Introduction

The use of the organ in religious circles today, particularly its participation in our own order of service, is regarded as being rather "matter-of-fact." Its dependent and independent functions are looked upon as being expedient for mere practical reasons, and its general relationship to the liturgy is more or less taken for granted.

Each Sunday organists ply their art in a manner previously conditioned by technical training, past and present environment, and their general musical and spiritual background. This they do either with or without possessing a fair knowledge of the circumstances and thought-concepts of preceding centuries which contributed so heavily to our liturgical worship both as to standard and practice. Not that such enlightenment would necessarily make them better and more proficient organists, but it would in some measure cause them to become more appreciative of the art they employ, duly conscious of their high calling, and fully aware of their responsibility to inspire and aid worshipers in extolling the Triune God.

In order for us to properly evaluate current liturgical practices and particularly that portion adopted by the organ, it may be well to review briefly the history of the organ in regard to its structure, its musical forms and compositions, and the manner in which it served the congregation.

I. History of Organ Structure

The earliest mention made of the word "organ" is found in Genesis 4:21. Undoubtedly this organ was nothing more than a pipe, the sound of which was produced by wind pressure. Perhaps it is this fact alone that bears any relation to the modern instrument. We have every reason to believe that the organ mentioned in the Bible did not possess an independent character in regard to its function, but that it was used in connection with other instruments.[1]

Turning back the years to the time when mechanical means for supplying wind pressure were used, we come to the historical beginning of our modern organ. The great problem in organ construction from the days of Ctesibius[2] to the end of the 19th century was not so much in the matter of supplying wind pressure, but of retaining it sufficiently and distributing it in such manner that the pipes might speak properly. Watchmakers, chemists, and other tradesmen besides the regular organ builders contributed to the mechanical perfection of the organ in such things as reducing the size of the keys to a point where they could be depressed with the finger instead of the fist, limbering up the rigid and cumbersome action, improving the wind chests, installing subsidiary bellows, extending the range from ten or twelve keys to several octaves, adding a pedal organ, increasing the number of pipes, and applying to the instrument the power of expression and a distinctiveness in its tonal quality. Finally, by 1600 the organ emerged as an instrument capable of performing simple polyphonic music.[3] The days of the hydraulus were almost nonexistent. Examples of men sweating over a long line of bellows were gradually fading into the past. No need now to have the organ played by "two brethren of concordant spirit."[4] Although the organ at the time of Scheidt would appear to us as a rudely constructed instrument, nevertheless it had reached such a stage in its structural development that a continuance of perfecting the remaining imperfections seemed fully assured.

Oddly enough, and one may even say by pure coincidence, the organ had reached a point in its adjustment of mechanical defects which afforded it an opportunity to make a bid for entrance into the church service, not as an independent personality, since it already had that function to some degree, but rather as a means of either supplanting or aiding the choir in accompanying the chorales sung by the congregation. In spite of this fact that the organ was physically capable to perform this duty, it had to undergo a process of purification and await the termination of certain ideologies before it could assume full responsibility.

II. History of Organ Forms

Organ playing as we know it today probably begins with Francesco Landino[5] in Italy and Conrad Paumann[6] in Germany. Not that they were necessarily the first to perform on the instrument, but because at this point we find the historical records not only emphasizing organ composition, but giving a general description of the manner in which they were executed. We must remember that during these centuries the science of organ building was of greater importance than organ composition.

The art of organ composition was somewhat restricted owing to the mechanical crudities of the organ. However, a steady advancement toward improving the physical defects automatically reduced the limitations confronting composers as well as the performers. "Organaio" and "organista" labored together carrying on a lively exchange of opinions, each attempting to meet the demands of the other. So through the years, organ art and organ building march side by side, constantly aiming at the supreme ideal where art is devoted to the service of the Church.

