upper room daily devotions

Showing posts with label music. Show all posts
Showing posts with label music. Show all posts

Thursday, September 08, 2011

Violence, 9/11, and Requiem

I love the music written for Requiem Masses. Emotive, dynamic, and compelling, the music moves the listener through a journey of deep spiritual mourning. A Requiem, or Eucharist for the Departed, is known as it is because of the first word of the Introit: “Requiem aeternam dona eis Domine” (“Give them eternal rest, O Lord”). The word "requiem" simply means "rest" or "repose." A Requiem Mass is celebrated to bring rest or repose to those who have died. It is a gorgeous and mystical service.

As we move closer to the 10th anniversary of the horrendous acts of September 11, I have begun to think of the music from several of the great Requiem Masses. The horror of that day draws us to pray for the thousands who died, for their families, for the cities that were caught in terror, for our nation that was paralyzed by fear and has struggled with it ever since, and for the world that has changed in the aftermath. We pray for the people of Iraq, Afghanistan, and Pakistan, who have felt the brunt of the US response. We pray for thousands of US soldiers who have lost their lives and for those whose lives have been forever changed. We pray for the children of the world; children are always the ones most affected by war, poverty, and violence.

In one way, not much changed after September 11. Terrorist attacks and violence - even devastating violence - have always been a part of human culture. Planes have been hijacked. Bombs have been set off in public spaces. In the rush to remember September 11, 2001, many people forget about the 1993 attempt to bring down the World Trade Center. Even the use of mass transportation, including planes, for one's violent means has been around for a long time. Whether one speaks of IRA attacks in England, Timothy McVeigh's bombing in Oklahoma City, the 1988 Libyan bomb on Pan Am Flight 103 over Scotland, the 1968 Palestinian hijacking of an El Al flight from Rome,the 1995 Subway Sarin Incident in Tokyo, the 1991 Luby's massacre in Killeen (TX), the 2007 mass shooting at VA Tech, or any other number of incidents, political minorities, fringe groups, and crazy people have been directing their rage at others to deadly effect for a very long time.

Over and against terrorism exists tyranny, which occurs when the state misuses its power in order to oppress or suppress a people. Tyranny always relies upon violence and its threat. Tyrannical regimes and governments have been recorded since the beginning of human history. Ethnic, tribal, and religious strife is neither new nor creative. Whether one speaks of a Pol Pot, Alexander the Great, genocidal Bosnian Momčilo Krajišnik, Leopold II of Belgium, or many other despots, the state can be a force of evil, violence, murder, and terror. Forced disappearance has been used in many countries, most notably Argentina, to remove people through abduction and violence in order to stop them from challenging the government. Tyranny is at the heart of my own faith story. When Jesus was crucified on a cross, it was an act of the state to silence a troublesome leader. This type of execution served to keep an oppressed people in an occupied land from rising up against their oppressors. Rome publicly crucified people and allowed their corpses to hang in public view to discourage others who might find rebellion or revolution an appealing idea. Not terrorism proper as it was enacted by the government, terror-inducing it certainly was by terrifying those who longed for freedom to remain quiet, afraid, and under the rule of tyranny.

The difference between a group rising up against a tyrannical power and terrorism can sometimes become muddled. One group's resistance fighter is another's terrorist. One country's claim to stability may be at the expense of a vulnerable minority.

Even though violence wasn't introduced into the world on September 11, 2001, something earth shaking did occur. In addition to great human loss, on that day ten years ago, the American sensibility of invincibility and permanence was significantly challenged, and it was deeply shaken. The surprising thing was that this sensibility was not only held by Americans. Much of the world looked at the United States as a privileged country. Physically removed from its enemies, economically and militarily unchallengeable, technologically advanced, and politically stable, it was difficult to imagine a different America. The natural response to this shaken sense of belonging was to declare that terrorism on American soil would never happen again (which, of course, it can and has). The government passed laws and initiated processes to ensure that nothing like the horror of September 11 would ever be permitted again. This deep desire for certitude and safety in a changing and unsafe world led to several acts of public theater, including but not limited to the removal of shoes and full body scans at airports and colored terror scales. Such folly resulted in two things: First, it kept a level of terror alive within the nation. This ongoing hum of terror-whitenoise prevented necessary real and deep mourning, and communal healing became almost impossible. And, second, it served no real purpose in saving lives. The government certainly did many things and instituted many processes for the protection of the country (more than 30 potential plots were thwarted), but in the midst of the rush to invincibility and certitude, the government also spied on Quaker meetings, put people who disagreed with the government on the No Fly List, and tapped our phones. Moreover, the Patriot Act, Guantanamo Bay, and the wars in Afghanistan and Iraq have cost us much more than the billions of dollars that we have lost from our Treasury. They have cost us the precious blood spilled from our children, spouses, and family members. They have cost us our ideals, our hope, and our identity. September 11 changed us by making us a country bound by fear.

