LUTHER - In the Middle Ages several times a day psalms were sung in the monasteries. Singing and music was part of worship, also before the Reformation. As a musician, Luther wrote many hymns, mostly based on the psalms, in the people’s language. The people in the pew could sing again. The Lutheran heritage of church music includes Johann Seb. Bach who did not enrich the Lutheran church music, but he changed all music in the world. Lutherans today are still thankful for their musical heritage and try to build on it for the future. They love to sing.

CALVIN - John Calvin was not a musician. He had the same conviction as Luther, giving the church song back to the people. When singing the Psalms Calvin desired to give the congregation the whole meaning of the Psalm and therefore sang entire psalms or large portions of the psalms. So impressive was the psalm-singing of the French Church that one visitor wrote: 'Everyone sings, men and women, and it is a lovely sight...As I looked on this little company of exiles, I wept, not for sadness but for joy to hear them all singing so heartily.' They loved to sing.

What about today, here, in North America?

THE SOUTH - When you enter a church on Sunday morning in the Southern part of the United States, good chance you will hear the singing before you enter. Good chance that a choir with an enthusiastic director is producing that sound. They like singing: you can hear that with your ears and you can see that with your eyes. And they sing lots – one song after the other.

EVANGELICAL - In the Evangelical circles the worship is often led by a worship leader, a lead-singer, and a band. Often they will transition from one song into the next, possibly with a few connecting words. Some churches the singing takes half an hour at the beginning of the service. They call it ‘a time of worship’. Often they stand for all of the singing, however, people may choose to sit if they desire, and that is okay.  They love to sing.

PRESBYTERIAN - Presbyterians like to sing – that’s what some of them claim. Unaccompanied psalm singing on Scottish tunes can be heard in the RPUSA. Some of these Psalms take between three and five minutes to sing – and they are sung standing. Other Presbyterian denominations sing also hymns, using choirs and instruments. They sing all stanzas of hymns in the services.

Why do Christians like to sing?

It’s not in their genes, but in their Bible.

They like singing. Through the working of the Spirit

they want to glorify the Lord of lords and King of kings.

BIBLE - It is in their Bible….

o                          Exodus 15:21 • “Miriam sang to them: Sing to the LORD, for he is highly exalted.”

o                          Deuteronomy 31:19 • "…teach it to the Israelites and have them sing it, so that it may be a witness for me ...”

o                          1 Chronicles 15:16 • “David told the leaders of the Levites to appoint their brothers as singers to sing joyful songs, accompanied by musical instruments: lyres, harps and cymbals.”

o                          Psalm 92:4 NIV • “For you make me glad by your deeds, O LORD; I sing for joy at the works of your hands.”

o                          Psalm 146:2 NIV • “I will praise the LORD all my life; I will sing praise to my God as long as I live.”

o                          Acts 16:25 NIV • “About midnight Paul and Silas were praying and singing hymns to God, and the other prisoners were listening to them.”

o                          1 Corinthians 14:15 NIV • “So what shall I do? I will pray with my spirit, but I will also pray with my mind; I will sing with my spirit, but I will also sing with my mind.”

o                          Ephesians 5:19 NIV • “Speak to one another with psalms, hymns and spiritual songs. Sing and make music in your heart to the Lord,”

o                          James 5:13 NIV • “Is any one of you in trouble? He should pray. Is anyone happy? Let him sing songs of praise.”

o                          Revelation 5:13 NIV • “Then I heard every creature in heaven and on earth and under the earth and on the sea, and all that is in them, singing: To him who sits on the throne and to the Lamb be praise and honor and glory and power, for ever and ever!”

ABOUT US - How does this apply to our churches? Are we singing churches? Do we love singing? What is the practice of the singing in our churches?

Although we are not Dutch churches and should not identify ourselves as such, our singing is definitely influences by the Dutch background of many of our members, pastors included.

HISTORICAL INFLUENCE - In the Netherlands, the Reformed churches had a hard time with psalm singing after the Reformation. Although the commitment was present, there was no suitable rhyming in the Dutch language in the beginning. Having large churches with no support from an instrument made the singing dreadful. Every note was sung very, very slow, and very loud. This resulted in that singing of one stanza could last several minutes! Some people were taking a breath before every other note!

It was impossible to sing psalms completely or large sections of them. One stanza was a significant task, also physically, and often time consuming. For practical reasons the number of stanzas was limited. Singing psalms became singing versifications. The psalm-singing church became the stanza-singing church. And that is how it has been until the beginning of the 20^th century.

