Monday Morning Music Ministry

Easter, 2024

Every Christmas, Handel’s Messiah is Top-Ten in peoples’ lives. In concert halls, churches, and community sings; on radio and TV we hear the oratorio, or at least the familiar “For Unto Us a Child Is Born” and the “Hallelujah” Chorus. Even if only once a year, this is a good thing, culturally and spiritually.

Handel’s masterpiece encompasses, as its simple title proclaims, the entire life of the Savior, from prophesy to Resurrection. Handel lived his life in Germany, in Italy, and thence to England where he generally is embraced as a British composer. Messiah actually was first performed in Dublin. I was privileged to see his writing desk on display in the Writers Museum in the Irish capital.

More provincial than Handel was his landsman Johann Sebastian Bach, born the same year, 1685, only a few miles away, although the two musical titans never met. Bach’s musical reach, however, arguably is greater than Handel’s geographical realms; as great as that of any mortal who ever hummed a tune or wrote a melody.

They may be compared – just as Christmas and Easter may be compared in the business of our lives – but if their works may be compared, it is unfortunate that Bach’s supernal religious works probably are less celebrated than Handel’s Messiah. Anyway, less “familiar” to the ears of average folks, especially during holidays. This is regrettable, because Bach wrote music of astonishing power, musically and of deep emotional import. The B minor Mass; Magnificat; more than 200 cantatas; motets; and two Passions, St John’s and St Matthew’s.

It might seem like I have begun with a predictable tangent before I have even begun this Easter message. But, no; I want to draw attention to the amazing way the human race’s greatest composer presented the Easter story. I wish it were better known to people: more familiar.

For Holy Week vespers services in Leipzig, Germany, Bach wrote the St Matthew Passion and the St John Passion, which were each performed in the St Thomas and St Nicholas churches on alternate years for decades. Three other Passions apparently have been lost. Bach wrote about 1800 pieces of music in his lifetime, and about 1200 are extant. Approximately half of his output was Christian music.

His Passions were series of cantatas to be performed during Holy Week, and in parts during services. They were similar to oratorios or operas but without costumes or drama – singers were assigned roles, and there was a musical “narrator.” The straight biblical narrative was distributed among soloists (evangelists and individual figures including Jesus, Peter, and Pilate) and choirs (various crowds, high priests, Roman soldiers, and Jews). We can appreciate the spectacle that the congregation beheld: a combination of church and theater, Greek-style drama and opera, music and voice, emotive performances.

Two broad categories commend Bach’s favored Passion (possibly the work of which he was proudest of all his compositions), The Passion According to St Matthew.

Musically, it is a succession of amazing melodies, alternating gentle beauty, then tense drama, then profound emotion. It has musical motifs and phrases interlaced, reflecting the underlying themes and meanings of events during Holy Week. The combinations of solo instruments and voices; unique combinations and harmonies; and grand choruses of voices and full orchestral power are impressive.

All is outpaced, of course, by the spiritual message, the meaning of every scene and biblical phrase, and the skill of dramatization – the masterful presentation of the events – and the spiritual significance of every element. This is not a mere recitation of happenings, or a reading of Bible verses. The “Narrator” guides us, but Bach’s composition is a stunning re-creation of the agony and ecstasy of the Crucifixion story. By the verses and voices, the St Matthew Passion provides the points of view of all the participants and observers – including God, by quoted Bible prophesies; Jesus, by His words; and even us, dramatically through the eyes of the crowds in Jerusalem.

History came to call Bach “The Fifth Evangelist,” the accolade bypassing even his spiritual mentor Martin Luther, because of his clarity of spiritual understanding and the power of his musical talent. Some 15 years ago I wrote a major biography of Johann Sebastian Bach, and with every fact I researched, every work I listened to (and listened again and again) my awe increased. He was, in the end, a theologian who could write music, the greatest that humankind has produced or heard. It will be savored as long as men have ears, in the words of H L Mencken.

My friend the Pulitzer Prize-winning biographer Edmund Morris wrote me a note wherein he called my Bach biography superior to his own study of Beethoven, if you will permit me a little boast (well, I don’t give you a choice). However, he averred that I painted a portrait of Bach as being too much of a Christian; that spirituality was not a major component of Bach’s character. I am afraid that this opinion reflected more of Edmund than it did of Johann. For all of the old German’s success, Bach confessed that he was proudest of being a follower of Christ; then, a husband and father in his community; then, a music-maker.

And here we meet the Easter theme. We must all be proudest – first importance in our lives; the focus of all we do – of “knowing Christ and Him crucified.” The Easter story, the dramatic Passions, should be read and listened to and meditated upon, every week of the year, not only during Holy Week.

Indeed, the message of the cross, the Resurrection, the Ascension, should be the themes of our lives. Church “days” are useful to help us focus, motivating our faith and devotion, reminding us of how the Savior of our souls suffered on our behalf. His sorrows and pain were endured to fully identify with broken humanity. His death was a substitute for the punishment we deserve as sinners.

God became flesh and dwelt among us, a sublime mystery. And – you know the story – His Incarnate Son’s resurrection from the dead is to show the promise of our eternal life. Unspeakable glory awaits us.

