Introduction

The profession of a church organist is often split into two parts. On the one hand, an organist plays concerts in churches or music halls, solo or together with soloists, ensembles or choirs. In concerts, he plays organ repertoire and probably concert improvisations. On the other hand, he plays in liturgical contexts such as divine worship, weddings and memorial services.[1] In Christian services, an organist improvises and accompanies congregational singing. The two parts within the profession of organists are not strictly separated. Organ literature can very well be played as preludes or postludes in religious services, just as the many choral preludes to more or less well known Christian hymns can be performed at recitals.

The twofold division of an organist’s occupation may be somewhat artificial, but it is a relevant distinction. The concert practice of an organist has great similarities with the practice of a pianist, horn player or any classical musician. The liturgical practice, however, presents a context that is unique for the world of classical musical. Within the liturgical context, music is just one of many contributing factors, alongside reading of the scriptures, preaching, praying and singing. That means that music not only provides a frame to contain all other liturgical elements, but that it also actively responds to them. Musical contributions can reflect upon, answer to, and interact with readings, sermons, prayers and singing.

In contrast to visiting a concert or recital, those attending church services are invited to actively participate. In a religious service it is not so much about merely listening to the music performed, the music is part of a setting in which people are invited to contribute to the liturgy. Congregational singing in specific can be seen as an element in which music and attendees interact with each other. This active involvement therefore leads to an excellent setting to conduct artistic research.

Research design

This research studies the role of organ music in the Dutch Protestant liturgy. It started with a broad question on the added value of organ music in church services: how can organ music contribute to the appeal of modern Protestant church in the Netherlands? Although this question is very relevant for a young church organist completing his studies, as well as for the future of Christian churches and the design of their services, the question was too all-embracing to answer, or at least beyond the scope of this research. This research therefore focuses on one specific manifestation of liturgy in which organ music has a prominent role: organ vespers. “Organ vespers” is a collective term for a moment of prayer and music, relating to a long tradition and history of evening prayer. As the roots and manifestation of organ vespers will be further discussed in the subsequent chapters, an attempt to define the phenomenon will suffice for now: an organ vespers is a brief Christian service of prayer with specific attention to organ music. Focusing on organ vespers, this artistic research project therefore poses the following research question: how can organ music contribute to Christian Protestant liturgy? In answering this question, this research will test the hypothesis that music is an important reason for people to attend services. It will argue that organ music in a liturgical context has the specific quality of engaging and interacting with listeners and participants in the liturgy.

The first two chapters of this research report provide historical, theoretical and practical context on organ vespers. The first chapter discusses the roots of evening prayer. It starts with a description of how the Roman Catholic Liturgy of the Hours continued a Jewish tradition of prayer and how psalm prayer is at the heart of mainly monastic traditions. Anglican evensong can be seen as a continuation of these prayers, in which music plays a more prominent role. A less liturgical but even so relevant perspective is presented by looking at Buxtehude’s Abendmusiken, in which music was used to attract people to church and entertain local business men. Subsequently, the second chapter discusses the guidelines of the service book of the Protestant Church in the Netherlands on (evening) prayers and on musical vespers in specific. Articles on organ vespers by among others Peter Ouwerkerk, church musician and responsible officer of the Protestant Church on church music, and a comparison of three practices of organ vespers in the Netherlands provide further ground for this research project.

Building on this information, the third and fourth chapter provide the context to answer the research question. Taking into account the information on the historical roots of organ vespers, writings about and guidelines for these musical evening prayers, and contemporary examples of organ vespers in the Protestant Church in the Netherlands, this research presents the order of service for four organ vespers. These organ vespers were held in the Goede Herderkerk in Rotterdam-Schiebroek, the working place of the researcher as choir leader and organist. After each vesper, the visitors were invited to fill in a questionnaire so that the researcher could insight into the reasons for people to join the organ vespers, their engagement during the vespers, their opinion on the specific role of organ music in the vespers, and their appreciation of the four different styles of music. On basis of the “product” of the organ vespers themselves and the attendants’ responses to the vespers, this research demonstrates how organ music in a liturgical context has the specific quality of engaging and interacting with listeners and participants in the liturgy.

Further remarks

A number of final remarks should be made to explain the context in which this research project was conducted. To begin with, the Goede Herderkerk is a mainstream church within the Protestant Church of The Netherlands and it is the professional working place of the researcher. It is located in the district Schiebroek in Rotterdam and holds a morning service on Sundays that is attended by roughly 70 to 100 people. The liturgy might be described as ecumenical-Protestant, but the Eucharist is not celebrated every week. The researcher of this project is actively involved in this church, for he plays all services, leads the choir, is responsible for the church music, and performs four to five concerts a year in this church. The Goede Herderkerk, therefore, is an excellent place to integrate this artistic research project into the professional practice of the researcher.

The researcher is very grateful to a number of people. The organisation of the organ vespers took place in elaborate consultation with ds. Rik Radstake, Reverend Emeritus of the Goede Herderkerk, and the Commission on Worship Service and Liturgy in the Goede Herderkerk. Thanks also go to the four involved congregants who led the organ vespers: Margreet van Leeuwen, Ada Bluemink, Irene Ridderhof-Mackenbach and Marianne Craenen. The questionnaire was designed in consultation with remedial educationalist and doctoral candidate in environmental epidemiology Jeannette Rosbach. Both she and psychologist and trombone player Joram van Ketel were of great help in properly analysing the outcomes of the questionnaire. Lastly, the researcher is grateful for the help of Fr. David Michael, pastor in Boston and a sparkling discussion partner on topics of faith, church, liturgy and music.