A STEP IN THE RIGHT DIRECTION - In the first part of the previous century a Revival started. Discussions about how the psalm-singing in the churches of Strasburg and Geneva was in the time of John Calvin brought up food for thought. A Restoration of psalm singing in the Reformed churches in the Netherlands brought back the rhythm in the songs and the tempo was restored close to what is must have been. The mistreatment of these beautiful tunes was coming to an end.

But… there is something missing. It never became a total “Reformation” of psalm singing. The singing of psalms (or sections of psalms), as the churches were doing in the Old Testament, the New Testament and the Early Church, is not restored. The singing is still just like it was when it took 7 minutes to sing one stanza: we are singing stanzas, but now it takes just one minute….

THE REASON – Here is an analogy that I remember from a recent article in Clarion… A lady cuts of the ends of the roast and puts them on top of the roast, as usual. She does this because her mom did it, always. And mom did that because grandma did the same thing, always. Asking grandma, it turns out that her roasting pan was too small and she had to cut of the ends to make the roast fit.

We are dealing here a habit that we don’t know why we do it this way. The reason for the habit is gone long time ago. The same thing with singing man-made stanzas instead of inspired psalms: we still sing just a stanza, because 100 years ago in Holland it took 7 minutes to sing one stanza of psalm 68.

CONCLUSION - The original reason for singing stanzas instead of psalms is not present anymore, but we still sing stanzas. Reformed churches should sing psalms: they are psalm singing churches. If this would happen... it would be a Reformation of the Psalm Singing in the Canadian Reformed Churches!

POST SCRIPT – Much more to say about the singing of all stanzas of hymns, about preferences, about some of our church people complaining about the singing, about selecting favorites by ministers, etc.

Yesterday evening I had a brief conversation with someone who commented on the tempo of the singing in their local congregation. I picked up on the following part of the conversation, which is kind of a statement:

"Slightly faster singing in our church would

appeal to the youth in our church and

make them enjoy singing (more)..."

I have three observations:

1. There is a perception that the singing is slow in the church and that faster singing would be desirable. What is fast and what is slow singing?
   
   
   1. Calvin’s recommended singing Psalms in church with “poids et majesté” (gravity/weight and majesty), instead of  “léger et volage” (wild and light) (John Calvins letter “Epitre au Lecteur” June 10, 1543). This recommendation conflicts with speeding up the tempo so that the Renaissance Psalm tunes change into Renaissance Dance tunes.
      
      
   2. Understanding of the text is important for the singer as well as for the listener. If the text is a repetitive chorus of a contemporary song, it is acceptable to sing fast. When the text is basically a general statement about God or his work, a faster tempo will still allow the mind to follow the thought in the text.
      When there is no repetitiveness in the tune and not in the text, and there is a developing message in the text, it is more difficult to sing fast and still understand fully what you are singing. When singing complete Psalms there is often a deeper message, sometimes a description of Gods great works in the history of his church, and that is hard to sing fast.
      
      
   3. Not every tune is the same. Psalm 141 will be sung different than Psalm 68. There is not one set tempo for all Psalms. Accompanists will know that it is important to indicate the tempo clearly with Psalm 1 and Psalm 32 because the first few notes are long notes. The character of the text can play a role in the tempo as well.

4. Hymns are okay – psalms are not. There is no discussion about the tempo of “Abide with me” or “Amazing grace” or our National Anthem. Somehow the Psalms are attacked with all kinds of issues: the language is old, the tunes are difficult, the psalm texts not suitable for us to sing anymore, we sing them to slow. Hymns don’t have this. We heartily sing about “a wretch like me” in "Amazing grace" (but Psalms with this character we “hate”), we have no issue with “Thy” in “Great is Thy faithfulness” (but Thou in the Psalms make them archaic). Singing hymns slower is acceptable all around us, but Psalms can’t be fast enough. Is there a witch-hunt on the Psalms? If so, it needs to stop!
   
   
5. The room in which the singing takes place is a factor. At bible study in the living room the Psalms can be sung quite a bit faster than we do in church. In a small church with 100 members and a piano the singing is most likely faster than in a church with 600 people. A church with no acoustics will allow faster singing than a church with a second or two (or more).
   
   
6. The accompanists in the church have a significant impact on the tempo of the singing. I have spent some time on that in various workshops. With simple techniques you can make the congregation start off slow or fast. Organists and pianists need to lead and therefore they need to have an idea about the tempo before they start with the prelude. I know that there are mistakes made in setting the tempo every Sunday again. This is ultimately the responsibility of the consistory. Concerns should be brought to their attention - and not be discussed aroud the coffee after the service.

