Monday Morning Music Ministry

7-18-16

Our recent essay “Welcome To the Revolution” has excited a bit of discussion, some readers claiming I am an alarmist, and others granting that I might be predicting the future instead of, as I believe, reporting on the present. To the charge that I am an alarmist, I would reply that doctors operate when there is disease; firemen rush to houses on fire; when I see alarming things, I sound the alarm.

There are many subjects that American schools do not teach any more, and we generally are an anti-intellectual society. In that vein – specifically, the danger of even right-thinking Americans being ignorant of the Current Crisis – I recall what Alexander Boot wrote about Hellenistic Man, that “he was not ignorant of history; he simply did not see how it affected his life.”

For the immediate future, I believe we are headed for the Summer of Our Discontent. Where once a polite diving-line was drawn between Democrats and Republicans, even liberals and conservatives, now there are bottomless chasms between family members. Ugly schisms divide former friends. “Occupy” and “Black Lives Matter” partisans ascribe blood libels to Tea Partiers, and vice-versa.

Those who think murdered soldiers and policemen are victims of random gunfire, and those who think we are seeing war in the streets. Now, Baton Rouge. Next?

The conventions and campaigns will be ugly – and the Thanksgiving dinners and Christmas parties of many families likely will be bloodier. These rifts will slowly – if ever – heal: people must first desire healing; and for all the empty clichés about Getting Along, the contemporary American is quite happy to excoriate his opponent. Hate Thy Neighbor.

So this is a classic case of “inability to see the forest for the trees,” America’s fatal state of decline. We have gone from decadence to destruction, and when we catch a glimpse of the “forest” – an active society where things continue to happen, where we still wake up, go to sleep, and scurry about our affairs – it is rather a case of inertia that masks the crisis.

Our fall has not been the result of a sudden explosion, but gradual poisons in our cultural water supplies.

One of the favorite Bible verses of Christians in recent years has been II Chronicles 7:14: “If My people, which are called by My name, shall humble themselves, and pray, and seek My face, and turn from their wicked ways; then will I hear from heaven, and will forgive their sin, and will heal their land.”

How many of us are guilty of quoting that verse, even applying it, superficially? For one thing, it seems, in a forest-for-the-trees manner, like a fortune-cookie aphorism. “Straighten up your act, people,” to be followed by spontaneous revival and Heaven on earth.

But the verse needs to be parsed – examined phrase by phrase. In the first place, linguistically, it strictly is not a promise of God. It is a conditional statement: “If… then.” The Bible is filled with many such conditions, warnings, threats, and yes, promises. But God requires things of His people. Humility. Prayer. Seeking Him. Repentance. All of them “big time.”

THEN He will forgive transgressions and heal the land.

“If.” That is the condition – a big “if.”

“My people.” Not necessarily the entire population, but the Children of God. The saved; today, Christ-followers.

“Who are called.” All of us must be open to the specific call of God on our lives: His will for us.

“Humble themselves.” This does not mean to stop being haughty in church, but to adopt true servants’ hearts.

“Pray.” Jesus Himself prayed fervently before every important act. How less should we?

“Seek My face.” Request guidance and acknowledge God as the source of all good things.

“Turn from their wicked ways.” Here God means true repentance… transformative changes in our personal lives.

Then you “will hear from heaven.” Prayers will be answered.

Then He will “Forgive your sins.”

Then He will “heal your land.”

That makes this verse more than “words to live by.” Or something for Christians to claim in agreement or to memorize for a Bible study or Sunday School class. Not those things alone – good start – but incomplete. Even the famous verse is incomplete! It is the second half of a sentence, not a new sentence in Two Chronicles, as Donald Trump would call it.

Can we, o average American and Christian Patriot, read the context, and learn what the Lord was really saying? Starting with Chapter 7, verse 11:

Thus Solomon finished the house of the Lord, and the king’s house: and all that came into Solomon’s heart to make in the house of the Lord, and in his own house, He prosperously effected.
12 And the Lord appeared to Solomon by night, and said unto him, I have heard thy prayer, and have chosen this place to Myself for an house of sacrifice.
13 If I shut up heaven that there be no rain, or if I command the locusts to devour the land, or if I send pestilence among my people;
14 If My people, which are called by My name, shall humble themselves, and pray, and seek My face, and turn from their wicked ways; then will I hear from heaven, and will forgive their sin, and will heal their land.
15 Now Mine eyes shall be open, and Mine ears attent unto the prayer that is made in this place.

First, that is a lot of IFs. Second, there are severe warnings. A third point might be that these are specific instructions to David’s son Solomon and the people of ancient Israel. However, it is valid for us to draw lessons.

The most sobering of lessons, chastisements, and warnings of punishment (indeed, God’s promise) is a few verses later:

19 …If ye turn away, and forsake my statutes and my commandments, which I have set before you, and shall go and serve other gods, and worship them;
20 Then will I pluck them up by the roots out of My land which I have given them; and this house, which I have sanctified for my name, will I cast out of My sight, and will make it to be a proverb and a byword among all nations.
21 And this house, which is high, shall be an astonishment to everyone that passeth by it; so that he shall say, Why hath the LORD done thus unto this land, and unto this house?
22 And it shall be answered, Because they forsook the Lord God of their fathers, which brought them forth out of the land of Egypt, and laid hold on other gods, and worshipped them, and served them: therefore hath He brought all this evil upon them.

In effect: We bring this evil upon ourselves.

