The Wisconsin Evangelical Lutheran Church has remained quite traditional in its approach to music and the arts. Recent changes include the recovery of psalm-singing and, in some churches on particular occasions, the use of choruses. Little use is made of the arts.
Two events, the publication of a new hymnal in 1993 and the installation of an organ in 1991, illustrate the renewal of music in WELS worship.
The New Hymnal
The publication of Christian Worship: A Lutheran Hymnal illustrates not only where we are headed but also where we have been. The WELS is often stereotyped as rigidly conservative, painfully slow to change, and little interested in how anyone else is changing. But the new hymnal belies this stereotype. By convention decision, it is a “new/revised” hymnal. It includes an adaptation of the main service from The Lutheran Hymnal of 1941. Another Service of Word and Sacrament offers two composite canticles that have not appeared elsewhere. The music is good, solid writing for the liturgy that is intended to wear well even though it can’t be learned in one experience.
More significant are psalm-singing and encouragement of a heightened “liturgical” use of the choir. The psalm tones are similar to those in the other newer Lutheran hymnals, but with the addition of refrains (antiphons). The ecumenical excitement over responsorial psalm singing had become established enough during the hymnal planning stage that the use of refrains seemed automatic. The psalms do not include verses according to any existing lectionary. They are “psalms for singing,” a comfortable length, often condensed from a complete psalm, and a springboard to other ways of singing the Psalms. Twenty years ago sung psalms would have had less chance of success: “too Catholic!” Now, even before the hymnal is published, many congregations, as well as worker training schools, are using them. A parochial school teacher tells of sixth-graders asking with enthusiasm, “Can we sing (i.e., chant) Psalm 16?” At the other extreme, some congregations rarely hear children’s choirs singing hymns, even in creative arrangements, as their “choir” piece for worship.
The hymns show a desire to conserve and share the Lutheran heritage and even to bring out more old treasures from the storehouse as did the Lutheran Book of Worship and Lutheran Worship. This new hymnal includes: “The Only Son from Heaven” (“Herr Christ, der einig Gottes Sohn”); “Break Forth, O Beauteous Heavenly Light” (the Bach setting from the Christmas Oratorio); “O Lord of Light, Who Made the Stars” (“Conditor alme siderum”). The hymnal also welcomes treasures of recent vintage: “Sing a New Song to the Lord” (“Cantate Domino”); “Now” (Carl Schalk and Jaroslav Vajda); “Have No Fear, Little Flock” (Heinz Werner Zimmermann). The newer treasures, though not particularly bold, are a refreshing addition to the repertoire built on the 1941 hymnal.
A few churches here and there are using praise choruses and Christian contemporary music, mostly in youth-oriented alternative services and Sunday evening services, although sometimes also in Sunday morning services. The use of this music is restricted because of WELS Lutherans want to avoid worship that resembles entertainment. They are cautious about both overly subjective elements in worship and the use of music not quite worthy of divine worship. The musical arguments generated, in part, by the church growth movement have not been as painful for the WELS as for other Lutherans. But at least we thank the church growth movement for reinforcing the common-sense insight that we must offer quality worship planned with care.
Instruments in Worship Renewal
A new tracker pipe organ was installed at the synod’s only seminary near Milwaukee (Wisconsin Lutheran Seminary, Mequon). The seminary’s gymnasium/mass assembly hall already had a large electronic organ. Some might have been content to let this serve as the only instrument for the seminary. But the quality pipe organ just installed will help shape worship renewal for decades as future pastors worship with the present leadership in daily chapel services. The educational impact of a good instrument will be a refreshing change from recent decades when a woefully defective instrument shaped the ears and expectations of the synod’s ministerium. The new seminary organ speaks to the future role of the organ in WELS worship renewal.
Within the WELS as elsewhere, overuse of the organ (often a musical monopoly) has contributed to its decline. The first five minutes of pre-service music can use up a great deal of talent and preparation for very few listeners. Few seem to listen in a meaningful way. (Few seem to want to learn how to play in a meaningful way.) Yet in recent years we have used more and more instruments in ways that show continuity with historic liturgical worship. Even the synthesizer (used here and there) has found a place in rather traditional worship, adding special “spice” to the old meat-and-potatoes routine of organ music in worship. This is quite a change from the day when some churches passed resolutions limiting “permissible” instruments. Handbells are used only sporadically; their liturgical uses (e.g., cadences in psalm tones) aren’t as well known.
The recently installed seminary organ says something about quality in worship renewal. In the current climate, the old false dichotomy that pits “missions vs. worship,” or “missions vs. organs” is no longer advanced. One respected pastor said, “What evangelism was to our Synod in the 70s (in the sense of attention, discovery, and energy), worship will be in the 90s.” With a rediscovered sense that worship is the heart and core of our lives together before the Lord, attention to quality in worship will not be viewed as a self-centered extravagance. The “old” outlook focused too much on one axiom: “It’s offered to God’s glory, and I did the best I can. So it’s good enough. Accept the mistakes in Christian charity.” The growing balance to that view recognizes, “It’s offered for my neighbor’s edification (and delight!), so it must be as good as possible.” The growing outlook recognizes that music must be of high quality to meet the potential that God put into his gift of music.
