Rarely, though, has a slogan puzzled me more than the one I saw on a Baltimore billboard a couple of weeks ago. It’s the motto of the Baltimore Opera Company: Opera. It’s better than you think. It has to be. I’m not averse on principle to self-deprecation, but why on earth does the BOC think that running down opera will induce people to change their minds about it?
The Pennsylvania Ballet will be performing The Messiah in dance March 5-9. The ballet has been well-received for several years. “Weiss says Carolina’s performances were sold out for five years running, and a 2003 concert in Hungary played to overwhelmingly enthusiastic crowds,” reports Susan Lewis.
My church hosted a great Michael Card concert last Saturday. His music is nothing like the song Lars described yesterday. He even sang my favorite song of his, one he said he wrote “at a professor” who argued for a more rational faith than Card was comfortable with. Card has always favored mystery and paradox, so when his professor argued for a list of concepts which one could assent to and thereby adopt Christian faith, Card bristled. So he wrote a song about Jesus and his clash with our understanding, called “God’s Own Fool,” which has the chorus
When we in our foolishness thought we were wise
He played the fool and He opened our eyes
When we in our weakness believed we were strong
He became helpless to show we were wrong
And so we follow God’s own fool
For only the foolish can tell-
Believe the unbelievable
And come be a fool as well
YouTube has a video of it. I sang this song during a Sunday service a few years ago because it tied so well to the sermon. I think the Holy Spirit used it, but now that I say that, I can’t point to anything for evidence of that–perhaps, that’s not a proper perspective.
I wanted to pass on something Card mentioned during the concert. He is working with several others on The By/For Project, an effort to encourage Christian musicians to write music for the whole church for use in worship services free of restrictions. The site says, “Worship is a gift freely given. By/For projects are licensed under Creative Commons, so churches can freely use the art in worship and other artists can adapt and extend it. Removing profit motives can enrich both art and worship.”
The site also wants to remove the natural boundaries between Christians. “By/For believes the local church can strengthen and support fellow worshippers down the street, across town, and over oceans” by using the Internet to distribute recorded music, scores, and lyrics. There’s also a visual art angle on this too, which should bend some perspectives a bit.
Actually it’s not all that cold. About 20° F today. I’ve seen it a whole lot worse than this.
What’s got the whole state (nay, the whole region) bloodhound-faced today is the knowledge that tomorrow will be colder, and the day after that colder still, and on and on through the end of the week. I haven’t looked at the forecast past Sunday. I suspect the Monday one will say, “Supercooled through the afternoon; heat death of the universe after sunset.”
Yet we survive. We persevere. That’s what makes us better than you.
Here’s an article by Uwe Siemon-Netto, from Paul McCain’s blog Cyberbrethren, about the odd (though welcome) phenomenon of Asians converting to Christianity through the music of J. S. Bach.
I would have never expected this. I’ve always seen music as essentially non-propositional, unsuited to changing people’s minds, except by means of the lyrics.
But Bach’s music has no lyrics. It’s just very fine, intricate music on which the composer has written (at the end of every piece), “Soli Deo Gloria” (To God alone be the glory). And the testimony of an artistic job so brilliantly done seems to have an evangelistic appeal.
I suppose I shouldn’t be as surprised as I am. It actually harmonizes well with some things I’ve been thinking for a while. I’m just always surprised to be right… or anything in the neighborhood of right.
Back in the misty years of the 1970s, when I was touring with the Christian musical group for which I was lyricist, a guy came to talk to us after a concert. He said he was a follower of Francis Schaeffer, and I thought, “Great. We’ll be friends.” But he wasn’t interested in being friends.
His reading of Schaeffer had convinced him that the gospel was about reason—reason and nothing else. In evangelism, no appeal should be made to anything but the “law of non-contradiction.” Because our songs appealed to feelings as well as reason, he informed us that we were heretics and tools of the devil. I suppose he’d hoped for syllogisms in song.
I hadn’t thought the whole thing out at that point (still haven’t, for that matter), but I think I argued that, although reason is important and much neglected, it’s not the only thing.
As the years have passed, I’ve grown more convinced I was correct. Schaeffer concentrated on reason in his books because that’s the element that’s being most neglected in theology and apologetics today. But if you read those books and pay attention to more than just creating bullet points, you’ll see that he talks about the importance of love and relationships and beauty, too. His book The Mark of a Christian was not about logic, but about love.
This is entirely consistent with essential Christian theology. We believe in the Incarnation. “The Word became flesh.” (John 1:14) It’s as heretical to neglect the soft, subjective side of our lives as to neglect the rigorous, rational side.
Which is why the Lord can even call souls to Himself through music.
Hey! Maybe He could use novels too!
I feel the winds of God today; today my sail I lift,
Though heavy, oft with drenching spray, and torn with many a rift;
If hope but light the water’s crest, and Christ my bark will use,
I’ll seek the seas at His behest, and brave another cruise.