On this 10th Anniversary of September 11, I am thinking about the power of the Requiem to move us through an experience of not just "remembering" (we have done a decade of that), but of honest and real mourning, of finding rest and repose. Requiem invites us to sing and pray for rest and repose for the individuals who died in the towers and on the planes. We sing and pray for rest and repose for those who have died in the wars that were waged on behalf of the ones who died in the towers and on the planes. Because o
ur fractious government no longer even pretends to seek governance for all (only power for a few and comfort for those who are already comfortable), we sing and pray for our nation's government that has died to its duty to a common good. We also sing and pray for rest and repose for all our whole world, which has lost its sense of neighborliness, trust, and commonality.

The world has never been a peaceful place. To imagine it so would be to ignore the many other losses, deaths, and suffering that have occurred throughout the world. I think this makes the Requiem even more needed now. Its Christological language is the heart language of my soul and my tradition, but a Requiem need not be exclusive for Christians; it is a human cry for rest and repose. We all die a little when we lose the idea of living lives shared with one another and embarked upon lives known only through war, greed, and victory.

Today I hear the music of Wolfgang Amadeus Mozart's (1756-1791) Requiem, K. 626, his final composition. It was left unfinished at his death.

Lacrymosa dies illa, qua resurget ex favilla, judicandus homo reus. Huic ergo parce, Deus. Pie Jesu Domine, dona eis requiem. Amen.

O how tearful that day, on which the guilty man shall rise from the ashes to be judged. Spare him then, O God. Merciful Lord Jesus, grant them rest.





Tuesday, February 15, 2011

God and Dog - Wendy Francisco

Living a life of simplicity isn't as easy as it sounds. Being open to the world, to love, to life, and to all of God's abundance is a challenge for most of us. I've read a lot of books, many of which have been helpful and many of which sit on my bookshelves filled with profound thoughts long forgotten. Every now and again, I run across something that is just true -

Dr. Seuss had a lot of wisdom in his writings.
When my cat sits in my lap and purrs - now that's pretty wonderful, too.
When a baby breaks into a smile
or when I can smell Fall creeping in from summer -
these remind me of life's simple graces.

Wendy Francisco has a new book based on her video and song "God and Dog." Some people may find reasons to fault this simple song/book, but I loved it. It made me smile. And, I think the world is short on smiles these days. Thank you, Wendy.


Monday, January 25, 2010

A Review of Patty Griffin's "Downtown Church"


Recorded in an historic Presbyterian church in Nashville, Patty Griffin's seventh album "Downtown Church" is the slow ambling trek of a soul's journey. Mostly referred to as a folk singer, in this outing Patty slides into a soulfulness that one genre can't quite contain. It's just plain ol' good music. While she partners with Emmilou Harris ("Little Fire"), Regina McCray, Mike Farris, Buddy Miller and others, this album belongs all to Patty Griffin.


Of the fourteen tracks, I especially enjoyed "House of Gold," "Death's Got a Warrant" (with Ann and Regina McCray), "I Smell a Rat," and her stripped down, somber, and pure version of "All Creatures of our God and King."


In various interviews, Patty has said that throughout the making of this album she was working out her own faith, and her journey can be felt more than heard. It's not the most technically perfect album, but it is an honest one. And honest music is hard to find.


"Christian music" and "gospel music" are big industries. And, like all big industries, there is a great deal of redundant and derivative work churned out for the sake of a paycheck. That is not the case with "Downtown Church." The selections are perfect for Patty; they are substantive; they are varied; and, I found them meaningful for me. Not once did this progressive feminist queer Christian cringe at theology, language, or substance. And yet, I think that the most conservative person I know would acknowledge that something holy is happening in this music.


If you like folk/blues/hillbilly/soul/country, then check out Patty's new album. The only song that I found out of place was "Virgen de Guadelupe." This attempt at a cross-cultural experiment fell flat for me and seemd out of place with the rest of the songs, but overall, this is a solid offering in an industry overpopulated with bad theology, overproduction, and derivative sounds.

Wednesday, August 06, 2008

Neil Young's Hymn and Cultural Relevance in Worship

Churches can easily be caught up in culture wars. I don't just mean cultural issues like abortion or homosexuality, either. Rather, the cultures of many congregations are stuck solidly in the 1950 (or possibly the 1960s if you have lots of Boomers in the congregation). Culture wars reveal themselves in a number of places, most pointedly in the music we use. If faithfulness is the most important aspect of worship, it is vital for us to honor the power of cultural contexts without becoming divided by culture. We become sidetracked from our purpose: to honor and praise God, to be inspired by the proclamation of the Word, and to be transformed by God's holy sacraments. True worship isn't about us, it is about God and for God. The joy is that when worship is oriented in a God-cetered way, we receive the benefits - our souls are comforted, our spirits lifted, our hearts touched, and our lives transformed.

Several years ago Neil Young wrote a hymn called "When God Made Me." Is this a song that could be sung in your church? Or is it too human-centric and too musically dated for a postmodern congregation?

