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Lesson 8 Don't try it alone!

11/14/2017

Photo above taken in Wittenberg museum shows Melanchton (front right) and Luther( left back)
(Text below part of presentation to musicians, artists and worship leaders in Kyiv, Ukraine, May 2017)

Lesson 8. It is important that we surround ourselves with strong people whom we empower and trust.

If Luther had not surrounded himself with those whose capabilities in certain areas far surpassed his, I doubt that the Reformation would have the wide spread impact that it did.

Sadly, many creative people with great potential fail to realize their potential for God because they try to do things alone. Unlike many leaders, Luther was not threatened by other strong individuals. Instead, Martin Luther understood that collaboration with others is essential.

Recognizing the need for a systematic theologian and educator, Luther asked Melanchthon to take the truths of Scripture that he was unveiling and present them in an organized structured fashion so that they could be understood, preserved and taught. Although Luther believed in the value of education and was a passionate teacher, he knew that he was not a designer of educational systems like Melanchthon.

Philip Melanchton Philipp Melanchthon (1497-1560) was called the "Teacher of Germany" for a good reason. Active in the establishment and reform of schools for more than forty years, Melanchthon guided the development of the educational system in Germany. He wrote the constitutions of many reformed schools, composed the ordinances of several newly founded or restructured universities, and advised academic administrators throughout Europe. He also wrote many textbooks, grammars, and handbooks of education. As professor in the Arts faculty at Wittenberg University, Melanchthon taught hundreds of students who as teachers later implemented educational changes throughout Germany. And as the reformer most inclined to intellectual culture, Melanchthon sought to define a theory of education that was based on scriptural principles.

Luther was a fine tenor singer, lutist, composer and arranger. However, he knew that the task of creating a new German hymnody was beyond his capabilities and energy. We have already made mention of how Luther surrounded himself with the finest musicians of his day. He called together Conrad Rupf, chapelmaster to the Elector of Saxony, and Johann Walther, cantor at the Court of Frederick the Wise, and with them in 1524, published the Order of the German Mass. Johann Walther was also Luther’s musical adviser and friend. Walther helped Luther construct a new liturgy and composed tunes for many Lutheran hymns. Walther also pioneered the "dramatic" musical setting of the Passion in German. Luther also worked with Ludwig Senfl, court Kapellmeister at Munich and the finest German composer of the time.

In striving for excellence Luther encouraged some of Germany’s finest poets to write texts for evangelical hymns.

When Martin Luther began translating the Hebrew and Greek texts of the Bible into German in the 1520s his main intention was to create a text in a common dialect that would open up the word of God to the laity. Yet, he felt it important that illuminating artwork be included. He did not need to look far to find a suitable artist. There was already a local artist by the name of Lucas Cranach the Elder (1472-1553) who was a court painter for the Electors of Saxony. Cranach met Luther sometime around 1520 and developed a strong bond with him that would last for the remainder of his life. The two even became godparents to each other’s children. Cranach and Luther worked closely together on numerous propaganda pieces against the extravagancies of the Papacy at that time. Luther called on Lucas Cranach the Elder to use his God-given talents to open the word of God to the eyes and the imagination as Luther himself was opening the word of God in such an accessible form to the German people. Cranach used his medium to do spiritual battle against the dark forces within the church. One of their first projects together was that of Luther’s Bible

Without the work of Lucas Cranach the Elder, we may never have known what Martin Luther looked like! Known as the "Reformation Painter", this German artist not only lived and worked in Lutherstadt Wittenberg at the same time as Luther, but also painted his portrait. Cranach made it a point to convey Lutheran ideas through his works, which in turn had a radical impact on the way religious paintings were composed. He emphasized man's individuality. In large altarpieces, for example, he showed how faith alone was the way to salvation, positioning ordinary people in everyday settings, often close to Christ, and banishing saints and noblemen to the background.

A famous and early Cranach-Luther collaboration is the Passional Christi et Antichristi, (Passional of Christ and Anti-Christ). This beautifully illustrated book of 1521 contrasts Christ with the pope in the role of the anti-Christ.

