Recently I attended a panel discussion on church music in which a brilliant and accomplished instructor on the music faculty of a large university made the statement that an organ prelude should always be quiet so that the organ tone would not intrude on the private devotions of worshipers waiting in quiet ness for the service proper to begin. This statement was made with an intensity, idealism, and a point of view which greatly appealed to me.
As would be expected, the instructor's assertion struck some sparks in the gathering. Some felt he was not realistic. "Walk into a typical Protestant Church on a Sunday morning before service" they countered in effect, "do you find quietness or hubbub; do you find people in private devotions or chatting?" In the heat of the discussion the question was punctuated with an exclamation point rather than a question mark as though the answer were obvious. Personally, but this was only my opinion, the answer to the question is not obvious. One never knows how many are engaged in silent prayer, and a very few people talking can do more to create the impression of hubbub than a thousand people listening. We can hear the hubbub but not the silent devotion.
Still, an organist must attempt to provide a ministry of organ tone in the pre-service period. Certainly it should not be intensive but should be helpful, inviting the spirit of and participation in worship. Quiet organ tone does not always seem to do this. Sometimes quiet organ music seems spineless rather than meditative.
After some sessions of experiment, inquiry, and observation of congregational reaction, I have come to observe the following formula:
1. Begin the organ very quietly (never startling the people with sudden loud tone) playing a familiar but good hymn, for a minute or two.
2. Then start the preludes announced in the bulletin but making sure that in the next few minutes a stirring climax is reached. This, we hope will help to focus congregational attention, and will above the "confusion level" of people entering, being seated, and getting settled reach the spirits of those listening.
3. Make sure there is a gradual diminishing of volume so that the last five minutes before the service are meditative in character.
4. Save the final minute before the service for very soft improvisation and modulation to the key of the introit. Such a "formula" permits considerable variety in selection of repertory and, it is hoped, provides music for both kinds of listeners in the great schism of those who like their organ music loud and those who like it soft.
—DONALD D. KETTRING in Church Week, Jan. 14, 1949.
