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.

Jonathan D. Campbell has arranged a medley, or three hymn tunes, associated with Christ the Good Shepherd, including BROTHER JAMES’ AIR, BRADBURY, and RESIGNATION. Arranged with accessibility in mind, the setting is scored for two-octave handbells. Several meter and tempo changes provide variety and contrast, while the optional addition of handchimes adds to the gentle nature of the piece. Level II.

This blog post is adapted from Blessed Be His Name by Rev. Dr. Kevin S. Golden.

Scripture teaches us to call upon the name of the LORD, bless His holy name, give thanks to His name, praise His name, and hallow His name. In doing so, we worship Him because He and His name are inseparable. This worship focuses upon what He has done for us and upon His delivering the benefits of His work to us. The apostle John proclaims the benefit we receive from the name of the LORD: “These are written so that you may believe that Jesus is the Christ, the Son of God, and that by believing you may have life in His name” (John 20:31). Life is bound up in the name of Christ. The life of Christ, eternal life, victory over death, is given you in His name. The Church’s liturgy, therefore, delivers His name so that you have life.

For many church musicians, summer is a time of rest from the rigors of the rest of the year. Music teachers find a respite in their school schedule, lesson teachers find that students take more time off during the summer, and church music directors, cantors, and organists often take the summer to break from the usual choir rehearsals and demands of festival Sundays. We need rest.

The Service of the Sacrament is the celebration of the Sacrament of the Altar. The Sacrament was instituted by Jesus Christ for the forgiveness of sins. It is to be celebrated by all Christians until Christ comes again on the Last Day. Read this excerpt from Worshiping with Angels and Archangels: An Introduction to the Divine Service below to learn more about this part of the Lutheran worship. 

While reading a child’s version of the biography of Johann Sebastian Bach to my students recently, I was struck with how much Bach learned from the “masters.” When practicing and perfecting his art, Bach intentionally sought out music written by those who preceded him whose works were masterful and worthy. Bach’s method of learning music in this way provides a powerful example of the way in which we should learn and teach music.