Perhaps the most famous Luther-Cranach piece is Gesetz und Gnade (Law and Grace, a.k.a., Law and Gospel). (A web search will quickly find this image.) This image depicts one of the most pivotal elements of Luther’s theology, the idea that heaven is reached through faith and God’s grace. Luther despised and rejected the Catholic idea that good deeds, what he called “good works,” could play any role in salvation. On the left is the Law and judgment symbolized by a man being forced into hell by Death and Satan, Moses delivering the Ten Commandments, Christ sitting in judgment, and Adam and Even partaking of the forbidden fruit. On the right is Grace and the Gospel with Christ’s cross crushing Death and Satan and the blood of Christ covering those near the cross. The tree that divides the painting is dead on the side of the Law but vibrant on the side of the Gospel. In The Law and the Gospel (below), two male figures appear on either side of a tree that is green and living on the “Gospel” side to the viewer’s right, but barren and dying on the "law" side to the viewer’s left. Six columns of Bible citations appear at the bottom of the panel.

All of Cranach’s Lutheran painting rests upon this pictorial type, which also influenced other artists.

Lucas Cranach the Younger (1515-1586), together with his older brother Hans, followed in his father's footsteps. The Protestant faith was also the central theme of his work.

When you consider use of song, the printing press, education and art, you might say Luther was a social media giant of his day.

We would be amiss to not also mention the incredible contribution of his wife Katharina von Bora. Following their marriage, Katharina, whom Luther called Katie, began to manage the large former monastery where she and her husband lived. Her responsibilities included raising cattle, running a brewery, operating a hospital, and providing housing for boarders who came to learn theology from her husband. But most important she was his soul mate.

We would all do well to seek out and empower the best we can find, to do the things we don’t have time for, cannot do well or cannot do at all. 

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Lesson 7 Essential foundation for life & ministry

11/12/2017

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(Photo above of bible published during Luther's life with personal notes written in margin — Photo by author)
(Text below part of presentation to musicians, artists and worship leaders in Kyiv, Ukraine, May 2017)

Lesson 7. Prayer and bible study comprise an essential foundation for our life and ministry.
The impact of Luther’s ministry can be traced to his belief in the importance of bible study and prayer. Luther was a passionate preacher and theologian who understood the importance of the study of the Word of God. One of the great rediscoveries of Martin Luther was that the Word of God comes to us in the form of a Book. Luther grasped this powerful fact: God preserves the experience of salvation and holiness from generation to generation by means of a Book of revelation, not by bishops in Rome. Luther had a passionate desire to please God. He understood that the Bible was God’s inspired word and supplied all the answers to life’s questions. Luther elevated the Biblical text far above all commentators or church fathers and had an overriding passion for the superiority of the Biblical text by itself. In 1533 he wrote,
"For a number of years I have now annually read through the Bible twice. If the Bible were a large, mighty tree and all its words were little branches I have tapped at all the branches, eager to know what was there and what it had to offer".

Luther was diligent in the study of God’s Word. It was not optional for him but a compelling task. He saw great danger in thinking that ministers can get to the point that they don't need to study any more.
"Let ministers daily pursue their studies with diligence and constantly busy themselves with them ... Let them steadily keep on reading, teaching, studying, pondering, and meditating. Nor let them cease until they have discovered and are sure that they have taught the devil to death and have become more learned than God himself and all His saints”
This of course means never.

Furthermore, he believed that the way to study the Bible was to saturate it with prayer.
You should completely despair of your own sense and reason, for by these you will not attain the goal ... Rather kneel down in your private little room and with sincere humility and earnestness pray God through His dear Son, graciously to grant you His Holy Spirit to enlighten and guide you and give you understanding.

The impact of our ministry will always be directly proportional to the emphasis that we place on bible study and prayer.

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Lesson 6 Worship in song in cultural language

11/9/2017

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(Photo above of hymn book published during Luther's life open to "A Mighty Fortress" — Photo by author)
(Text below part of presentation to musicians, artists and worship leaders in Kyiv, Ukraine, May 2017)

Lesson 6. Worship in song should take place in the cultural and spoken language of the believers so that they own it and participate in it with a true sense of worship.

As these lessons were initially presented to my precious brothers and sisters in ministry in Ukraine, the applications tend to have relevancy to a non-English speaking culture, heavily influenced as so many cultures are by contemporary worship music from the western English speaking world. I have been greatly encouraged to witness many of these lessons applied by Christian musicians in Ukraine.

In the previous lesson I mentioned that Luther believed that all believers should be able to participate in public worship in their vernacular language. The restoration of congregational singing in German required songs in German that were easy to sing—hymns with simple syllabic melodies. This need sparked a time of great hymn production following Luther’s lead.

