* This sermon, based on Luke 2:14, was delivered at the opening service, St. Paul’s Lutheran Church, Sheboygan, Wisconsin, by the Rev. A. W. Mennicke.

A major problem in the field of church music is to find the proper balance between popular expression and artistic accomplishment. At times the pendulum has swung far to one side, then to another. In the early Church there was, of course, participation on the part of all. The entire congregation sang the hymns, whether they were in church or at the cemeteries, whether assembled in catacombs or in the arena of death. When church leaders in the Middle Ages judged the voices of the semibarbarian Norsemen too coarse, all congregational singing was eliminated and choirs, especially trained, were relied upon. Through Luther’s work in the Reformation the musical heritage and privilege of the Church was restored and developed. In our present age we are in danger of veering in the opposite direction to that common in the Middle Ages. In our eagerness to have people sing in our services we at times fail to train them properly and rather encourage them to sing jingle rhymes that are merely a caricature of true church music. In either case church music suffers. But both extremes can readily be avoided by a close study of Scripture. The Lord has not laid down a formal rule for the structure of the music to be used in our Church, but He has given beautiful models for us to follow. A model of this type we find in the angel’s hymn at Bethlehem. It teaches us the principles of proper church music.

I

The words of the text were first sung by holy angels of God. Accordingly their music was perfect. It gives us a demonstration of music that is pleasing to God—proper church music.

"Glory in the highest to God" is the foremost theme of all proper church music. As the highest end and aim of mankind must ever be to glorify God, so also church music, whether sung or played on musical instruments. When the holy angels saw the finished work of creation from the hand of God, they sang their praise to Him. They continued this praise. The brief view Isaiah saw of heaven showed him the angels singing; "Holy, holy, holy, is the Lord of Hosts; the whole earth is full of His glory." When Christ was born, the angels sang the words recorded in our text, again words of praise. Nor does the theme change. When the Book of Revelation shows us a picture of the holy angels and the elect before the throne of the Highest, we again hear them singing; "Blessing and glory, and wisdom and thanksgiving, and honor and power, and might be unto our God forever and ever." These are specimens of perfect hymns, pleasing to God, sung by the angels and the saints in light.

If you investigate this matter from another angle, you will reach the same result. Some might expect that God is satisfied with a different type of hymn by those who are dwelling on earth and therefore still in the state of imperfection. That view is incorrect. The hymnbook of the Old Testament Church tells us (Psalm 92): "It is a good thing to give thanks unto the Lord and to sing praises unto Thy name, O Most High." Each of the last five Psalms begins with the words: "Praise ye the Lord." The commandment "Thou shalt worship the Lord thy God, and Him only shalt thou serve," pertains to our church music as well as to all other activities.

Accordingly we repeat the assertion made earlier—proper church music must have as its first and highest aim the glory of God. Composers and authors, instrumentalists and singers, dare never forget this all-important principle.

From the very beginning of Lutheran hymnody the principle of giving glory to God in the highest was observed. When Johann Poliander, 1525, wrote the majestic hymn "My Soul, Now Bless Thy Maker," this principle was observed. To these grand words a fitting, stately tune was soon wedded. When Gustavus Adolphus restored the Protestant service in Augsburg during the Thirty Years’ War, this hymn was properly sung in the first service. When Luther wrote a hymn on the Lord’s Supper, he began: "O Lord, we praise Thee." Or shall we turn to the period of Paul Gerhardt? Here we are met by the hymn "I will Sing My Maker’s Praises." "All Praise to God who Reigns Above" is another familiar and model hymn of this same age.

The hymns listed follow the pattern given us by the angels of heaven: "Glory to God in the Highest." These are proper Biblical principles, and if Biblical, then Lutheran. Should any say that they are heavy, we counter with observation: so is the subject matter "Glory to God in the highest." It is noteworthy to observe, when given the opportunity, that we love to sing these good Lutheran chorales. It is only when our appreciation has been dulled by inferior music and songs that they seem to be too heavy.

