ABOUT HYMNS

One of my favorite characters in 20th and 21st century Lutheranism is Dr. Martin Marty. Marty, a native Nebraskan who has made Chicago his home for most of his rich life, must be considered the denomination’s foremost authority on worship and applied theology. He has been a contributor to The Christian Century since 1956. The depth of his scholarship is affirmed by 75 honorary doctorates. Smart dude, indeed!

Nearly three decades ago I attended a conference in Pennsylvania where Marty was a keynote speaker. In the Q & A after a lecture on the “place” of Lutherans in modern American Protestantism, he was asked what the primary distinguishing characteristics were of the Lutheran brand of Christianity.

He said that there were many distinctions, but two that stood high above all others, the Biblical balance of Word and Sacrament in all areas of devotional life, and the quality and depth of Lutheran hymnody. “Without our hymnody,” he said, “..we are just run-of-the-mill, garden variety Protestants, as somber as Presbyterians and as wishy-washy as Methodists.”

Though I outwardly cringe, but inwardly high-five, at his bluntness, I do believe that the jolly old fellow rather has a point. Whether it be the German chorales of Luther, Nicolai, Bach, and others, or the Scandinavian hymns of Grundtvig and Christiansen, or the more present works of Burkhardt and Manz, there is nothing like Lutheran hymnody for scriptural authority, musical strength and poetic transport.

It is a crying shame that so many of our congregations, in both the ELCA and the LCMS, have opted to cashier this timeless and profound heritage to replace it with the drab, commercial bushwash common in other churches, music that has contributed to the loss of nearly 25 million members in Presbyterian, Methodist, Baptist, Disciples, and yes, Lutheran denominations in the last generation.

But all the news is not bad. There are many congregations across the country that have reaffirmed their commitment to excellence in worship, excellence in choral leadership, and excellence in liturgy and hymns. During my recent months of “retirement” from church music leadership I have had the privilege of visiting such churches and witnessing their success first hand.

There are many common themes that I have noticed in these growing and vital churches. Excellence in liturgy and music is chief among them. I have been inspired by the well-played organs and well-trained choirs. From my vantage point as a visitor in the congregation I have seen how the leadership of these choirs and organists empower meaningful congregational participation.

Great hymns form the core of the liturgical and musical excellence of these winning churches.

I define a great hymn as having five primary elements, none of which may be lacking if a hymn is worthy of inclusion in the service of the faithful. First and foremost, a hymn must be scripturally authoritative. It must be consistent with Holy Scripture and (for us) consistent with Lutheran theology of salvation by grace through faith.

Second, it must be musically appropriate for congregational singing. A hymn is to be sung by the gathered assembly in the context of Christian worship. There are many “songs” that are enjoyable, even uplifting as solos, choral pieces, or choruses around the campfire, but they simply don’t work for a congregation to sing together. Sadly, a misguided attempt at “diversity” has brought many of such songs into the two recent weak hymnal efforts by the ELCA, With One Voice and Evangelical Lutheran Worship.

Third, the language of hymns should be particularly timely and exalted. Most certainly, the worship of the church in 2010 should include hymns from the best theologians and musicians of our day. Two songs in With One Voice are grand examples of this: “I Am the Bread of Life,” and “O Blessed Spring.” These hymns are more than worthy to take their place alongside “Praise to the Lord,” and “Now Thank We All Our God.” There is a grandeur to the language of quality hymns that emblazons Biblical imagery through the mind and deep into the soul. One of the most unforgivable offenses of recent hymnals has been the exchange of such powerful and exalted phrases for common language more fitting for a corporate expense report or the minutes of a club meeting than for the worship and praise of the Savior of the Nations.

Fourth, a hymn must be well-chosen to be effective. “O Sacred Head Now Wounded” is one of the richest hymns of the Lutheran (or any) tradition but it is simply not appropriate for the first Sunday of Advent or for Easter Day. Likewise, “Silent Night” would be out of place on Pentecost Sunday. Hymns well-chosen are chosen to augment and lift up the scripture for the day, especially the preaching text, the general theme of the liturgical season, and the specific theme of the liturgical day. For most services, the Hymn of the Day is the one that should be most closely tied to the scripture and preaching text. The opening and closing hymns can, and often should, be reflective of the theme in a more general application.

Finally, a hymn must be properly placed to be effective. In general, the opening processional hymn should be grand and majestic. Examples would be “The Church’s One Foundation,” “Praise to the Lord,” or “All Creatures of Our God and King.” The middle hymn can be more varied, as is necessary to be woven more intimately with the scripture. Often this is a good place for a hymn that is more meditative and reflective in nature. Finally, the closing hymn should sum up the themes of the service and send the worshiper out in a spirit of renewal, reaffirmation and recommitment. Hymns that are meandering or shallow placed at (especially) the beginning of the service or the end can do great damage to the energy and spirit of the worship. Consider these three wonderful hymns for the Feast of All Saints.

For All the Saints (LBW 174)
O God Our Help in Ages Past (LBW 320)
I Am the Bread of Life (WOV 702)

Obviously, “For All the Saints” is one of the most beloved hymns in the English speaking world...powerful, joyful... and it opens the worship with strength and a clear theme for the day. Though, from a purely thematic standpoint it could be placed in the middle of the service, to do so would strip it of its power while also denying the worship a grand source of majesty and energy at the outset of the celebration of Christ’s victory over death.

Likewise, “O God Our Help in Ages Past” can be used at the beginning of the service (as I have done during Lent) but it is not anywhere near as strong as “For All the Saints.” Plus, its themes of God continued providence well-fits all three gospel readings for All Saints Sunday.

Finally, in the church’s greatest affirmation of eternal life apart from Easter, there can be few worship elements more exalting and empowering than singing “Yes, Lord, I believe that You are the Christ... and all who believe in You shall live forever... And I will raise you up on the last day!” (Just typing the words in this note brings tears to my eyes in the sure and certain knowledge that I will one day be reunited with those from whom I have been parted by death.) Great hymnody should give such voice to the depth of the worshiping spirit.

Armed with rich heritage entrusted to us, and the urgent work set before us, the Church should accept nothing less than great hymnody, and should demand it without apology.

Soli Deo Gloria,
Bill