Tag: Music

In celebration of Ascension, I have curated an audio experience of virtual worship, using the surprisingly rich body of materials available in the Public Domain and Creative Commons. Readings correspond to the Revised Common Lectionary.

Ascension Sunday 2020
  1. Prelude: Girolamo Frescobaldi, Canzon quarta, F 8.05c (for Trumpet and Organ), Performed by Michel Rondeau – Aline Letendre, available at MusOpen, used in accordance with Creative Commons license.
  2. Opening acclamation: Psalm 47:5.
  3. Hymn: “Hail the Day That Sees Him Rise”, Public Domain.
  4. Lesson 1: Acts 1:6-14, World English Bible.
  5. Psalm Psalm 68:1-10 and 32-35, King James Version.
  6. Hymn: “Let All Mortal Flesh Keep Silence.” Uploaded to YouTube by
    Christina Igupen, used in accordance with Creative Commons license.
  7. Lesson 2: 1 Peter 4:12-14; 5:6-11, World English Bible.
  8. Gospel: John 17:1-11, World English Bible.
  9. The Lord’s Prayer: Chanted by unknown congregation, uploaded to YouTube by “LabourerFaith”, and used in accordance with Creative Commons License.
  10. Concluding prayer: Stanza 4 of the hymn “As Of Gladness Men of Old”, written by William C. Dix (1837-1898).
  11. Blessing: The Aaronic Blessing from Numbers 6 (King James Version).
  12. Organ postlude: Guillaume Du Fay: Hymn In Ascensione Domini, performed by David Joseph Stith on the organ at First Presbyterian Church in Austin, Texas, used in accordance with Creative Commons license.

This little audio file is offered for your edification, and to the glory of God.

Celebration for Easter 6
  1. Opening acclamation: Psalm 51:15
  2. Hymn: “Amazing Grace” for flute, Angela Brown, and organ, Diane Bish, from program entitled “Hymns and Sacred Songs”, used in accordance with Creative Commons license.
  3. Lesson 1: Acts 17:22-31, World English Bible.
  4. Psalm 66:8-20, NET Bible, uploaded to YouTube by “dailyvideobible”, used in accordance with Creative Commons license.
  5. Music: J. S. Bach: Cantata No. 207a: “O Praise the Lord Most Holy”, from a program by Diane Bish entitled “The Many Moods of Bach”, used in accordance with Creative Commons License.
  6. Lesson 2: 1 Peter 3:13-22 , World English Bible.
  7. Gospel: John 14:15-21, World English Bible.
  8. The Lord’s Prayer
  9. Organ postlude: J.S. Bach, “In Herr Jesu Christ dich zu uns wend, BWV 632”, performed by Aldo Locatelli, in the public domain.

In praise of God, and for the benefit of any who might find in it a blessing on this day of continuing isolation due to the COVID pandemic, I offer another audio file of scripture readings and music. The readings and music are taken from audio files that are in the public domain. Readings correspond to the Revised Common Lectionary.

Easter 2020 Week 3 Readings
  1. Prelude: Concerto for 2 Trumpets in C major, RV 537, by Antonio Vivaldi, performed by Michael Rondeau. Available at MusOpen.
  2. Reading: Acts 2:14a, 36-41, from the World English Bible, by Librivox.
  3. Hymn: “Thine Be The Glory, Risen Conquering Son (Traditional Easter Hymn)”, From Internet Archives.
  4. Reading: Psalm 116:1-4, 12-19, from the King James Version, by Librivox.
  5. Music: Excerpt from Variations on an American Hymn Tune, by Gordon Young, performed by Paul Pittman. At MusOpen.
  6. The Lord’s Prayer, King James Version
  7. Concluding Prayer: From Church of England.
  8. Choral benediction: C.P. Lutkin. “The Lord Bless You and Keep You.” Performed by “The Major Grooves”. Private file donated by a friend, used with permission.

I have put together another audio file of readings and music, offered in praise of God and for the benefit of any who might find in it a blessing on this day of ongoing isolation due to the COVID pandemic. The readings and music are taken from audio files that are in the public domain. Readings correspond to the Revised Common Lectionary.

