The original worship wars

I grew up in the Netherlands in an era when the organ played a prominent role in worship. In many households, including mine, families would gather around the pump organ to sing together. During worship services and on special days, people would sing, sometimes raucously, accompanied by the organ. Not without reason it became known as the “king of instruments.”

But how did this come about? The use of the organ in Reformed worship has a long history. For centuries battles were fought about whether or not the organ, or instruments in general, even had a place in worship. Pope Clement I wrote, “Leave the flute to the shepherds; leave the flute to those who fear the gods and worship idols.” It wasn’t until the 15th century that the organ began to play a more prominent role. Both John Calvin and Ulrich Zwingli were not pleased with this development. While Calvin permitted the singing of psalms in the worship service, Zwingli believed that silent contemplation was the best response to the preaching of the Word.

Not so Martin Luther. He believed that the gospel was expressed in word and music. Consequently, during a Lutheran worship service, there was a place for choir, congregational singing and organ playing. The organist could often be heard playing variations on well-known hymns.

The organ debate

Calvinist preachers were by and large against the use of the organ. In 1574, the Synod of Dort concluded, based on 1 Corinthians 14:19, that the use of the organ ought to be rejected. Paul writes: “In the church, I had rather speak five words with my understanding, that by my voice I might teach others also, than ten thousand words in an unknown tongue” (KJV). Synod believed that the word “tongue” referred to the reeds in a pipe organ and concluded that therefore using pipe organs in worship was against Scripture.

In 1578, the National Synod of Dort completely rejected organ playing, going as far as trying to remove the instrument from the churches. Consequently, congregational singing was done a capella, led by a cantor.

But change was afoot. With the introduction of the Genevan psalter, it became clear that the congregation needed support, so organists began to accompany the (often loud) congregational singing. There was much opposition to this development, and rigorous debate about the use of the organ took place over the next few decades, but eventually, the instrument began to play an integral role in the worship service.

During the 18th and 19th centuries, the role of the organist became more important. Because of the manner of playing by the organist, congregations began to sing ever slower, leading to louder playing by the organists, which in turn led to yet louder singing by the congregation. A report from 1840 mentions, “Some congregants’ faces were turning red, and even purple during the singing, while the booming sound of the organ reverberated in the building.” This was also the beginning of non-rhythmic singing that can still be found in some parts of the Netherlands. This was originally done to ensure that everyone sang at the same tempo.

Still playing

Times change. In traditional Reformed churches, the organ continues to play a prominent role. A capable organist can “reach” the congregation with his or her choice of music before, during and after the service. Communication between pastor and organist can help create a beautiful unity between the word and the music.

Unfortunately, in many churches, the use of the organ has diminished or even completely disappeared. Those who continue to use the pipe organ add a special emotional dimension to worship that is difficult to replicate with other instruments. I am always struck by how true this is when I play in the local Lutheran church. The people there love it when there’s a power outage because instead of the electric keyboard, I get to play the organ, and a pump organ at that! Talk about coming full circle.