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Antiphonal Praise

 

 

 

 

“One generation shall extol your works to another
and shall declare your mighty acts.”
—Psalm 145:4 (NRSVUE)

Have you ever walked into a large cathedral and noticed organ pipes at the front—and then turned around and discovered another set of pipes at the back? That second organ is called an antiphonal organ. Because it is separated from the main organ, the two sections can create an echo, with music seeming to answer back and forth across the sanctuary.

Eugene Peterson uses this same image when reflecting on Psalm 145:4 and the worship of God’s people:

“Praise is antiphonal between the generations. Praises lifted in one century are echoed in another. Our voices pick up themes announced hundreds of years ago and add personal variations, producing ‘the voice of a great multitude, like the sound of many waters and like the sound of mighty thunderpeals, crying out, “Hallelujah!”’”
—Eugene Peterson, Praying with the Psalms © 1993

What a beautiful picture of the church.

When we sing together, we are doing more than singing words printed on a page. We are joining a song that began long before us and will continue long after us. Think about the generations represented in our congregation. A child may hear a grandparent singing a hymn that has been part of the church’s worship for decades. A young person may sing words that Christians have been singing for centuries. And when older members hear the voices of children and young adults, they are reminded that the faith continues.

How might we be more intentional in worship about creating this antiphonal dialogue between the generations?

This fall, our church began a year of reading the entire Bible together as a congregation called “One Story. One Church. One Year.” As we launched this focus on Rally Day, we chose hymns with this idea of generations in mind. Before the sermon, we sang Philip P. Bliss’s beloved hymn “Wonderful Words of Life,” a heart song for many members of the older generation:

Sing them over again to me,
wonderful words of life;
let me more of their beauty see,
wonderful words of life.

 

We also introduced the congregation to a newer hymn, “God of the Bible (Fresh as the Morning),” with lyrics by Shirley Erena Murray and music by Tony Alonso. The choir sang the verses while the congregation joined in the refrain. Our choir includes many college-aged voices, so as we sang, we could actually see different generations participating in the music together.

God of the Bible,
God in the Gospel,
hope seen in Jesus,
hope yet to come,
you are our center,
daylight or darkness,
freedom or prison,
you are our home.

Marty Haugen’s “God Is Still Speaking” was also sung by the choir, with a cantor leading the call-and-response. Its words remind us that God continues to speak, offering hope, strength, and the promise of renewal:

Open up your ears to hear: God is still speaking
Living Good News, strong and clear: listen and draw near.
Through the struggle, grief and pain: God is still speaking.
God can raise us up again: listen and draw near.

As I listened to the music that day, I found myself thinking again about the antiphonal organ. One generation sings, and another answers. The older generation says, “This is the faith that has carried us.” The younger generation responds, “We have heard you, and we will carry it forward.”

Like an antiphonal organ, the sound moves through the sanctuary—front to back, young to old, one generation to another. The music becomes a conversation between generations. We are not simply singing with one another. We are singing the faith to one another.

Someday, our voices will be the ones another generation hears. Together, we are adding our voices to “the voice of a great multitude.” And the song continues.

Hallelujah!

 

 

Blogger Denise Makinson has served as Director of Music Ministries at Southwood Lutheran Church (ELCA) in Lincoln, Nebraska, since 1994. Over the years, she has had the joy of exploring the many ways music can enrich worship, tell the Christian story, and bring people together. At Southwood, she has helped nurture a music ministry that embraces a wide variety of musical styles and traditions, always with the hope that music will help people encounter God and experience the Gospel more deeply.

The Context

Theologian and composer/songwriter Tony Alonso has released 23 albums to date, and Caminemos con Jesús is the latest release in this long line of resources for the church. In 2015, Alonso was invited to compose the responsorial psalm for the first Mass Pope Francis celebrated in the United States—a fitting recognition of his work. Notably, this album has been nominated for a 2020 Latin Grammy, and after just the first few bars you will know you’re in for a treat. Alonso, a Cuban-American Roman Catholic, has crafted a joyful, somber, lyrically- and musically-rich album of songs helping Christians walk with Jesus.

 

The Content

Lyrically, the catechetical potential of Cuban music is fully realized here as most of the songs include call-and-response. This method of teaching the lyrics and the melody makes it easy for the listener to sing along, as each part is introduced and then repeated. Alonso also alternates between Spanish and English in several songs, helping to connect worshipers in either linguistic context. The English is sometimes a translation of the Spanish, other times a complementary section of call or response. As a novice Spanish-speaker, it was meaningful to me that the Spanish was sung clearly enough and phrased such that I did not have any difficulty understanding the lyrics. Most of the songs could function well in either a Protestant or Catholic liturgical context, with the exceptions of Gloria Estefan’s “Caridad” (a song to the patroness of Cuba) and “Letanía de la Madre de las Américas” (a song to enrich Marian feasts).

Musically, Alonso has brought together a top-notch group of Cuban-American musicians. Although this may seem daunting to a smaller church or a church with volunteers of lesser capabilities, the strength of these songs is still found in the core of the melodies. Simplified arrangements of these songs could be crafted around the melodies without sacrificing much of the energy. The harmonies are textured tastefully to curate the call-and-response experience, with room for the listener to sing along and feel part of the song.

Grammy winner Juan Delgado produced the album with exceptional skill. Each of the various instruments has its own space in the mix and the songs never feel crowded. Frankly, it’s a very enjoyable listening experience for any music lover. Notable songs include the title track “Caminemos con Jesús” and the first track based on Psalm 122, “Qué Alegría Cuando Me Dijeron.”

The Conclusion

If you have any Spanish speakers in your congregation, or Spanish speakers in your church’s area of influence, this album is a tremendous resource. The joy that permeates Cuban music is tangible on this album, and these songs could be simplified for churches who lack the musicians to pull off the percussion or flute parts while maintaining their melody and energy. The global church is edified by albums like this that are simultaneously specific in their expression and broad in their potential reach. May this album, and many like it, continue to knit together Spanish- and English-speaking congregations and neighborhoods.

 

Click here to watch a short documentary about the making of the album

To buy the album, go to: https://www.giamusic.com/store/resource/caminemos-con-jesus-cd1064

 

Review provided by David Calvert, who is the Creative Arts Director for Grace Community Church in rural North Carolina and a PhD graduate in Theology and Worship from Southeastern Baptist Theological Seminary.

Introduction

This episode is with Dr. Tony Alonso of Emory University. This episode was recorded by Ben Brody at the Calvin Institute of Christian Worship during their annual Worship Symposium.

 

Season 2 – Episode 3

In this interview with Roman Catholic composer and liturgical scholar Tony Alonso, we hear the story of God’s unexpected plans for Tony that he continues to journey into as a liturgical leader and composer. Themes of participation, community, and service of the people of God run throughout.

 

 

Listening time: 32 minutes

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