You can experience the story in what may be a new way. I recommend that you set apart a couple hours, open the link to the music video below, and let the story of Passion Week, the genius of J S Bach, and the mastery of conductor Karl Richter bathe your soul. The artistry of the performance matches the innovative music of Bach. Orchestra and choir are in a stark setting here. A giant cross above and behind the musicians changes its position amid bright and dark lighting, reflecting the tones of the unfolding Biblical text. I pray that you find the time to savor this.

And have an even more blessed Easter.

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Click: Bach St Matthew Passion BWV 244 Karl Richter in parts

4-8-20

It is a Christmas tradition to burn the Yule log in the fireplace… or, more likely these days, watch a video loop on TV. Take a rest from preps, sack out with egg nog, stare at the log…

I suggest we do a similar thing this week, before Easter, but with more purpose and reward. Besides: we are quarantined. What I suggest is perfect for these days.

The Coronavirus has us in a contemplative mood, anyway — or should — and here is the perfect storm. To think about what really matters in our lives and families… and to think about the most important spiritual matters we can face.

I recommend two musical presentations of Holy Week — the “Passion” of Jesus Christ; His arrest, persecution, trial, torture, and death on the cross. As many people traditionally listen to Handel’s “Messiah” at Christmas, these pieces should be more familiar to us.
The St John Passion and St Matthew Passion were written by Johann Sebastian Bach almost 300 years ago. The greatest story ever told, by the greatest composer who ever lived. Utterly profound.

Bach used instruments, choir, and soloists to tell the story — narrators; singers in the roles of Jesus, Pilate, and all; but no costumes or drama… beyond the words themselves, many straight from the Gospel accounts. Matthew stressed the unfolding events; John focused on the personalities, and the love of Jesus.

I recommend these versions, maybe the best on video for all the unique reasons for contemplation: Karl Richter (with the Munich Bach Orchestra and Choir) was one of the supreme interpreters of Bach; famous and talented soloists; and… the video productions are works of art in themselves.

The “St John” interpolates views of the singers and musicians in church with ancient works of art depicting the events of that week.

The “St Matthew” is an astonishing presentation — a stark performance stage, with an huge cross hanging from the ceiling, subtly changing its position according to the portion of the story; changes from bright light to dark shadows; singers facing front or each other, and soloists mirroring their characters’ words throughout. Stunning and meaningful.

Both versions have English subtitles.

I wrote a book on Bach about a decade ago, joining a long line of people grateful that he ever lived. History has called him “The Fifth Evangelist” — not a pope; not Luther. He was a Bible scholar and teacher, not merely (?) the greatest musical figure of the human race. His music is supernal, still. And never more powerfully than in his two Passions (and his Mass in b minor) (and his Magnificat) (and more than 200 cantatas)… You get the point.

But try to set aside time, for yourself and your family, to watch, listen and meditate. Especially this week — to focus on the One who sacrificed Himself that we might not know death, but have eternal life.

St Matthew Passion: click here

St John Passion: click here

4-2-18

The arcane vagaries of the church calendar are not necessarily negative. Jesus was not born in December; and the observance of Easter is on different dates each year, and across various Christian sects. If the changeable dates oblige us to focus more on the events and their significance, and less on the secular-tending aspects – Holy days, not holidays – that can be a good thing.

Occasionally Easter coincides with April Fool’s Day, a secular day if there ever was one; a tradition devoted to pranks, whose origins are appropriately shrouded in obscurity.

There is another association between Easter and a silly practice that is more profound than would first seem.

The late Anthony Burger, remarkable Christian pianist, told the story of his young son in an Easter pageant in Sunday School. The boy had the unlikely role of Jesus – unlikely because he was probably the youngest of the children in the play; but his only acting assignment was to emerge from the tomb.

On the evening of the performance, the nervous parents and the curious audience waited – and waited – for “Jesus” after the Resurrection moment to walk out of the tomb. And nervously waited long moments more. Then, finally, in the portrayal of God’s miracle-working power, but also a testament of the beautiful innocence of childhood, the boy leaped from the cardboard tomb and yelled…

“Ready or not, here I come!!!”

Laughs, relief, sympathy. And – “out of the mouths of babes.”

In a real sense, Sunday-School pageants aside, that virtually IS what Jesus said when He conquered death and emerged from the tomb. Uncountable prophecies were fulfilled; He confirmed His role as Messiah; Satan was defeated; hope was extended to a humankind that had chosen sin and death; new life was proclaimed; eternal paradise in the presence of this resurrected Jesus was available to all.

Salvation is free, but a price must be paid. That holy anomaly is explained not only in the terrible sacrifice of the Incarnate Savior. There is a price still to be paid by you and me, beyond what Jesus “paid.” It is inherent in the ironic truth in the symbolic shout –

“Ready or not, here I come!” That actually is what Jesus meant; what He virtually said.

As the Bible teaches, we must believe in our hearts that Jesus is the Son of God; and confess with our lips that God raised Him from the dead (Romans 10: 9,10). Not as easy as it sounds, but… Ready or not, we must make those decisions.

To be a New Creature in Christ, we must be, well, new creatures. Changed attitudes, new priorities, a rebirth. Ready or not, we must make those decisions.

Believing, confessing, and forgiving – oh! Forgiving, as we need forgiveness ourselves! – and yielding to the tugs of our new best friend, the Holy Spirit who will guide us and inspire us and empower us. Ready or not, we must make those decisions.

So the child’s deceptively simple transference of the “Ready or not, here I come!” game teaches us a profound lesson.

