CPH is pleased to introduce this new collection of thirty-five hymns for men’s voices, following the classic first volume published in 1961. Featuring all new settings for the Church Year by Kevin Hildebrand, these hymn arrangements include predictable, pleasing harmonies with the melody almost always in the top voice (Tenor 1). These will be useful as stand-alone choral anthems or choral stanzas in alternation with congregational singing.

“Repetition is the mother of all learning.”

This is a common saying, especially in education. The exhortation to repeat, repeat, repeat hopefully is prevalent in our Lutheran schools. Only through repetition does one learn and retain something. You are only reading this right now because someone drilled you on your ABCs and phonograms. In music, we drill note names and scales and rhythms.

 Have you ever wondered why some hymns in Lutheran Service Book have more than one setting? To the untrained ear, the spacing and notes may seem almost identical, but to a seasoned musician, one tweak can make all the difference. Fridrich Layriz (pronounced LIE-ritz) supported the use of traditional rhythmic settings for hymns, and his work was influential, especially for The Lutheran Church—Missouri Synod and its music. 

What’s the very first thing you do when you get to church on Sunday morning? With social distancing it might look a bit different right now, but do you usually greet the people around you? Sip the coffee you grabbed from the refreshments table? Sit down, pray for a few minutes, and center yourself for worship? As a long-time music lover (and player), the first thing I always did was look up what we would be singing for the day. Knowing which hymns would ring out during service was important to me, not only to see if we’d sing my favorites but also to see what the service was going to be about.  

Handbells are a beautiful addition to any Sunday worship service. “Built on the Rock” by Hart Morris gives your handbell and handchime group a challenging yet stunning piece for your congregation to listen to, with a triumphant conclusion of praise to the Savior. 

This past weekend, I discovered a delightful new album that mixed Mozart horn concertos with mambo music featuring the French horn. The promotional video for the album showed a colorfully arrayed orchestra playing a mambo on a Havana street, the musicians dancing to their own music.

Think about your favorite hymn in Lutheran Service Book. If you have a hymnal handy, take a minute to look it up. In the bottom right corner of the page, there’s probably a name listed in all capital letters—this is the hymn tune. Some are simple, like CAROL or GREENSLEEVES. Others are phrases, often in Latin or German.

Kevin Hildebrand is Kantor at Concordia Theological Seminary in Fort Wayne, Indiana (CTSFW), and at St. Paul’s Evangelical Lutheran Church in Fort Wayne. His work involves training future pastors at CTSFW in practice and understanding of Lutheran church music and hymnody as well as forming a confessional, congregational, and musical identity at St. Paul’s.

Hildebrand attended Concordia University Chicago for undergraduate study, and afterward, earned master’s degrees in music from the University of Michigan and theology from CTSFW. In Lutheran Service Book, Hildebrand composed the tune “Lord of Life” (552, “O Christ, Who Shared Our Mortal Life”) and wrote harmonizations for three more hymns in LSB.

Music is a wonderfully underrated teaching tool. Think back to your childhood. Can you remember singing your ABCs? What about the catchy tunes from Schoolhouse Rock!, which covered history, math, science, and grammar? It’s not surprising that many educators use music to help their students learn and memorize curriculum.

Martin Luther was extremely familiar with the concept of music as a teaching tool. In fact, Luther wrote six catechism hymns, one for each of the Six Chief Parts of the Small Catechism. He knew that by putting the words of Christian doctrine next to a hymn tune, it would help the people to remember the words and their meaning more easily.

We need good music.

We need Palestrina and Bach and Mozart and Beethoven and Mendelssohn and so many others. We need good Renaissance and Baroque and Classical and Romantic music. We need good cantatas and passions and chorales and chorale preludes. We need our modern church composers, for what would I do Sunday after Sunday without my trusty Hymn Prelude Library? We need beautiful, classical, and sacred music that uplifts the soul and draws us to heaven, or refreshes the spirit, or teaches our children what truth, beauty, and goodness sound like.

But just as much as all of that, we need good modern secular pop music.