The first significant school of organists was founded in Italy by such men as Willaert, Buus, Merulo, the Gabrieles, and others. These masters of polyphonic art and composers of fine choral music perceived some of the innate possibilities of the organ. Constantly associated with the music of the Church, they realized that the organ could assume a much more significant role than merely imitating vocal lines. As organs improved, these vocal passages were embellished with all sorts of ornamental devices, and a tune so treated was termed "colorato." The urge to create independent compositions for the organ resulted in a vigorous growth of such instrumental forms as the ricercare, canzona, toccata, and fantasia. These experimentations with form and the gradual breaking away from ancient modalities gave promise of a new art.

Seldom do any of the arts escape criticism. Within this early period, organists and organ music were under constant surveillance of the roving eye of the Church. The Council of Trent,[7] after duly anathematizing its opponents, proceeded to discuss the deplorable conditions of music within the Catholic Church and subsequently formulated certain policies which were to govern music in general, and in particular the organists and the compositions they employed. The final injunctions were, "that bishops must take care that the sound of the organ is not lascivious and impure . . . nor must worldly and frivolous music be used . . . the church organs are not to be used for dance music[8] nor for lascivious airs, because it is not convenient to mix sacred and profane things. . . ."

The Council had merely condemned, and rightly so, certain musical practices, but it did not consider it within its province to recommend a cure. This was left to the musicians, and although remedial steps were taken by Catholics to purify organ music, it never did attain the glorious height reached by Lutheran organists. Similar conditions existed in Protestant churches as well, and the feeling that organ music was not meeting liturgical requirements seemed quite general. The task of elevating the low standards of organ music was begun by a German Lutheran, Samuel Scheidt. Historians have called him "the father of German organ music," because it was his Tabulatura Nova[9] that became the progenitor of the Choralvorspiele. Scheidt substitutes clarity in composition and a sense of organic unity for the previous incoherent ramblings of the "colorato" style of composition. His ornamentation is logical because it is done in an intelligent manner, being made subservient to the whole. The coloratura which had threatened to destroy the very life of German organ music no longer finds itself a master, but a servant to the organ forms.

The fact that Scheidt used the religious folk song of Germany, namely, the chorale, as the fundamental basis of his art assures the success and influential character of his work in his Tabulatura Nova. The historical development of organ music in Germany is analogous to the Lutheran chorale. It is little wonder, then, that the basic principle in Scheidt’s work should also serve as an inspiration to the Lutheran organists succeeding him.

The Tabulatura Nova had indeed made gigantic strides forward, but it had not spoken the last word in regard to choral preludes. There could be no improvement in Scheidt’s technic in performance, because man has always possessed two hands and two feet and it would be impossible to use more than these at one time.

It was left to such men as Pachelbel, Boehm, and Buxtehude to continue in the spirit of Scheidt. The continual striving for tone color, the creation of various forms of the chorale preludes, the further exploitation of counterpoint, the conscious use of harmony, and the embodiment of the whole with a spirit emanating from the general nature and poetic content of the chorale are the principal fruits of their ingenuity and inventiveness motivated by the organ master of Halle. The Tabulatura Nova had prophesied a glorious art. The complete fulfillment of this art culminated in the chorale preludes of Bach.

III. History of Congregational Singing

The poesy and music of the chorale forms the basis for all Lutheran church music. Definitely! There is no other agency that contributes so generously and successfully to the mass of vocal and instrumental compositions of the Lutheran Church as this religious folk song. This is an established fact!

Lutheran hymnody had its roots in the fundamentals that prompted the Reformation. The same monk who nailed the 95 Theses to the door of the Castle Church in Wittenberg became the creator of a new spiritual song.

Martin Luther was a practical man. His keen knowledge of the vernacular, coupled with his passion for the arts, especially music, produced the Reformation hymn, which served so ably in disseminating the teachings of the Lutheran Church. Luther’s co-laborers in the Reformation movement report that "Luther’s hymns did more in spreading the new doctrines than all his preaching." His opponents also bear testimony to the influence his hymns exerted upon the people when they assert that "Luther’s songs have damned more souls than all his books and speeches."