During Lent, this year, there was another game in e-mail threads and social media that diverted eyes from the truth and power of the Resurrection, rather than focusing our proper attention. And this was frequently perpetrated by “Christian” sites and “experts.”

You might have seen them: articles about Who killed Jesus? Was it the Jews or the Romans? Have the Jews been smeared by anti-Semitic charges? What does the Bible really say? What have recent historical studies suggested about Roman law in their courts and Jewish rules in their temples…?

Academic pabulum, scholasticism that diverts.

God killed Jesus. To put it another way, Jesus virtually scrambled up the cross.
Jesus’s “killing” was God’s plan, set out long before. His Will was done, and Jesus the Messiah – even Jesus the Man – submitted willingly. A sanctified suicide, in its way, for our salvation. Nit-picking about Roman laws and politics, Jewish traditions and rules, does little but to move the focus from the Savior’s vicarious act to take our sins upon Himself.

These “experts” seek to persuade us that it was not that “God so loved the world…” but that “Roman authorities and Jewish leaders so shaped events…” This view is evil. We should not consider for a moment that the most heinous acts of cruelty and suffering, the shedding of Holy Blood, was – Ready or not, here comes the truth – anything but an act of love.

The most extreme form of punishment was endured so that we would not endure it ourselves at the hand of a Just God. For God so loved us. And when Jesus emerged from the tomb we were graced with the means to avoid eternity in hell – which brings up another fairy tale of this season, a church leader’s reported intimation that there IS no hell. This is for another discussion, but Jesus’s death and Resurrection were in vain if this were so.

In the meantime, welcome the risen Savior with open arms! But be “ready” for the implications of the New Life.

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Without denying the undeniable joy of the Resurrection, I have tried to suggest today that in the freedom of the New Life comes a spiritual responsibility that is profound, for our own souls and those of our families and friends. In that sense, the tears of former life are mirrored in the tears we shed as born-again believers for the unsaved, and tears of joy as New Creatures in Christ.

Therefore I chose this video clip, “Have Mercy, My God,” from Bach’s “St Matthew’s Passion.” Julia Hamari, solost; Otto Büchner, violin; Karl Richter conducting the Munich Bach Orchestra and Choir.

Have mercy, my God, for the sake of my tears! See before You heart and eyes that weep. Have mercy, my God. / Erbarme dich, mein Gott, um meiner Zähren willen! Schaue hier, Herz und Auge weint vor dir bitterlich. Erbarme dich, mein Gott.

Click: Heart and Eyes That Weep

5-2-16

The great composer Johann Sebastian Bach, who lived between 1685 and 1750, universally is regarded as one of the great music-makers of the human race; certainly on almost every critic’s list of the great composers of all time.

Bach received additional plaudits when in 1977 the Voyager spacecraft was sent to nowhere in particular except up, with the hope that, hurtling beyond the solar system and maybe the galaxy, it might some day intersect some civilization in a remote part of the universe. Perhaps, it was hoped, aliens would discover and understand something of mankind from the spacecraft’s unique payload – a copper and gold alloy disk with images and music, estimated by its designers “to last a billion years.”

Among the playlist of global music, Bach was the only composer represented thrice: the Second Brandenburg Concerto, first movement, performed by Karl Richter and the Munich Bach Orchestra; the Gavotte from the Violin Partita No. 3; and the Prelude and Fugue from The Well-Tempered Clavier, Book 2 were chosen to represent humankind’s creative profile.

At the time, biologist Lewis Thomas was asked what he would have nominated for this message to unknown civilizations about humankind. “The complete works of J.S. Bach,” he suggested. “But that would be boasting.”

Such are the sorts of tributes due to Old Bach, among countless heartfelt tributes when trained musicians and common laymen and everyone in between have their hearts melt and their souls stirred by his music.

Bach himself saw his music – and his entire life – as a tribute, instead, in all humility and with his priorities straight, to God Almighty. He was aware, but not vain, about his music-making gifts, gifts from God. Therefore his talents deserved to be raised up to God. In his life, he was first a Christian; second a family man; third, a man who made music. He made music, wrote music, composed music, taught music, was an innovator of music, breathed music, as did his family tree of 40-odd Bachs before, during, and after his own lifetime.

More than half of his approximately 1800 compositions (1200 of which survive) were of Christian focus: cantatas and chorales, motets and masses, Passions and Oratorios.

Yet for all his mighty “secular” works of keyboard and organ pieces, suites and concerti, songs and fugues (whew!)… he viewed all of them, too, to be written as unto the Lord. He knew the Source of his inspiration, and the One to whom credit was due.

Bach began virtually every composition, even his secular music, with a blank paper on which he wrote, Jesu, juva (“Jesus, help me”) on the upper left corner of the first page; and Soli Deo Gloria (“To God alone the glory”) on the bottom right corner of the finished ending.

His was a personal relationship with the Savior, not a professional duty even when he was employed by churches.

Such “bookends” were as anointing oil over all of Bach’s creative work. So did he begin and end his days – and his life – with such petition and praise: “Jesus, help me” and “To God alone be all the glory.” With or without the mode of music, such dedication speaks to us through the years.

The “S.D.G.” (his occasional abbreviation) should have a special meaning to us today. Most people of the 21st century, understand “God,” and understand “glory.” But it is hard for us, in contemporary times, to understand how a man like Johann Sebastian Bach could say, and mean, “alone” in that Credo. Can we?

