J.S. Bach

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Thinking about J.S. Bach: As it turns out, it's hard to ignore the composer's views on doctrine

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Thinking about J.S. Bach: As it turns out, it's hard to ignore the composer's views on doctrine

Sometimes we forget how strange the Internet is, in terms of providing an environment for reading and sharing news stories and other features.

Readers used to be able to flip through their daily newspaper and know that they had a chance, in an orderly manner, to look at “everything” that was in those pages. Today, there is no way to know — for a variety of technical reasons — if you’ve looked at everything in the “daily” New York Times or any other news product . It all exists in a vast digital cloud of material that is always evolving and being updated. There is no logical sequence or form.

People find “news stories” with a search engine, they run into them on Facebook or people end them URLs in emails or texts. Often these articles are stripped of context — news or editorial, for example — and often the publication dates vanish, as well.

Thus, every now and then, GetReligion readers ship us a story that they think deserves praise or criticism. Sure enough, I’ll find that it’s amazing and start work on a post and then notice — oh no — that it’s actually several years old.

This happened to me the other day with a “feature” story from the Times with this headline: “Johann Sebastian Bach Was More Religious Than You Might Think.” Well, I love Bach. As far as I am concerned, the stunningly productive and brilliant Bach is either (a) evidence of intelligent life elsewhere in the universe, (b) the most important artist in the history of Western civilization or (c) both.

I dug into the piece and quickly realized that this essay by Michael Marissen, author of “Bach & God,” wasn’t a news feature and, on top of that, it ran in 2018. I’m sharing it as a weekend “think piece” because it is fascinating stuff and contains an interesting example of modern thinkers reaching conclusions about a historical figure — even though there is hard evidence that directly contradicts their views. This feature focuses on a piece of Bach material (not a piece of music) that I didn’t know about — with incredible implications for discussions of this cultural giant’s faith. Here is the overture:

Bach biographers don’t have it easy. Has there ever been a composer who wrote so much extraordinary music and left so little documentation of his personal life?


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Chick Corea's life and music: If Scientology 'informed' his art, why not offer a few examples?

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Chick Corea's life and music: If Scientology 'informed' his art, why not offer a few examples?

When it comes to modern forms of jazz, I was never a fan of the late Chick Corea’s work in the fusion megaband Return to Forever. I was a Weather Report guy.

However, I was totally into Corea’s classic duets with Gary Burton on vibes (see the epic 1979 live version of “Crystal Silence” at the top of this post) and his lovely “Children’s Songs” collection, for solo piano.

I can also remember debates long ago among my friends — secular and religious — about the impact that Corea’s embrace of the Church of Scientology would have on his life and music. After all, he was an instrumental musician. Were the teachings of L. Ron Hubbard supposed to have soaked into his unique chord voicings and the sparkling rhythms of his compositions?

This leads me to the solid New York Times obituary for Corea, who died recently after a short battle with a rare form of cancer. The double-decker headline on this feature covered a lot of ground:

Chick Corea, Jazz Keyboardist and Innovator, Dies at 79

When jazz and rock fused in the 1970s, he was at the forefront of the movement. But he never abandoned his love of the acoustic piano.

I’ve been thinking about this piece for a week now, wondering if it was worthy of a short post. I finally decided that it was. After all, the obit’s brief treatment of the religion angle demonstrated a classic puzzle that GetReligion has discussed many times in the past, linked to coverage of athletes, actors, writers, etc. Here is that section of the Times piece:

In the early 1970s, Mr. Corea converted to Scientology, and the religion’s teachings informed much of his music from then on, including his work with Return to Forever.

Armando Anthony Corea was born on June 12, 1941, in Chelsea, Mass., near Boston. His father, also named Armando Corea, was a trumpeter and bandleader in Boston, and his mother, Anna (Zaccone) Corea, was a homemaker. He began studying piano when he was 4.

And that was that.


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What explains the durable popularity of Handel’s 'Messiah' (especially at Christmas)?

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What explains the durable popularity of Handel’s 'Messiah' (especially at Christmas)?

THE QUESTION: Handel’s oratorio “Messiah” — the Easter cantata that is so frequently heard at Christmastime — is probably the most-performed and most-beloved piece of great music ever written. What explains this long-running appeal?

THE RELIGION GUY’S ANSWER:

Underlying this theme is the poignant reality that our culture and many of its churches are gradually losing historical moorings that include the excellent fine arts created in former times. So how and why does “Messiah,” which exemplifies the “classical” musical style and faith of 276 years ago, so hold its own today?

By most estimates, George Frideric Handel (1685-1759) does not quite equal a peerless fellow German composer and a contemporary he never met, J.S. Bach (1685-1750). But in terms of popularity and number of performances, not to mention seasonal sing-alongs, this one among Handel’s 30 oratorios overshadows Bach’s monumental Christian works such as the “Christmas Oratorio,” “Mass in B Minor,” “St. John Passion” and “St. Matthew “Passion.”

Handel biographer Jonathan Keates tells the remarkable story of the famed oratorio in his 2017 book “Messiah: The Composition and Afterlife of Handel’s Masterpiece” — a good gift suggestion.

In a fit of inspiration, Handel dashed off all of his oratorio’s 53 sections in just three weeks. (Of course tunesmith Bach was expected to turn out a new choral number almost every week.) The first performance in the Easter season of 1742 — in Dublin, Ireland, instead of England — was a triumph.

The London premiere the following March is remembered because King George II stood during the “Hallelujah Chorus” and was imitated by the audience. Listeners have done the same ever since, a tribute normally limited to patriotic anthems. George never officially explained his deed. But it has always been assumed he believed a Christian king should express obeisance to the eternal “King of Kings and Lord of Lords” per the text sung from the Book of Revelation.

There was some trouble with the London gig.

Bluenoses thought it faintly blasphemous that a Christian oratorio was being performed in the secular Covent Garden theater instead of a church.


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Larger story behind the headlines: Why people keep fighting about Amy Grant's music

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Larger story behind the headlines: Why people keep fighting about Amy Grant's music

So why do people, decade after decade, keep arguing about the music and life of Amy Grant?

To understand these news stories, it really helps to connect them to other headlines linked to religious believers whose talents allow them to work in mainstream culture. Think about all those debates about the lives of Christian football players, such as Tim Tebow and Russell Wilson. Think about what happens when religious believers, left and right, produce bestselling novels. Think about all those news stories about what is and what is not a "Christian" film. Do the Christians who work at Pixar (and they are part of the mix) make "Christian" movies?

But if you really want to understand this week's Crossroads podcast (click here to tune that in), then I'd like you to take part in a little exercise that I have used for more than a decade in lectures on faith and popular culture.

Step 1: Watch the video at the top of this post, which is Faith Hill's stunning performance of "There Will Come A Day" during the "Tribute to Heroes" special a week after 9/11, a fundraising effort that was carried on just about every single television channel in existence.

Step 2: Now read the lyrics to this song, especially the triumphant final verse and chorus:

There's a better place, Where our Father waits, and every tear, He'll wipe away
The darkness will be gone, the weak shall be strong
Hold on to your faith, there will come a day ...

Song will ring out, down those golden streets
The voices of earth, the angels will sing
Every knee will bow, sin will have no trace
In the glory of His amazing grace ...
There will come a day ... I know there's coming a day

Step 3: Now ask yourself this question: Is this a "Christian" song, in terms of the marketplace of American music? That leads to another question: Is Faith Hill a "Christian" artist, in terms of the marketplace of American music?


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