Special Music in Our Worship

There has always been a desire to beautify worship through music rendered apart from the congregation. Indeed, in medieval days the peo­ple had little, if any, part in the church service, for all music came from professional players and singers. With the Reformation, however, the or­dinary church member was accorded an increas­ingly important share in the acts of worship until in churches today he plays a leading part.

This swing of the pendulum should not cause us to neglect the contributions that specialized talent can bring to our gatherings. As long as the prime objects of a meeting are not overshadowed, rich and varied blessings may be gained from addi­tional music.

Special music can only justify its appearance in divine service if it assists in our worship or ac­complishes some spiritual good. Vocal music, carrying a message in its words, fulfills these condi­tions, but piano, organ, and violin solos hardly qualify, since, however beautiful they may be, they convey little religious meaning to the average lis­tener. They may even introduce the atmosphere of a concert hall into the church, and this would be regrettable.

Vocal Items.—These, be they solos, duets, quartets, or any other combination of voices, should always be an integral part of the service, chosen for the benefit of the church and not for the gratification of the performers. Singers who think more of displaying their talents than of the Lord whom they ostensibly are serving, or who .only come to church when they are given some part in the program, are more of a hindrance than a help, and a strong leader will not pander to their vanities.

If the solo or other item is to be of real value to the listeners, the words must be clearly enunciated, for it is the words that give the message, much more than the music. Then let the words be few, for many a good solo has grown wearisome be­cause too many stanzas were sung.

However much we may admire excerpts from oratories, it must be admitted that a simple hymn, sung without effectation, will probably have a greater spiritual effect than the classics to which most amateurs aspire.

It seems that the art of accompaniment is a gift that is not bestowed on all church organists. So many want to be in the limelight, when they should be hovering, like beneficent spirits, in the background. The keynote of an accompanist's task is sympathy—a feeling with the soloist. The possession of this sense will enable him to support the singer without drawing attention to himself or his music.

Choir.—We have heard something about the devil coming into the church with the choir. This may be a cruel libel, maliciously invented by those who cannot sing, but there may also be a germ of truth in it. In any case it is well to recognize that the formation of a choir does not always release a stream of universal blessings on the church—it may cause a few complications.

Quality is of more value than quantity when forming a choir, so let the singers be chosen for their abilities, even if the resultant number be small. Remember Gideon's band. The members should be able to read music and to sing their parts accurately, and their voices should blend into a harmonious whole. We have all heard choirs in which one strident voice predominates, and we want none like that in our churches.

Let not the element of showmanship appear here. Whenever it rears its head, it destroys some of the reverent, selfless atmosphere of true wor­ship.

Preludes and Postludes.—The spirit of rever­ence can be invoked and sustained through the quality of the music that precedes and closes our meetings. So a solemn ministry opens up before the organist in his choice and rendering of prel­udes and postludes. Such a ministry comes only with thought and practice—thought in its prepara­tion, and practice for its execution. But it opens before the player a limitless field for the use of his consecrated talents. Provided that it be reli­gious music, all that is beautiful and gentle can be poured out through the prelude, and all that is beautiful and strong can flow from the postlude.

Handel's Messiah will serve as an illustration. The "Pastoral Symphony" and "He Shall Feed His Flock" provide the atmosphere of calm that should be found in preludes. "Hallelujah Chorus" and "Glory to God" have the vigor expected of a post­lude. Other oratorios will yield similar choices, and if their scores are too difficult, we can always choose suitable hymns. For example:

Prelude Suggestions

"Jesus the Crucified"

"And Didst Thou Love"

"O Thou in Whose Presence"

"As Pants the Hart"

"Come Unto Me"

Postlude Suggestions

"Alleluia! Hearts and Voices"

"O Prince of Peace"

"For the Might of Thine Arm"

"Stand Up for Jesus"

"Would Jesus Have the Sinner Die ?"

If 'hymns such as these are played with some imagination, with the introduction of light and shade in volume, and with variations in the parts that predominate, they will induce reverence in the worshipers.

Sir Walford Davies once said, "Let all sorrow­ful music have a ring of health ; in all exuberant music remember the cross." When this advice is followed, our playing will never lack an interest­ing character.

Try to avoid using the same selection week after week, for the congregation will soon weary of such repetition. Ministers have to prepare fresh ser­mons, M.V. leaders have to prepare new programs, so why should not organists prepare a variety of music? Search for suitable pieces, practice them diligently at home, and so build up an ever-widen­ing repertoire for the edification of the church.. Such service will never be wasted.

Offertories.—It is not good for the offering to be received while a hymn is being sung, for this spoils two distinct acts of worship—giving and singing. The offering should have its own sepa­rate place in the program. It is the organist's privilege and pleasure to choose music to accom­pany this part of the service. The pieces chosen should be short and of a quiet nature, and should be selected beforehand and not hurriedly chosen when the offering is announced.

Andantes, Adagios, Larghettos, and Largos are usually suitable for such occasions, for their long slow rhythms breathe a peaceful air throughout the Lord's house.

Vesper.—There are several brief vespers given in our hymnbook, and only two or three of these are in common use. The others should not be neg­lected, neither should they be regarded as the only ones available for further choice. An organist who finds new vespers and introduces them to the church will be blessing both himself and his peo­ple. Most evening hymns contain the sentiments ' required of a vesper, for example—"Saviour, Again to Thy Dear Name," second stanza:

"Grant us Thy peace upon our homeward way:

With Thee began, with Thee shall end, the day.

Guard Thou the lips from sin, the heart from shame,

That in this house have called upon Thy name."

Also "The Lord Be With Us," fourth stanza :

"The Lord be with us through the hours

Of slumber calm and deep;

Protect our homes, renew our powers,

And guard His people's sleep."

Here are a few further suggestions, drawn from our present hymbook

"Another Sabbath Ended," stanza 3

"Saviour, Again," stanza 3

"Lord, Dismiss Us," stanza

"Stars of Evening," stanza 3

"Lighten Our Darkness," stanza

"O Lord, Who By," stanza

"Father of Love and Power," stanza 3

"In Our Hearts," stanzas 5 and 6

"Now the Day Is Over," stanzas 3 and

Good music has been described as the second sermon. We may not always be willing to allow it such a value, but we shall certainly agree that it can play a vital part in introducing the sermon and sealing its message in the mind of the hearer. The organist should, therefore, be receptive to the spirit of the meeting and be ready to provide a fitting musical conclusion. This may only be a simple hymn, but if it is well chosen, the organist has done good work.

And now, as it has been given us to play and sing to the glory of God, or just to make a joyful noise unto the Lord, may we be diligent learners at the feet of our heavenly Master Musician. May we ever seek to make our music a true reflection of His glory and praise, to the end that others, hearing, may thereby be led to know and love Him too.