Monday Morning Music Ministry

7-30-18

A birthday card for Leonard Bernstein.

Recently I compiled notes and gathered thoughts for a memorial service I was asked to conduct for a dear friend, Stephane Irwin, who recently died of cancer. I do almost all my writing, drawing, and sleeping to background music, and on this evening I punched up YouTube on my big screen; found performances of the great funeral masses of Mozart and Fauré to help set the mood … and noticed a clip I had never seen – Leonard Bernstein conducting Mozart’s Requiem.

The Requiem was the last thing Mozart ever wrote (and in fact never was completed); which makes the Funeral Mass a little spooky, at least intriguing. This performance is astonishing. It was recorded in 1988, and by happy coincidence I commend and share it on the centenary of Bernstein’s birth.

“Lenny the Lion” was a kaleidoscopic character in American music. Composer and conductor, he was also a “popularizer” of serious music. When I was a child, I watched his series on CBS-TV, Young Peoples’ Concerts, in which he explained the history and musical essentials of pieces performed on the broadcasts (imagine that on network – or cable – TV today!). He composed operas (Candide), Broadway musicals (West Side Story) and symphonies. He conducted an array of music, and was largely responsible for the rediscovery of Vivaldi and Baroque music. He was a public figure, frequently recalled in a Tom Wolfe essay pandering, in plaid bell-bottoms at his posh New York apartment, to Black Panthers – “I dig. I totally dig.”

He was “out there,” outrageously talented and irrepressible. Many of his musical contemporaries, fellow Jews, were conflicted about performing in Germany after the war. Isaac Stern made a show of boycotting concerts there. Yehudi Menuhin (family name Mnuchin, by the way) and Daniel Barenboim were among those who were comfortable performing in that land of the great composers, to discerning and welcoming audiences.

Bernstein was in the latter group. He chose a relatively minor church in a small Bavarian town – short drives from Munich, Dachau, and Berchtesgaden – to perform Mozart’s sacred works. The church’s design is of the off-putting late-Baroque and Rococo styles of fluff, ornaments, and countless filigrees; but of Mozart’s own time. Other conductors, like Karl Bohm, recorded in the same church.

But my little guided tour here is about more than music’s universality, or Bernstein’s open mind, or Germany’s musical soil.

Note well Bernstein’s conduct as a conductor in this video. He always revered Christian sacred music so much that – when conducting in churches or cathedrals – he carefully explained to his musicians and his audiences that church music, not mere concert music, was the fare. He would broach no applause, before, during, or after the work.

More than that, you will see, he begins with head bowed and a long silence. Praying? Maybe so; his own wife died shortly before this Requiem mass was performed. He ends the performance again with head bowed and almost uncomfortable silence throughout the church. And between several movements, Bernstein paused for seeming prayer or meditation, at one point dabbing his eyes with his handkerchief.

This is sacred music, he said… and says the same to us through the years. Too much Christian music today is performed as, well, performances – with applause, curtsies and bowing, encores and whistling. In or out of church. Worshiping God? That priority largely has become obsolete.

So: in the presentation of 200-year-old Requiem masses, or cantatas, oratorios, or Te Deums – where is the reverence; the original, spiritual intentions? For that matter, in our contemporary churches and their worship services themselves, where is the reverence today?

How many of us attend churches where Hawaiian shirts and cargo shorts are encouraged? Where people shuffle in and out, casually chugging from ever-present water bottles? Where – turning Bernstein’s ethos on its head – music is a literal concert performance, no opportunities for the congregation to sing lyrics or do anything other than clap and jump? Where services have the form of spontaneity but deny the power thereof; tightly managed? Where creeds and the Lord’s Prayer are never spoken?

Am I being legalistic? No; I don’t think there have to be neckties and below-the-knee dresses and strict reliance on old hymnals to get to heaven, or present meaningful worship. Or to commune with God among fellow believers.

But neither should 21st-century Christians feel like they are weird strangers to miss… reverence in church. What a concept.

How many of you feel this way; have been smothered by these things; miss the things that I miss? Many of you – I get mail. My messages on “When Worship Music Is Neither” elicit more mail than any other topics here. These are not matters of mere nostalgia. We miss – and, complicitly, make other people miss – the respect, the opportunities for contemplation, the privacy of prayer and meditation, the… reverence of worship services.

Not those of our childhoods, not of Bernstein’s time, nor of Mozart or Bach’s days, but of 2000 years of corporate worship. We can be exuberant, but the core of “reverence” is to revere God. Just because there are no prohibitions of dirty shirts and sandals… should not require us to make uniforms of such things.

Clear an hour, try to ignore the stupid YouTube commercials, and commune with the music linked here. And the liturgical settings. See if you agree how profound it is, and how the period-performance and setting the American Jewish conductor respecting a Christian mass in Mozart’s heimat, can teach us about reverence.

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Click: Mozart: Requiem
(click icon in lower right for full-screen)