Last week was "B Minor Mass" week in my world: final rehearsals for and performances of J. S. Bach's Mass in B Minor. It's a long sing, to use a technical term. A lot of singing and a lot of thinking. A lot of counterpoint, a lot of Latin, a lot. I applied learned in a yoga class: smile when you do the hard stuff. And be patient with yourself.
But it's glorious music. Glorious in listening. Glorious in live performance. Glorious in hard work, and exhilarating in completion.
Bach, of course, never performed this work (start your background reading here). It's not clear what his intentions were in putting this massive work together in his mid-sixties, eyesight deteriorating and nearing the end of a life spent applying himself to the work of music: playing, teaching and composing music that he understood to be a gift of God to humanity. He chose compositions from his past work, adapted, edited, and reassembled them into the great, over-arching musical form of the mass. The Kyrie, calling on God's mercy. The Gloria of thanks and praise for salvation. A Credo, with newly-composed music for the wonder of incarnation, God becoming human like us. A Sanctus that requires a lot of stamina to imitate angels floating, without effort, in the rafters of prophetic vision.
We've been rehearsing since January, with three rehearsals in the week before performances. I was tired all week and took naps on Saturday and Sunday afternoon, mostly because it's hard to go home and sleep after singing all this intense music.
It was a joint effort of Bach Cantata Vespers and Consonance and conducted by Grace Cantor Michael D. Costello. We sang the Mass ten years ago, so the music was not unfamiliar. The vocal lines are beautiful, interweaving in counterpoint that Bach took to its outer limits. Also remembered from ten years ago: the vocal panic engendered by long movements, zippy coloratura, and lots of high As for sopranos.
But when the music is mastered, there's so much to discover as you listen while you sing. And while you sit (rest!) and listen to vocal soloists and instrumental soloists perform the movements that aren't choruses.
So what does it all mean? Not that it has to mean anything in words. But still, what was J. S. Bach saying about God? And what is there for us, three centuries detached from the Lutheran dogma of Bach's time and place?
You can read commentary and analysis of the Mass that points to musical symbols -- the three-in-one of the Trinity, the descending notes of the incarnation, chromaticism illustrating all kinds of distressing things. I've read a number of analyses in the last few weeks and while scholars find lots to explain, I have to say that specific figures in the music rarely invoke theological concepts in my brain. I remember reading that something somewhere (in the Gloria?) showed the unity of the Son with the Father. I listened for it in various duets and solos last night, but can't honestly say it jumped out at me.
Different century, different vocabulary. Instead I found myself thinking about all the different sounds and colors in the movements of the Mass. Flutes here, oboes there, violins high and low, plaintive, busy, and celebratory. A movement for the bass soloist accompanied by horn and two bassoons--who does that, and can keep it going that long? And all the different sounds in the chorus -- suspensions and resolutions, fugal entrances crescendoing one on top of another, step-by-step through a harmonic progression, or up the scale. Sudden unisons. Hushed resolutions. Explosive consonants. Loud cadences, quiet ones. Old-school counterpoint, baroque elaboration.
Yesterday as I listened I thought about Bach trying to show us something of what God sounds like, reaching for perfection beyond words, beyond literal, word-dependent theology. I thought about what it means to be a creator, a part of God's ongoing creation -- or, if you will, a creative person in an ever-evolving world of wonder, glory and terror.
In that world, the world of Monday-morning headlines, we remain creatures dependent on mercy, received and shared, clashing and resolving. And in our finer moments, our God-honoring, creation-honoring moments we shared in the music of big, big choruses of gratitude (Gratias agimus tibi) and in the same music notes used in hopeful prayers for peace (Dona nobis pacem).
Transcendence.