Tag: Johannes Brahms

Virtuous Pagans

Virtuous Pagans posted in Eleison Comments on October 22, 2011

On reading (EC 221) how the music of Brahms is proof of a certain greatness of soul, a young Brazilian reader asks if the wick smouldering in Brahms was not smouldering better than it does in a lukewarm Catholic (cf. Mt.XII, 20). The contrast is designed to highlight the virtue of the pagan and to question the virtue of “warm, lazy” Catholics. Of course pagan virtue is praiseworthy and Catholic lukewarmness is blameworthy, but a greater question lies behind: just how important is it to be a believing Catholic? How important is the virtue of faith? The answer must remain, it is as important as eternity is long.

That faith is a virtue of supreme value is evident from the Gospels. How often does Our Lord, after working a miracle of physical or spiritual healing, tell the person involved that it is their faith that obtained for them the miracle, e.g. for Mary Magdalene (Lk.VII, 50). Yet Scripture makes it equally clear that this meritorious faith is something deeper than just an explicit knowledge of religion. For instance, Roman centurions can have known little to nothing of the true religion in its day, the Old Testament, yet of one of them Our Lord says he has not found so great faith in Israel (Mt.VIII, 10), another of them recognizes as the Son of God the crucified Jesus whom the experts in religion had done nothing but mock (Mt.XXVII, 41), while a third, Cornelius, blazes the trail for all Gentiles who will enter the true Church (Acts, X, XI). What did these pagan centurions have that the priests, scribes and ancients did not have, or no longer had?

From beginning to end of all men’s life on this earth, pagans and non-pagans alike are constantly confronted with a variety of things good, all coming ultimately from God, and of things evil, coming from the wickedness of men. But God himself is invisible while wicked men are all too visible, so it is all too easy to disbelieve in the goodness or even existence of God. However, men of good heart will believe in the goodness of life while discounting, relatively but not absolutely, the evil, whereas men bad of heart will discount the good that is all around them. Now neither may have any explicit knowledge of religion, but whereas good-hearted men, like the centurions, will pick up on it as soon as it crosses their path, the bad-hearted will scorn it, more or less. Thus the innocent Andrew and John picked up immediately on the Messiah (Jn.I,37–40), whereas the learned Gamaliel took rather more time and persuading (Acts V, 34–39). Let us say then that at the heart of the explicit and knowing virtue of faith lies an implicit trust in the goodness of life and in whatever Being lies behind it, a trust that can be undermined by false doctrine or shaken for instance by scandal.

If we return to the case of Brahms, the question then becomes, did he have at least this implicit trust in the goodness of life and of the Being behind it? Surely the answer is no, because he spent the whole second half of his life in what was then the capital city of music, Catholic Vienna. There the beauty of his music must have led numerous friends and even priests to urge upon him the explicit fulfilment of that beauty in the profession and practice of Vienna’s religion, but all such appeals he must have refused. Therefore it seems all too possible that he did not save his soul . . . God knows.

Nonetheless we thank God for his music. As St Augustine marvellously said, “All truth belongs to us Catholics.” Likewise all beauty, even if crafted by pagans!

Kyrie eleison.

Atheists’ Theism?

Atheists’ Theism? posted in Eleison Comments on October 8, 2011

There is a fascinating quote of the famous German composer, Johannes Brahms (1833–1899), which shows how a man may have no religious faith at all, yet still recognize that there is an objective order. Such a recognition is a handle on reality, and it gave to Brahms access to a great deal of beauty, shown forth in his music. The crisis of countless modern souls is that they are convinced that there is nothing objective at all. They are imprisoned within their own subjectivity, which makes for a very bare prison, and for suicidal music!

In 1878 Brahms wrote for an outstanding violinist, his friend Joseph Joachim (1831–1907), one of his loveliest and most beloved works, the Violin Concerto in D. When he heard Joachim play it, he said, “Hmm – yes . . . it could be played that way.” In other words while Brahms was composing the Concerto, he had been hearing it in his mind’s ear being played in such and such a way, but he recognized that the somewhat different use that somebody else might make of his composition was also legitimate.

Now undoubtedly there are ways of performing the Concerto which Brahms would not have accepted, but so long as a performer made use of his composition to approach by a different way the goal he had himself approached in composing, then Brahms felt no need to insist on his own approach. The objective goal mattered more than the subjective approach, so that if by composing he had provided all kinds of performers with an access to that goal, then – within certain limits – they were all of them welcome to play the Concerto how they liked. Object above subject.

Ultimately that means God above man, yet Brahms was no believer. The Catholic Czech composer, Antonin Dvorak (1841–1904), friend and admirer of Brahms, once said of him, “What a great man! Such a great soul! And he believes in nothing! He believes in nothing!” Brahms was no Christian – he deliberately left out of his German Requiem any mention of Jesus Christ. Nor did he admit to being any kind of believer – he said that the Bible texts he had used in the Requiem were there for their expression of feeling rather than for any profession of religion. Subject above object. And to this professed disbelief on the part of Brahms corresponds, one may hold, the lack of a certain spontaneity and joy in much of his music.

But how much autumnal beauty it contains, and carefully crafted order! This craftsmanship and reflection of the beauties of Nature, for instance in the Violin Concerto, call to mind Our Lord saying how there are souls that deny him in word but honour him in deed (Mt.XXI, 28–29). Today when almost all souls deny him in word, how many there are that still in some way or other, for instance in music or in Nature, honour at least the order that Our Lord has planted throughout his universe. Such faithfulness is by no means yet that Catholic Faith which alone can save, but it is at least that smouldering wick which should not be extinguished (Mt.XII, 20).

Let all Catholics gifted with the fullness of the Faith have discernment for such souls around them, and let us have compassion on the multitudes being led away from God by his enemies, in music and in all domains (Mk.VIII, 2).

Kyrie eleison.