The Essence of Bach

Part of my Bach musings and reading are seeking to answer the question “How is it that Bach’s music speaks to us so directly in such Spiritual terms today?”  This was a question which was raised at the end of an excellent lecture by Robin Leaver which I watched yesterday entitled “Bach, a preacher?”

http://www.veritas.org/talks/bach-preacher/

The lecture started with a wonderful anecdote from when Robin Leaver was a pastor (his words) in England. He talks about a Polish Biochemist who walked into the service on Sunday as he was preaching. The biochemist was fortunate to have a scholarship to study in the west at a time when this was rare and had sought Leaver out specifically. He had Christian academic friends at Moscow University who were developing an interesting line in evangelism. It was not unusual for students to become disillusioned with communism, and when they did these Christians gave them a cassette tape with extracts of Bach’s music which had spoken to them particularly and simply asked them to listen to it. When they went back to talk to these people the conversation revolved around the basic question “What motivated this man to write this music. What is it about this man that he was moved to created such wonderful music”.

Leaver says this:

The answer was and is that Bach wrote the music self-consciously as a Christian composer and his understanding of the Christian faith is woven into the texture and fabric of his music.

He then goes onto explain how a deep appreciation of both scripture and of the role of law and gospel in the Christian faith is indeed woven deeply into piece after piece.

The understanding of law and gospel in Bach’s cantatas is something I want to come back to, as is Leaver’s description of Bach as a “preacher in sound.”  How Bach does this is indeed amazing and wonderful and worthy of exploration. It also seems to relate to a Reformed approach to preaching which is outlined in Paul Scott Wilson’s interesting book “The four pages of the sermon” [1] which my former minister Dr. Michael Quicke drew my attention to the other day. Wilson outlines an approach to all sermon construction which should cover the four “pages” of Trouble in the Biblical Text, Trouble in our World, Grace in the Bible: What God did, Grace in our World: What God does. Frequently we see a similar story outlined in the twenty minute “sermons in sound” which are Bach’s cantatas.

Plenty to explore there, but for now I want to come back to the question which interests me most.

At the end of the talk a women in the audience asked the following [1:26:53 in the video linked above]

I was fascinated by you talking about using Bach as an [evangelistic] tool now, and obviously we are far removed from the baroque Lutheran understanding of these chorale tunes and we don’t have this chorale tune vocabulary that Bach’s audience would have had. How do you think that this music speak to us now without that context?

Leaver responds by explaining talks about how Bach often develops his music from one simple idea, something which Jeremy Begbie [2] and Lawrence Dreyfus [3] have both written further about, yet same time uses all the deep, layered complexity of scriptural, chorale, tonal, numerical and even visual references while still creating such beautiful music that still speaks to us, without knowing anything of the deeper layers of meaning.

All true – but I don’t think this answers the question. For me, it’s still out there.  Expect me to come back to that, because whatever it is, we should take it and make it part of our worship!

[1] Wilson, Paul Scott (1999). The four pages of the sermon: A guide to biblical preaching. Nashville, TN: Abingdon Press.

[2] Begbie, Jeremy. Created Beauty: The Witness of J S Bach in Begbie, J. (2011). Resonant witness: Conversations between music and theology. Grand Rapids, Mich.: W.B. Eerdmans Pub.

[3] Dreyfus, L., & American Council of Learned Societies. (1996). Bach and the patterns of invention. Cambridge, Mass: Harvard University Press.

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About Time

time-piece-puzzler-ftrAppropriately enough for a Sabbatical I have been reading a couple of books about time.

The first by Jeremy Begbie, Music, Theology and Time, [1] seeks to look at how time relates to music and what that might teach us about God. In other words “What would it mean to theologise not simply about music but through music?” (Begbie, p.4)

The second is The Sabbath [2] by one of the leading Jewish theologians of the twentieth century, Abraham Joshua Heschel.

There are a couple of immediate insights I want to share here.

The first is that time is good. This is not obvious to the modern or indeed postmodern mind. In a chapter looking at the music of John Tavener, Begbie talks about a pathology of time where we experience awareness of the loss of what is good, are haunted by the sadness of the past we would love to forget but can’t, and either hold a fear of the future or pour into that future all kinds of hopes and expectations which may ultimately disappoint us.

But, there are number of Biblical reasons for stating that time is a gift, neither not “neutral nor inherently threatening.” (Begbie, p.97)

To start with, time is not a result of the Fall as we might suppose, but precedes it. With all the emphasis on interpretations of Genesis 1, as to whether God created the world in seven actual days and so forth and without wanting to resurrect that debate here, I wonder if we have at least partly missed the point. Which is that God created the world in time. The Hebrew word is יוֹם, yom meaning day or time.  And He did not create it in one day, but over six days, the creation of each day building on the next with the climax the creation of man on day Six. We will have more to say about that later.

Then, we see that God acts within time. Heschel has much to say about that “the Bible is more concerned with time than with space…it is more concerned with history than with geography.”

…the God of Israel was the God of events: the Redeemer from slavery, the Revealer of the Torah, manifesting himself in events of history rather than in things or places…The main themes of faith lie in the realms of time. We remember the day of the exodus from Egypt, the day when Israel stood at Sinai; and our Messianic hope is the expectation of a day, of the end of days. (Heschel, p.8)

Of course for the Christian, the day has both already come and lies still in the future. But we see that “in these last days he has spoken to us by his Son” (Heb 1:1) and that the whole of history, of creation, turns on 33 years of Jesus’ life, 3 years of Jesus’ ministry and 3 days between the Crucifixion and the Resurrection. That the God of eternity fulfilled his eternal purposes ordained before the creation of the world at a point in time, when Jesus said “It is finished.”

Karl Barth has written:

The many philosophical theories of time which deny its reality and regard it as a mere form or abstraction or figment of the imagination can only be finally abandoned when we consider that God himself once took time and treated it as something real [3]

Begbie argues from that we can use music to build on the fact that time is inherently good, and a gift. He says, “To share in music is to find a temporality in which – at least to some extent – past, present and future have been made to interweave fruitfully.” (Begbie, p.150)

Second, the Bible points us to a further insight, that time is holy. Heschel’s little book on The Sabbath has many insights, but none more rewarding I think than this:

One of the most distinguished words in the Bible is the word קָדוֹשׁ qadosh, holy… Now what was the first holy object in the history of the world? Was it a mountain? Was it an altar? It is, indeed, a unique occasion at which the distinguished word qadosh is used for the first time: in the Book of Genesis at the end of the story of creation. How extremely significant is the fact that it is applied to time: “And God blessed the seventh day and made it holy” (Gen 2:3)…It seems as if to the Bible it is holiness in time, the Sabbath, which comes first.  (Heschel, p.9)

There is much more to be said, but for now let’s conclude with this. If time is good and time is holy then I must stop longing for the past or regretting the past; or longing for the future and loading it with expectation or dreading the future. I should recognise now as a gift and seek to enjoy it and savour it as good and holy; as a gift.

[1] Begbie, J. (2000). Theology, music, and time. Cambridge: Cambridge University Press.

[2] Heschel, A. J. (1951). The Sabbath, its meaning for modern man. New York: Farrar, Straus and Young.

[3] Barth, K. (1957). Church Dogmatics; Volume 2, the Doctrine of God, Part 1, Edited by G.W / Bromiley and T.F. Torrance. S.l.: T. & t. Clark. p.620