  1. Prelude: Concerto for 2 Trumpets in D Major, by Johann Molter, MWV 6.30 – III. Allegro. From a European Archive, at MusOpen.
  2. Reading: Acts 2:14a, 22-32, from the World English Bible, by Librivox.
  3. Music: Hymn: Alleluia – A joyous Easter Hymn, by Frieda Hempel, Soprano, 1924. From Internet Archives.
  4. Reading: Psalm 16, from the King James Version, by Librivox.
  5. Reading: John 20:19-31, from the World English Bible.
  6. The Lord’s Prayer, World English Bible
  7. Song: “Exultate Deo”, by William Byrd; Internet Archives Community Audio.
  8. Concluding Prayer: St. Richard of Chichester
  9. Music: “Amen”, from Magnificat, fauxbourdon by William Byrd. Sung by the Choir of St. Thomas Church 5th Avenue.
  10. Postlude, Organ work: JS Bach, “Christ lag in Todesbanden”, performed by Aldo Locatelli, at MusOpen.

Quite by chance today I heard an interesting juxtaposition of two beautiful pieces of music. One, the haunting “When David Heard” by Thomas Tompkins, recalls the moment when Israel’s King David learns of the death of his son Absalom, killed as he was leading a rebellion against his own father. David, though spared, nevertheless cries out in agony, “O Absalom, my son! Would God I had died for thee.”

The other piece of music was an organ work by Johann Sebastian Bach, his Passacaglia and Fugue In C minor. The passacaglia was a Spanish dance form elevated to major effect by the Baroque master. This particular piece consists of a theme and 20 variations (or 21 variations comprising 7 sets of three, per French organist Marie-Claire Alain; this is a point of debate). The theme and variations—the Passacaglia— are then followed by a fugue upon the opening theme.

Though wordless, it is thought that Bach was using musical symbolism to express his deep Christian faith. Disagreement exists on how exactly one should interpret the piece, but the cross of Jesus is generally seen in the pattens tumbling forth from the notes. For example, Australian organist David Rumsey noted the following regarding the dramatic “Neapolitan Sixth” that marks a major pause in the middle of the piece:

“By extension we may therefore deduce that the Neapolitan Sixth at the end of section four of the Passacaglia strongly suggests “crucifixion”. Applied specifically to the Passacaglia we see the relationship to the climax of the New Covenant: the sacrifice of the Messiah.” (David Rumsey, 1992. “THE SYMBOLS OF THE BACH PASSACAGLIA”. Accessed online at http://www.davidrumsey.ch/Passacaglia.pdf)

The meaning of the crucifixion for Christians is summarized by St. Paul: “For if while we were enemies we were reconciled to God by the death of his Son, much more, now that we are reconciled, shall we be saved by his life.” (Romans 5:10)

The connection between these two stories that grabbed me was this. In the one instance the rebel died that the king may live. In the second instance, the King died that the rebel may live.

sung by the choir of Notre Dame de Paris. Organ – Pierre Cochereau


Come, Holy Spirit,
send forth the heavenly
radiance of your light.

Come, father of the poor,
come, giver of gifts,
come, light of the heart.

Greatest comforter,
sweet guest of the soul,
sweet consolation.

In labour, rest,
in heat, temperance,
in tears, solace.

O most blessed light,
fill the inmost heart
of your faithful.

Without your spirit,
there is nothing in man,
nothing that is not harmful.

Cleanse that which is unclean,
water that which is dry,
heal that which is wounded.

Bend that which is inflexible,
fire that which is chilled,
correct what goes astray.

Give to your faithful,
those who trust in you,
the sevenfold gifts.

Grant the reward of virtue,
grant the deliverance of salvation,
grant eternal joy.

Once all the rage in Reformed churches, translations of the book of Psalms set to rhyme and meter were once commonplace. The first book of any kind published in Britain’s New World colonies was the Bay Psalm Book, printed in 1640 in Cambridge, Massachusetts. (A copy of this book owned by Boston’s Old South Church was sold a few years back at a Sotheby’s auction for a staggering $14,165,000).

Some metrical psalms have survived the ravages of time to remain in present day hymnals, including “Old Hundredth” and a version of Psalm 23. The text of the former, from the 1561 Anglo-Geneven psalter, may be familiar to you:

All people that on earth do dwell,
sing to the Lord with cheerful voice:
Him serve with fear, his praise forth tell,
come ye before him and rejoice.