Emerging cultures and emerging churches have compartmentalized every aspect of life, including God, and arguments are made that God would have it that way. Not so! “Personal fulfillment” is the artist’s goal in today’s world. But to Bach’s worldview, such an idea was an offense.

God “alone” is the source, the content, and the goal of artistic expression. Alone.

These prayers, and the prioritization of “ALONE” when we thank God, is how we should live, and how we should pray. Not (virtually) “thanks for helping me in this way or that way, God”; but “Thank you for being my inspiration, my helper, my right hand, my goal… my all in all.”

When we are too busy to pray, we are… too busy. We all know this, yet it happens. But if – at least – we start every day with the brief “Jesus, help me” as Bach began his compositions; and if we ended every day with “To God alone be the glory,” we will be in appropriate frames of mind.

We will start dwelling on the profound and proper life-truths of those simple prayers. We will not escape from their gentle but deep implications. We will expand on them in our active thoughts, and in our subconscious moments. We will hide those words and their implications in our hearts.

The truths spoken to our lives will become like… tunes we cannot get out of our minds. Like many of Bach’s themes. Musical and spiritual.

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The second movement of Johann Sebastian Bach’s Third Orchestral Suite:

Click: Bach’s “Air”

Easter 2016

An early Easter message. Appropriate, because I would like us to wrap Good Friday, the “world’s three darkest days,” the Easter Resurrection, and the Ascension all in one meditation. Besides, the Easter story was foretold many years before Jesus’s Passion – throughout the Old Testament, most comprehensively and accurately in the 53rd chapter of Isaiah. That’s an even earlier telling.

The essentials of Jesus’s life on earth are scarcely questioned any more, except by the intentionally scornful: which means that some people do not doubt, but rather reject. The fact of His Resurrection, on the other hand, is a dubiety to some. It is interesting to consider that people saw the risen Christ after the tomb, and yet not everyone believed. They believe Jesus somehow came back to life, but not that He was divine.

Many did come to faith. But even the Jewish historian Jospehus recorded the facts of Jesus’s life and ministry and miracles and resurrection – that Jesus mingled with people for 40 days – yet never came to belief himself. It is not unusual, frankly, to imagine people, even ourselves, to hear about a miracle, possibly witness one, and yet… shrug. Or consider it “one of those things we can’t explain.”

This happens, and it says less about a Resurrected Savior than it does about our stubborn, contrary, or lazy human nature.

Yet there were many records of That Week.

Jesus not only performed miracles, He was a miracle. Everything about His birth, life, and ministry were prophesied. He did amazing things; random things, sometimes, to bring blessings or to prove His divinity. He spoke amazing words, unassailable lessons. He was God incarnate; fully God and fully man, who loved and sorrowed, laughed and wept, ate and drank and traveled. He read minds, calmed storms, and healed the sick.

Yet vulnerability proved to be His major miracle. During His last week, He emptied Himself of divine prerogatives.

He went to Jerusalem, knowing death awaited. And more: scorn, insults, lies, torture, painful crucifixion. It is said that death on the cross is the most excruciating of slow deaths. Myself, I believe that the betrayal, denial, and abandonment of His friends was more painful than His physical end.

As a man, he prayed fervently, we know not all. As God, He willingly bore the humiliation and death, speaking only words like “It is finished” – it being the plan established before the foundations of the world: that this holy Incarnation would satisfy the substitutionary death we all deserve. If we believe and confess this belief, we are saved. Another miracle.

Our contemporary world wants us to believe strange things… strange lies. Not only that there is no God, but that there are no sins. Only mistakes and bad choices. And that medicines, or therapy, or education, or the government will make everything OK. Humankind has asserted mastery of our own souls for several centuries, ever more intensely, inventing reasons to reject God and deny His fingerprints on creation. Lo and behold, the past century was the bloodiest freaking 100 years in history, starring the most savage monsters a secular world could imagine.

Were the events of Holy Week in vain? Christ, with calm determination, fulfilled His destiny. He entered Jerusalem to public acclaim, preserving His humility. By the end of the week the Jewish zealots and the puppets of the Roman government caused people to scream for His murder. It happened… after what we mentioned: humiliation, injustice, abandonment, torture, and death that, perhaps, no mortal among us ever has endured.

He hung on the cross for three hours, comforted, at least, by His beloved mother who did not leave Him. He died; a spear was thrust in His side; the centurions affirmed His death; He was taken to a tomb, washed and prepared for burial, wrapped in cloths. A large stone sealed the tomb, guarded by Roman soldiers with special instructions.

Then, the three darkest days of humankind. What were those like, in Jerusalem? His enemies were satisfied that Jesus, the major troublemaker, celebrity, pretender in their eyes, was finally gone from the scene. But His followers – who should have known better, since they knew scripture and His prophesies – nevertheless despaired. They went into hiding: perhaps His fate would be theirs?

There are records of an earthquake, of stormy skies – of nature groaning – of the veil in the temple spontaneously ripping in two. Could His followers been more despondent and terror-stricken? What days they must have been!

But… Easter dawned. Jesus rose. He lived. He lives. Mary, having met Jesus in the garden, became the world’s first evangelist of the Good News when she ran and told the cowering Disciples.

