04 December 2011

Rite, Meaning, Continuity

Mr Dreher has some good points about the power — and importance — of good ritual:
There is something enchanting, in the literal sense of the word, about having the reality of the Divine encompass one through one's senses. It is possible, of course, to be present in such a place and to shut oneself off from the presence of the Holy Spirit. But for me, I find it much more difficult to resist entering into a state of openness when there are so many sensual reminders — the incense, the vivid icons, the ritual motions — of the unseen reality around us, and within us.

If you read Bellah's book, "Religion in Human Evolution," you understand why ritual is more important than theology. No doubt that ritual completely disconnected from theology is empty. But humans never outgrow the deep need for ritual. It's built into the biological fabric of our being. You mess with that, you're messing with things you ought not touch.

Yes. We must, of course, address the the danger of rite displacing God from the center of worship. But this is only a danger because ritual is so important; it does serve such a important function in our lives. To devalue meaningful ritual (which is, by its nature, something inherited, something that has been a part of a given community for a significant amount of time) is to deprive ourselves of a powerful means of communion.

Perhaps the most common argument at any church is "But we've always done it that way!" This is not, in and of itself, a good argument. (It is, however, far preferable to that other common argument: "We need to change x to get new members!" These words portend doom.) We shouldn't appeal to tradition simply because it is tradition. We appeal to tradition because we trust that our forebears did things for good reason, because tradition acquires richer meanings with time, because tradition connects us to believers dead and yet unborn.

02 December 2011

Augustana, Revisited

This evening I attended the Augustana Choirs and Orchestra Christmas concert. What's that, you well may ask, a Christmas concert in the first week of Advent? Madness! you may correctly observe. But it was an enjoyable concert, for the most part, nonetheless. There's a certain percentage of Christmas schlock that is required to satiate the blue-haired little old ladies, but fortunately there was some real repertoire as well. My favorite was Respighi's L'adorazione dei magi, part of his triptych on Botticelli themes. I do believe the more I hear Respighi the more I like him.

Returning to Augustana, whatever the circumstances, has always been pleasant for me: I feel at home there in a way I never will feel anywhere else. Notre Dame had its benefits, of course, but I never felt like a part of that community (if such a large school can be called a "community" at all). The arguments I heard — and took part in — there could interest me intellectually, but there was ultimately a disconnect somewhere: what is it to me, if the Basilica uses chant or guitars? It's not my Basilica. It was easier to take a step back and observe the pettiness and uncharity at Notre Dame. There's no less pettiness and uncharity at Augustana, of course — indeed, there may be more, per capita — but it is somehow more tolerable because it is a place I think worth fighting for; it is home. And home, for all its frustrations, is still preferable to anyplace else.

30 November 2011

Rowan Williams: "Advent Calendar"

He will come like last leaf's fall.
One night when the November wind
has flayed the trees to bone, and earth
wakes choking on the mould,
the soft shroud's folding.

He will come like frost.
One morning when the shrinking earth
opens on mist, to find itself
arrested in the net
of alien, sword-set beauty.

He will come like dark.
One evening when the bursting red
December sun draws up the sheet
and penny-masks its eye to yield
the star-snowed fields of sky.

He will come, will come,
will come like crying in the night,
like blood, like breaking,
as the earth writhes to toss him free.
He will come like child.

from The Poems of Rowan Williams

20 November 2011

Dominus Regnavit

Days like today are cause for optimism: both of my church services went well, and there are so many good hymn tunes for Christ the King Sunday. (Diademata is a particular favorite; everybody likes "Crown Him with Many Crowns".) I am becoming more and more fond of this part of November, when the fields are cleared and nearly all the trees are bare, before it snows; it's not desolate but rather clean-looking. Perhaps it's just this year in the three-year lectionary cycle, but the readings — with their apocalyptic imagery — lead nicely into Advent. Comparing different hymnals, there is even overlap between end-of-the-church-year hymns and Advent hymns: Helmsley ("Lo, He Comes with Clouds Descending"), for example.

The notion, particularly relevant today, of the kingship of God is an interesting one. Perhaps the most common conception of God in the psalms is as awesome King; another, nearly as common, is as just Judge. Indeed, the two concepts seem closely linked in ancient Jewry. Other psalms (cf. esp. 45, 72, 89) describe God's covenant with mortal kings, who are expected to carry out God's justice. Some sections read as little more than monarchist propaganda; the Bible is not a book for republicans. In any case, it appears that legitimate, God-pleasing government has an obligation to the poor, a fact lost on a great many people nowadays.