The WELS is rediscovering that musical quality isn’t a function of quality instruments only. Other quality factors include: (1) the use of hymns; (2) pay and time for musicians; (3) worship planning that deserves more of a pastor’s time and of the congregation’s budget.
The vast majority of WELS churches are committed to mainstream hymnody. This presents a challenge when many people judge traditional hymns to be boring. Some new musical vigor is growing out of an awareness that for years we’ve used hymns in an unimaginative fashion. Hymns have a chance to live and sparkle, to burrow more deeply into our consciousness when accompanied by grand or even modest resources. This can’t happen when six stanzas are sung by the same people, to the same harmony and (almost) the same organ registration. (The faithful enjoy singing not only out of piety but also because of its art and fun and variety.)
Quality music requires time; quality music is a labor-intensive product. Historically, teachers in WELS parochial schools have had most of the responsibility for church music. Though overworked, many have served as choir directors and organists, squeezing practice and preparation in between coaching, correcting, and family. That may be changing—slightly. But another prospective trend offers encouragement. Two churches have recently called pastors to positions with extensive responsibilities for music and worship planning and leadership. In earlier days that would have been judged unnecessary, a waste of pastoral training and ability. Such calls may be common in other church bodies, but they are not in the WELS, where overworked parochial schoolteachers or marginally capable volunteers have often lead the music.
One more comment related to quality. In the nineteenth century William Schuelke, a WELS member, built respected pipe organs in the upper Midwest. The WELS again has a quality organ builder. Bruce Case completed his Opus 1 in 1991. An engineer by training and with organ-building apprentice experience in England, he has set up shop near Madison, Wisconsin.
The Arts
The arts are not widely used in WELS churches, except for some of the following examples.
- Banners have been used for decades. There is no discernible trend regarding their use unless it is scattered graduation from felt and glue to more worthy materials.
- Regarding environmental art, design and placement of baptismal fonts have received only some of the attention they deserve. More new churches are including a free-standing altar or Table, especially if encouraged to think through a theology of design.
- Regarding vestments, perhaps the broadest trend, if one can call it that, is the switch from black Geneva gowns to while albs (and stoles) for pastors. This has not happened out of concern for “historical liturgical correctness,” but simply because it seems so much more appropriate to the joy of worship. We do not need to stress penitence quite as much as the black gown would seem to suggest. But the black gown could reappear each year during Lent.
- Chancel drama is quite rare, except for children’s Christmas services and dramatic readings of the Passion on Palm Sunday or Good Friday.
The Status Quo and Hope for the Future
This picture of music (and the arts) in the WELS has described what one might experience in churches giving renewed attention to worship and music. Perhaps most churches are rather content in various ruts, some comfortable, some complacent. That may not harm their salvation, but neither will their worship have the impact it could. In far too many churches the music is just sort of there, resembling neglected landscaping or well-worn carpet. The music with its mistakes and lack of vigor is neither strongly offensive nor highly inspiring. The choir may fail to approach anything transcendent or even mildly moving, but at least it is a good small-group activity for the nineteen regulars.
And the music from the pews, congregational song? In most places, we will have to work to encourage participation that is intentional. Bland acclamations of the gospel and vacant stares during the Communion distribution hymn indicate the work we have ahead of us in worship renewal.
Nevertheless, many amateur musicians are quite eager to improve their skills. Their willingness to spend a Saturday at a workshop bodes well for the renewal that comes from the heightened vision and new ideas. Participants in these workshops, even those with the lowest level of skill, seem eager for more. “Do this again every year,” they say.
Resources
WELS resources are limited. We have tended to rely on others. A Worship Leader’s Manual will accompany the new hymnal. It will include four sections on the following topics: worship in theology and practice; the services in detail and use; planning for worship (church year and propers); and music in worship.
Focus on Worship, published for many years by the Commission on Worship, ceased publication in 1992. Several other “parish service” publications also ceased when the Board for Parish Services introduced a new journal. This publication, Parish Leadership, will address worship concerns along with five other areas of “parish service.”
The twelve geographic districts of the WELS have elected “Worship Coordinators.” Some of these are assisted by a committee. Some districts organize workshops, some have sporadically published newsletters. Underfunding, lack of training or time, and inadequate direction limit the assistance these coordinators can offer.
The synod convention has approved a worship administrator at the national level. Staffing now awaits funding. This position would be concerned with music and the arts, architecture, and even preaching. Guidance and resources for work at the district level should increase.
Laudate, a relatively new organization within the WELS, consciously addresses the arts beyond music in its newsletter. Though music has been its strongest focus, the first issues have also given attention to architecture and watercolors.
The arts in the broadest sense are part of another newer journal from Wisconsin Lutheran College. Glory has addressed visual and graphic arts, literature, jazz, CCM, and film criticism. The second issue, published in March 1992, featured articles on sacred dance and worship renewal. Faculty members of Wisconsin Lutheran College also coordinate the WELS Art Guild.
The WELS elementary school system is not a resource, strictly speaking, but is rather unique in its musical impact. A similar “resource” exists in many Catholic churches and in the Lutheran Church—Missouri Synod. One-third of WELS congregations operate a parochial school. These schools often exert a profound (though not always imaginative or energetic) impact on music for worship.