Hold fast the form of sound words, which thou hast heard of me, in faith and love which is in Christ Jesus.
1 Timothy 1:13
Sound words have a form, an exemplary pattern, a typification by which their nature is determined; and it is neither a literary nor auditory matter. Truly, their form is the state of the man from whence they proceed, even as a good mould brings forth a shapely moulding. Therefore the Lord said that from the abundance of the heart the mouth speaks.
The words of a good form are the fruit of the “faith and love which is in Christ Jesus.” And this form is not seen in a mere tone of voice or manner of presentation, but in the condition of the soul who speaks. For the heart abounding in deceit may speak well outwardly; but inwardly be full of wicked schemes. Conversely, the heart abounding in goodness may speak poorly outwardly; but inwardly be being filled with the knowledge and love of the holy.
And the words of a man, no matter the carefulness or roughness of their delivery, are yet always laced with either the presumptuous stench of self-deceit, or with the earnest aroma of Christ; and by the Spirit of wisdom, these can be known to the hearer. To this end, the man of God, in order to hold fast the form of sound words, must make himself subject to the form of Christ’s sound Life.
For the form of sound words IS the Life of Christ in a man; and the holding fast to that form of sound words is what holds a man sound in God, and God’s word sound in him.
Then Simon Peter answered Him, “Lord, to whom shall we go? Thou hast the words of eternal life.”
Mine eyes have seen the glory of the coming of the Lord;
He is trampling out the vintage where the grapes of wrath are stored;
He hath loosed the fateful lightning of His terrible swift sword;
His truth is marching on.
Glory! Glory! Hallelujah!
Glory! Glory! Hallelujah!
Glory! Glory! Hallelujah!
His truth is marching on.
I have seen Him in the watch-fires of a hundred circling camps;
They have builded Him an altar in the evening dews and damps;
I can read His righteous sentence by the dim and flaring lamps,
His day is marching on.
I have read His fiery gospel writ in rows of burnished steel!
“As ye deal with my contemners, so with you My grace shall deal!
Let the Hero, born of woman, crush the serpent with his heel,”
Since God is marching on.
He has sounded forth the trumpet that shall never call retreat;
He is sifting out the hearts of men before His judgment seat;
Oh, be swift, my soul, to answer Him; be jubilant, my feet!
Our God is marching on.
In the beauty of the lilies Christ was born across the sea,
With a glory in His bosom that transfigures you and me;
As He died to make men holy, let us live to make men free!
While God is marching on.
For we do not wrestle against flesh and blood, but against the rulers, against the authorities, against the cosmic powers over this present darkness, against the spiritual forces of evil in the heavenly places.
Ephesians 6:12 (ESV)
A comparison of four classical composers, with observations on how their music either helps uplift the soul to God, or draws the mind down to wallow in the things below.
1 – Johann Sebastian Bach: The Harmony Of Logos
Examples of Bach:
Brandenberg Concerto No.3:
Bach’s beautiful choral arrangement of the Lutheran hymn “By The Rivers Of Babylon”(“An Wasserflüssen Babylon”):
Toccata & Fugue:
Bach’s music describes in vivid sonic detail the reality of God’s divine order and eternal truth. There is seemingly no phrase or note in his music not written to this one end; all has distinct purpose. There is no waste; and everything is addressed in a most dignified manner. In Bach’s music, the Light is spoken of with awe and reverence; and the darkness is spoken of within the context of God’s mastery over all. There is pure joy in the Lord, with nothing trite or frivolous. There is pure fear of the Lord, with no hint of despair. There is no glorying in man’s thoughts or strength; but much rather in God’s wisdom and power.
Bach is (among other things) the great exegete of the keyboard, and his extensive repertoire lays out for us, as it were, the divinely appointed boundaries of every note’s potential use in relation to another, with every measure of his many compositions effortlessly reflecting his own remark that “harmony is close to Godliness”. There is no flirtation with musical subversion or mindless dissonance; and the occasional unusual sound is employed only to serve the well-being of the hearer as far as it reflects the realities of God’s truth within the created order of the music.
“The aim and final end of all music should be none other than the glory of God and the refreshment of the soul.”
– Johann Sebastian Bach
How well indeed did his music fulfill that saying! | |
2 – George Frideric Handel: The Sound Of Majesty
Examples of Handel:
Overture, from Messiah:
Comfort Ye My People, from Messiah:
Overture, from Alexander’s Feast of the Power of Music:
A contemporary and fellow countryman of Bach (though they never met), Handel’s music is hewn from the same substance, with an ever-present consciousness of honoring God’s glory. There is always a sense of divine majesty in his compositions, by which the sensitive hearer is at times made to feel that they tread on holy ground – and this without either pretension or any sense of overbearing forcefulness on the part of the music: it simply speaks for itself when played, as truth always does when uttered.