The rest, to coin a phrase, is history. But it is not quite history as we know it. His story, literally. Mary and her friends saw, and believed. The Disciples, first scared and skeptical, believed, and saw, and believed in ever greater numbers. Jesus, in a transformed body, preached and blessed and taught and performed miracles. More people believed. Within a generation there were churches, gatherings of devout believers, not only in faraway Rome, but in pagan outposts like the island of Britain.

And after 40 days, the final prophecy fulfilled – more than a miracle, but the confirmation of His divinity – the bodily Ascension of the Christ into Heaven. “It is best for you that I go away, because if I don’t, the Holy Spirit cannot come. If I do go away, then I will send the Advocate, the Comforter, to you.” Thus, Christ in us.

But remember That Week. If you are ever tempted to think that your faith would be stronger “if you only could have seen the things of that week,” or if you hear others say that… remember that His Disciples, who lived every day with Him for three years, scattered like autumn leaves. Remember that people who had witnessed miracles wound up demanding His death. Remember that many who saw Him after the tomb still were skeptical.

You can believe in miracles – or not – but believing in Jesus Christ, the only-begotten Son of God; confessing His Resurrection; and inviting Him to live in your heart and life, is the summation of This Week, and the Gospel itself.

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Have you listened to Handel’s Messiah at Christmastime? Even if you have not, I invite you to listen to an equally great masterpiece. The St Matthew Passion by Johann Sebastian Bach tells the story of Easter week. On (coincidentally) this week of Bach’s birthday, number 331, I offer a link to one its greatest performances, conducted by Karl Richter. The art direction is stark! Appropriate, but note the changing backgrounds, the over-arching cross, the mood reflecting the spiritual import. With English subtitles. Three hours, 22 movements. Be prepared!

Click: Bach: St Matthew Passion

3-24-14

At Christmastime many people listen to Handel’s “Messiah.” Some of us listen to excerpts; some listen to the entire work. Some people attend performances at local churches or watch television broadcasts. For some people it is their only exposure to Baroque music during the year… and for too many, sadly, their only exposure to church music. Yet, in the words of the Sursum Corda portion of the liturgy, it is meet and right so to do. In all times and in all places – or, as often as possible – we should commune with our God. And that should apply to Easter as much as Christmas; with other supernal music as much as the traditional “Messiah.”

If we would wade into the waters of debate about the relative importance of dates in the Christian calendar, we would be reminded that over the centuries, Christmas was a relatively minor celebration, at least compared to Easter. (And that the Feast of the Ascension – marking Jesus’s physical rise to Heaven, completing the affirmation of His divinity, closing the theological circle of the Incarnation, begun with the Virgin Birth – was once more observed than it is in today’s churches.)

A propos these observations, I offer a suggestion that we all reverently replicate the consideration we give to Easter, and the attention we pay to the “Messiah,” by something new this Lenten season. Lent should be more than giving up chocolate, anyway!

Additionally, Lent gives us 40 days (that is, more than the week or so that Christmas affords) to enjoy music, and contemplate this season, concerning the most profound event in the history of humankind.

Let us avoid the temptation, for a time, to watch and wait upon events that explode in our midst, as compelling as are Russian osmotic invasions, or the perplexing disappearance of passenger planes. Let us look inward and commemorate an event 2000 years old but as immediate as the seconds and minutes of our fleeting lives.

I suggest we listen to one of the greatest creative works of the human race, Johann Sebastian Bach’s “Passion According to St Matthew.” The word Passion refers specifically to the rejection, betrayal, suffering, humiliation, torture, pain, and death of Jesus. That we should focus on these details indicates no prurience: that any person, much less the Son of God who could have waved it all away, endured such things, for us, ought to inspire our devotion.

So the “St Matthew Passion” enables us to understand, to internalize, to enrich our faith. There is a link below to an astonishing performance. I commend it, to watch in portions or in one dedicated private time. If you cannot, I will still explain why it is beneficial, and how art can serve our appreciation of the gospel.

Johann Sebastian Bach’s setting of the Passion story is based on Matthew chapters 27 and 28. Christian composers, as early as the eighth century, but mainly in the 16th-18th centuries, wrote Passions to be distinct from other church music. Passions used large ensembles, sometimes two choirs, orchestras, and organs. They were dramatic presentations, with “narrators” and soloists. Sometimes they were performed outside churches, occasionally in costumes and with dramatic action, a halfway-house to oratorios or opera.

In Bach’s version, he declined costumes but achieved great drama. In our video link you will see a stark and spare performance stage, singers in simple suits or dresses. There are no props; it is not in a cathedral. However you will notice profound symbolism in the changing placement of the singers; the colors that light the performance stage; and the illuminated Cross that floats above the performers – changing shades, morphing from dark to light to dark.

This video – made in 1971, and conducted by the legendary Bach interpreter Karl Richter – is an immense work of art in itself.

You will be grateful that the text, translated to English, is on the screen. When subtitles do not appear, it is because singers are repeating phrases. This impactful video allows you to appreciate the myriad of subtleties Bach used to emphasize the STORY of the Passion, behind the lyrics and melodies. Words are biblical passages, or the librettist’s paraphrases.

Take note of the highlighting of meaningful words, by orchestral emphasis. Notice that solo voices have keyboard accompaniment; Jesus has keyboard and strings… except for His dramatic cry “Why hast Thou forsaken me?”