I've been wondering about how to maintain the integrity and power of traditional liturgy while presenting a culturally relevant worship service. Are there worship services equally comfortable with gospel, hymns from the 1600s, music from the 80s, and music written today? Every now and then I run across a worship service that deeply moves me. Usually this occurs when I find some kind of familiarity in the liturgy, a lot of honesty in the liturgy, comfort with silence in the service, a joyful expression of the sacraments, and music that is indigenous and intentional - intentional in its place in the service, its theology, and its musicality.

So, is Neil welcome in your service. If not, who is? And how does the overall liturgy include a variety of musical expressions that are found in our culture today?

Wednesday, April 09, 2008

Marsalis Writes Jazz Mass

Marsalis' Mass Blends Gospel and Jazz
By CHARLES J. GANS Associated Press Writer

Apr 9th, 2008 | NEW YORK -- Wynton Marsalis will be turning the House That Jazz Built at the Time Warner Center into the House of the Lord when he premieres his first jazz Mass, which blends the gospel and jazz traditions in a celebration of the 200th anniversary of Harlem's Abyssinian Baptist Church, New York State's oldest African-American congregation.

The 100-plus Abyssinian Baptist Church Bicentennial Choir will lift their voices in song as they make their way through the Rose Theater in the traditional Processional to join forces with the Jazz at Lincoln Center Orchestra to perform Marsalis' "Abyssinian 200: A Celebration," a 19-part piece based on the liturgy found in many African-American Baptist churches.

"When we get in there, it's just a big musical auditorium, but when we do the Invocation, it becomes a sanctified place because God's presence enters into it," said Abyssinian's pastor, the Rev. Calvin O. Butts III, who will deliver a sermon on "the uniting power of prayer."

"I see this jazz Mass as an opportunity of not only bringing together the jazz and gospel traditions, but as a way of talking about the unique and important contributions of the African-American religious experience to life in America and around the world," he said.

The Mass, with "Star Trek: Deep Space Nine" actor Avery Brooks serving as the stage director, will be presented Thursday through Saturday nights at JALC's main hall, with the last performance recorded for later broadcast on XM satellite radio. The following Saturday there will be two performances at the Harlem church.

Marsalis says that though the piece was commissioned by JALC to celebrate the Harlem church's bicentennial, the music has a deeper, personal spiritual meaning for him. The trumpeter says he wrote the piece for his grandmother and great-aunt, both born around the turn of the 20th century.

"Both of them were domestic workers and very religious and quiet spiritual people," said Marsalis. "I love those people because of the feeling they had and the religion gave them a large part of that feeling. It was a feeling of warmth and of a soulfulness and an engagement with the world ... not by escaping things but through confronting them with the power of love."

Before composing the music, Marsalis spent hours talking with Butts about the significance of each part of the prayer service. He further drew upon his diverse influences: his music professor father's lessons about traditional spirituals, hymns and gospel music; his own experience as a classical trumpeter playing the religious works of Bach, Handel and Palestrina; and his encyclopedic knowledge of all styles of jazz dating back to its roots in his native New Orleans.

Marsalis also highlighted the common links between jazz and the African-American religious rite by including call-and-response patterns and leaving room for improvisation.

Both Marsalis and Butts acknowledge that such a collaboration would have been unlikely a century ago when many black preachers denounced jazz as the "devil's music."

"A lot of that feeling came out of ignorance born of the fact that people of African descent had been stripped of a lot of our culture and followed the lead of those who enslaved us ... and were taught to really hate ourselves and our music," said Butts. "But now we've come to understand ... that this is truly the only real American music and it's beautiful music."

Marsalis says Louis Armstrong helped change attitudes when he recorded the first jazz version of a spiritual in 1938, "When the Saints Go Marching In," and many other jazz musicians drew inspiration from black church music, including Duke Ellington, Horace Silver and John Coltrane.

Butts says the Abyssinian Church has its own links to the jazz tradition. Nat "King" Cole was married there, and the church held memorial services for Count Basie and Art Blakey.

In the early '90s, Marsalis performed his only other major religious work at the Harlem church — "In This House, On This Morning," a suite the trumpeter wrote and recorded with his septet. Marsalis' adviser on that project: the Rev. Jeremiah Wright, who preached a sermon on the trumpeter's album "The Majesty of the Blues."

Butts says the recent controversy surrounding Wright, Barack Obama's former pastor, has resulted in "a little bit of the maligning of the black church."

"I'm hoping that people will come away with a better understanding of the importance of our religious experience and what it's meaning truly has been for America and the world," Butts said. "I want this expression of jazz music and the African-American religious and sermon tradition to serve as a foundation for unity among all people. That's the height of our religious expression in America ever since we were enslaved people. We've been trying to make sense out of the madness, and reconciliation, unity, peace, prayer, this is what we hope for."

————

On the Net:

Jazz at Lincoln Center
The Abyssinian Baptist Church
And, click here to listen to Marsalis' first religious piece, "In this House, On this Morning"

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