2. There is a concern about the youth in the church.
   
   
   1. It is important to pay attention to the youth in the church. The youth was the focus of both Luther and Calvin. The youth of today will make up the church of tomorrow.
      
      
   2. The approach to teaching the youth in the church and about the church, has changed.

                                                               i.      When young people asked questions, half a century ago it was common to tell them: “This is how it was, this is how it is, and this is how it will be – end of the discussion”. This was acceptable then.

                                                             ii.      When young people are asking question in the church today, I have observed two things:
1) fear about them not liking it and leaving the church (“if we don’t get more hymns from Synod it will be a problem for the youth - help… help…”) and
2) the instant desire to make changes to please them (“Let’s do something for them: what can we do, now…?”). These are not Scriptural reactions.
 

3. What we owe the youth is what God teaches us in scripture: we must explain why and how, we have to teach them a context and perspective. They must become the torchbearers and pass on the flame to the next generation. Also about how we worship. (Deuteronomy 6:6-7; Proverbs 22:6) They also should know that “the old folks” are not out of touch with this time, but that they have a living faith and that God credits the older generation with wisdom (Job 12:12; Job 32:7).
   
   
2. What is important about enjoyment of singing in the church
   
   
   1. Singing is an act of corporate worship. We do it together as a congregation, young and old, in unison. Our Psalm tunes allow us to do that. Gods people have done that in this way since the Reformation. Churches are united in this, all over the world.
      
      
   2. We sing first of all to God’s glory. Calvin saw the singing as part of prayer. In our singing Psalms we approach God’s throne in Jesus Christ. God is Holy, and He is our Father. He is merciful and the Judge of the living and the dead. It does not matter whether we enjoy the singing, as long as God can accept our prayers and praises in our singing.
      
      
   3. We sing for each other also. We sing about God and His mighty works. Luther supported that we can proclaim Gods Word to each other (edification) through the singing of Psalms.
      We may build each other up and encourage each other with the Word of the Lord in song. If our brother or sister in the Lord grows in faith, if Holy Spirit can use our singing – that determines our enjoyment!
      This enjoyment however does not fall in the category “personal pleasure” or “personal satisfaction”.

Post Scriptum

If you want to know what I consider a "good" general tempo, you can listen to my CDs. The Psalm CD has MM=55 for the half note, where we have focussed on the ability to understand what it sung. On Sundays we are generally between MM=60-72. Keep in mind that this is a larger church and that in a smaller church I would probably sing slightly faster (MM=72). But again, different per song.

A number of years ago I was asked to play for a graduation ceremony. For that occassion I wrote an "Intrada". An intrada (Italian) is an entry piece and could be used for a processional. When you listen to this, close your eyes and imagine a large church and the graduates walking in through the center isle.

During graduations you hear often the same pieces played. I find that the excitement and seriousness of the moment is sometimes lost because of the music. This piece is easy to play, yet dramatic and powerfull. It could be shortened quite easily if it would be too long.

The sound file is generated with two types of brass instruments. On organ I suggest to use the Trumpet on the Great and a another reed or contrasting combination on the Swell.

Since this week I have suddenly more time on my hands. Now I have a plan get more familiar with Finale. Small pieces like this are fun to enter in Finale and I hope that it will go faster every time. Although I wrote this several years ago, I also want to post this now as a start of something new.

 The following announcement was placed in our Liturgy sheet. It will be in the next Church News as well.

Our choir will start practicing on Monday Sept 14. We invite singers of all ages to join us in our practices towards a Christmas Performance. We like to work hard, learn a lot and have a lot of fun on Monday nights from 7:30 - 9:15 PM.

Making music and singing is rewarding...our choir has done a lot of exciting things (professional choral workshop, singing in Kerrisdale, singing the Crucifixion, being part of a CD recording, etc.) - ask our past and current members what they think!

To start with, we plan to be part of the the2009/2010 Langley Concert Series with our Christmas performance...BUT we need you to sing! Please contact Frank Ezinga (604) 514 9414 if you would like more information.

(BTW...do any 2009 CCHS graduates like to join in our excitement...?)

This picture was taken of the choir when we started last season. Every year is different and this season will be the same: not knowing how many and who is going to join us... I have received some inquiries that make me feel excited... I would like to have at least 5 Sopranos, 5 Altos, 3 Tenors and 3 Basses.

