Monday Morning Music Ministry

11-15-21

Charles Dickens opened his book A Tale of Two Cities with the famous words, “It was the best of times, it was the worst of times.” William Wordsworth assayed societies’ turmoils and wrote, in The Prelude, “Bliss was it, in that dawn, to be alive; but to be young was very heaven!” And the author of Ecclesiastes, probably Solomon, wrote “There is nothing new under the sun,” less philosophical than Dickens; and more fatalistic than Wordsworth.

We live in times now that are fraught with turmoil. From major power struggles around the world, “wars and rumors of wars” – to acrimony in Washington and even echoes of hatred and destruction in unlikely settings of school-board meetings and downtown neighborhoods.

Do we live today in such a zone of a dichotomy? – are these the “best of times”? Well, things are generally more prosperous than in the past; literacy has increased; medicines and procedures are saving lives. These things are mostly true in our country and around the world. We have sent humans to the moon and maybe, soon, to Mars.

Signs of progress are all around us.

But what word should we apply to other “signs of the times”? – unrest around the world; revanchist empires; slavery and human trafficking; genocide and abuse; religious and political repression; increased drug use; divorces, suicides, and homelessness; broken homes… REgress? Surely not progress.

Humankind needs a different yardstick, or a different dictionary – or a different value system – when science concocts ways to protect and prolong life… and develops means to end life before birth, and with the elderly, in advance of natural death. Governments seek life elsewhere in the universe, yet encourage the snuffing of lives in the womb. Or deny that a heartbeat in the baby is life.

And so forth. “Vanity, vanity; all is vanity,” Solomon continued in his indictment. “Meaningless.”

If we – humankind; not merely our immediate neighbors – ever are to redeem our species, what we call Civilization, it will require a revolution (or counter-revolution, actually) of our souls, our standards, our values. Values: what is valuable to us?

This week I was corresponding with friend Nicole LeBlanc, a gifted pianist, who issued challenges for people to list favorite works of Beethoven in several musical genres. Next came thoughts of the reasons for our affections; and then of the interpreters of his works. I have internalized such questions, the reason why I have several recordings each of all the works of Bach, Mozart, Beethoven, Schubert. We respond to differences in instrumentation, tempi, dynamics, interpretation.

How can we listen to the musical miracle that was Bach, or be moved to tears by works of Mozart – who first composed at age five, and wrote supernal melodies as easily as other men perspire – and think that the world has progressed beyond them?

Such thoughts returned me, from a different route than beholding the spread of nihilism, to a consideration of “progress.”

Question: Which scenario leads to greater enjoyment, richer appreciation, more satisfaction to your soul and mind: hearing Beethoven’s Eroica Symphony (or insert any great work of art) only once in your life as often was the case in centuries past; or having access to DVDs and videos by the dozens, and listening to the music several times a year, for years and years? It is a challenging question, with implications.

In fact, in the question we can substitute any work of art, fine wine, or travel adventure. Does saturation equate with increased enjoyment, intellectual enrichment… progress?

I am a free-enterprise capitalist, and I endorse democracy (like Churchill, I suppose: democracy is the worst form of government unless you consider the rest. I suppose.) Yet since I recognize that human nature is corrupt, I regret civil architectonics such as capitalism and democracy that let humankind work its will. Eventually they must produce harm.

Potential great artists and composers spend their careers designing advertisements and writing commercial jingles to seduce our better judgments. Their works will remain in the culture about long as the fortunes they accumulate producing the ephemeral material. Ah! Some might say that daVinci and Michelangelo also spent their lives and their talents on commercials, too – advertisements for God, commissions for the church. Is it any different?

Yes, is the answer; yes.

We return to the question of standards and value-systems. It is worthwhile to devote your life to an ideal; a noble truth. It is the proper calling of humanity to praise God for the gifts He has given us… to return those gifts, in my view. We advance humankind by recognizing what is true, what is noble, what is right, what is pure, what is lovely, what is admirable. We should think about such things.

These things that are excellent and praiseworthy, and not selfish or short-sighted, these things will save the earth and benefit our fellow creatures. This is progress.

Finally, I return to “creativity.” In so many ways we are like the animals, but… we have the spark of creativity. And that is why it is a shame to waste it on the promotion of transitory things. We are to be “imitators of Christ,” Thomas à Kempis urged, writing of spiritual ways.

