Anthems sung by choirs and soloists have a long history in Christian worship. Many of the world’s finest composers have written anthems for use in worship. Yet the best anthems are those which unite such musical genius with concern for the text that is sung and the function of the anthem in the context of the entire worship service.
Choral music is used in worship by choirs of all sizes and in almost all denominations. Many churches have a long-standing tradition of thoughtfully prepared anthems contributing to the worship service, while others approach choral music as an afterthought. The goal of all worship leaders should be the former; with planning, this is a goal that can be achieved in churches with even limited resources.
Before discussing the role of choral anthems in worship, it might be helpful to understand the long history of choirs contributing to worship.
History of the Anthem in Worship
Church musicians and publishers today use the term anthem in a general way to mean choral music of many different voicings and accompaniments, but the term anthem does have a specific historical meaning. The anthem had its origin as English choral music used in the Anglican church nearly from its inception. These anthems, in turn, were based on the Latin motet used in the Roman rites. The Latin motets were one of the earliest forms of polyphonic music (c. 12th cent.), and they originated as a polyphonic interpretation of the chants which they were used with. In the 1400s, the Latin motet became more a choral composition on a scripturally based text and was often written with four, six, or more voice parts.
In the Reformation brought about by Henry VIII, the language of worship was brought into vernacular English. This necessitated a change from the Latin both in Scripture and song, and thus the anthem was born. Actually, there are a few examples of English choral music before the Reformation, but liturgical change was the prime impetus for the outpouring of compositions known as anthems. Tye and Tallis were two of the first composers to write what we are referring to as an English anthem. Their compositions are typically rather rhythmically square and conceived more by their harmony than their melody. Some of this can be attributed to the style of the time, but much of it is also due to the spaces in which these anthems were sung: cathedrals with a very live acoustic and long reverberation. The earliest writers began by giving a great deal of consideration to the sound of sung text and its pronunciation, and this emphasis is one we would do well to consider in the performance of choral music today.
The choral tradition was pushed forward by the Reformation, especially in the Lutheran tradition. Luther loved the historic church’s music, and choirs in the early Lutheran churches began to sing the main parts of the service, the Mass, though once again in the vernacular. This provided an opportunity for composers of the day to provide new music for the church.
J. S. Bach became one of the greatest forces in church music through his compositions, and even his church compositions were all composed out of need (without denying his inspiration). Church music is a practical matter of facilitating worship, and the history of the church in the last several centuries is full of compositions and choirs meeting the needs of the people and serving the focus of worship. The gospel hymns of Sankey and the evangelistic focus of the Wesleys and their hymns fit the needs of a particular style of worship. The same is also true for spirituals, whose spontaneity and simplicity was required by the style of worship of the slaves: they often worshiped in the fields with their singing and improvising.
Eighteenth-century America saw the publication of many collections for use in worship beyond the metrical psalters that had long been in use. Tunebooks such as Kentucky Harmony (1816) and Sacred Harp (1844) provided for all the musical needs of a congregation, both congregational and choral. It must be understood that singing was a primary form of entertainment among people of all social situations during this time, and the interest in singing was not limited to the church, as it often is today. Even the secular collections from the New England singing schools contained many anthems with a scriptural basis. In the United States before the turn of the twentieth century, there were many publishers producing traditional anthems and others publishing gospel music for use in churches, and everything in-between.
The publishing of anthems as we know them and refer to them today basically began with Novello and Company in London in the 1940s. They began the publishing of octavo choral music to allow choirs to purchase individual titles. This had the effect of making the music sometimes more disposable in nature, and pieces were more able to exist on their own merits. Oxford University Press is another example of a notable publisher involved for well over a century in the publishing of choral music used for worship.
The twentieth century has seen the flourishing and demise of many publishers of choral music for the church. Much of this is due to changes in society and worship, yet diminishing musical literacy has also played a part. And still, there are denominational publishers such as Augsburg/Fortress, Concordia, and GIA; long-lived, independent publishers such as Hope Publishing Co., Lorenz, Oxford University Press, and Sacred Music Press; the praise-and-worship publishers typified by Word, Inc.; and the newer independent publishers such as Randall Egan, Hinshaw, MorningStar Music Publishers, and Selah Publishing Co.
