Tag Archives: Igor Stravinsky

The glory of Sheer Silence

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The story of the Transfiguration of Jesus on Mount Tabor is as disorienting as it is blinding. It was also disorienting and blinding for the three apostles Jesus had taken up with him. Obviously, Peter didn’t know what to say, so we shouldn’t feel bad if we don’t know what to say, either.

One of the more fascinating and powerful reflections on this story is at the heart of the theology of the 14th century Greek theologian St. Gregory Palamas. He suggested that the light of Tabor was the working of the uncreated energies of God. This energetic light, the Light of Tabor, embodies God’s self-giving to us, a giving of Godself, that is deification. Not human self-deification, but deification as a gift from God who gives us everything that God has. This concept hasn’t gained much traction in Western Christianity, partly because it doesn’t compute well with many forms of Western theology. However, for those who find traditional Western theology problematic, the Palamite notion is perhaps an attractive alternative. For what it’s worth, I think the clash between Western and Palamite notions explodes into a powerful mystery which is deeper than one set of concepts alone.

There is much more to the radiance than blinding brilliance. The Hebrew word kabod, also means glory in the sense of honor. This is also true of the Greek word doxa that translates the Hebrew. When we glorify a human being for great accomplishments, there is a sort of radiance we put around them. Saints are often painted with a nimbus when portrayed in art. However, there is a tension at the root of glorification. It almost always seems to be accompanied by derision and dishonor. In fact, the Greek word doxa means dishonor as much as it means honor. The people we honor by putting on a pedestal are knocked over in a heartbeat if they don’t meet our expectations. Artists like Igor Stravinsky and Bob Dylan have both been greatly honored, but both were denigrated when they changed their artistic visions away from projected expectations. This is what happens when fans make idols of the people they adore; they create little boxes to put them in.

What about Jesus? Jesus had received much glory and honor from his numerous followers, not least the three disciples who Jesus took up the mountain with him. But the more some praised Jesus, the more energetically others denounced him. In all three synoptic Gospels, the Transfiguration marks a turning point where Jesus heads towards Jerusalem where he will be denounced, mocked, and crucified. The honor given Jesus turns to dishonor. What about the disciples who experienced the Transfiguration? When Jesus told them what was coming, they resisted Jesus’ resolve and argued among each other as to who was the greatest. I can’t help but suspect that they were basking in the derived honor given Jesus up to that point and, rather than receiving glory from God, wanted to receive glory from the other followers of Jesus. Like modern day fans of celebrities, they were putting Jesus into boxes of their own making, turning Jesus into an idol. The disciples were blinded by their warped understanding of honor at least as much as they were blinded by the brilliance of Jesus’ shining garments.

We can gain more insight into glory by reflecting on the presence of Moses and Elijah with Jesus on the mountain. They were the two most glorified figures in Jewish history. Moses, by receiving the Law on Mount Sinai from God himself shone with the reflection of God ‘s light to the extent that he had to wear a veil. Elijah was the greatest of prophets. Both, however, also experienced dishonor. Several times the people threatened to stone Moses, and Elijah was a fugitive from royal power. Both were implicated in violence, especially Elijah in his contest with the prophets of Baal. They were in the position to know well what was going to happen to Jesus. Moses’ best moments, when he was most Christlike, was when he was interceding for the people to turn God’s wrath from them, even when the same people were directing wrath at him. Elijah, alone in a cave, heard God in the sheer silence of the wilderness. As for Jesus’ disciples, the Book of Acts shows them breaking out of the idolatrous boxes they had made and acting like their Master in self-giving, preaching, and healing, the divine energies clearly working through them.

There is reason to believe that the Transfiguration of Jesus was, at least in part, to prepare the disciples for the suffering Jesus would have to endure, and that they, too, would have to endure. At a deeper level, they were being prepared for the challenges of the Resurrection Life of Jesus that would energize them when the time came. As we prepare for Lent, perhaps we can make it our Lenten project to let the light of the transfigured Christ reveal our own warped notions of honor and dishonor so that the divine energies championed by Gregory Palamas can energize prayer on behalf of other people, especially those who dishonor God, a prayer enveloped in sheer silence.

Rivalry over Pure Music

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angel trumpetMark Evan Bonds’ book Absolute Music: the History of an Idea deals with the most fundamental question in musicology. There are many music lovers for whom the subject is meaningless but some music lovers, including me, like to reflect on these matters. These days, music appreciation courses routinely teach the distinction between absolute music and program music. The latter paints a picture (say, a lake) in tones or tells a story (such as in Dukas’ “The Sorcerer’s Apprentice.”) The former doesn’t refer to anything beyond itself. The basic question, though, is whether or not music is its own isolated world, manipulating tones with no reference to anything else at all, or is related to the world in some way. This latter possibility could suggest that, say Schubert piano sonatas express emotions even if they are hard to define in words.

The title might lead a potential reader to think that Bonds is defending absolute music. That is not the case. Bonds is studying the history of this idea and along the way leaves us with an argument that a commonsense position that music is its own world but connects with phenomena elsewhere in the world. Central to this study is Edward Hanslick whose book Von Musikalischer-Schöne is pivotal to the debates it touched off, although Hansklick was neither the first by a long shot nor the last to make the argument he made (which Bonds examines at length.) (Sorry, the German title is hard to translate; it means something like “the musically beautiful.) Hanslick’s book did have the merit of being lucidly written in a field of thought that produced turgid and obscure tomes. Hanslick’s arch-enemy was Richard Wagner who lampooned Hanslick in the character of Beckmesser in Die Meistersinger.

Bonds’ own writing is very lucid and a great pleasure to read. One does not need to have technical knowledge of music to read this book. The key terms are clearly defined to help the reader understand the debate. There is also much about the characters of the principal debaters of what became the most intense musical debate in Europe for several decades in the 19th century. What the personal element shows is that the heat of debate distorts clear thinking and leads to exaggerated positions that get derailed from common sense and the evidence. More important, the debaters simply failed to understand accurately what their opponents were saying. Bonds traces the debate to the point where some reconciliation (for the time anyway) took place and even shows evidence of softening on the parts of Hanslick and Wagner. And yet neither could get over their personal animosities enough to admit publicly the changes in their positions, let alone reconcile with a hated adversary.

The personal elements in this debate interest me as my study of the thinking of René Girard and his colleagues has given me a keen interest in the phenomenon of what Girard calls “mimetic rivalry.” In light of Girard’s thinking, another personal element stands out for me. Hanslick began writing his book in the wake of the revolutions of 1848-9. This turmoil, climaxed for him by witnessing crowd violence that killed a hapless victim, motivated Hanslick (in Bond’s judgment as well as mine) to find in music a pure refuge from such human turmoil. This shows up in Hanslick’s insistence on the purity (reinlichkeit) of music. This same thing happened in the twentieth century. During and after World War I, there was a strong movement to absolutize music, to isolate it from human affairs. Igor Stravinsky was a ringleader here. That is ironic. His ballet The Rite of Spring (premiered in 1913) can be seen a prophecy of the sacrificial bloodshed about to tear Europe apart. After the war, Stravinsky insisted that it was an abstract symphonic poem. This same kind of thing happened after World War II with another wave of insistent manifestos that tried to tuck music into isolated boxes.

As for me, a Schubert piano sonata is a world with its own beautiful musical argument that spills out into the worlds of real human hearts. Maybe this is a bit fanciful, but there are times when I think Schubert was subtly undermining the Austrian Empire in his dramatic shifts of keys and the uncertainty of which end was sometimes up.