Notice the music (instrumentation and style of play) reflecting singers’ hope, sorrow, or desperation.

Notice the musical (and the camera’s) emphasis on words like “Barabbas!” and “kill Him!” and “crucify!” Notice Bach’s use of musical devices – pulsating rhythms for tension; short bursts by the flutes to suggest tears; upward modulation when hope is displayed.

Note the repetition of musical themes (popular church tunes) by the choruses to unify the narrative themes.

This is a monumental work of art.

The “St Matthew Passion” was considered by Bach to be his most significant work. It was first performed in Leipzig at the St-Thomas Church in 1727, and many Holy Weeks thereafter; he frequently revised it. His autograph score shows loving attention, written in red or brown inks according to the biblical and dramatic libretto sources, and employing calligraphy in careful Gothic or Latin letters. He preserved it as an heirloom.

Baroque music and Bach’s genius temporarily were out of fashion after his death in 1750, and the “St Matthew Passion” was never performed again until 102 years after its debut. Felix Mendelssohn had discovered it, conducted a condensed version in Berlin… and the Bach Revival, which has never stopped, began. Mendelssohn, a Jew converted to Christianity, found his Lutheran faith much strengthened by Bach’s work.

Other famous Passions of our time include the play in Oberammergau, a small Bavarian town of two thousand inhabitants, half of whom stage and act in the seven-hour re-creation of Holy Week events. The play has been produced every ten years since 1634 when the town, threatened by the bubonic plague, collectively prayed for mercy and vowed to share with the world this portion of the gospel story if they were spared. In Drumheller, Alberta, Canada, every July the Canadian Badlands Passion Play is presented in a thirty-acre canyon bowl that forms a natural amphitheater. And of course many people watched the movie “The Passion of the Christ” a decade ago.

None can be more powerful than Bach’s version. If you are unfamiliar with, or dislike, “classical music,” this video will not kill you. If the hairstyles or once-cool eyeglasses of 1971’s performers look squirrely, just imagine how we would look to them; or how a magical capture of the actual 1727 debut in Leipzig would look to us. Or how the original suffering and death of Jesus, nearly 2000 years ago, would have seemed if we were there…

… ah! THAT is the art of J S Bach. This performance of the “Passion of Jesus Christ as Recorded by St Matthew,” DOES bring us back to the amazing, profound, and significant events of our Savior’s willing sacrifice for us. It is REAL. All the elements of Art – not just music and words, but the nuances of staging – drive the meaningful messages home. To our hearts.

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Click: Bach’s “St Matthew Passion”

The conductor and musical director of Munich Bach ensembles, as noted, is the great Karl Richter. The members of the instrumental and vocal ensembles are more numerous than in Bach’s more intimate times. This performance is longer than three hours (and was originally performed in segments during the weeks of Lent in Bach’s churches) but I beg you not to make it “background music.” The staging – the arrangement of the singers, the lighting, especially the position and illumination of the cross that floats above all – is profoundly significant.

9-16-13

Either God exists, or He doesn’t.

The question this statement poses, among uncountable other speculative, philosophical, ontological, and even religious questions, is THE most basic and most important that can be asked of human beings, or any beings.

As someone who is secure in the answer, I was confronted by the question this week in a way that never escapes anyone’s imaginings. The Voyager I spacecraft, NASA announced, has left the friendly confines of our solar system. Not the universe, of course, for that ends… well, we are not quite sure where. But Voyager has crossed the border of our Sun’s “bubble” of “plasma” – charged electrons in “empty” space whose density changed, though differently than expected, when Voyager passed over the line into interstellar “space.”

The inherent limitations of conceptualizing scientific facts, no less than imperfectly understanding scientific theories, has us turn to inverted commas and air-quotes. I will save electrons, myself, by dropping all these quotation marks. But we should keep them at the ready, because they represent the intellectual crutches we often need when discussing such things. We – humans – know more and more every day; by one estimate, every eight months we discover and learn more things than in all of mankind’s previous history. Yet even with Voyager the assumptions about the density of outer-space electrons, in these otherwise empty-seeming neighborhoods of the universe, have been revised. Interstellar plasma is acting differently than scientists predicted. And brand-new questions about magnetic forces in space, not just as carried by solar wind inside the solar system, have presented themselves.

My brain starts to hurt too, despite the thrill of such data. Perhaps we will learn more when Voyager reaches its next sun’s neighborhood. Be sure to stock up on provisions, if you plan to wait for that news; that will not happen for another 40,000 years. Such is the vastness of our universe.

By then, Voyager probably still will be hurtling along, but its information-gathering and transmitting facilities expired. Interestingly, the probe, which was launched in 1977, has computers far less complex than of any smartphone today. It records data on… yes, an 8-track cassette. And it sends that data back to earth by a 20-watt signal. By comparison, a radio station near where I live has a thousand-watt transmitter, and can be heard for a range of 25 miles or so. Yet, we launched Voyager, it observes, and we learn: a modern, and more peaceful, turn on Caesar’s “Veni, vidi, vici” – “I came, I saw, I conquered.”

Amidst this week’s tsunami of news of wars, rumors of wars, crises, corruption, killings and beheadings, revolutions, disasters of weather, economies, and human folly, we have this news that takes our minds (and I hope the imaginations of our spirits) to other things. Out of this world. Almost by definition, eternal things. If you didn’t see photos or artist conceptions, or movies of distant solar systems and planets, watch the video whose link is at the end of this essay. We inevitably are in awe.

