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Showing posts with label Sunday morning music. Show all posts
Showing posts with label Sunday morning music. Show all posts

Sunday, June 14, 2020

Sunday morning music


This morning's article is an unusual combination.  I'm going to introduce you to a song, then talk at some length about its very profound meaning for me.  Call it an extended meditation on God, life, the universe and everything, if you will.

A couple of weeks ago I happened upon an album released in 1999 by country and bluegrass musician Ricky Skaggs, titled "Soldier of the Cross".




I'm not a big fan of either music genre, and I don't normally bother with "commercial" Christian music, but somehow I felt led to click through to a couple of the tracks and listen for a few moments.

One of them was titled "Seven Hillsides", composed by Texas native Walt Wilkins.  It describes the dilemma of a preacher who's to deliver memorial services at the graves of seven soldiers, killed in action overseas.  How is he to comfort their families, particularly their mothers?  How is he to make sense of their deaths in the context of the Christian message?  Since that's something I've had to do for myself, first from the perspective of my own faith, and then for others as a pastor and chaplain, you'll understand that this song struck me very powerfully indeed.

Walt Wilkins has recorded this song himself, on his 2001 album "Rivertown".




However, Mr. Wilkins has said he loves Ricky Skaggs' version of the song, and who am I to argue with the songwriter?  Before I go on, let's listen to it.





As a pastor, I can assure you that's a very good description of the moral and spiritual dilemma we face every time we have to do something like this.  How can we make sense of tragedy and loss in the context of our faith?  To me, it's blasphemous to suggest that everything that happens is God's will.  I refuse to believe that God points at someone and says, "I'm going to kill you now, to see how your family copes with your death, and test their faith!"  That's not the God I've come to know over the years.  Rather, I recall that God never once promised us a life of wine and roses, or milk and honey, or whatever.  Instead, he promised us grace to cope with life, whatever it throws at us.  In my experience, he keeps that promise - if we're prepared to accept his grace on his terms.

Regular readers will know the background to my faith, and how it's been formed and tested over the years.  I make no claim to be some sort of Christian hero - I'm anything but.  I've made more than my fair share of mistakes, and committed far more than my fair share of sins.  I fear God's justice when I face his judgment for my life - almost as much as I hope in his mercy, which is the only thing that will save any of us.  Nevertheless, as best I can, I try to live what I've come to believe through my experiences.

For those of you who aren't familiar with my background, here are a few blog articles I've written over the years, in chronological order.






For context on South Africa and events there during those years, see my articles "Remembering Inyati" and "Was apartheid South Africa really that bad?"

My faith grew out of those experiences, and remains formed by them to this day.  I try to express it in the pages of this blog, particularly when writing about modern tragedies such as terrorism and war.  However, a lot of people who haven't seen such destruction at first hand seem to approach such issues with a much simpler, black-and-white perspective that doesn't allow much in the way of "gray areas", where ethics, morality, attitudes and actions are less clear-cut and more complicated.  Far too many people seem to see the world - they prefer to see the world - in terms of "us" and "them":  and we're all right, and they're all wrong, because that's the way it is.

That attitude is the cause of so much death and destruction that it's almost impossible to tabulate.  I've seen it in more than one war zone in sub-Saharan Africa, and I'm seeing it now in these dis-United States.  I wrote about it at some length after the Paris terror attacks of 2015, in an article titled "Paris and the pain of being human".  I meant every word I wrote there;  but my words clearly didn't satisfy many readers, as the more than 60 comments the article attracted will make clear if you read them (I hope you do).

Here are the salient paragraphs from that article.

Those aren't the worst aspects of violent conflict. To me, the worst is what it does to the human psyche. You become dehumanized. Your enemies are no longer people - they're objects, things, targets. You aren't shooting at John, whose mother is ill, and who's missing his girlfriend terribly, and who wants to marry her as soon as he can get home to do so. You're shooting at that enemy over there, the one who'll surely 'do unto you' unless you 'do unto him' first. He's not a human being. He's a 'gook'. He's 'the enemy'. He's a thing rather than a person. It's easier to shoot a thing than it is a person.

. . .

And in the end, the bodies lying in the ruins, and the blood dripping onto our streets, and the weeping of those who've lost loved ones . . . they'll all be the same.  History is full of them.  When it comes to the crunch, there are no labels that can disguise human anguish.  People will suffer in every land, in every community, in every faith . . . and they'll turn to what they believe in to make sense of their suffering . . . and most of them will raise up the next generation to hate those whom they identify as the cause of their suffering . . . and the cycle will go on, for ever and ever, until the world ends.

