsburg Fortress, 2000), 190 pp.[$25.00]

This is a highly-recommended book for both thecasual Bach admirer as well as the Bach scholar;a book at home on the living room coffee table aswell as the student’s desk. Perhaps taking a cue fromBach’s directions for “a well-ordered church music,”this volume presents a well-ordered account ofBach’s life and work. Short chapters describe thevarious geographic venues of Bach’s life, with fasci-nating illustrations to bring the events and personali-ties to life. In addition to portraits of Bach and hisfamily, numerous paintings and engravings ofcityscapes, instruments, and patrons/employersabound. Ample quotations from Bach’s own com-mentary are included, bringing the Kantor’s ownwords to the reader. Particularly interesting is agenealogy and historical commentary of the Bachfamily, written by Bach himself in 1736.

Hans Conrad Fischer skillfully weaves a narrativetelling the story of Bach’s life, work, interactions,and society. The writing is intelligent, yet is present-ed with a minimum of technical musical jargon oranalysis, making this account attractive also toreaders with a minimal musical background.

This new edition of the book includes a full-lengthCD compilation of Bach’s music, selected fromthroughout his lifetime of composition. (Theseare all excerpts from the Hänssler Classic completerecordings of Bach’s music, so the quality ofperformances is excellent.) The selections arerepresentative of the various genres of Bach’scompositions—solo violin, harpsichord works,organ chorale preludes, free organ works, andPassion and Mass movements are all included.

A welcome theme throughout the commentary is theinseparable connection between Bach and Luther,and between Bach’s music and theology. Bach’sgenius, dedication to the faith, and its fruition in hismonumental musical output continue to make Bach afascinating study and subject for church musicians.This book and CD continue to bring Bach into thelives and homes of readers of today—and tomorrow.[Kevin Hildebrand]_______________________________________

Recommended

HIS Voice • February 2006 6

READINGANDLISTENING continuedRecommended

Ronald K. Rittgers,“Luther on Private Confession,”Lutheran Quarterly 19 (Autumn 2005), 312–31.

Ronald Rittgers, author of the 2004 book fromHarvard University Press, The Reformation of theKeys: Confession, Conscience, andAuthority inSixteenth-Century Germany, examines Luther’sreforms of the practice of private confession and theambiguity of the place of this practice in earlyLutheranism. This is a solid historical study withimplications for current pastoral practice. [John Pless]_______________________________________

Erik Routley,An English-Speaking Hymnal Guide,edited and expanded by Peter W. Cutts (GIA, 2005),198 pp. [GIA G-6477, $34.95]

This volume is a kind of handbook or hymnal compan-ion to a wide array of English-language hymnals incommon usage throughout the UK and North America.Like a hymnal companion, it lists information for 979hymn texts: meter, information about the author andtranslator(s), which hymnals include the hymn, andother anecdotal information. This volume will proveinteresting to both casual and formal students of hym-nology. Since this book covers what are probably themost commonly-used hymns in English-languagehymnals from many denominations, most of thehymns mentioned are not in any LCMS hymnal. (Infact, only LBW was included as a modern AmericanLutheran hymnal in this survey.) No significant dis-tinctly Lutheran hymns, such as “Salvation Unto UsHas Come” or “Dear Christians, One and All, Rejoice”are included in this particular volume. Martin Luther isnot ignored, however. For the record, “A MightyFortress,” “From Heaven Above to Earth I Come,” and“Out of the Depths I Cry to Thee” are also found inother denominational hymnals and are included in thisvolume. The student of hymnody thus realizes thathymnody is a larger study than one’s own churchbody, and it is worthwhile to be aware of and studyhymns from beyond our own denominational and geo-graphical borders. Another exceedingly valuable aspectof the book is the quite detailed essay on hymn metersat the beginning of the book. This reading would provehighly beneficial, as there is much more to meter thanmeets the eye or ear. [Kevin Hildebrand]_______________________________________

Erik Routley, APanoramaof Christian Hymnody,edited and expanded by Paul A. Richardson(GIA, 2005), 708 pp. [G-6475, $55.00]

This companion volume to An English SpeakingHymnal Guide is exactly what its title describes.This resource provides a healthy survey of hymnodyacross history, denominations, geography, and reli-gious movements. In this age where so much churchmusic is subjugated into inadequate and ambiguouscategories based upon tastes and preferences, it is alsonaïve to lump all hymnody into one category. Thisbook subdivides the study of hymnody into thirty-twochapters, such as Medieval Latin hymns, Lutheranchorales of the Reformation, hymns of Watts andWesley, and British and North American hymns ofvarying time periods (just to mention a few).