It was Luther’s intention that the hymns be used in church, school, and home. The editor of the preface to the Erfurt Enchiridion[10] states that this book of hymns was "to give the common people an opportunity to familiarize themselves with the songs used in church, so that they would understand what would be going on there."[11] In the preface to the Geistliches Gesangbuechlein[12] Luther says: "These songs are arranged in four parts for no other reason than that I greatly desire the youth . . . to have something whereby they may be weaned away from the love ballads and worldly songs, and instead of these learn something wholesome and beneficial[13] and take up good things with enthusiasm as is proper for the youth." In regard to their use in the church, Luther has this to say: "I also wish as many of the songs as possible to be in the vernacular, which the people should sing during Mass, either immediately after the Gradual or immediately after the Sanctus and Agnus Dei. For who doubts that once upon a time all the people sang these, which now only the choir sings or responds when the bishop is consecrating?"[14] Therefore we see from these remarks that the chorale was intended for the everyday life of the people. The simplicity and artistry of these sacred songs afforded the laity a natural means of expressing their religious emotions.

The congregation’s participation in worship is not an innovation of the present day. Luther refers to "the time when all the people sang." This reference would include the efforts of St. Ambrose in giving the laity an opportunity to take part in public worship in the singing of songs, psalms, and certain sections of the liturgy proper. The advent of Gregorian music and its ultimate adoption as the musical basis of the Catholic Church transferred the active part taken by the congregation to the priest and the choir. This practice of restricting the congregation to a state of passive participation in worship was not the ideal adopted by Luther. Germany’s natural love for song, the democratic principle of Lutheran worship, and the relation of a believer to his God without the intermediary efforts of a priest prompted Luther to give the congregation an active part in liturgical worship.

Although provisions had been made in the various orders of worship for the singing of the chorales by the congregation, the practice did not reach the degree of freedom enjoyed by our congregations today. Often the execution of an idea tends to speed up or retard its progress. Luther encourages the privilege of hymn singing, but with a certain purpose in mind. "I am willing to make German psalms for the people that the Word of God may be conserved among them[15] and that the Gospel of Jesus Christ might be set going and spread among men."[16] However, the finest expression in music for Luther is not the monophonic forms, but polyphonic art in vocal composition. There is enough evidence in his references to music to substantiate this statement.[17] It was mentioned before that Luther was a practical man. He was also an artist. It might be difficult to determine whether or not the art song retarded the progress of congregational singing. However, we do know that the Hamburg musicians[18] thought little of the chorale and refused to recognize singing of this kind.[19]

The salient points of Luther’s orders of worship were quite generally adopted. Localities outside Wittenberg, similarly influenced by the Reformation movement, took the liberty in working out their own orders, sometimes to the amazement and horror of Luther. But a few of these variants restricted the privilege accorded the laity in the matter of singing the chorales and other portions of the liturgy.

At first this singing was done in unison, without the aid of choir or organ. The organ merely preludized to the hymns and to the chants of the clergy and choir. It was customary for the people to sing alternately with the choir at certain points in the service.[20] The organ also entered into this antiphonal method, and the verses that were not sung by the choir or congregation were played on the organ solo fashion. Those of us who have been fortunate enough to have the organ forsake us in the midst of the opening chorale prelude have had a taste of what congregational singing might have sounded like in Luther’s day.

In time the choir came to serve as a sort of an accompaniment to the chorales sung by the people. The art of a cappella singing was nearing its golden age.[21] Composers by the score wrote some of the purest, if not the finest vocal compositions in existence. The Kantorei supplied the chorister with the necessary vocal training. Besides developing a unique vocal art, these composers were also conscious of the relationship existing between choir and congregation. This function of having the choir support the congregation meant that the cantus firmus of the chorale must appear somewhere in the composition. Walther’s Chorgesangkbuechlein placed the melody in the tenor, but this would prove to be impractical for the common people. Lucas Osiander,[22] the court preacher at Wittenberg, composed a volume of "fifty sacred songs and psalms, set contrapuntally in four parts in such a way that the whole Christian congregation can always join in them."[23] The fact that he transferred the cantus firmus to the soprano seems to be a wise move. However, it may have been the trend of the art itself rather than the impractical nature of Walther’s Choir Book that prompted this change. Vulpius, Calvisius, Eccard, and others who were contemporaries of Osiander composed in the same manner. No doubt these men had the best intentions in trying to improve conditions for the laity. However, their efforts show that they are by no means ready to abandon art song and reduce the choir to the level of unison singing. It is but an attempt to effect a compromise between polyphonic art and congregational singing.