The Church of Scotland adopted a psalter in 1650, in collaboration with the Westminster Assembly, the full official title of which is The Psalms of David in Metre According to the Version Approved by The Church of Scotland. The “1650 Psalter”, or “Scottish Metrical Psalter”, borrowed extensively from prior versions, including 269 lines of the “Bay Psalm Book”. This 1650 edition is still used in parts of the Scottish Highlands and in some Presbyterian churches elsewhere.

A website devoted to hymnody and old psalters, Music For the Church of God, said this about the Psalter:

In spite of its age and sometimes quaint wording, the Scottish Psalter still retains great power even today. If one had to use only one metrical Psalter, this one would be a good choice.

Now, a developer has created an app that contains all 150 psalms, matched to several optional tunes (with MIDI tune player), and commentary by Scottish theologian John Brown of Haddington (1722-1787). I commend this app to you as a great way to get acquainted with this treasury of faith.

Screenshot of 1650 App

Get it for iOS in the App Store.

Android here.

Kindle store (Kindle Fire) here.

Luther Plays the Lute

Martin Luther and his family by G.A. Spangenberg (1866) Musée de Leipzig

“Next to the Word of God, music deserves the highest praise.” (Martin Luther, 1483-1548)

The reformer Martin Luther was not merely a scholar and theologian, but also a talented musician and composer. He sang and played the lute (as pictured above). As the father of the Protestant Reformation, he pushed for music instruction throughout Germany. He guided and shaped music as an expression of the reformed faith. We can give him credit for many of the musical innovations we now take for granted, such as congregational singing of hymns.

Luther collaborated with Johann Walter, singer, composer, and choirmaster to the Elector of Saxony, and together they published the first Lutheran hymn books. These hymns were instantly popular and spread quickly and widely. Among the most popular German publications in the middle of the 16th century were the Achliederbuch (1524), Enchiridion (1524), and Geystliche Gesang Buchleyn (1524). The Rev Kurt Egbert wrote:

Luther’s hymns were very popular and were sung at home, in the fields, in the marketplace, on the way to work and at group gatherings of various kinds. In the churches the singing was led by the choir (not accompanied by the organ). As hymnals were made available to the congregations, the hymns were often sung antiphonally. The stanzas were divided between the congregation, choir and organ. This is a practice which only recently has become fairly popular in Lutheran churches after a long period of neglect.(The 1983 essay “Martin Luther, God’s Music Man” is available here)

Luther’s reform of music initially allowed the use of as much or as little Latin as each church saw fit. He imported Roman Catholic music freely, often changing or translating the text into German. In 1523 he undertook to write a German version of the Mass.

He often wrote powerfully of music’s ability to elevate the human spirit. In Luther’s famous 1538 Foreword to Georg Rhau’s Collection, “Symphoniae iucundae”, his joyous thoughts crescendo to a passion that looks beyond this world to a heavenly dance:

I would extol the precious gift of God in the noble art of music, but I scarcely know where to begin or end… This precious gift has been bestowed on men alone to remind them that they are created to praise and magnify the Lord. But when natural music is sharpened and polished by art, then one begins to see with amazement the great and perfect wisdom of God in his wonderful work of music, where one voice takes a simple part and around it sing three, four, or five other voices, leaping, springing round about, marvelously gracing the simple part, like a folk dance in heaven with friendly bows, embracing, and hearty swinging of partners.

An explosion of musical creativity continued in the Lutheran churches for the next few hundred years. Riches of beauty flowed from the pens of such luminous composers as Dietrich Buxtehude, Samuel Scheidt, Heinrich Schütz, Johann Sebastian Bach, and Felix Mendelssohn. The Anglican Church, receiving Luther’s insights, evolved its own beautiful musical traditions in the capable hands of William Byrd, Thomas Tallis, and others.

