We live in a world dominated by digital technology—technology that majorly affects our modern musical world. Although digital technology can offer us a wealth of music we might otherwise not have access to, digital recordings lack the inherent risk of live performance—a risk that lends live performances a certain sense of humanity. This humanity reflects the reality of our lives, including the reality of salvation through Christ. Although digital technology in the musical world is a great gift, it is a worthy endeavor to continue to pursue live musical performances in order to experience the wonder and beauty of music that we must take as is in all its imperfection.

This blog post has been adapted from an article that appears in Lutheranism 101: Third Edition. Read the first part of the article here.

Bret A. Heim has crafted new settings based on five of Martin Luther's hymns:  GOTT DER VATER, WOHN UNS BEI; JESUS CHRISTUS, UNSER HEILAND; a cantilena and toccata on NUN BITTEN WIR; NUN FREUT EUCH; and a delightful triptych on NUN KOMM, DER HEIDEN HEILAND. These attractive settings will be a wonderful addition to the organist’s library.

As anyone who spends time around kids can attest, children love to move. In fact, it is often difficult to get them to sit still, and many teachers know how beneficial it is to plan lessons in which children can move their bodies while still learning. Like many things, this characteristic of children speaks truth about human beings in general: we are made to move.

This three-volume set edited by William Braun includes the SAB chorale settings of Michael Praetorius, making this collection accessible to most choirs. The settings may be used as a complete selection by the choir, as an anthem, or in alteration with the congregation for the Hymn of the Day.

In this “Back to School!” time of year, what are your routines? You may be back in school already or preparing for its arrival in the coming weeks. It is this time of year that—whether or not we are actively involved in a school as a student, teacher, parent, administrator, church worker, or volunteer—we tend to pay attention to a change in routines. Summer’s coming to a close and the rapidly approaching autumn signals a return to stricter schedules and more involved days.

The Reformation was still young in 1524. Barely seven years had passed since Luther posted his Ninety-Five Theses. His German translation of the New Testament had only appeared two years before. His Small and Large Catechisms wouldn’t come for another five years.

But two important books came out that year that would shape and influence the course of music in the Lutheran church. Early 1524 saw the publication of the first Lutheran hymnal, which served as the model for subsequent Lutheran text writers. And toward the end of 1524, Johann Walter published a collection of music that would similarly influence Lutheran composers for the next five hundred years.

The new music collection features an assortment of nineteen wonderful preludes by Georg Philipp Telemann (1681–1767) and edited by Sam Eatherton. Telemann composed chorale preludes that were typically set twice, the first in three voices and the second alio modo or aliter (“in another way”) consisting of two voices (bicinium), making these settings valuable to student and seasoned organists alike. This collection of chorale preludes was carefully selected and edited by Sam Eatherton to be compatible with Lutheran Service Book and other hymnals. These settings provide a fresh alternative that will appeal to church organists looking for new ways to present these German chorale tunes.

I periodically see a meme floating around the internet jokingly mimicking those who praise musicians with phrases like “Wow, how did you get such great talent?” and “How do you play so beautifully?” The musician responds every time: “Practice.”

This meme expresses the truth of every great artist. Certainly, some possess a certain knack for particular arts and we hear about prodigies every once in a while, but the truth is that those who succeed in any area, whether music or otherwise, succeed because they put in the hard work of learning to do something well.