We cannot 'kill them all and let God sort them out' (and let it never be forgotten that those obscene, inhuman instructions were reportedly issued, not by a Muslim fundamentalist, but by an Abbot and Papal Legate of the Catholic Church).  There are too many of 'them' to kill them all, just as 'they' can never kill all of 'us'.  We cannot kill our way out of terrorism.  We cannot kill our way out of the dilemma of being human, with all the tragedy that entails.

May God have mercy on us all.

That article, looking at the pain of loss suffered by so many in those terror attacks, strikes very close to the heart of what I felt when I listened to "Seven Hillsides".  Right now, I'm seeing the same hardness of heart felt by Americans towards each other.  Those on the left demand their version of utopia, and regard all who stand in their way as "reactionaries" or "conservatives" or "rednecks" or "deplorables" or whatever the "label du jour" might be.  Those on the right regard their opponents as "progressives" or "socialists" or "terrorists" or "thugs" and the like.  However, neither side refers to their opponents as "human beings".  They objectify them as something to be rejected, perhaps feared, certainly destroyed in respect of their positions, if not their actual lives.  They won't accept them as fellow Americans who happen to hold different opinions.

The Christian faith that's supposed to animate this country, according to so many of the Founding Fathers, is conspicuous by its absence on both sides.  The right may complain about openly anti-Christian sentiments on the left, but their own attitudes display as much disregard of the Golden Rule as do their opponents'.  Pot, meet kettle.  Kettle, pot.

And so, pastors such as myself are again dumped straight into the old dilemma.  How can we make sense of suffering, pain and loss in the context of our faith, when both sides fail to recognize their opponents - political, electoral or otherwise - as fellow human beings for whom Christ died?  In war, it's common for allegedly "holy leaders" to claim that "God is on our side" or "God is with us".  It's always struck me as incongruous that both sides make that same claim.  It must be awfully schizophrenic for God to find himself divided like that, two halves of himself working against the middle!  Clearly, that sort of religious propaganda won't fly.  Mothers on either side mourn the loss of their loved ones . . . so how can we put that loss in the context of what it means to be Christian, and human, and real?  How can we preach God's truth, rather than our partisan, one-sided, limited perspectives?

I have no answers that will satisfy everybody.  All I can do is point out that we are called to judge ourselves by God's standards, not to judge him by our standards.  Sadly, most of us fall into the latter error;  and if pastors try to point that out, we're derided and rejected for not taking sides.  We can't win.

And that's the pain of being human.  We are called to be more than human;  not just natural, but supernatural - yet we insist on remaining in the mud and the mire, and refusing to "lift up [our] eyes unto the hills, from whence cometh [our] help".  We won't find God's answers by looking down at the human condition, but by looking up, to see what he intends human beings to become.

How should we behave towards each other?





The prophet Micah put it in a nutshell.

He has showed you, O man, what is good;
and what does the Lord require of you
but to do justice, and to love kindness,
and to walk humbly with your God?

That, right there, is a pastor's calling;  to remind and help people to lift up their eyes, and their lives, and "walk humbly with our God".  That's not an optional instruction, to be observed only if others do the same to us.  The Golden Rule ("Do unto others as you would have them do unto you") and the eleventh commandment ("Love one another as I have loved you") are spiritually synonymous.  However, as pastors, we need not be surprised if reminding people of that reality leads to rejection by some.  After all . . . look at what they did to Christ, who embodied that teaching.

And, thus, today . . . we face our own "Seven Hillsides".


* Sigh *


Peter
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Sunday, June 7, 2020

Sunday morning music


I'm obliged to reader Andrew S. from Brisbane, Australia, for sending me the link to this morning's music.  He wrote:

"... this guy normally films real estate videos but had some COVID 'spare time' on his hands and decided to see if he could still play the guitar or not.  I think he can, and it’s well worth a few minutes of your time if I may suggest so."

He also provided a link to a discussion of this music video on an online forum, which I'll let you read for yourselves.

In the video blurb on YouTube, the composer, Duane Adam, writes:  "Filmed on Kings River in Kingsburg CA during the pandemic because there was nothing else to do."  I'm very glad he did!  Judge his composition and playing for yourselves.