I wrote here recently that we actually cannot create anything, as God has created all, and this is a finite world: maybe we can only rearrange. Yet, in what we call creativity, we can in a way imitate God. A solemn privilege! We can imagine, we can dream, we can explain. We can take blank paper, white canvases, and rough chunks of stone… and bring forth works of art and beauty and understanding. We can not, and need not all be Beethovens. But we must, all of us, dream and “create.”

We too can touch souls, and change hearts. To appreciate other artists, and to translate God’s profound messages and love for others through our works – and not to cheapen our talents, throw them away, or use them for selfish and hurtful ends here in the 21st century – now, that would be progress.

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Surprise! You might be expecting a passage of Baroque music or a great poem. But I am going to share a country song, one that expertly captures the essence of creativity – from loneliness to sacrifice to devotion to resonance. We can all relate! The Christian songwriter sings of the iconic 16th Avenue in Nashville, home to studios, publishing offices, and dreams. The songwriters around him relate, too, by their expressions.

Click: 16th Avenue

2-29-16

Just for a moment, stop. Savor the good; calculate the not-so-good. We must live our lives, even as the culture tells us to put on costumes and spout lines, letting our selves go past our eyes as if we were spectators, not the players. We, all of us, go around and around and around in our worlds, always meaning to start, or finish, something or other.

Parents know: running kids from here to there and back again. Activities. They’ve got to enjoy themselves, right? But how often do they enjoy talking to their parents… talking with their parents? How many times have you returned from a vacation, feeling that now you REALLY need a rest; whew!?! Even leisure has become an industry.

A while ago I wrote an essay based on Psalm 46:10, “Be still and know that I am God,” in which I suggested that great wisdom comes from a deliberate parsing: “Be.” “Be still.” “Be still and know.” “Be still, and know that I am.” “Be still, and know that I am God.”

Profound wisdom in each portion, each inviting deep contemplation – maybe a lifetime’s! Yet the essence that we of the 21st century take away is the admonition to be still. It is hard to hear God above the noise. It also is difficult to hear ourselves above the noise.

And when that happens, we stop even trying to listen to ourselves. In the next step – a downward step on a spiral staircase, I’m afraid – we finally stop talking to ourselves. Not talking to ourselves like mad people do, but conversations with the “inner selves” God has placed in our make-ups. Our creative selves. To stop that, I believe, is a sin.

When God created mankind, He made them in the likeness of God. (Genesis 5:1)

The question of listening to ourselves, to responding to the “creative spark,” is something that long interested me. My father, a polymath and omnivorous reader, encouraged me to draw and paint and write; to love music and art and history. But I came to realize that our earthly fathers and mothers only can cultivate such interests. It is our Heavenly Father who plants the seeds.

For a while, as a baby Christian, I was persuaded by some people that we are rebellious if we claim to create anything – that Only God can create, and that nothing can be created that is not of Him already. Pretty soon I realized that this is only a word game; and, when that game is played, it would rob the Lord of one of His great joys. He is Creator-God, yes; but when creating us in His image, He puts creativity within us!

If we are to be “imitators of Christ” in our standards and actions, so we can be imitators of God, and seek to create in His spirit; to dream and imagine, and dare. Attempting the likeness of God’s very creativity, we can seek perfection, look for beauty, and bless others.

We are God’s handiwork, created in Christ Jesus to do good works, which God prepared in advance for us to do (Ephesians 2:10).

I humbly suggest that in God’s eyes, “good works” are more than sharing Christ and being charitable. It is good work indeed to be all that God intended you to be, to fulfill the creativity wherewith He graced you. To me, it comes close to insulting God to dismiss the talent and imagination you have – and Yes, you have gifts; we all do.

If you doubt, this is when you should stop and be especially quiet, and listen for the Holy Spirit, and to the voice of your creative self. My daughter Emily is tenfold more talented than I, and she draws and paints and writes, beautifully. She has proposed collaborating on a children’s book with her Pop – can anything honor a father more? She has dreamed, lately, of opening a restaurant. When life intrudes, as it will, creativity just sprouts elsewhere, like the pretty shoots and buds and reeds appear every spring, sometimes in the most surprising places. Emily now is designing a website about cooking and baking and serving others through kitchen-fun.

Another Hero of Creativity, and a poster child for quietly listening, obeying, and sharing God’s spark in her life, is Eva Cassidy. I only learned of her from friends in Ireland, where her acclaim commenced after her death. A singer born in the Washington DC area, she played in local clubs and made only a few recordings, partly because she loved so many genres she was hard to categorize; partly because she was intensely shy. But… she was warmed by that creative spark.