This book will prove eminently practical for thosewishing to consider hymns from various times,places, and backgrounds, but who have neither thetime nor resources to gather a mountain of individualhymnals and related primary sources. The editorshave chosen approximately ten hymns per chapter,prefaced with some introductory comments, and thenpresented in a text-only format. In total, 982 hymnsare included, some in both original language(s) andin English translations.

Another benefit of this book is its pedagogical valueas hymns are reviewed, compared, and contrasted.Obviously, the hymns included span a wide spec-trum of denominations and religious backgrounds(and therefore, a wide spectrum of theologicalviews.) For example, only five hymns by Luther andthree by Gerhardt are included. However, it is goodto be aware of and study even those hymns that areoutside the covers of our own Lutheran hymnals,hymns that contain weak or questionable theology.In doing so, we continue to sharpen our skills in theart of making choices for what kind of song thechurch shall sing. This book can be of assistance inthis lifelong practice. [Kevin Hildebrand]_______________________________________

HIS Voice • February 2006 7

READINGANDLISTENING continuedRecommended

Carl Schalk, “Friedrich Layriz:A Forgotten Influence onCongregational Singing inAmerican Lutheranism,”CrossAccent: Journal of theAssociation ofLutheran Church Musicians 13, no. 3 (2005): 29–36.

As the preeminent historian of Lutheran hymnody innineteenth-century America, Carl Schalk contributeshere an informative study of Friedrich Layriz(1808–1859), a German pastor and hymnologistwho played an important role in “promoting therestoration of the rhythmic form of the choralemelodies for use in Lutheran congregations” (p. 34).His Kern des deutschen Kirchengesangs zumGebrauch Evangelisch-Lutherischer Gemeindenund Familien (Core of the German church song forthe use of Evangelical Lutheran congregations andfamilies) was published in Germany in four volumesbetween 1844–1855. Schalk shows how the work ofLayriz proved foundational for Lutheran hymnals inthis country. The 1863 hymnal published in thiscountry, Evangelisch-Lutherisches Choralbuch fürKirche und Haus, characterized its contents as the“most useful chorales of the Lutheran Church select-ed and printed without change from the Kern desdeutschen Kirchengesangs of Dr. Layriz” (p. 33).Schalk notes that this collection and its later print-ings “was commended to the church by no less thanC. F. W. Walther, who remarked on the role thathymnal played in promoting “fresh rhythmicsinging” (p. 33). In this article Schalk providesa fascinating chapter in the history of nineteenth-century Lutheran hymnody. [Daniel Zager]_______________________________________

Frank C. Senn, “The Challengeof Pentecostal Praise andOrthodox Theology,”Lutheran Forum 39 (Fall 2005): 16–24.

In another of his always insightful articles on thecurrent landscape of worship practices in this coun-try, Frank Senn focuses on the Pentecostal “praiseand worship” service. Placing Pentecostalism in thecontext of postmodernism, Senn observes that while“Seeker services are truly ‘modern’; praise and wor-ship services are truly postmodern” (p. 19). In dis-cussing the practice of praise singing, he notes that“The praise and worship emphasis is on our service

to God rather than God’s service to us . . . because infact the sacrifice of praise and worship eclipses theWord and the sacraments in importance” (p. 20).With respect to contemporary Christian music, Sennconcludes by stating: “We cannot rule out the use ofcontemporary popular musical styles completely, butthis music will have to become more participatory,more ecclesiastical, in its practice as well as moreorthodox, more Trinitarian, in its lyrics” (p. 24). Butin addition to matters of text, what remain to be con-sidered are questions concerning the meaning andidentity of the music itself—questions that by andlarge have not received sustained attention in the lit-erature discussing “contemporary” Christian worshipand music practices within Lutheranism. In theWinter 2005 issue of Lutheran Forum, David P.Saar observes: “The notion that music can actuallybe critiqued, that certain music is objectively betterthan other music, and that there could be a theologyof church music is quite foreign to many” (p. 40).See his “’Turn Toward the Lord’: A Lutheran Looksat the Pope’s Liturgical Theology,” LutheranForum 39 (Winter 2005): 37–42. [Daniel Zager]_______________________________________

Stephen P. Starke, O Sing of Christ:The Hymns of Stephen P. Starke(Concordia, 2005), 329 pp. [CPH 99-1730, $30.00]

In the foreword to this volume, Richard C. Reschdescribes hymnwriter Stephen P. Starke as “a mod-ern-day Paul Gerhardt.” This is no exaggeration oreffusive flattery in comparing these two Lutheranpastor-poets separated by four centuries. This newcollection of Starke’s hymns demonstrates that this isan appropriate comparison, given the obvious con-fessional and poetical excellence of Starke’s hymns.