There is one issue I've always wondered about: if earthly kings derive their legitimacy from God, what meaning does the title "King" have for God himself? There is — we presume! — no higher power to grant God the title. It seems that God is King simply by virtue of being God.

* * *

Next week is the start of Advent. I have resolved that I should start posting — here, if there is no more suitable place — music selections from the liturgies at my churches, like some do. So: here is some of the upcoming music at St. Paul Lutheran and St. Luke's Episcopal.

Organ preludes and postludes for Advent and Christmas, 2011:
27 November (Advent I):
J.S. Bach: Wachet auf, ruft uns die Stimme, BWV 645
W.F. Bach: Nun komm, der Heiden Heiland, F.38, No. 1
4 December (Advent II):
Jeanne Demessieux: Rorate caeli, Op. 8, No. 1
Michael Praetorius: Alvus tumescit virginis
11 December (Advent III, Gaudete):
Healey Willan: Prelude on Richmond
Gerald Near: Benedixisti, Domine, terram tuam
18 December (Advent IV):
J.S. Bach: Nun komm, der Heiden Heiland, BWV 659
Paul Manz: Toccata on Nun komm, der Heiden Heiland, Op. 5, No. 10
24 December (Christmas Eve):
Claude-Bénigne Balbastre: Quand Jésus naquit à Noël
Dieterich Buxtehude: In dulci jubilo, BuxWV 197
25 December (Christmas Day):
Louis-Claude Daquin: Noël X (Grand jeu et Duo)
Georg Böhm: Vom Himmel hoch da komm ich her

14 November 2011

The American Guild of Organists

This evening I attended my first AGO meeting. I am pleased to report that it went reasonably well. The theme for pieces was "things based on hymn-tunes"; I performed that bombastic Karg-Elert Nun danket alle Gott setting, and, to atone for that, also BWV 645. The membership of the local chapter is quite tolerable: the only instances in which I found it necessary to bite my tongue were when I heard praise of Allen instruments. (One must bear in mind that many — far too many — organists out here in the provinces have never played a tracker, and thus may be forgiven for their misguided tastes.)

Being away from school, even for only these few months, has taught me how important the company of one's peers is. It is, of course, a bit of a stretch to call my fellow AGO members peers — they are, after all, predominantly women who could charitably be called "post-middle-aged" — but it is nice to have people who understand the vicissitudes of a career in church music. In every profession one needs people to whom one can complain about one's job; I suspect this is the true origin of the great medieval guilds.

07 November 2011

Wolf Hall

Shifty-eyed Thomas CromwellFinished, at last, with my slog through Tolkien, I turned immediately to Hilary Mantel's Wolf Hall. It's been a bit of an adjustment, going from Tolkien (who, though a worthwhile read, has too many adverbs and all the humor of the Heimskringla) to Mantel, whose wit could be metaphorically compared to something that is very sharp.

The hero (or antihero, if you must) of the book is Thomas Cromwell (who was indeed related to Oliver, though we mustn't hold that against him). History, for the most part, has not been kind to Cromwell: the impression one often gets is that he was an amoral schemer, who, in the end, reaped the whirlwind after several years of attempting to manipulate the king's favor. If you've seen A Man for All Seasons you've probably got a much more charitable opinion of Cromwell's rival Thomas More, whom Roman Catholics now call a saint; he's held in high esteem at Notre Dame, certainly. But Mantel deconstructs this beatific image we have of More: as she sees it, he was little more than a religious zealot.
[Cromwell] never sees More — a star in another firmament, who acknowledges him with a grim nod — without wanting to ask him, what's wrong with you? Or what's wrong with me? Why does everything you know, and everything you've learned, confirm you in what you believed before?
It's worth remembering that More was not some selfless defender of personal conscience to be compared to Cromwell's unprincipled henchman of royal prerogative. More merely preferred Papal tyranny to royal tyranny. The question, perhaps, is: which should one prefer in Henry VIII's England? Despite my fondness for Anglicanism, I still have this image of the king as this horrible sort of Bluebeard character, ruled by his appetites, quite probably more beast than man. I don't know if Mantel means to dispel this characterization further on in the book; after all, I've only read about a hundred of its six-hundred-odd pages. But I recommend it highly, so far.