Andrew, you were right.  Definitely worth taking the time to listen!  Readers, if you agree, let's see if we can persuade Duane to compose and play more.  There's real talent there.  Leave your comments at the music video on YouTube, or on the forum discussion (and here as well, of course!).

Peter

Sunday, May 31, 2020

Sunday morning music


We've heard the music of Ian Anderson and his group Jethro Tull on many occasions in these pages.  This morning I'd like to introduce a recording of which many Tull fans may never have heard.

Back in 2017, Ian Anderson produced an album titled "Jethro Tull: The String Quartets".




He partnered with John O'Hara and the Carducci String Quartet to produce chamber music versions of many classic Tull tunes.  I rather like it, and I hope you will too.

To start off, here's a medley of two very early Tull tunes:  "Sossity: You're a Woman" (from the album "Benefit") and "Reasons for Waiting" (from the album "Stand Up").





Next, a medley of "Songs from the Wood" and "Heavy Horses".





And finally, no Tull project would be complete without some form of "Aqualung" - in this case, "Aquafugue".





The entire album is enjoyable, particularly if you like both classical and rock music.

Peter

Sunday, May 24, 2020

Sunday morning music


Now and then readers send me music recommendations, to which I always listen in the hope of discovering something new, interesting and enjoyable.  Even if I don't necessarily like what they recommend, it helps stretch my musical boundaries and keep me from staying in the same old rut.

One such recommendation came from reader Badfrog a few weeks ago.  He sent a link to a video on YouTube.  It's from Icelandic group SkΓ‘lmΓΆld, who are described by Wikipedia as "a Viking / folk metal band".

The band's name is literally translated as Age of Swords and also means "lawlessness", referring to the Age of the Sturlungs of Icelandic history, when a civil war broke out between the country's family clans.

. . .

From the beginning, SkÑlmâld's intention has been to combine the sounds of the traditional Icelandic music and metal. Initially, the band planned to use a lot of folk instruments, but soon decided to scale back and have three guitar players instead. The band's influences include such metal bands as Metallica, Iron Maiden, Anthrax, Slayer, Amon Amarth and Ensiferum, as well as Jón Leifs, the classical Icelandic composer. SkÑlmâld's lyrics, written by Snæbjârn entirely in Icelandic, are inspired by the Norse mythology and Icelandic sagas. Furthermore, the lyrics conform to some of the Old Norse poetic forms, including fornyrðislag and sléttubând.

All the band members are members of the heathen organisation Ásatrúarfélagið. Jón Geir Jóhannsson explained the way they believe in the Norse gods: "You shouldn't personify them. It's not people, it's stories that represent human nature. So yes, the ethics are there, but we don't believe in them as 'persons'."

There's more at the link.

I freely admit, I don't like their vocal style.  Their lyrics are sung in a hyper-aggressive growling tone typical of a lot of thrash metal groups, which I find grating and unpleasant on the ear.  On the other hand, their melodies are undoubtedly inspired by both the folk and the classical traditions, and make interesting listening.  Judge for yourself in this live performance (with the Iceland Symphony Orchestra) of the group's composition "KvaΓ°ning" (which Google Translate renders as "Query" or "Question").





The track is taken from the group's 2013 live album "SkΓ‘lmΓΆld Og SinfΓ³nΓ­uhljΓ³msveit Íslands" ("SkΓ‘lmΓΆld with the Iceland Symphony Orchestra").  The group also has five studio albums to its credit.  Many tracks are available on YouTube.  Here, for example, is the song "Vanaheimur" from their 2016 album "VΓΆgguvΓ­sur Yggdrasils" (which translates as "Cradle of Yggdrasil" or "Yggdrasil's Cradle" - it appears to refer to the branches of the fabled tree of Norse mythology as the cradle of the life or lives that depend on it).





My verdict?  I like their melodic lines, and the innovation of blending the Viking and folk rock genres (or, more accurately, sub-genres).  I dislike (and I mean really dislike) their vocal style;  to me, its grating violence ruins the music behind the lyrics.  There are clearly many who disagree with me, or the group (and the many thrash metal groups like them) would not survive and thrive as they do.  Nevertheless, I'd like to hear an album of their music without the vocal track.  I think an instrumental version would be much more enjoyable to my old-fashioned ears.