122 hymns (or revisions of existing hymns) areincluded in the book, reflecting the writer’s workthrough 2005. Each hymn is presented in two styles:as text only (allowing the reader to see the metricaland poetical layout in each stanza); and interlinedwith the music (melody only) of its suggested tune.

Scriptural references drawn upon for each hymn arealso listed, showing the strong correlation betweenthe revealed and sung Word. Often there are numer-ous references (e.g., “In the Shattered Bliss of Eden”lists ten references). An index of references is

HIS Voice • February 2006 8

READINGANDLISTENING continuedRecommended

provided as an appendix. Additionally, indices of top-ical use, meters, tunes, and first lines are included.

This collection will be useful for hymn singers of allkinds, including not only hymn scholars and otherhymn writers, but also all those in the pulpit, on theorgan bench, in the choir loft, and in the pews whoappreciate good, confessional, well-crafted hymnody.In this age where choices of what is sung, spoken,and used in worship requires careful discernment,this collection of Starke’s hymns stands out as amodel of what makes a good hymn. [KevinHildebrand]_______________________________________

David F. Wells, Above AllEarthly Pow’rs: Christ in aPostmodern World(Eerdmans, 2005), 339 pp.[$25.00]

David F. Wells, Distinguished Professor of Historicaland Systematic Theology at Gordon-ConwellSeminary, has provided yet another piercing analysisof contemporary culture and its persistent and inva-sive shaping of the life and mission of the church.Concerned especially with postmodernism, Wellsexamines how it is that cardinal assumptions of post-modernism have fueled a new spiritual quest that ischaracterized by autonomy within what he calls “theculture of nothingness” (p. 178). This new spirituali-ty, Wells argues, is really yet another form of theancient “Eros” mysticism that tries to access God byour own upward reach. This is set in contrast to “thedownward movement of Agape, this majestic conde-scension of God as he graciously makes himselfknown to us and in that knowledge gives us anunderstanding of life’s meaning” (p. 205). This bookis a “must read” for pastors and others who are con-cerned that the present market for spirituality is nega-tively shaping the church’s worship life. [John Pless]_______________________________________

Robert Clark Plays Music by JohannSebastian Bach on the BrombaughOrgan, Opus 35 at First PresbyterianChurch, Springfield, Illinois (2005)[Arsis SACD 405, 2 CDs, $34.00]

Bach, Brombaugh, and Clark form a quite wonderfultriumvirate on this recording. The two-CD setincludes among its contents the six “Schübler”chorale preludes as well as five preludes from the so-called “Great Eighteen.” Among the free worksincluded are perennial favorites such as the Concertoin A minor (after Vivaldi); the Toccata, Adagio, andFugue in C major; the Toccata and Fugue in F major;and the Passacaglia in C minor. The organ, complet-ed in June 2004, is one of the last to come out ofJohn Brombaugh’s shop, and it is absolutely stun-ning. Many organists would without hesitation nameBrombaugh as the leading American organ builder ofthe second half of the twentieth century, and thisrecording shows why. Robert Clark’s playing issuperb, and this is a good opportunity to recommendas well his earlier recording Bach at Naumburg[Calcante CAL CD041], another extraordinary 2-CDset. That recording features the 1746 Hildebrandtorgan at St. Wenzel’s Church, Naumburg, a smalltown about thirty miles southwest of Leipzig. Bachhimself played the Hildebrandt organ in 1746 andapproved it enthusiastically. The organ was com-pletely restored at the end of the twentieth centuryand re-dedicated in early December 2000, withClark’s recording following in 2001. If I could haveonly one recording of Bach’s organ works in my per-sonal library this would be the one, though the newArsis recording on the Brombaugh organ is certainlya very close second! [Daniel Zager]_______________________________________

Publishers represented in this issue:

Augsburg Fortresswww.augsburgfortress.org

Concordia Publishing Housewww.cph.org

Eerdmans Publishing Companywww.eerdmans.com

GIA Publications, Inc.www.giamusic.com

Harvard University Presswww.hup.harvard.edu

Arsiswww.arsisaudio.com

HIS Voice • February 2006 9