APPLICATION: In congregations where people speak more than one language, it is good to help the congregation sing and appreciate the languages represented in the congregation. Those who have never tried to sing a song in a foreign language may find this challenging, frustrating or meaningless. But with appropriate comments, translation helps and biblical teaching concerning the diversity of the body, a culture of acceptance can be created. The rewards are well worth the effort involved.

As the Reformation swept across certain parts of Europe, Luther and the Reformers faced the enormous challenge of instantly developing a hymnody for the people in the church. Luther took the following steps to meet that challenge. I think we can learn from each step.
I) He translated or reworked some of the best-known Medieval Latin hymns. New German texts required new German tunes that matched syllabic stress and vocal inflection. Because of the uniqueness of inflections and syllabic stress between languages, this meant changing not only the texts, but also the music itself:
But I would very much like to have a true German character. For to translate the Latin text and retain the Latin tone or notes has my sanction, though it doesn’t sound polished or well done. Both the text and notes, accent, melody, and manner of rendering ought to grow out of the true mother tongue and its inflection, otherwise all of it becomes an imitation, in the manner of the apes.
APPLICATION: This challenge is faced by many non-English speaking congregations. As I travel, I often hear good musicians lament the quality of the translation and how foreign and forced certain songs feel. Translating contemporary or traditional worship songs—whether hymns, psalms or spiritual songs—requires great skill and attention to the same factors that Luther concerned himself. Of course, while doing this we must keep copyright permission issues in mind, which can range from a frustrating experience to wonderful collaborative creative ventures.

II) Luther wrote and encouraged the writing of new melodies. The creation of a German hymnody required new music to match the speech rhythm of the newly emerging German tongue. In order to speed up the process, he often used familiar tunes so that the people did not have to learn new words and new music. In some cases Luther was able to simple rework an older tune. He also adapted certain Latin chants, saying, "The melodies and notes are precious. It would be a pity to let them perish."
APPLICATION: I encourage believers in all non-English speaking churches to encourage the writing of new melodies or, as Luther did initially, set texts to familiar tunes without any negative connotations. For Ukraine, a leader of a German mission had a vision for this and provided money for a song competition. The response was overwhelming, evaluating and choosing the best time consuming and challenging, but three long term benefits resulted: 1) ‘heart-language’ songs for the church, 2) the encouragement and development of song writers, 3) distribution of chorus books containing these songs.

III) Knowing that the church's teaching would be best implanted in young minds if it was reinforced with hymns, Luther wrote hymns to illustrate the Catechism that he had drawn up.
A Mighty Fortress is his best-known and most powerful hymn. It is based on Psalm 46 and became the rallying battle cry of the Reformation. It was the people’s source of strength and inspiration, even for those martyred. This hymn has been translated into most languages and the first line is engraved on Luther's tomb.
Luther's productivity is truly staggering and demonstrated his intense concern for what happens in public worship, especially the choice of music. He edited and composed more than thirty hymn tunes and texts and seven liturgical pieces. Luther authored a variety of services including songs for baptism, marriage, ordination, private confession, and self-examination. He involved himself with editing and writing prefaces for all the major hymnals of his day. He edited a major choral collection, George Rhau's Symphoniae Iucundae of 1538, which contained fifty-two motets and a repertory of Latin and German songs for the Sundays of the church year.
Just as the mass publications of the Bible for individual study fostered literacy in the Reformation countries, the mass distribution of hymnbooks encouraged musical literacy among all levels of society. Luther insisted that the congregation sing in every worship service. He believed that the vigorous singing would open the hearts and minds of God's people to embrace the Word of God. He said, “If they do not sing it, they don’t believe it.”
Exuberant singing became a trademark of the early reformers. Luther's enemies often lamented that the German people were singing themselves into Luther's terrible doctrines, and that his hymns destroyed more souls than all of his writings and sermons.
APPLICATION: Many of us would do well to take time to evaluate what teaching should be implanted in the minds of believers. Part of that process entails a review of essential doctrines and essential teaching. Then a review needs to take place to determine whether all are present in song and if not, a plan to incorporate missing teaching. Like Luther, we would do well to ensure that all important teaching is available in song form. Like Luther, we would do well to remind ourselves that if the congregation does not sing it (and love singing and listening to these songs), then they won’t really believe it. They have not made it a part of what they believe. In my book Psalms, Hymns and Spiritual Songs: the Road to Unity and Spiritual Maturity, I express the idea this way: the way that we worship becomes the way that we believe which in turn becomes the way we think, interact and feel.