In awe of what? There is that question again. If God doesn’t exist, the theories of atheists and agnostics and secularists about when the universe was formed, why it was formed, and how it was formed are interesting (or not) only as speculation.

Although theories abound, no one comes close – absent the God Proposition – to advancing any sort of a definitive idea about when the universe began (including the question of what was here previously, wherever here is); how large the universe is (when the question includes “what, then, lies beyond its borders?”); and how, just how, then, did we get here? There are scientific ideas… that often change. And these questions are lights-years from the larger question facing scientists: Why?

The fact that no human has, by oneself, answers for such questions does not automatically prove the existence of God. There is no proof, which is why it is called Faith. But it does suggest a universal prerequisite, humility, when one addresses such questions without what I call the God Proposition.

My explanation of why many “intelligent” (yes, I will resurrect the quotation marks) people reject God is that we all of us have a latent desire to BE God, to be in control of our situations, to have all the answers. Unfortunately, among the primitive, including sophisticated primitives, this leads to superstition. At the other extreme it leads to oppression, destruction, and death; that is, when clever and resourceful men presume to be gods, the eternal temptation consumes. Never has a mortal been able to benignly control others – an oxymoronic concept anyway – when none ever has been able to control his own self, and the “base passions” of our spiritual DNA… absent the God Proposition.

More than the rudimentary computer systems on Voyager was something of greater significance. In the hope that the craft might meet some alien civilization in a remote part of the universe, it carried a unique payload – a copper and gold alloy disk (estimated by its designers “to last a billion years”) with greetings in 115 earth-languages; some images of our species and schematic maps of earth; and music. The first selection was a recording of the Second Brandenburg Concerto, first movement, by Johann Sebastian Bach, performed by Karl Richter and the Munich Bach Orchestra. Among the playlist of global music, Bach was the only composer represented thrice; the Gavotte from the Violin Partita No. 3, and the Prelude and Fugue from The Well-Tempered Clavier, Book 2 were the other pieces chosen to represent humankind’s creative profile.

Biologist Lewis Thomas was asked what he would have nominated for this message to unknown civilizations. “The complete works of J.S. Bach,” he said. “But that would be boasting.” I love the (proper) tribute to mankind’s greatest music-maker, but it is interesting that our greetings, our physical likenesses, and our greatest artistic expressions were sent aboard Voyager, in hopes of telling the Universe about us.

… but, significantly, the designers and programmers chose to skip the crowded narratives of human history that are filled, like this week’s headlines, or any week’s headlines, with war, cruelty, murder, and oppression. A half-truth can be no different than a lie. We wanted to show what earth is like, what humanity has done. We just wanted to sanitize the story.

But in my view, there comes that “God Proposition” once again. The dirty little secret, deep down in all our souls, is that our natures are sinful, and many humans have tended to kick and scratch and resist God… but there is also a part of us that yearns for the God who sees good things, and has created good things, and wants to share good things. Part of us – because God planted such yearnings – seeks the good: sometime, occasionally, we have the same impulses as our God.

We don’t need to understand every little (unknowable) thing about the universe and God; we do need to accept Him. It should not be difficult! We cannot be God, no matter how hard some will try. And though we know Him imperfectly, and even love Him imperfectly, we can rest assured that He knows us, and He loves us, perfectly.

Just look at the stars and the galaxies and the universe, fellow voyager.

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I chose another of Johann Sebastian Bach’s immortal works, the second movement of his Third Orchestral Suite, BWV 1068, commonly known as “Air On the G-String.” Images are from NASA probes, including from the Hubbell Space Telescope. N.B.: the text’s passage about Bach’s music aboard Voyager is adapted from my biography of Bach published by Thomas Nelson, 2011.

Click: Bach’s Air On the G-String

3-14-11

The events of recent days should persuade even the most cynical and least alarmist among us that we are in fact living in a “page-turning,” if not “chapter-ending,” moment of world history. Endemic economic troubles, from budget crises to virtual national bankruptcies; street protests resulting in governments’ instability and regime changes across the world; devastating earthquakes and tsunamis in Japan, with incalculable tolls in terms of life, infrastructure, and health, there and elsewhere… we are indeed on the cusp of a new world.

The old order changeth, yielding place to the new;
And God fulfills Himself in many ways,
Lest one good custom should corrupt the world.

Many of the changes we see, such as the overthrow of dictatorships, are harbingers of hope. But many other changes clearly suggest the contrary – the unleashing of anti-Christian persecution; long-term economic downturns; serious challenges to health and recovery in Japan. Human beings often hope for change, but when it brings insecurity and misery we are constrained from embracing the New without praying for wisdom, and discerning God’s hand.

We have entered the season of Lent. Is there a temptation to avoid looking inward and commemorate an event 2000 years old, when we feel the need to watch and wait upon events that, instead, are exploding in our midst?

The opposite should be our reaction. And the coming observance of Easter is splendid timing.

As with the woman who anointed Jesus with precious oils, disasters and troubles of the world we will always have with us. But we serve God’s purposes when we honor Him by drawing closer in communion, when we enter into His suffering that He endured to identify with our suffering (o sweet mystery), when we contemplate the Passion of His sacrifice, death, and resurrection. We will make the world a better place by achieving these things ourselves… and sharing them with the world.