I have two programs prepared for Christmas this year. If there are a lot of new singers joining, we will sing an easier program, and if we have more experience in the group, we will tackle more complicated material (Willcocks and others) . Given the preparation time, it will be hard work either way.

If it works out, we might have "Young Laudate Singers" joining in the performance. I have a plan to try out a children's choir from Langley church, and this Christmas performance is a nice opportunity.

Other plans for 2009-2010 include a CD recording featuring the choir, voice lessons by a professional, and more.

Another season...
Making plans and schedules...

It is like casting our bread upon the water, in the knowledge that we will find it again after many days; or sowing your seed in the morning, and not letting your hands be idle at evening, because you do not know which will succeed, whether this or that, or whether both will do equally well.(Eccl. 11)

Always remembering: "Not to us, O LORD, not to us but to your name be the glory, because of your love and faithfulness." (Psalm 115)

 

This large US toy store (FAO Schwarz) has something for adults too, something musical, entertaining, and classic!

Anyone would want to play the Bach's toccata in d like this....!

These days the weather is on everyone's mind. Here in Western Canada high temperature records have been broken in the last few days. In the East they got rain that we are used to get in the fall. In England I don't know what's happening - therefore I would like to share this UK weather forecast message...

1.
In the past I have uploaded some videos on YouTube (http://www.youtube.com/view_play_list?p=AE977F51C9D5DFDD). This week I received a message in my YouTube-Inbox from an organist/composer in Ohio. He expresses apprecitation for the singing of our church community:

"How wonderful to find a congregation in North America that sings the Psalter, with an organist improvising properly! (...) I have recently begun introducing more improvised hymn introductions, as well as working the appointed Psalm as prelude. American hymn-playing is generally rather dull and static, and lacking in imagination. (...)"

I can't comment on how other churches sing and the hymns they sing, but our Psalm singing seems to be different.

2.
On the Casavant Freres website (www.casavant.ca) there was an announcement posted about the new Psalm CD. Again, Genevan Psalms are not common in North American churches, but the CD did evoke something. They call our congregational singing "a large choir"...!

3.
Then there are people that discuss things on closed discussion groups. Last year, someone from Vancouver discussed our new church organ with someone in South Africa, and with simple cut-and-paste the message was passed on to me, by someone in China .

 1662, just three years after the completion of the Genevan Psalter, Claude Goudimel published the 4-part harmony settings. This publication allowed singers to sing in 4-part harmony, often with the melody in the tenor, and it allowed musicians to play the psalms in ensembles. In the Calvin Year 2009 an edition has been released with the remarkable subtitle”Revised Mazmur Edition”. It is an Indonesian title on the cover of an English language publication of French Psalms.

Here is short story...

The state church in the Netherlands (Hervormde Kerk) sent a missionairy to Indonesia in 1967. From then to his return in 2004, the Reverend Harry Van Dop worked in the churches in Indonesia and was member of the committee for Church Music and he taught at the Theological University in Jakarta.

In the Indonesian churches some of the Genevan tunes were known since the 17^th century already, but the translation was old and in need of improvement. Many psalms were not sung because they were not available.

A musician himself, Pastor Van Dop took on a project to translate all Psalm in Indonesian (with local assistance), and he reworked the 1662 Goudimel edition so that the melodies were in the soprano and the keys were suitable for congregational singing. This resulted in the publication of “Mazmur Edisi Harmoni” in 1987. (Mazmur in Indonesian means Psalm in English.) This edition was not only sold in Asia, but there was also demand in Canada and the Netherlands.

(Van Dop was asked about the cultural alignment between Genevan in the 16^th and 17^th century and Indonesia in the 20^th and 21^st century. He responded that on the streets of Jakarta music can be heard that we would classify as written in modes and that modal music is common in Indonesia. Therefore the Genevan tunes fit in the Indonesian musical culture.)

The 2009 edition in front of us is not a scan of the 1987 edition. Van Dop decided to improve on his work of several decades ago. The new edition is improved based on especially the feedback of organist, musician, and scientist, Dr. Gert Oost (who passed away earlier this year). It is not an identical copy of Goudimels 1662 edition, but edited for congregational use with minimal compromise of the original.

How to use this new edition? The publisher points to the Sunday worship services as well as choirs. Ensembles can play this music to provide a solid accompaniment. Every Psalm is written in two versions: one with the melody in the Soprano and one with the melody in the Tenor. Van Dop points out that some stanza’s can be very well accompanied with the melody in the tenor when the male voices are dominant in the singing. Then he adds he has heard these harmonies used at Elementary Schools, where the children sung in 2-part harmony, using only 2 voices of the harmony.