Her performances were astonishing. Just past 30 years of age she died, suddenly, of melanoma cancer. After a few years her tapes made it to England, where, played on the BBC, her songs suddenly topped the charts. Eventually her music sold millions, in the UK, Ireland, throughout Europe, and back in the USA.

I cannot listen to her without getting teary. Not just her voice and interpretations. But her example. She stopped and savored life, with the stereotypical obsession to be a superstar; but she sang to please others, where she was, with what she had. She listened; she loved God; she dared to step out. She sang because she loved to. She mastered her craft and surrendered to her heart – when, today, most of us try our hardest to do the opposite, often failing at both.

“How lucky am I,” she once said, “to just do what I love: play the guitar and sing songs.” How many of us can savor the satisfaction of doing what we really love… and really loving what we do?

There’s the pursuit, and often the attainment, of happiness. That is one way to please God. It is not selfish: it is doing what He has prepared you to do. Go thou and create!

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Eva Cassidy died in 1996. The Georgian/Northern Irish/British singer Katie Melua is about as old now as Eva when she died; they never met. However through the creative use of technology, they have performed duets, sensitive and powerful in their beauty. Eva’s “half” is from a serendipitous video-cam capture of a performance 20 years ago. Stop and watch and listen.

Click: What a Wonderful World

5-11-15

And Moses said to the children of Israel, “See, the Lord… has filled him with the Spirit of God, in wisdom and understanding, in knowledge and all manner of workmanship, to design artistic works, to work in gold and silver and bronze, in cutting jewels for setting, in carving wood, and to work in all manner of artistic workmanship. And He has put in his heart the ability to teach… He has filled them with skill to do all manner of work of the engraver and the designer and the tapestry maker, in blue, purple, and scarlet thread and fine linen, and of the weaver – those who do every work and those who design artistic works” (Exodus 35:31-35).

There are some Christians who write to correct me when I refer to creativity, creative accomplishments, creators of prose and poetry and painting, of drawings, sculpture, and dance. Of course we know that God created all things, that nothing was created that was not created by Him. Or, technically, can be created. They say, “Only God can create.” Of course this is true for physical elements, for resources – a reminder that is either sobering or revelatory to extremists who think we might run out of water or oxygen or soil or minerals. We might indeed squander resources, spoil or misuse the earth’s treasures, and pollute the environment. But under this inverted bowl we call the sky we cannot add to God’s resources or make any disappear: the earth is the Lord’s and the fullness thereof… all of it.

Having parsed those terms, I believe it is not unscriptural to say that God’s children can create. Not in terms of alchemy, but to create stories from the mysterious depths of our imaginations. To create ethereal music where silence once reigned. To create images – paintings, drawings, sculpted figures, movies, graphic novels – by that magical process that exists between blank pages or canvasses and finished works of art, attended by simple speculation or profound genius as midwives.

We hear the clichés about what separates us from animals – laughter, compassion, intelligence – but I think the principal distinction, beyond having souls, is that we humans are creative beings. Not only created, but creative.

And I believe God endowed us with this spark of creativity. It is neither a theological “stretch” nor blasphemy to see ourselves this way. If we are to be “imitators of Christ,” in matters of relationships, forgiveness, discipleship, then surely we may be imitators of God, the Creator. In fact it is true, not suggestive but affirming, that most generations of humankind’s history, including in other faith traditions than our own, the majority of artistic expression has been exegetical of religious beliefs, expressing praise in unique ways, simply glorifying God. (That much artwork of the 20th and 21st centuries has been secular or anti-God, inimical to tradition and rejecting inherited values, is evidence, I think, of the cultural nihilism that infests our age. Do artists reflect their culture? Then yes, we have a proven case of societies tragically adrift. The contemporary arts tell us that we do not merely hate traditional standards; we of this age hate the very concept of there being standards.)

I have noted recently in this space that because of family matters I am in Ireland for month, and missing the Colorado Christian Writers Conference, an annual event where I endeavor to counsel aspiring writers and where (dirty-little-secret alert) I am replenished by fellowship with other creative types. I hasten to add that in God’s providence I am finding time, and making new friends, with writers and artists in Dublin, Ireland. And this is today’s context of the message I compose about once a year on creativity.