Congregations which could not boast of a choir were perhaps the first to use organs as a means of accompanying the hymn. If the organ was not present, other instruments, such as the lute, were used. In the beginning of the 17th century it became the custom to unite organ and choir to support congregational singing.[24] This practice continued to the time of Bach.

We may wonder why all this could not have been quickly and easily solved by simply allowing the organ to serve in accompanying the chorales. The musicians of the time held this view that the art of singing, whether monophonic or polyphonic, could reach its highest degree of aesthetic satisfaction only when performed without the use of instruments. Then, too, the organ had become thoroughly disgraced through its indiscreet use in the church. Organists had done little to rectify this abnormal condition, so that the instrument was held in low regard by most musicians, even by Luther. The Church Orders of Strassburg, Nuremberg, Brunswick, and elsewhere merely restrict its use but do not give directions how to correct abuses of the organ. Perhaps the most important factor which constantly held the organ in the background was the fact that instrumental forms had not kept pace with vocal composition. After all there is such a thing as a form in music which adapts itself to the religious principles of a Church.

The preludizing to the chorales during the first hundred years of the Reformation would hardly be a type we would recommend today. If 1524 is the crucial year for Lutheran music, then 1624 marks the beginning of an organ form that in the years which follow produced such a wealth of chorale preludes comparable to the art in vocal composition and appropriate to the spirit existing in Lutheran worship.

IV. Purpose and Nature of the Chorale Preludes

The purpose of the chorale prelude is to reflect the general mood of sacred song and turn the worshiper towards things that are heavenly. The significance of these seemingly practical measures is to instill a worshipful attitude into the minds of the people and remove from their thoughts the evil designings of the devil, that they may with joyful heart direct their praise in proper spirit to the throne of the Almighty.

There are many who feel that this is pure abstract thinking. It is hardly possible they say, for music, particularly a chorale prelude, to accomplish these ideals. No doubt, architecture, paintings, and stained windows symbolizing Christianity with the purpose of diverting human thought and directing it heavenward would be viewed in the same light by such as feel their emotions and intellect to be beyond the influence of art. The organist who is fully aware of his responsibility and who with all sincerity dedicates his whole art to the Deity, becomes thoroughly convinced that God will use his efforts to the spiritual benefit of the congregation. The church musician who attacks his work with misgivings must of a certainty be secretly plagued by the thought that his particular function in life is about as influential as that of a fish peddler. Happy for those of us who can remain humble enough to rise above the utterances of those who promote the inefficacy of music in worship. Our sympathetic approach to these culturally benighted souls should prompt us to remain steadfast in our policies and urge us to continue our task with greater zeal and fervor. Therefore, what may be an idealism to others may be a realism to us, that although music has charm, it also has the power in itself to direct thought and stabilize emotion.

The purpose of the chorale prelude, then, depends upon the attitude the organist takes towards worship. But this is only part of the plan. An attitude cannot be played on the organ, but it can be made manifest through an art. The organist may possess the proper spirit, but if he chooses an inferior art to convey this spirit to the auditor, he will only succeed in making his true inner feeling regarding worship obscure.

We are aware of the effect cheap hymns have upon an excellent sermon and vice versa. The tendency to incorporate the good with the bad always results in minimizing the effect of the good. The Christian organist for the sake of the common people cannot afford to play the role of Dr. Jekyll and Mr. Hyde, because if he does, he will always appear as Mr. Hyde. The only means which produces a direct contact between the organ bench and the pew is the art, and it is the art which can reflect the attitude of the organist.