Another practical application may be made. We wonder how much glory to God is shown when the music set for a popular theater piece, and a tragic episode at that, must be played while the bride-to-be marches down to the altar of the Lord. "To a Water Nymph" is hardly suitable music to be played after a powerful sermon has been preached. "Glory to God in the highest" is the first principle of proper church music—Lutheran church music. May it remain so! By observing this principle we shall avoid many pitfalls and be in a position to observe also other principles that belong to proper church music.

II

The second principle of proper church music was expressed when the angels sang: "On earth, peace." Without this message we would not be in the position to give glory to God in the highest. "On earth, peace," this is the message which tells us: "God was in Christ, reconciling the world unto Himself, and hath committed unto us the word of reconciliation." It is the message which tells us that God loved the world in this particular manner "that He gave His only-begotten Son, that whosoever believeth in Him should not perish, but have everlasting life."

It was this peace on earth that Moses, the man of God, desired when he wrote in Psalm 90: "Satisfy us early with thy mercy." This peace on earth is what David had in mind when he sang: "Blessed is he whose transgression is forgiven, whose sin is covered."

Without this message, "on earth, peace," there would be no incentive to sing unto God, nor would our hymn be God-pleasing. "On earth, peace," redemption through the merits of Christ, is the key to our salvation. Without it there would be no forgiveness of sin, no peace of conscience, no hope of heaven, no comfort in sorrow. There simply would be nothing to sing about. But out of this message, "on earth, peace," hymns and chorales flowed forth in an endless stream. Under such circumstances it must be self-evident that the second principle of proper church music must be to stress the redemptive work of our Savior and to bring its proclamation—salvation by grace through faith in Christ Jesus.

Again we observe that the Lutheran treasury of chorales gives ample evidence that this principle was followed. It was the assurance of peace on earth that gave Luther the power to write the hymn: "Dear Christians, One and All, Rejoice." Without peace on earth, Luther’s co-worker Paul Speratus would never have been able to write that classic confessional hymn of the Lutheran Church: "Salvation unto Us Has Come by God’s Free Grace and Favor." Without this message we would lack Paul Gerhardt’s inspiring Lenten hymns: "A Lamb Goes Uncomplaining Forth, the Guilt of All Men Bearing" or "O Sacred Head, Now Wounded." Without the message "on earth, peace" Nicolai would never have written that queen of chorales: "How Lovely Shines the Morning Star," for this Morning Star is none other than the Savior, Jesus Christ, and in His mercy He permits us to lift up our voice and strike the string to let glad sounds of music ring.

Where the congregation loves its Lutheran chorale, and the organist, also in his incidental music, does not neglect it, a powerful religious force is at work. Let us not permit our Lutheran church music to fall into disuse. It is elevating, it gives all glory to God in the highest, it brings the message we so sorely need, "on earth, peace," and as its third great principle it enunciates: "Among men, good will."

III

"Among men, good will." Where God is honored and glorified as the highest Good and where the soul-saving message of the grace of our Lord Jesus Christ is known, believed, and sung, it is but natural that the proper relationship of one Christian to another be stressed. "Among men, good will."

Just because Lutheran church music has not stooped to sentimental ditties, let no one think that good will among men has been lost sight of. Johann Heermann comes along with the stanza: "And let me with all men, As far as in me lieth, In peace and friendship live." Where in all the world is a more touching intercessory prayer than Paul Gerhardt’s evening hymn with its closing stanza: "My loved ones rest securely, For God this night will surely From peril guard your head, Sweet slumber may He send you, And bid His hosts attend you, And through the night watch o’er your head."

To these simple God-given principles for proper church music, Lutheran church music, let us cling. Thereby all glory is given to God alone; there is enduring comfort for poor sinners, and our fellow men are commended to God. Let us not cast our Lutheran chorale aside, but learn these hymns, use them, enjoy them, and be blessed by them. Our vaunted pride will perish, but Jesus, our Priceless Treasure, will be with us to bless us and work through us. Amen.

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

For personal use only.