I leave it to you to make up your own mind.  Meanwhile, thanks to reader Badfrog for broadening my musical horizons.  This was an intriguing diversion.

Peter

Sunday, May 17, 2020

Sunday morning music


Let's have a change of pace this morning, to a bygone age.

English composer and organist William Boyce was Master of the King's Musick from 1756 until his death in 1779.  He wrote eight symphonies, plus many other works.  Here's his Symphony No. 1, a pleasant, easy-listening short late baroque/early classical piece.





All eight of his symphonies may be heard on YouTube.  They're typical of English music of the period.  I don't find them particularly outstanding, but they're pleasant background listening, and easy on the ear - which is probably exactly what the Master of the King's Musick was supposed to compose.

Peter

Sunday, May 10, 2020

Sunday morning music


Reader Glen W. sent me a YouTube clip from an Israeli group calling themselves "Anna RF".  On their Web site, they describe themselves as follows:

We’re ANNA RF, An Electro Ethnic Reggae band who creates music that combines the beauty of different cultures and brings people together in a joyful celebration of unity. The group’s sound is a mix between east & west, our vision stands for blending ancient and modern instruments with a live-electronic touch.

Our shows are known as parties πŸ™‚ people are coming to dance and feel free.

The band exists since 2012. In these years we performed in many countries in big crowded festivals as Ozora, Ancient trance festival, Psi Fi, Edinburgh fringe festival and many more.

. . .

The phrase anna RF is an Arabic-Hebrew expression which has a double meaning – “I know” and “I don’t know”, That stand for the philosophy of the group.

I'd never thought of a combination like "Electro Ethnic Reggae" before, so I was naturally intrigued.  Their music is certainly easy on the ear.  Here are four selections from YouTube.

First, here's the clip Glen sent me.  Anna RF join with Indian group Naadistan to create harmony.





Here's "Why?", composed and recorded in the Alps in 2014.





This one's called "Weeping Eyes".





And finally, here's the title track from their album "Flight Mode".





It's certainly interesting music, and rather different from what I normally play.  You'll find more on the group's YouTube channel, and at the links they provide beneath each video there.

Thanks, Glen!

Peter

Sunday, May 3, 2020

Sunday morning music


I'm obliged to The Feral Irishman for putting up this video clip from Pink Floyd's  1995 album "Pulse" the other day.  It's David Gilmour's composition "Sorrow".





I hadn't known that the album had been re-mastered and re-released.  I was pleased to find it through Irish's blog post.  For fans of Pink Floyd, perhaps the most technically accomplished rock group ever, here's the re-mastered album.





No numbness there, comfortable or otherwise!

Peter

Sunday, April 26, 2020

Sunday morning music


Here's something different for music fans of every genre, and an introduction to a very versatile young lady.  Harpist Amy Turk has composed and performed in genres ranging from power metal, through folk music, to classical.  She graduated with a Masters degree from the Royal Academy of Music in London, England, in 2014.

Her last performance at the Academy has become a hit worldwide.  From her bio at her Web site:

For her final recital Amy transcribed and arranged J.S. Bach’s Toccata and Fugue in D Minor, BWV565, drawing heavily from the original organ score and consulting with organists at the Academy in order to properly convey the timbral details of the original work, in addition to incorporating authentic German baroque ornamentation.

I'd never have thought of the Toccata and Fugue as a harp piece, but Ms. Turk delivers a virtuoso performance.





To demonstrate her cross-genre versatility, here she is with Billy Idol's "White Wedding".





And, continuing the marital theme from the world of folk music, the very well-known "Mairi's Wedding".





You'll find more of her work on her YouTube channel. I think she's off to a great start to what I hope will be a long musical career.

Peter

Sunday, April 19, 2020

Sunday morning music


I'm obliged to Michael Z. Williamson, author, blogger and friend in meatspace and cyberspace, for posting yesterday, on MeWe, this clip of a 2019 performance by Mark Knopfler of his 1982 masterpiece, "Telegraph Road".  It was originally performed with his group Dire Straits.  It was the lead track of their album "Love over Gold".

The album has always been one of my favorites, so I thought you might enjoy Mark's rendition of the song, almost 40 years after it first appeared.  He's grown older (a lot older!), but so have I;  and the song itself is timeless.





I daresay "Telegraph Road" will still be played a long, long time after I'm dead.  It's a masterpiece of its oeuvre.

Peter