It is the wind of God that dries my vain regretful tears,
Until with braver thoughts shall rise the purer, brighter years;
If cast on shores of selfish ease or pleasure I should be;
Lord, let me feel Thy freshening breeze, and I’ll put back to sea.
If ever I forget Thy love and how that love was shown,
Lift high the blood red flag above; it bears Thy Name alone.
Great Pilot of my onward way, Thou wilt not let me drift;
I feel the winds of God today, today my sail I lift.
These words are by Jessie Adams in 1906.
“Didn’t know you come to save us, Lord;
to take our sins away.
Our eyes was blind, we couldn’t see,
we didn’t know who You was.”
That’s one of many reasons for all mortal flesh to keep silence.
“Child, for us sinners poor and in the manger,
We would embrace Thee, with love and awe;
Who would not love Thee, loving us so dearly?
O come, let us adore Him . . .”
The Dallas Symphony Orchestra’s five-program Beethoven Festival, which took place over five weekends, was a hit. Two programs sold out.
The Sissel concert on PBS last night was great. It was filmed in the picturesque Norwegian town of Røros in wintertime, the music itself performed in a historic church there. Very classy and reverent, I thought. And, needless to say, The Greatest Voice in the World soared through the pure, arctic air, delivering beauty like an angelic UPS truck. Or something.
My only unhappiness concerned Sissel’s hair. As is so often the case.
I care about women’s hair. It has something to do with an experience I had once, which it would be lugubrious to recount now (I suspect I’ve already told the story in this space, or on the old site, anyway). But I’ve always had strong opinions on women’s hair.
If you look at pictures of Sissel in the early stages of her career, you’ll see a lovely young girl with long, thick, honey-colored hair. That’s how she looked when I first became a fan, and that’s the image I imprinted on.
But it all changed around the time of the Winter Olympics in Norway in 1994. There she appeared, suddenly, and to the great shock of most, at the opening ceremonies with short, dark hair. Her hairstyle has changed constantly in the years since, but has generally been more or less that sort of thing.
Since her marriage broke up she seems to have grown it out a little, but for the concert she appeared in some kind of avant-garde coiffure that looked both oily and swirly. It was not becoming, in the eyes of this obsessive fan.
Why do women do this? I don’t know a lot about women, it goes without saying, but I’m pretty sure they tend to be more insecure about how they look than men are. That being true, why do they consistently put themselves in the hands of hairdressers of ambiguous gender, and trust them when they say, “Oh, darling, we’ll just streak your hair with purple, and lacquer it, and make it stand out straight from the left side of your skull so you look like a character from Anime! You’ll look divine!”
Any man can easily tell you what we want in a woman’s hair. Like most things about men, it’s very simple: “Long. Grow it as long as you can. Never cut it. Split ends? What are those? Dry, fly-away hair? Who cares?”
Show me a woman who wears her hair extremely long, and I’ll show you a woman who understands men deeply.
Of course a woman who wears her hair extremely short probably understands men deeply too.
Which sort is wiser, I’m not qualified to say.
The scandalous beauty of the crucified king, the awful glory of the sacrificed Lord: this is the watershed moment of all of history, and it ought to be the watershed moment of your history. It is Jesus’ offering of himself to the torturous, murderous death on the cross that connects us to the potential of beholding him in his resurrected, exalted glory. . . .
Christ killed is Christ conquering; Christ raised is Christ in conquest.
That is amazing. Only a wild God could tell a story so fantastic.
Point out the weaknesses in some, maybe most, praise music sung in churches today and what happens? A long rant-fest.
“‘Lord to give you up I’d be a fool’ almost literally gag-making”
“the lyrics of praise music is meaningless pop gestures”
“As the character in the Simpsons said, you can turn praise music into a love song merely by changing ‘Jesus’ to ‘Baby.'”
“Most “praise music” stinks. Use the Psalter or use the psalms of David in meter.”
“I remember the whole ‘rock music is evil’ debate. The same debate happens every time a new music genre enters the Christian space”
Have you seen this video of Britain’s Got Talent winner Paul Potts? A Bristol, England, native walks on stage, feeling nervous, and does not impress the judges by claiming a desire to sing opera. Oh, but when he sings! He went to the semi-finals to sing “A Time To Say Goodbye,” and returned to his first song in the finals, “Nessun Dorma.” Now he has a £1m record deal with Simon Cowell’s label and plans to sing with Katherine Jenkins at a Wales event.
I don’t usually post on weekends, but I just found a YouTube link to share. I’m about a light year behind everybody else on things like this, and I’ve only been exploring YouTube recently. I checked out The Divine Sissel, and found that this number is available.
It’s a country song, which isn’t her usual medium, but I think it’s a lot of fun, and it might help explain my enthusiasm for this really remarkable talent. Also check her rendition of the contemporary gospel number, “My Tribute.”
“Astronomers have recorded heavenly music bellowed out by the Sun’s atmosphere,” writes SPACE.com reporter Jeanna Bryner. Awesome. The heaven’s declare the glory of God.