Three Musical Perspectives from the Reformation
On October 31, 1517 Martin Luther began what became known as the Protestant Reformation by nailing his “Ninety-Five Theses” to the door of the Castle Church of Wittenberg, Germany. Many of us are familiar with the 5 “solas” that bound the Reformers together – Sola scriptura, Sola fide, Sola gratia, Sola Christus, and Soli Deo Gloria – but many of us are unfamiliar with what musical principles bound the Reformers together.
With the exception of Ulrich Zwingli, the Reformers re-birthed congregational song throughout Europe. They were musicians as well as theologians. Even Zwingli, who banned music from his churches altogether, was an accomplished musician.
Luther used his poetic and musical talents to compile a new German Hymnal, the Achtliederbuch. This new hymnal consisted of eight hymns and four melodies. Luther wrote four of the texts. He modified chant tunes, making them easier for congregations to sing by giving them meter and rhythm. His goal was to bring the bible, the mass, and the music to the German people in their own language. Luther believed that hymnody aided the formation of Christian belief.
John Calvin also understood the power of music to teach doctrine and concluded that only God’s word was suitable for God’s worship. He rejected the Roman musical heritage, banning organs, choirs, and humanly composed hymns. Only the Psalms were fit for Calvinist worship. Calvin was the impetus behind the Strassburg Psalter of 1539, which contained all 150 Psalms. Other Psalters were subsequently published in French, Dutch, and English.
The principle that bound the Reformers together musically was their belief in the priesthood of all believers. This principle was applied in vastly different ways. For Luther and Calvin, it meant shifting music from a priestly function to a congregational function. For Zwingli, it meant that the people didn’t need music to access God, and that music might even get in the way.
It is difficult for the 21st century mind to appreciate the Reformers struggle with how to use music. Each understood music’s power to influence people. They each had a fear of corrupting worship with the wrong use of music. We are not without varied musical approaches today, but it looks a little different now than in the 16th century. What we can learn from the Reformers in our own use of music is that it should inform our view of God, it should be accessible to the congregation, and it should never get in the way of our focus on God in worship.
Interesting insights into the Reformationists and their view on the use of music in instruction and worship. Is there any “backstory” to do with Mozart’s Te Deum? How he came to write it? Was he contracted to write it? Was he into writing sacred music as much as, say, Bach?
Dale, thank you for your interest. Mozart was 13 when he composed his setting of the Te Deum. He copied a good bit of it from Michael Hadyn. It was not at all uncommon for a young classical composer to copy the works of another, older composer, but Mozart made his own “adjustments” to the piece. Mozart did not write much sacred music. In fact, he composed music for filthy opera librettos with the same devices he used to compose his “sacred” works. The classical composers were not as interested in “text painting” which was a more romantic concept. Bach, on the other hand, used musical devices to illustrate theological concepts. This is probably most clearly seen in his settings of hymns that Luther wrote to accompany each section of his catechism. For instance, Bach’s setting of “These are the Holy Ten Commandments” includes 10 subject entries and has a canonic structure. Much of Bach’s choral work is an exegetical interpretation of the biblical text.
Todd the music Sunday was super terrific. You can be so proud of your choir. And where did the musicians come from? – not our usual bunch.
I have been clearing out stuff and have a box of music miscellany ready for you. It contains organ music, organ/piano music, piano music, piano duets, vocal solos, and some useful music tools. Would you like it brought to the church or delivered to your home?
You have my permission to do whatever you like with those things. The trash may be the destination of much of it – I just couldn’t do that myself,
Oh – I will miss Belles this week as a physical therapy appointment is earlier in the afternoon and I’m not up to much after that. They work me pretty hard.
Kudos to all for the Mozart!
Peggy