Dublin has a great literary tradition. I have already been to a few of the sites where Leopold Bloom “visited,” still marked as real locations and attractive to literary tourists. I will visit the Dublin Writers Museum, Trinity College Library, and the Chester Beatty Collection to see rare manuscripts and literary relics. The International Writers Festival will be held next week. Just to look upon the Book of Kells, the illuminated manuscript whose display turns one page each day – to realize that I look upon an astounding work of art, and a manuscript representative of monastic traditions that kept Christianity alive during the bleakest years of the barbarians’ dominance of Europe – floods the soul.

I have met, by chance or because of my daughter Emily’s affinity for the arts, writers and artists who are particularly gifted. Stacey Covell deconstructs and reconstructs poems, collaborating with visual artists who contribute to the new morphological creations, published in a revolutionary format of loose pages in an envelope, to be read, rearranged, spread out, and itself reconstructed. Another new friend is Martin McCormack, an artist whose invented medium is turf – mixing iconic Irish peat with glue and acrylics, applying the substance to boards and then scraping away negative portions of Irish cultural figures’ faces to produce portraits that are arresting.

There is in Dublin a fledgling group called the Creative Collective. Founded by James and Laura Pettit (he a musician, she a painter), it is a gathering-place where “we explore what creativity is and encourage every person to understand why imagination, beauty and truth matter in life. Everyone has imagination and ability to create, and everyone is welcome. We are involved in visual arts, music, theatre and performing arts, design, new media, literary arts and film.” Those who attend the meetups are from many different countries, all ages. The motivators and hosts of the Creative Collective are Christians, but wide-ranging, free discussion of the arts and creativity is the only “liturgy.”

Recently James formed a spin-off community, Art & Faith Together, to encourage those who wanted to explore the nexus of the disciplines. His own manifesto described the community: “Passion for creativity. My encouragement for everyone to understand how they are particularly made to create. Helping people understand what that means in their lives.” He said, “I love how any discussion about any art can have applications to another.”

I attended a meeting of Art & Faith Together in Dublin’s unique coffee shop Third Space last week. I was very impressed with James’ views of the arts and creativity (himself, among things, a classically trained trombonist who espied jazz and blues) but especially his views as a Christian artist. The American church community, with pockets of exceptions, I think tends not to encourage artistic expression and creativity. I hope I am mistaken. Too often, people of faith equate the arts with iconoclasm (in itself, not necessarily a bad thing), scatology and worse.

To the extent that Christian nay-sayers have any point, our response should not be to withdraw from creative communities and artistic expression, but to embrace them… reclaim them… redeem them.

James Pettit was firm in this view the night I met him at Art & Faith in Dublin. It was a commitment to something I had not fully considered: that Christians in the arts were not merely expressing their creativity; not only praising God in unique ways; but can fulfill themselves and in so doing, attract the world to the Word by the beauty, singularity, complexities, simplicity, fragrance, and elemental attractiveness of God-inspired, God-honoring art. I would add, as above, perhaps even be reverently God-imitative.

A few nights after that session in the Third Space Café in Dublin’s Smithfield district, James Pettit died of a massive heart attack. I, who knew him but a few hours, was as shocked and saddened as those who knew the transplanted American for years. This essay is a tribute to him, and the values this gentle giant of a man gently but firmly embraced.

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Click: Sweet Is the Melody

6-24-13

There is a town about an hour northwest of Florence, Carrara, that, after many visits to Italy, I finally had to see. More precisely: after visiting the statues of Michelangelo so often – the Pieta; David; Moses – I needed to see this town. Carrara, on Tuscany’s Mediterranean coast, holds the marble quarries that yielded the chunks that became his awesome masterpieces. And Carrara remains the source of the world’s great marble.

There is something extra special about Carrarian marble – its tone and texture. And there was something special about sculptors from Renaissance Italy – their anointed skills. I am only one of adoring millions of cultural tourists who wonder at the humanity exuding from rock. At the spiritual statements that can emanate from chiseled stone. Especially, from the viewpoint of a creator, HOW the sculptures could be so smooth and seemingly supple and glowing and close to perfection.

These days Carrarian marble is harvested by workers with mighty machines, bulldozers, and sophisticated drills and band-saws. But in Michelangelo’s day it was harvested by a fascinating process. Somewhere on the face of a mountain, at top or on a craggy slope, a monolithic section was identified, destined for statues or building columns or the facings of public monuments. (The pock-marks in the ruins of the Coliseum, by the way, are not the result of some battles, but when its beautiful marble facing was deemed to be of better, decorative use elsewhere in Rome, sections were pulled off for recycling. Easier than cutting massive new blocks from Carrara.)