The Role of the Anthem in Worship
This article is not the place to define what the act of worship should or could be, but it must be clear that choral music can contribute to the experience of worship. Unfortunately, it can just as easily distract the worshiper.
Church choirs offer singers an opportunity to make an offering of their gifts. What choir members need to understand beyond that offering is the role that they can play in worship. They have the opportunity to add a great deal of meaning to worship through their presentation of choral music.
If anthems are to contribute to worship, they must not distract from worship. And if worship is communal, then the choral music must not be seen as entertainment, with the congregation given a passive role. A congregation worships to experience God’s presence in their lives, and choral music can give them an opportunity to view the beauty of God. It can help them in giving glory to God. And it can provide a sensory experience of God’s grace. The anthem does not need to be the climactic portion of the service, and in fact, rarely should be.
When choosing music for a church choir, a director may face some obvious limitations in resources. The skill of the accompanist or the number in the choir might diminish the choices somewhat. There is quality music that will fit nearly every situation, but a director should choose substantive music that he or she would feel comfortable performing over and over. There is not much sense in putting work into a disposable piece of music. Catchy music has its place in advertising, but there must be more to anthems used in worship than a fancy rhythm or memorable tune. Consider the pastoral role you play when looking at music for your choir: the anthems can illumine and interpret Scripture, a sermon, the church season, or an important current event or change in the life of the church. You have the opportunity to expose the congregation to a variety of music, music sung throughout the centuries in the church, and music that could only be sung in our present latter-day twentieth-century situation.
Choose anthems that aid the flow of worship. For liturgical churches, this might mean finding an anthem that is based on one of the lectionary readings or highlights one of the themes of the scripture passages. For others, it might mean an anthem that illumines that worship’s theme or focus. It is not necessary to repeat what is being read in Scripture or taught in a sermon, but the anthem can give insight by approaching the subject from a different angle or by infusing the emotional power that the music carries.
It is not harmful to look for innovative ways of using the choir to facilitate worship. Churches in the liturgical tradition might have the service music or setting of the Mass sung solely by the choir. Anthems might take the place of a hymn or be used as a gradual between readings. The appointed psalms might be sung by choir or cantor. Responses can be choral, and through singing the Mass and responses, choirs are given the role of leader of congregational song. These ideas might be beyond the role of the traditional anthem, but there is good choral music available for all of these situations.
Those congregations in the free-church tradition do have flexibility in the role a choir might take in the worship service, from the leader of congregational song to the presentation of Scripture in song. But look for new places in worship where an anthem might be effective, not necessarily where it always has been done.
The practical considerations to keep in mind when choosing anthems include the range of your singers, the balance of parts throughout a piece, and the difficulty of a piece. It is good planning to stretch the limits of a choir, but it is not always appropriate for every occasion. Choose music that is within the singers’ grasp. Choirs with limited resources can often use hymns, old or new, as simpler anthems, and yet these can be as effective as an eight-part motet.
There is an art and a craft to singing choral music. Choral music done well requires much attention to vocal production, pronunciation, dynamics, breathing, phrasing, attacks, balance, and so on. One must study and live with the music to find those areas where particular attention must be paid. It is in the interpretation where the art of choral music lies and where we can give glory to God. Those involved in leadership should take every opportunity to improve their understanding of the subtleties of choral music and its performance. Listen critically to recordings or live performance of choral groups. Many publications such as Choral Journal publish articles with practical advice on performance practices. Associations such as the American Choral Directors Association or the American Guild of Organists sponsor workshops and conferences where one can view respected directors rehearsing and directing a choir. The insight gained from such observation cannot often be taught. In all of this, the desire to improve oneself and offer a better gift to the glory of God should be sufficient motivation.
Those who direct church choirs and sing in those choirs are given an opportunity to lift worship to a level where we can experience God more fully, a truly awesome responsibility. And it is through the grace of God that we can do so.