There is no other church denomination outside the Lutheran Church whose sacred song has produced such an array of art forms. The close-knit union of the simple choral melody with vocal and instrumental forms has produced such a vast amount of material that we, as Joseph of old, must leave off numbering. With such a reservoir of excellent compositions at our disposal, organists and choir conductors have no excuse for performing questionable music.

Besides the organist’s attitude toward the function of the organ in worship and his judicious choice of an art expressing the spirit of his religion, there remains a third requisite which has also a direct bearing on the purpose of a chorale prelude. That is his technic in performance. The degree of technic ranges all the way from the execution of the "Amen" appended to the hymn to Bach’s De Profundis. The lack or abundance of natural technical ability does not deter the efforts of the organist in reaching the ultimate goal or become a barrier to him in carrying out the objectives of a chorale prelude. The storehouse of Lutheran art contains such an inexhaustible supply of organ compositions that those who feel they are deficient in natural ability can find sufficient material suitable to their individual technic. The structure of a churchly art may be either simple or complex. For the sake of the people, we must always stress simplicity in art, so that all we attempt to do becomes meaningful. In the First Epistle to the Corinthians,[25] St. Paul speaks of the need of simplicity in speech: "For if the trumpet give an uncertain sound, who shall prepare himself to the battle? So likewise ye, except ye utter by the tongue words easy to be understood, how shall it be known what is spoken? . . . Yet in the church I had rather speak five words with my understanding, that by my voice I might teach others also, than ten thousand words in an unknown tongue." Applying the wisdom of these words to music in the church should move us to cultivate a distinctive art, being careful that it does not exceed the level of common understanding lest the message be made of none effect. Let us therefore be men in understanding, but let us speak as a child. The consecrated organist will strive to edify, not tempt his congregation.

The spiritual attitude of the organist, the employment of an art comparable to the spirit of Lutheranism and within the scope of his own ability are integrated elements necessary to effect the purpose of the chorale preludes. The prelude must be idiomatic of the chorale itself and the first way to arrive at this oneness is to have the prelude contain the cantus firmus of the hymn either in part or in full. The organic element welding the prelude to the hymn is the melody, and it is through hearing the melody that the congregation is able to make an association with the poetic content. This becomes significant, because it is this religious poetry which best expresses the teaching of the Lutheran Church. Music only tends to heighten this expression and serves as a medium through which the congregation confesses its religious beliefs. We must eventually come to realize that prelude and hymn are not two separate entities whose functions are independent of each other. It is the close relationship between the two that best achieves the objective, and it is the organist, who through a discreet choice of material can and does regulate the degree of relationship which exists.

It may be well to discuss the types of chorale preludes best suited to properly prepare the people for the hymn.

1. The organ chorale form is perhaps the most common and most effective one. The melody may appear in any voice but is usually found in the soprano or bass and flows along in a continuous line without interruptions. Such preludes are an expression of the chorale in the idiom of the organ and through their simplicity in form and their direct statement of the cantus firmus become most beneficial to the laity, particularly if the congregation’s contact with the hymn has been somewhat limited. The majority of the preludes in Bach’s Orgelbuechlein belong to this class.

2. A second type, the fughetta style, uses only a part of the hymn tune. This part of the melody, usually the first phrase, forms the backbone of contrapuntal structure. Such hymns as "Ein’ feste Burg ist unser Gott," "Schmuecke dich, O liebe Seele," "Wachet auf, ruft uns die Stimme," "Es ist das Heil uns kommen her," and others with which the congregation is quite familiar could be introduced by this type of chorale prelude. Merely hearing a fragment of the cantus firmus will enable them to make a proper association with the hymn text.