Workers of Michelangelo’s day in the marble quarries looked for a crack, no matter how small. A small wooden wedge was hammered into that crack. You wonder: did that make the massive chunk fall off conveniently? No; it merely wedged into its narrow space. But workers would pour water over the soft wooden wedge, as much as it would soak up. The next day, the expansion of the wood – strange as it may seem – expanded that crack ever so slightly. Then the workers inserted a slightly larger wedge, and soaked that too.

… and so on, until the coveted chunk of marble was ready to break loose from the mountainside. Of course, harnessing the rock, navigating its fall, and transporting it to Florence, Rome, and beyond, were different challenges in themselves.

But then, to the master’s hand. Masters like Michelangelo Buonarotti were able to transform those cold slabs of rock. Did they extract humanity from stone, or imbue humanity? Such points of view are for another discussion. But I can tell you, if you have not done so, standing in front of his Pieta transports one to a spiritual realm. Much larger than life; multiple wrinkles of fabric appear genuinely silky; we see anatomical precision; and the faces – more, the “body language” of Mary holding her Son taken from the cross, and the dead Jesus, relieved of torture and strife – are miracles in themselves.

You can stand for hours, looking, identifying, grieving, loving. Being loved. The Gospel story bursts forth from the onetime ugly hunk of rock… but bursts gently. This is a momentary portrait of a dead Man, yet is also a portrait of Life.

And it is a life lesson that the marble quarries at Carrara, and the exquisite statue of the master Michelangelo, has for us. As I noticed the smooth skin of Mary’s face, the soft folds of her robe, and the shiny, smooth skin of Jesus – I beheld a life-lesson.

There are rough mountains in life. We can be “mountains” ourselves: parts of things, often big, bad things, and we wait to be liberated. Myriad happenstances in life will chip away at us; maybe we will fall; sometimes we feel like we are shattered. But then we are taken under care of the Master’s Hand. Even then, we must be prepared for more hammers and chisels, knocking away the unnecessary parts of our life. When we look at unfinished pieces by Michelangelo and Rodin, we can still see the rough marks of chisels, scars-before-the-fact. The process is sometimes long, and never without “hard knocks.”

But those wooden wedges, day by day, slowly expanding until they literally split mountains apart, can remind us God’s persistence, as well as His gentle methods to transform us unto better, more beautiful things. In MY case, I know that is as daunting as moving a mountain. But God can do it.

And there is the other end of the process. The features that give the Pieta and other sculptures their miraculous, other-worldly look – the smooth, shining, flowing surfaces, the appearance of glowing from within – are thanks to the tiniest of all the tools in the whole process! After mighty work in the quarries, transporting, chopping away, making stony chunks fall to the studio floor and fill the air with clouds of rocky particles, the final work of FINISHING is done with the smallest files, and the finest-grain sandpaper.

Marble is receptive to the microscopic burnishing that finishes the sculpture and provides the smooth texture. So it is with the real Master’s hand. It is easy enough for us to accept – intellectually – that major events can affect us, and that God can be in the re-ordering of our steps.

But we should realize, too, that the Holy Spirit often works to finish the work begun with our salvation – to live purified, spiritual, sanctified lives – with a type of holy sandpaper. Reminders, improvements, encouragement, deeper knowledge, fuller trust, richer faith, and peace that passes understanding: these are the grains of sand that bring us to look as God wants to see us.

So the smallest things (even the daily annoyances, until we “make all things work for good”) we should accept as little applications of the Creator’s hand, perfecting and finishing our faith. Oh, how marble-ous!

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Please watch today’s music-video, a spirited rehearsal by a youth choir of “Lead Me To the Rock” – with its references to this message. But it also represents a fascinating travelogue that most Americans, and American Christians, would find remote and surprising. No, not Renaissance Italy – but northeast India. On the border of Myanmar (Burma) is the state of Nagaland, whose main city is Bangalore. Its 2-million inhabitants are predominantly of Indo-Mongol racial stock, and predominantly Christian. In fact the state is between 95 and 99 per cent Christian. There is a higher percentage of Baptists in Nagaland than in any American state; and there are Pentecostals, Revivalists, and Catholics. Very few Hindus, and fewer Muslims. Jesus dwells in those beautiful hills – how many Americans know of this place? English is the official language of Nagaland. Here, visit with the Naga Christian Fellowship Bangalore. And they clap on the back beats! (“Friends should not let friends clap on the first beat.”)

Click: Lead Me To the Rock

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