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Click: Leaning On the Everlasting Arms

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10-6-14

Some years ago I was a guest on a local program somewhere in New England on a National Public Radio station, “The Man and His Music.” Under today’s politically correct strictures, especially on NPR, I suppose the series would be called, “The Person and His/Her Predilections,” or some such nonsense. (Maybe even “His/Her/Its”) Anyway, the premise of the series was to explore a guest’s personality through discussions of musical taste and favorite pieces, in addition to the standard celebrity-interview fare.

We authors or actors or athletes were, naturally, asked to send our choices in advance of the studio interview, and to provide (ancient history, kiddies) cassette tapes of our favorite songs or snippets of music. The hostess was well-versed in music, and could discuss or at least intelligently explore any style of music from any period of history, from Renaissance to jazz.

True to my catholic tastes, as old friends of this column will know, my choices ranged from Baroque to Bluegrass. And at least half the choices, for the two-hour program, were church pieces. Movements from cantatas and masses; traditional hymns; contemporary gospel. The man and his music, right?

It developed that eclecticism was fine for the show, but only so much. Between discussions of my books and travels and hobbies were the musical cut-aways, followed by chats about them. The hostess was glad to discuss the fact I knew several jazzmen who had played with Bix Beiderbecke; and had heard Mozart performed in Salzburg; and that I had been backstage at the Grand Ole Opry. But when my choices were Christian pieces, the conversation turned cold. Invariably we rushed to a new topic.

Not only did those musical clips carry a gospel message, but my discussion – why these pieces were special to me, the putative theme of the series – perforce touched upon what made them special, too, to the composers, performers, and the intended audiences. The stories behind the songs; the messages in the music.

I don’t think it was a particular prejudice of the hostess. Clearly, it reflected the culture at (taxpayer-supported, we constantly are reminded) National Public Radio. But, more, it reflects the culture of contemporary America. The post-modern, post-Christian world.

There is a reason I tie my weekly messages to music. I believe music is the most imaginative language devised by mankind, and always a pulse-reading of the broader culture. My ideas about music are based on those of Socrates, Plato, and Aristotle. They believed that harmony is a somewhat elusive quality that is yet irreducible when achieved: we know it when we hear it. Harmony is to be sought in life as well as in music. Harmony represented the Absolute Truth that Plato knew existed, and whose perfect possession might be impossible for mortals, but whose pursuit is essential for our worthwhile selves. (This philosophical summary three centuries before the birth of Jesus explains why early Christian theologians were called Neo-Platonists.)

Renaissance artists found a “new birth,” artistically, in the arts of the ancients, specifically the Greeks. Sculpture and architecture, principally. Literature followed, though awkwardly; and eventually dance and music, in ideals rather than forms (which were historically obscure until very recently). All through the church age, and finding its apogee in the Renaissance despite an interest in outward Athenian expression, art’s main function was to embody the meanings and purposes of God. Gradually, aided and abetted by political freedoms, the empowerment of the printing press, and a philosophical zeitgeist in the West that morphed from Humanism to Individualism to Selfishness, the rationale for all artistic expression, in all manifestations, changed.

Now, instead of artists striving to please God, they strive to please themselves.

Beginning in music (and speaking very generally) around Beethoven’s time, the artist became more important than his music; the music more important than the One it once served. Beethoven, however, was truly a transitional figure in this discussion; although something of a “tortured soul,” he was a fervent Christian, as were his immediate contemporaries among composers. Hummel, Field, Czerny, and especially Mendelssohn (ironically, a Jew, converted to Lutheran Christianity) were intensely personal in their compositions without rejecting traditional forms, or faith. But the next generation of composers felt it necessary to be rebels in morality as well as in their music. Composers were expected to have troubled personal lives, to bare their souls in their music, and to offer cathartic or excruciating exposures of their selves. Portraits of the artists. Listeners came to assume that artists were tormented. Artistic heroes are encouraged to wallow in personal revelations, the uglier the better.

True in music and painting, it became the norm in all of the arts, and in fact throughout all of society: that the world, our lives, our very civilization, is so rotten and contemptible that we must honor the artists who struggle to express their disdain and their doomed efforts to resist. Honored the most are those who can describe the best what stinks the worst. Of course, then, society honors leaders and politicians who base their programs on similar perceptions of a loathsome society. They can only address the evils (as they see them) of the Old Order with solutions and systems that reject any trace of traditional wisdom.

This explains where we are as a culture, and why we are doomed, I believe. (Really doomed; not the trendy ennui of parlor dyspeptics.) Beyond music, every expression from poetry to politics reflects the fact that we are a people who have cut ourselves off from God. We no longer make decisions – personal or civic, artistic or political – based on God’s Word, on praying for divine guidance, on trusting the faith of our fathers, on seeking to please Him. And – I hope this is obvious – this analysis pertains to all societies and their religions, not only the Christian West. But as a legatee of Western Civilization that crumbles around me, that is what I address today. So should we all.

And I am quite happy to debate which package of factors is the cart and which is the horse. “Art imitates life” is an ancient maxim. Its apposite response (called anti-mimesis) was provided by Oscar Wilde, who maintained that “life imitates art.” But most recently the real challenge – I should say a lucid perception of our world’s post-Christian dilemma – was voiced by the brilliant Russian émigré, the critic Alexander Boot: that among the ruins of Western Civilization that we have come to call home, Art imitates death.

Having ignored, banned, ridiculed, insulted, and rejected God for so long in the post-Christian West, how can we expect otherwise?

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I could choose a hundred thousand musical pieces, few from the past 150 years, to accompany this essay. I have chosen a video that is in itself a work of art, the DeutscheGrammophon production of the supernal Helene Grimaud playing the second movement of Wolfgang Amadeus Mozart’s Piano Concert Nr 23 in A, K. 488. Close-ups of her technique, her sensitive expressions, and nature scenes. God is glorified.

Click: Mozart Adagio