3. The third chorale prelude form has an affinity with the fughetta style. This is the chorale fugue. Length and complexity of structure distinguish it from the fughetta. Usually the entire melody appears in a chorale fugue. Each phrase of the hymn is interposed with contrapuntal material derived from the phrase itself. Although the intervention of this material does have a direct. bearing upon the melody phrase, it does present this danger that the short episodic movements interrupting the continuous flow of the cantus firmus may distract the congregation from the source of its association with the text. However, as was the case with the fughetta, this form becomes most effective when the hymn tune is well known.

4. The chorale partitas of Walther,[26] Pachelbel, Scheidt, and members of the Bach family constitute an excellent prelude form. The structure of the opening movement is simple, characteristic of the organ chorale. Although the variations are short, it would be impossible to play them all because of the time element involved. Those variations that are idiomatic of the hymn or express the thought of certain stanzas of the hymn can be used to the best advantage.

5. The coloratura type of composition, evident in the works of Hanff and Boehm, is used less frequently than other prelude forms. The melody has become so highly embellished that it is almost beyond recognition. This coloristic method produces compositions that are churchly, but in themselves they do not possess that direct character inherent in the other forms and, particularly, in the chorale itself.

6. Related to this melismatic treatment of the cantus firmus is the chorale fantasia. Its distinguishing feature from the coloratura is that the embellishment does not lie in the melody, but in the voices supporting the melody. The tendency is to emphasize structure rather than content. The fact that Bach also made use of these forms does not become a criterion by which we judge their worth. Although these prelude types (the coloratura and fantasia) emphasize outward effect, this does not necessarily ban their use in the service because, though churchly in form, they are able to create a religious atmosphere, but certainly nothing beyond this. However, the degree of embellishment differs, and where enough of the melody remains untouched by ornamentation or is only slightly ornamented, and in the fantasia, where the supporting voices are subordinate to the cantus firmus, thereby allowing it to become easily recognized by the congregation, the use of this type of preludes may be justified.

This leads us to consider the possibility of substituting other compositions for the chorale prelude, such as toccatas, fantasies, preludes, fugues, passacaglias, which in the narrower sense do not fall into the categories of the chorale prelude forms previously mentioned. The grandeur of music structure when used in a church can only at its best depict generalities in relation to worship. A miscellaneous composition used to introduce the hymn must depend upon the hymn for its significance. For this reason the prelude is not able to function as it should in respect to the chorale and its appreciable value does not make itself felt at the moment desired. It is like putting the cart before the horse. Such types of composition serve best when used as postludes.

In comparing miscellaneous organ composition forms with the variety of chorale prelude forms, we readily see the limitations of the former. Keeping the spiritual needs of the laity in mind induces us to choose the latter. The presence of the chorale cantus firmus in the chorale prelude supported and carried along by a chaste art creates an atmosphere of worship and at the same time supplies the congregation a means through which it can make mental contact with the poetic content of the hymn.

There are other issues confronting organists in regard to chorale preludes besides form and the use of a legitimate art. The question of using the original rhythm of the chorale or the uniform rhythm adopted in the 18th century, and the matters of organ registration, organ construction, tempo and phrasing are all significant details. But they become most significant to us in the exercise of our musical heritage if they grow out of fundamentals. The Word they still shall let remain, and as long as the Gospel of Jesus Christ dwells among men, the basic principles of religion and the fundamentals of the art of music will not and cannot change. The Word—namely, Jesus Christ, our Lord and Savior—is the chief Cornerstone of our faith. The chorale, the very core of Lutheran music, is the chief cornerstone of our art, and it is only by making the latter subservient to the former that we can ever hope to achieve in art that which is most pleasing to God.

Whereas we have only begun to effect a reformation in Lutheran church music and are still in our infancy in unveiling and exercising our musical heritage, be it resolved that our deliberations and the purpose of our individual and collective efforts be not art for art’s sake, but art for the Lord’s sake; and be it further resolved that we again and again re-emphasize the changeless fundamentals underlying Christian art and bequeath to our posterity a solid foundation on which they can continue to build the structure of Lutheran music—lest we die intestate.

