All our choir directors would probably agree as to the selection of a proper choral call to worship and a choral benediction. It is in the choosing of weekly choral worships, or "specials," that discrepancies enter. There is a proneness on the part of denominational choral directors to deviate from the primary purpose of the choir—that of effective, artistic rendering of songs with heart appeal and spiritual value. But surely the choir should be a soul-stirring, soul-winning agency.
In explaining this principle of choice of music to our local choir, I have told them that we must give help and encouragement to the church members who, through the long week, have had temptations to meet, problems to solve, arguments to avoid, criticisms to hear. When these same members come to church and hear the choir sing songs depicting God's love for His children, the beauties of heaven, the rough road we must often travel, and life's final triumph, they are encouraged to press on. Strength for the coming week is imparted to the weary traveler.
The complicated anthem style of pre-Reformation music, toward which many choral conductors lean, often proves detrimental to the sacred purpose of the choir. Much of this music does not fit into our great evangelical pattern and the message we bear. It belongs to the churches of the world, and should be used sparingly in a church that is looking for a soon-coming Saviour.
It is indeed a difficult task to find artistic arrangements of suitable appeal with spiritual value. These arrangements should be artistic from every standpoint, so they may be presented to our people with as much or more finesse, quality, and musicianship as the music of the great churches and cathedrals of the world.
A desirable plan to follow in supplying adequate music is to take hymns and spiritual songs from Christ in Song, the Church Hymnal, Gospel Melodies, and Gospel in Song, and arrange them yourself. Perhaps this may appear to be a tremendous task. But it is not so difficult as it might seem. Many songs in these books are so written that very little arranging is needed to adapt them to what is known as eight-part parallel arrangements. This simply means that you have men's voices in four-part, and ladies' voices in four-part singing, in parallel. In place of four different voices on a chord you have eight. The voices that sing together are first tenor and first soprano, second tenor and second soprano, baritone and first alto, bass and second alto. Thus the chords are enhanced by the qualities of the masculine and feminine voices, and are allowed to expand in full beauty.
This type of work should be performed a cappella. If eight-part arranging and singing are delved into carefully, a superb type of choir and music may be developed to .serve the needs of the message. As an example of what can be done with a" familiar song, note number 49 in Christ in Song. The reading for the first Sabbath of the last Week of Prayer was on the judgment. The possibilities of this selection, "Weighed and Wanting," proved outstanding-for its message and for its music. With a few pencil markings in the book to guide as to changing of parts, we rendered this song very effectively.
By looking at the arrangement, as printed here, you will notice the extra notes marked in and a few original ones crossed out. The first tenors and first sopranos sing the regular tenor as written, paying careful attention to follow the line to the notes marked on F of the treble clef. The second tenors and second sopranos sing the soprano melody as written. The baritone and first alto sing the alto with the new notes marked in. The basses and second altos sing the bass as written.
All basses should sing the octave below in any possible case. This is very important. To do this bass part properly, you need low-voiced second altos. If you do not have this type in your choir, it would be better to eliminate the part and let the basses carry it. This then gives you a seven-part parallel arrangement. Having mastered the parts, you will find even better harmony if you transpose to the key of E major, providing it does not work a hardship on the basses.
admonishing them to turn away from their evil ways and obey His law, keeping the Sabbath holy.
Part 5, "The Controversy," is the indictment and trial of Christ; and although He is forsaken by His own people He still does not forget them, but will gather the remnant and reign over them. After blessings are pronounced upon the dead who die in the Lord, an important solo gives the pronouncement of the great time of trouble to come to the world just prior to Christ's second coming, and admonishes the remnant to "hide thyself as it were for a 'little moment, until the indignation be overpast." Isa. 26:20. The music of Part 6 is mostly of the quiet, pastoral nature, and is entitled "A Song in the Night." God promises protection over His remnant people during the great time of trouble, when His wrath is poured out upon the wicked who have made void His law. In the words, "Watchman, What of the Night, the Morning Cometh," the chorus expresses the great joy to come to the remnant after the night of waiting, and closes with the promise that our eyes "shall see the King in His beauty." In Part 7, by means of solos and choruses, the sequence of events attending our Lord's return is portrayed in a dramatic and vivid manner, and the oratorio closes with the grand finale, "Great and marvelous are Thy works, Lord, God Almighty."
The main soprano in the oratorio represents "The Church." The bass is always the Christ character. His part is not difficult, but it needs sympathy, gentleness, and lowliness, coupled with those flashes of mighty power and majestic dignity that go with the lofty conception which we are bound to entertain of the Christ. The leading tenor represents Satan. The leading contralto sings the intensely dramatic portrayal of the plagues.
The set pattern of the prose Scriptural libretto has caused some problems in meter; however, there are several similar cases in such masterpieces as "The Messiah. The tempo should never lack, and the andantes are always with motion. The solo and chorus parts are frequently treated as dialog, and in an interplay between the two the chorus should move in quickly and not wait or hesitate a second at the end. Thus the music and words will flow along smoothly without any stops. There are only seven places where the music stops, and that is at the end of each part. Each of the seven parts is a complete composition, and within each of those parts there are practically no pauses. With solos, chorales, and fugues the composer carries the sacred message forward with great power.
This oratorio is the dramatization of the most climactic period of the world's history, and the singers will need to do more than just sing their parts. They will need to give full expression to texts which have been read and thought of and studied by millions of Christians in centuries past. The music must be the vehicle to carry the words. It must be servant to the message. The whole purpose and aim of the oratorio will be lost if the listener fails to understand the words.* Music does have greater power to drive the message home than the spoken word alone, yet it must not overshadow the words.
It was my privilege to present the premiere performance of Burrell Van Buren's cantata The Coining King with the oratorio chorus of Southern Missionary College, early in 194.7. Orders for this cantata have been received from many countries, and its successful presentation has been given in a gratifying number of places. Just now the combined a capella choir and oratorio chorus of Walla Walla College ate preparing for the first performance of The Remnant to be given here.
It is my judgment that these mentioned compositions, The Remnant and The Coming King, can be made an attractive and impressive means of placing before the public the peculiar and outstanding tenets of the Seventh-day Adventist faith. However, they should also afford enjoyment, strength, and inspiration to the members of our church, if they are well given and sung with the deep understanding and feeling which the spiritual theme demands.
* For some occasions the composition in its entirety may be considered too lengthy. In this case the suggestion is offered to present it in two parts. At the first performance, perhaps given on a Friday night, give the first four parts, and follow this on Sabbath, either at church time or in the afternoon, with the remainder. The Remnant lends itself very nicely to this treatment. Such a sacred musical festival should be of unusual interest to our people.