The instrumentation alone in his famous work “Messiah” can easily take one into the very holy of holies if the soul is prepared to heed its call; and the accompaniment of prophetic scriptures borne upon its heavenly melodies carries an anointing unparalleled in most hymnody. There is often a hush of awe which falls upon even the most secular of audiences when these pieces are performed in succession. That particular work was reported to have been written by Handel in the course of approximately 30 days (in its base form, without many of the large choral parts – still an astounding feat). | |
3 – Ludwig Van Beethoven: The Self-Interest Of Man
Examples of Beethoven:
Piano Concerto No.1 – Allegro Con Brio:
Cello Sonata No.3 in A Major:
Beethoven’s music still lives within the world of reality and truth, but it often does very little to consciously acknowledge such. There is still an adherence to the orderliness and natural beauty of things; but the element of divine authority is replaced with a largely unanswered search for meaning. Vast portions of his compositions are dedicated to meander through the deep woods of a lonesomely reasoning mind; and their occasional discoveries, though useful, are usually not revelatory. There is natural light, but always the bright sun is hidden behind a blanket of cloud; and the divine is so distant that it need not be directly spoken of.
In Beethoven the transcendent is lost to long rabbit trails of thought, and, at times, impulsive little adventures in melody. Not that anything is ever objectionable to the hearing – there is still a clear appreciation for beauty – yet it is limited to created beauty, and seemingly not the Creator Himself. Beethoven does eventually come to an appropriately resolved end in his compositions; but we are usually left wondering what ultimate reason there was for much of the journey. There is a distinct sense of spiritual unfulfullment despite the typical excellency of his musical form.
One always remembers the feeling of Beethoven’s music; but only a few of his pieces leave a definite impression – and even where they do, all of his music is strongly laced with the sighing melancholy of humanism’s emptiness. Even where he breaks through his troubles into a happy theme, it is always with a certain dullness of heart. Even if the light is brilliant without, it is as though the eyesight remains dim from within. Any soul not lulled to a certain numbness by much of his music is left wanting for a warmth and wholeness that was not granted; and who now shall sing to that soul of the brighter Day? | |
4 – Richard Wagner: The Madness Of Devils
Examples of Wagner:
Prelude of “Tristan und Isolde” – which has been cited by some as an early inspiration to Nietzsche’s trajectory of thought.* It is a daunting and tiresome listen:
The Ride of the Valkyries – known to often evoke in men a heightened desire for war and pointless worldly conquest:
Much of Wagner’s music (particularly as heard above) is the expression of the subversive amoral philosophy of will-to-power. There is no reality or truth there except whatever the soul desires to conquer and call its own. As an excellent example of this Satanic mindset, the starting notes of “The Ride Of The Valkyries” sound perfectly like the arousal of jealousy; and the ensuing journey is one of a constant blowing about in the swirling winds of the growing lust for power, which is the only meaning in this nihilistic worldview.
Therefore, its end is wanting of any real wholesome resolve; and throughout, the key signature changes frequently, but not often to a wholly related key. Its sense of mounting triumph has no source outside of what it has accomplished in itself by sheer will: the transcendent is drowned out completely by self-glory. At last, it crashes to an end after a swift tumble into darkness, having left the listener’s heart in great alarm. And after its echoes die off in the ears, one is left with no new thing to contemplate, no melody by which the soul is given a path toward the Logos of God. The divine is utterly cut off; the soul (if it has trusted the music) is left open to the first thought or spirit that may seek to lead it astray.
It is also worth noting that this Wagner, the composer, was a great personal influence upon Nietzsche, the philosopher; and a hefty portion of Wagner’s music certainly does seem to subvert divine order, just as the philosophy of that madman, leaving in its wake the chaotic void into which he himself no doubt gazed. | |
There hasn’t been a time since the fall of man when music was not a battleground for men’s souls. | |
Make a joyful noise to the LORD, all the earth; break forth into joyous song and sing praises!
Sing praises to the LORD with the lyre, with the lyre and the sound of melody!
With trumpets and the sound of the horn make a joyful noise before the King, the LORD!
Let the sea roar, and all that fills it; the world and those who dwell in it! Let the rivers clap their hands; let the hills sing for joy together before the LORD, for He comes to judge the earth. He will judge the world with righteousness, and the peoples with equity.
*For some additional interesting information on this subject matter, listen to this interview which I came across recently. He lays out the history of the subversion of music in the late classical era quite well, and particularly touches upon the relationship between Wagner and Nietzsche. | |
** I do not own any of the music or audio used in this post; it is herein used for reviewing purposes only. **
Truth by its very nature warrants no apology, and true love is therefore never a bedfellow of compromise; for true divine love has in it the love of truth, as it is the very love of He who is the Truth at work in our hearts.
Only the one enlightened of God’s will truly knows His Love; and only the one truly loving God’s Person will rightly know His Truth. Only the uncompromising lover of God’s Truth can be truly uncompromising in the expressing His Love; and in that expression is discovered greater depths of His Truth.
For these both are Christ, and are of the Spirit of Christ; and He is not divided.