It is a custom to “give something up” for Lent. I am going to suggest to you something different from chocolate and sitcoms. Give up two hours of your life this week, in advance of the Easter season. Set aside the time, shut out possible distractions, and prepare for an exposition of Christ’s suffering and death that will touch your soul. You will do your understanding of Christ’s sacrifice and your devotion to the Cross a favor to watch the video you can click to, below.

Johann Sebastian Bach’s setting of the “Passion” story (Jesus’s intense emotions and sacrificial suffering) is one of the great works, not only of church music or the Baroque period, but of human creativity. Based on Matthew chapters 27 and 28, the St Matthew Passion was in the form of a once-common performance vehicle, the “musical passion.” Christian composers, as early as the eighth century, but mainly in the 16th-18th centuries, wrote Passions to be different from other church music. Passions used large ensembles, sometimes two choirs, orchestras, and organs. They were dramatic presentations, with “narrators” and singers. Sometimes they were performed outside churches, and sometimes in costumes and with dramatic action.

In Bach’s version, he declined costumes but achieved great drama. In the version you can download below you will see a spare performance stage, singers in simple suits or dresses. There are no props; it is not in a cathedral. But you will notice great meaning in the changing placement of the singers; the colors that light the performance stage; and the lighted Cross that floats above the performers – changing colors, morphing from dark to light to dark. This video – made in 1971, and conducted by the legendary Bach interpreter Karl Richter – is an immense work of art in itself.

You will be grateful that the text, translated to English, is on the screen. When subtitles do not appear, it is because singers are repeating phrases. This impactful video allows you to appreciate the myriad of subtleties Bach used to emphasize the story of the Passion, behind the lyrics and tunes. Take note of the highlighting of meaningful words, by orchestral emphasis. Notice that solo voices have keyboard accompaniment; Jesus has keyboard and strings… except for His stark, solo cry “Why hast Thou forsaken me?” Notice the music (instrumentation and style of play) reflecting singers’ hope, sorrow, or desperation. Notice the musical (and the camera’s) emphasis on words like “Barabbas!” and “kill Him!” and “crucify!” Notice Bach’s use of musical devices – pulsating rhythms for tension, short bursts by the flutes to suggest tears, upward modulation when hope is displayed. Note the repetition of musical themes (popular church tunes) by the choruses to unify the narrative themes. This is a monumental work of art.

The St Matthew Passion was considered by Bach to be his most significant work. It was first performed in Leipzig at the St-Thomas Church in 1727, and many Holy Weeks thereafter; he frequently revised it. His autograph score shows loving attention, written in red or brown inks according to the biblical and dramatic libretto sources, and employing calligraphy in careful Gothic or Latin letters. He preserved it as an heirloom.

As Baroque music and Bach’s genius temporarily was out of fashion after his death in 1750, the Passion was never performed again until 102 years after its debut. Felix Mendelssohn had discovered it, conducted a condensed version in Berlin… and the Bach Revival, which has never stopped since, commenced. Mendelssohn, a Jew converted to Christianity, found his Lutheran faith much inspired by Bach’s work.

Other famous Passions of our time include the play in Oberammergau, a small Bavarian town of two thousand inhabitants, half of whom stage and act in the seven-hour re-creation of Holy Week events. The play has been produced every 10 years since 1634 when the town, threatened by the bubonic plague, collectively prayed for mercy and vowed to share with the world this portion of the gospel story if they were spared. In Drumheller, Alberta, Canada, every July the Canadian Badlands Passion Play is presented in a thirty-acre canyon bowl that forms a natural amphitheater. And of course many people watched the recent movie The Passion of the Christ.

None can be more powerful than Bach’s version. If you are unfamiliar with, or dislike, “classical music,” this will not kill you. If the hairstyles or once-cool eyeglasses of 1971’s performers look squirrely, just imagine how we would look to them; or how a magical capture of the actual 1727 debut would look to us. Or how the original suffering and death of Jesus, nearly 2000 years ago, would have seemed if we were there…

… ah! That is the art of J S Bach. This performance of the “Passion of Jesus Christ as recorded by St Matthew,” does bring us back to the amazing, profound, and significant events of our Savior’s willing sacrifice for us. It is real.

A better understanding of what He did for our sake will make us better stewards to minister to the world – especially in these horrible times – for His sake.

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Click: The St Matthew Passion — Johann Sebastian Bach

This will be a complete performance, in many segments of various lengths; a total of about two hours. Each segment will automatically move to the next. If you desire a full-screen (and one does not automattically pop up), click only this icon, once, at the beginning: the “joint arrows” that point right and down; that, when your cursor hovers over it, is called EXPAND. Click that for a full screen of the video. It is from the amazing YouTube channel of SoliDeoGloria.

The conductor and musical director of Munich Bach ensembles, as noted, is the great Karl Richter. (The members of the instrumental and vocal ensembles are more numerous than in Bach’s more intimate times. The accessible profundity is akin to Bach’s, however, without doubt) Soloists are Peter Schreier as narrator; Walter Berry, bass; Julia Hanari, contralto; and Helen Donath, soprano. You will notice, of course, that this a Lenten subject; it will bring you right through the Crucifiction.

The quotation above is by Alfred, Lord Tennyson, “The Passing of King Arthur” from Idylls of the King.