31 October 2011

Faust (1926)

Sort-of-but-not-really because it's Halloween I finally sat down and watched the 1926 silent film Faust, which I had never heard of but just read about over at the A.V. Club. (That web-site has some good things, but its advertising is consistently obnoxious.) If you haven't seen it and fancy yourself a film-lover, you should see it. The modern moviegoer is perhaps reluctant to take silent films seriously — so conditioned are we by the special effects and other conventions of movies these days — but once one discards certain expectations and assumptions it becomes clear how original and effective the best silent movies are. To employ an inadequate metaphor, it's like drawing a circle: sure, it's quite easy to open MS Paint and make a perfect circle, but it takes real practice and dedication to actually draw a circle, with a pencil, on paper. Faust passes the test of all real art: it's still worth experiencing today.

It occurred to me that Faust can be understood as symbolic of 20th-century German history: Faust renounces God to reshape the world according to his own ideas, with disastrous consequences. It then occurred to me that Thomas Mann already noted the Faustian resonances in the Third Reich. It then occurred to me that I really ought to begin reading Mann's Doktor Faustus: presently all my knowledge about it is secondhand, by way of The Rest Is Noise, which you really should read.

25 October 2011

Quam dilecta!

You'll pardon, I hope, my low output as of late. (I won't apologize for it, anyway.) I have been thinking about several things — Montaigne and friendship, the pleasures of Indian summer, the nature of consciousness (with a nod to Andrew Bird) — but am not yet prepared to expatiate upon any of these themes. I shall, however, refer you to several other things worth reading.
  • Philip Larkin: "An Arundel Tomb"
  • Jason Peters: Curiosity Killed the Keg: A Tribute
    One can read lots of tiresome articles of socio-political claptrap by conservative Christians; sometimes that sort of thing shews up on FPR. But Peters, though he could quite fairly be called "conservative" and "Christian", manages again and again to write things that are actually worthwhile. In this particular treatise — O Theophilus — he makes several very good and entirely accurate points, among them observations about booze, O'Connor, and contemporary Protestant hymnody.
  • I have had Coverdale's version of Psalm 84 in my head for a while, now. (I suppose this is mostly due to the Vaughan Williams setting.) Its palpable desire for God is quite arresting, I think.
    O how amiable are thy dwellings, thou Lord of hosts! My soul hath a desire and longing to enter into the courts of the Lord; my heart and my flesh rejoice in the living God. Yea, the sparrow hath found her an house, and the swallow a nest where she may lay her young, even thy altars, O Lord of hosts, my King and my God. Blessed are they that dwell in thy house; they will be alway praising thee.

18 October 2011

Thoughts from Concordia

Thoughts that have occurred to me whilst attending the 2011 Lectures in Church Music Conference (at Concordia University, Chicago):
  • Good music is, inevitably, about addressing issues, solving problems. The issue/problem may be one about musical form, or color (e.g. instrumentation, texture), or compositional process (canons, fugues), or, in vocal music, text, or other things. Bad music, when it refuses to acknowledge a problem, is saccharine; when it fails to adequately address a problem, it is unsatisfying.
  • Most defects of musicianship can be fixed, but I suspect that a poor interior sense of rhythm is irremediable. How can you learn something that ought to be inborn? (Well, technically, a sense of rhythm is acquired, but this takes place so early in childhood that it's like original sin: probably not inborn, but as good as.)
  • Fr Anthony Ruff, whom I admire more and more, gave a presentation on the implementation of the new translation of the Roman Missal, with special emphasis on ecumenism (since this is, after all, a mostly-Lutheran conference). It is hard not to be disgusted with how Rome has bungled the new translation. It's not only that it is fundamentally flawed — after all, the current translation is deeply flawed, albeit in a different way — but far worse is the autocratic way Rome has handled things. From time to time, when utterly frustrated with the follies of Protestants, I find solace in the fact that at least we don't have to put up with the Roman Catholic hierarchy. If "by their fruits shall ye know them", then I fear we know the hierarchy all too well.
  • Last night we had a concert of seventeenth-century Lutheran music (mostly Schütz, Schein, and Scheidt; no Praetorius, unfortunately). I've said it before: it's too bad that we hear this repertoire so rarely nowadays. One of these days, when I've got an early music consort at my disposal, I shall endeavor to do some of it.
Oh, and today is St. Luke's Day, the titular feast (heh) at my Episcopal parish in Dixon. We shall have some good hymns, I think. (I've had the tune Westminster Abbey stuck in my head for several days, now; I'm planning a rather grandiose introduction with the chamades, which should wake people up, if nothing else.)