IV) Luther set the highest standards for composition of the new hymn tunes. This was true for the music and the text. As a role model, he pointed to the greatest classical composer of the time, Josquin des Prez, whose music he had heard while in Rome in 1511. Luther wrote of him, "He is the master of the notes. They must do as he wills."
In striving for excellence in music, Luther surrounded himself with the finest musicians of his day. He called together Conrad Rupf, chapelmaster to the Elector of Saxony, and Johann Walther, cantor at the Court of Frederick the Wise, and with them in 1524, published the Order of the German Mass. Conrad. Johann Walther was also Luther’s musical adviser and friend who helped him to construct a new liturgy and composed tunes for many Lutheran hymns. He also pioneered the "dramatic" musical setting of the Passion in German. He also worked with Ludwig Senfl, court Kapellmeister at Munich and the finest German composer of the time.
In striving for excellence in text Luther encouraged some of Germany’s finest poets to write texts for evangelical hymns.
But poets are wanting among us, or not yet known, who could compose evangelical and spiritual songs, as Paul calls them (Col. 3:16), worthy to be used in the church of God. . . . I mention this to encourage any German poets to compose evangelical hymns for us.9
It is also worth noting that the goal of excellence was not to be reached at the expense of accessibility and sing-ability. Luther’s most distinctive, important and enduring musical contribution was the strophic congregational hymn, called a chorale (in German Kirchenlied). The syllabic combination of the text to easily sung and well loved melodies was important. Most of our evangelical songs of the church have been influenced by the chorale which consists of a text and a tune. Luther published six hymnals. In 1524, he published the first Protestant hymnal, Geystliche Gesangbuchlein, which contained eight hymns, four of them by Luther. This little book was soon used all over Europe.
APPLICATION: Seek out and work with gifted musicians and lyricists. Establish meaningful and useful standards for music and text. Both music and text should be worthy of use in the church. “Let the word of Christ dwell in you richly” (Col 3:16)

V) Luther encouraged the teaching of new songs. He called congregational rehearsals during the week to learn new hymns. Luther also used the choir to teach hymns. They were instructed to "sing slowly and distinctly”.
APPLICATION: What creative means can we use to teach new songs? Certainly, with all the different media options available, this should be an easy task. Taking time to teach, and learning how to teach new songs should also be part of our church ministry plan.

VI) Although he reinstated congregational singing, Luther continued to promote choral singing believing that it helped to improve one's sense of hearing and would develop the musical consciousness of people. Choral singing was defined as an assertion of faith, and a spiritual commentary on biblical texts. In order to develop choral singing, worshippers had to be acquainted with music practice. Schools or parishes became responsible for vocal training, given by a “cantor”.
APPLICATION: It seems sad that we have seen such a great decline in choral singing in the last four decades. It is sad to see that so many singers are robbed of any opportunity to minister through music because the worship teams cannot accommodate as many singers as a choir or because their skill level is not high enough to participate in a ‘solo on mic’ fashion.

VII) Luther worked hard at establishing a balance between a professional level of music that appealed to the highly educated and highly trained and accessibility and involvement of the common people. Luther's view of music in the Church was not a sentiment that was shared by all of the reformers. He celebrated the organ, while some opposed it. He celebrated using "artistic musical effects" while others felt it needed to be simplified. He wrote music, while some felt only songs found directly in scripture could be sung. Luther’s views on music in worship contrasted with the Calvinists lead by John Calvin; the Zwinglians lead by Ulrich Zwingli. Calvin and Zwingli considered the arts to be purely secular and banned or strictly regulated their use. Luther, because of his theology, didn't see music as something bad to be avoided but as a part of the creation redeemed by Christ. Because of this view of creation, Luther celebrated the importance of music of all styles and its relation to the Word of God.
APPLICATION: It is easy to slip into a hierarchy and separation where praise teams, display an elitism, turning the congregational worship service into a concert where personal musical tastes and worship style take priority. The melodies are difficult to sing. The physical setup and sound engineering does not allow the congregation to experience corporate worship. There is a place for a concert but not in the church service. There is a place for good musicianship and skilled playing but not at the expense of congregational involvement. Congregational songs should not be chosen on the basis of self gratification but to allow for teaching and admonishment as well as facilitate the varied responses found in the Psalms. These concerns are not limited to worship teams. Choirs and instrumental groups should also take care not to display an elitism and keep teaching and communication in mind.

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SWIRLS OF NURTURE

Lesson 8 Don't try it alone!

Lesson 7 Essential foundation for life & ministry

Lesson 6 Worship in song in cultural language

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