The book is produced on good quality paper, with a ring binder, so the book stays always open on the piano or organ. The note setting is clear and good to read.

This book includes a (MP3) CD with all psalms played in 4 part harmony, in both settings: melody in Soprano and melody in Tenor. The melody is played with a different stop, which makes it stand out nicely, especially with the tenor settings. The organist on the CD is Dick Sanderman, a well-known organist in the Netherlands. To save costs, this CD is made with an organ connected to a computer. The stops of the “Michaels Kerk” in Zwolle, the Netherlands, have been “sampled” and the recording is made using these authentic sounds through a computer program. This resulted in a realistic sounding recording, while it was not necessary to rent the church to make the recording.

The Genevan Psalms arranged by Claude Goudimel. Revised Mazmur Edition
Edited and adapted by Harry van Dop. CD included: MP3-files of all psalms, played by Dick Sanderman. Publisher: Cantique, Rijssen 2009. 162 blz. € 39,95
Website: http://www.cantique.nl/orgelmuziek/orgelmuziek/claude-goudimel-genevan-psalms-mazmur.php
(Click on the English flag for the English language)

  In the 1930’s the Reformed Churches in the Netherlands became well-organized and the membership was growing. The congregations soon burst out of the smaller churches that were used since the Secession or Doleantie.

Starting at the beginning of the 19^th century new Reformed churches were built in their characteristic style. Churches designed by renowned architects such as Tjeerd Kuipers (1857-1942) and Egbert Reitsma (1892-1976) were typical examples of this style.

In these newly built churches the organ was positioned in a central location. Often it was installed directly above the pulpit, symbolizing the unity of the ministry of the Word and the congregational singing (prayer) in the reformed worship service. The reformed churches appreciated the writings about liturgy by Abraham Kuyper (1837-1920), who published in 1911 Onze Eredienst (Our Worship Service). In this momentous work, Kuyper pointed out the importance of the congregational singing and the serving role of the organist. He shared his appreciation for the 16^th century Reformation through which the congregational singing was restored.

(quote from EREdienst, June 2009, page 12)

Some examples:

Nederlands Gereformeerde Kerk - Kampen

Bergsingel Kerk - Rotterdam

Protestantse kerk - Wildervank

And what about our churches? Maybe it has placed a role in the design of our buildings?
Yarrow, Willoughby, Langley, Surrey Maranatha, Chilliwack, Abbostford... Organs are all placed in the front. It is not a rule, and it does not have to be, but the considerations in the Reformed churches in the Netherlands in the early part of last century could be valuable.

Yarrow CanRC

Langley CanRC

To the Praise of His Glory 
-Chilliwack-

Choir director: Martine Dekker

Pianist: Hilda vandeBurgt

Laudate!

Fraser Valley Young Adults Choir

-Langley-

Choir director: Frank Ezinga

Pianist: Vanessa Rook

Flautist: Sungeun Choi

Two Choir Concert

June 7 2009 at 7:30 PM

Canadian Reformed Church Langley

Opening

Singing Psalm 138 (standing)

To the Praise of His Glory - choir
- Now praise we Christ, the heav'nly king - Gordon Young

- Come and be joyful - Antonio Vivaldi

- Look at the world - John Rutter
- Holy is the Lord - J.S. Bach (arr. Jack North)
- The Lord's my shepherd - William H. Havergal (Psalter Hymnal)

Laudate! - choir

- Ambrosian Credo
- Psalm 6 (Claude Goudimel)
- Psalm 130 (Claude Goudimel)
- Psalm 95 (William Boyce)
- Psalm 150 (Albert de Klerk)

 Organ Solo

 Psalm 146 followed by the singing of Psalm 146: 1, 3, and 5.

To the Praise of His Glory - choir
- Alleluia - W.A. Mozart
- Honour and Praise - Twila Paris (arr. Camp Kirkland)

- Sing praise to God with one accord - Joseph Haydn
- The holy city - Stephen Adams

Laudate! - choir

- Lord you are my God and King (trad.)
- Lord, have mercy (Adrian Snell)
- Power - God gave me a song (Myrna Summers)
- Be still for the presence (David Evans)
- Yerushalayim Shel Zahav (Naomi Shemer)
- You raise me up (Brendan Graham)

Closing

 By Singing Psalm 134 (standing)

Refreshments will be served after the program in the fellowship hall.