We, the members of the Reformation Church are the only logical curators, trustees, and custodians of our musical heritage, but we must also become ardent and zealous in the dispensation of this heritage and turn it back to the laity, whence it originated.

"It is not enough for us to be clever, to be eloquent, to be scholarly, to be winsome, to be masterful. To what end are all these gifts? To this end that we might serve humanity."[27]

"Art has an enemy called ignorance"[28] but "Time and study discovers truth."[29] May we, the musicians of our Church, ever remain students of the Bible and the arts! We cannot afford to become indolent or indifferent. There is too much at stake! Our work involves the soul of man! Therefore let us hammer away at the door of divine knowledge to strengthen our faith and humble ourselves to the task of controlling and improving our personal handicaps and out of all this firmly grasp the hymn of the Church and wield it as a mighty weapon to dispel the powers of Satan.

"The art we cultivate is holy, and we must render our lives holy if we would become its priests."[30] "As every man hath received the gift, even so minister the same one to another as good stewards of the manifold grace of God. If any man speak, let him speak as the oracles of God; if any man minister, let him do it as of the ability which God giveth; that God in all things may be glorified through Jesus Christ, to whom be praise and dominion forever and ever."[31] And through our adherence to these words may we receive this commendation from above: "Well done, thou good and faithful servant."[32]

Bibliography

J. S. Bach, Albert Schweitzer, Vol. I.
The Life of Bach, P. Spitta, Vol. II.
Bach, L. N. Field.
The Chorale Preludes of Bach, Stainton Taylor.
The Music of Bach, C. S. Terry.
Works of Martin Luther, Vol. VI, Holman Edition.
"Luther on Music," Walter E. Buszin (Musical Quarterly, January, 1946).
Music in the History of the Western Church, Dickinson.
Music in Work and Worship, Lorenz.
Music in History, McKinney and Anderson.
The History of Music, W. S. Pratt.
Harvard Dictionary of Music, W. Apel.
Zur Geschichte des Choralvorspiels, A. Scheide.
The Organ and Its Masters, H. C. Lahee.
Organ Music, C. F. Abdy-Williams.
The Liturgical Use of the Organ, Godfrey Sceats.
The Organ, Composers and Literature, D. E. Berg.
Christian Art, P. E. Kretzmann.

Cited References and Notes

1 Job 21:12. Job 30:31.
2 About 200 B.C.
3 By 1300 Spanish organists were already playing polyphonic music.
4 Refers to the organ at Winchester, England.
5 1325–1397.
6 1410–1473.
7 1545–1563.
8 Referring to the musical form.
9 Published 1624.
10 25 hymns; 18 of which are Luther’s. 1524.
11 Works of Martin Luther, Hol. Ed., Vol. VI, p. 279.
12 Walther’s Choir Book, Wittenberg, 1524. Contains 24 of Luther’s hymns.
13 No doubt referring to spiritual benefit as well.
14 Works of Martin Luther, Hol. Ed., Vol. VI, p. 98.
15 "Luther on Music," Musical Quarterly, January, 1946, p. 87.
16 "Luther on Music," Musical Quarterly, January, 1946, p. 88.
17 "Luther on Music," Musical Quarterly, January, 1946, pp. 82, 83, 84, 85, 86, 88; also J. S. Bach, Schweitzer, Vol. I, p. 29.
18 Refers to Johann Mattheson, 1618–1764.
19 Schweitzer, Vol. I, p. 39.
20 Schweitzer, Vol. I, p. 31.
21 About 1600.
22 1586.
23 From the title page of this publication.
24 Schein-Stade-Scheidt.
25 I Cor. 14:8–9; 19.
26 Johann Gottfried.
27 G. W. Truett.
28 Ben Jonson.
29 Seneca.
30 Mazzini.
31 1 Peter 4:10–11.
32 Matt. 25:21.

From The Musical Heritage of the Church, Volume III (Valparaiso, Ind.: Valparaiso University, 1946). Reprinted by permission of Valparaiso University.

For personal use only.