Among the leaders of the Protestant Reformation, Luther’s enthusiastic embrace of music stands in stark contrast to the attitudes of some of the others. To be sure, Luther felt that music should serve the word—he advocated singing one note per syllable, for example—but he didn’t eliminate music. Many of the reformers who followed Luther took a dimmer view of music. Some banned organs and other musical instruments in their churches, and even eliminated music altogether in favor of the spoken word. In Geneva, John Calvin permitted only the a capella singing of metrical psalms. While I will not denigrate the faith, devotion, and spiritual insights of the other reformers, music in the Protestant Church clearly owes a deep debt to Martin Luther.

As a recent essay summarizes:
For Luther to “say and sing” was a single concept resulting from the inevitable eruption of joyful song in the heart of the redeemed. In contrast to some other reformers who saw music as always potentially troublesome and in need of careful control and direction, Luther, in the freedom of the Gospel, could exult in the power of music to proclaim the Word and to touch the heart and mind of man. (Paul Schilf, PhD at Christ Lutheran Church, Sioux Falls)

I recall that when I was a junior in college I visited an Anglican church whose worthy choir was performing Anton Bruckner’s “Os Justi” (not a reformed work, of course). As the treble voices soared, the man next to me muttered, “You would have to have ears of wax not to be moved by that.” Martin Luther expressed a similar sentiment:

“A person…who does not regard music as a marvelous creation of God, must be a clodhopper indeed and does not deserve to be called a human being; he should be permitted to hear nothing but the braying of asses and the grunting of hogs.”

I came across an interesting essay regarding the powerful impact that a single generation has had on Christian life in the U.S. The author of “The Six Commandments of the Boomers” is Reverend Todd Wilken, a blogger, speaker, and pastor within the Lutheran Church, Missouri Synod.

Wilken, himself a member of the “Baby Boom” generation (those with birth dates between 1946 and 1964), begins his piece with a sweeping critique of his cohorts as being generally narcissistic and self absorbed. They are now 28 percent of the U.S. population, and all of our societal institutions and power centers are firmly in their control.

Their influence on the churches of our land has been no less sweeping than it has been on other aspects of life.

Boomers seek to recreate the institution in their own Boomer image. The Boomers have brought this imperative of the individual to bear upon the Church. The Church is here to provide whatever the Boomers want or think they need… The Church has undertaken more innovations in the last generation than in all the previous generations combined, mostly at the insistence of the Boomers.

One area has been music:

And in the Church of the Boomers music is THE issue. Music was the Boomers’ voice. In large part, their music was what defined them as “hip.” Suckled at the breast of what began as tinpan alley and quickly became the music industry, the Boomers can’t wean themselves. Their kind of music is hip and that imperative of hip extends even to the Church. Again, Veith observes:

“Certainly Baby Boomers often do demand their kind of music in church. This is another of their traits —to be demanding and self-absorbed and intolerant of other styles. The World War II generation never demanded worship styles with Big Band music.”

I have been fond of saying that we seem to be stuck in a dichotomy: Boomer theology and traditional music (your average mainline denominational church), versus boomer music and traditional theology (a typical evangelical church). I now realize that I underappreciated even the sinister influence that the “Boomer worldview” has had on theology that is otherwise outwardly orthodox:

In the Church of the Boomers this rebellion against authority manifests itself as a skeptical approach to the Church’s doctrinal standards, pastoral authority, and polity.

However, the bigger problem is that in the Church there is an unquestioned authority: the authority of the Bible. The Church of the Boomers rejects this authority in one of two ways; they either deny the authority of the Bible outright, as in liberal Churches, or they relativize the authority of the Bible, as in much of Protestant Evangelicalism. The first kind of rebellion against Scripture’s authority is obvious. The second is much more subtle, and therefore more dangerous.

The relativizing of the Scripture allows the Boomers to affirm Scripture’s authority in theory while denying it in practice. They can say that they are Bible believing, that the Bible is inerrant and infallible, and even authoritative. The problem isn’t in what the Boomers say about the Bible, the problem is in how they use the Bible.

When studying the Bible there is a big difference between asking, “what does it mean?” and asking, “what does it mean to me?” The former seeks objective truth, the latter seeks subjective, relative truth. The former affirms Scripture’s authority, the latter denies it. Bible study in the Church of the Boomers is mostly the latter. If the meaning of the Bible is determined by each individual’s private interpretation, then the issue of the Bible’s objective authority is rendered moot.

Read it all at the link above.