The pastorale poems of the 16th century had rural subjects and were loosely dramatic, giving rise to the early Italian operas from this time. But pastorale poems soon began to loose prominence as new genres and stories became popular. It was not until the turn of the 19th century that the pastorale ideal reclaimed its status, in part due to the age of enlightenment philosophy also gaining popularity in the early 1800’s.
With war and plague raging throughout Europe, people sought freedom from political and physical oppression. Beethoven championed music’s move from the stately aristocratic concert halls to the ear of the common-man. He was an angry bitter man who considered suicide on more than one occasion. In the summer of 1806, Beethoven was 36 years old and very depressed. He had traveled to the village of Heiligenstadt, Austria where he was told the mountain streams and pools would cure his failing hearing. As the summer faded from the sky, Beethoven’s hearing had not improved, but rather had worsened and he wrote a long letter to his brothers telling them of his eminent death. Yet, somewhere in the midst of his sorrow, he found a turning point; for him it was music. Beethoven realized while writing his letter to his brothers that, although his hearing was nearly gone, his voice was yet strong. We find this turning point not only in his letter to his brothers, which he never mailed, but also in his music. From this point on, music changed radically. He no longer wrote to fit a particular form, but rather as a mode of self-expression.
Among Beethoven’s afflictions was a disease we refer to today as bi-polar disorder. Perhaps because of this, or in an interesting similarity, Beethoven often composed his symphonies in groups of two, each very different in mood and character. In the time immediately following his trip to Heiligenstadt, Beethoven through himself in fervent composition before the last ruminants of his hearing faded like the summer sun. During this time, the 5th and 6th Symphonies were simultaneously composed. Beethoven described the Fifth Symphony, with its loud angry door-knock opening, as "fate knocking at the door.” This symphony is thought to be a personal reflection on going deaf. Whereas, the quiet 6th Symphony is described by Beethoven to be a reflection of the countryside and the nature sounds he would all too soon hear only in his memory. This Pastorale Symphony uses bird songs (flute), gurgling brooks (quick low notes) and even a thunderstorm (wind from the string instruments) as it conveys a country day. All of these elements typify both the pastorale forms of art and music.
I’m
sure by now you are wondering what all this has to do with worship music.
I’d like to take a moment and consider, what in my opinion, is one
of the most beautiful pastorale poems yet written.
The Lord is my shepherd; I shall not want.
He maketh me to lie down in green pastures: he leadeth me beside the still waters.
He restoreth my soul: he leadeth me in the paths of righteousness for his name’s sake.
Yea, though I walk through the valley of the shadow of death, I will fear no evil: for thou art with me; thy rod and they staff they comfort me.
Thou preparest a table before me in the presence of mine enemies; thou anointest my head with oil; my cup runneth over.
Surely goodness and mercy shall follow me all the days of my life; and I will dwell in the house of the Lord forever.
Psalm 23
The book of Psalms is full of wonderful pastorale poetry. This month the choir will be singing a version of the 23rd Psalm that is rich with pastorale colors and movements. Be sure to listen for the image the music paints. Quite often the message of the song can be found in both the lyrics and the notes. As you sing the congregational hymns this month, try to find examples of word painting in the music. Perhaps the composer will use low and slow notes to convey difficult or painful experiences, or they may use crisp fast notes to sound the arrival of our King.
Bach, a devout Lutheran, often used word painting in his chorales, the hymns of his time. One of his favorite tricks was to show God’s leading in the voice parts. One voice would enter, followed by a second, third and so on. Thus the voices were actually following a predetermined path, much like the Christian walk. Melody notes moving upward will often end with the word heavens or stars, symbolizing the prayers reaching up to God in heaven. Many early hymns were written in triple meter, ¾ time, because the number three represents the trinity. The number three is often seen in repeats of Amens and Kyries as these chants were designed to address all three members of the trinity.
One of my favorite meditative exercises is to listen to Bach’s St. Matthew’s Passion while doing my daily devotions. I find that listening to this beautiful music, full of much rich symbolism, adds a new aesthetic to my time with God. If you are interested in listening to the music of Bach, or any of the other early church masters, during your quite time, here are some websites that might be of assistance. www.bach-cantatas.com, www.classicalarchives.com and www.eclassical.com, where you can download legal and affordable copies of the music, are three great places to start.
Enjoy
your devotional time this month, and give music a try. Remember,
God did not ask for only the best musicians to praise Him with their
voice, He asked us all. Be proud of your voice for you are important
to the family of God.
Soli Deo Gloria,
Bethany
