music

Atheists’ Theism?

Atheists’ Theism? 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.

Truth Liberates

Truth Liberates on December 11, 2010

The argument of the last three numbers of “Eleison Comments” (175–177), has been merely provoked by the French painter Paul Gauguin (1848–1903), because he is by no means the worst of modern artists. That argument has not been that God exists, so modern art is “bosh” (see Evelyn Waugh’s “Brideshead Revisited,” I, 6). Rather it has been, modern art is bosh, so God exists. There is an important difference here between descending from the cause to the effect and climbing from the effect to the cause.

If I start from the existence of God as a given, and reason downwards to the wrongness of, for instance, modern art, modern music, modern opera productions, etc., firstly God and his existence are not thereby proved, and secondly his religion can seem to come down on us like a wheel-clamp upon our liberty. Now I am me, and whatever it is that is me wants to be free to choose what art I like. But here comes a Traffic Warden supposedly from Heaven to clamp that freedom? No thank you!

If on the other hand I start out from my own experience of modern art, I am firstly starting out from what I directly know. And if my experience of it is, honestly, dissatisfactory – that is not necessarily the case, but if it is – then I can begin to wonder why I feel such unease in front of highly praised modern artists. I listen again to the praises. I am still not convinced. Why not? Because modern art is ugly. What is wrong with ugliness? It lacks beauty. And if I continue to climb through the beauty of, for instance, landscapes or women as portrayed in art, to their beauty in Nature, to a harmony of parts running through all creation, my thoughts have climbed from my personal experience a considerable way towards the Creator.

In this latter case he no longer resembles a traffic warden with wheel-clamps. On the contrary, far from clamping down on our freedom, he seems to be leaving us human beings with free-will and with freedom to proclaim ugliness through the land and to create a world of chaos. Maybe he is hoping that the ugliness will become horrible enough to turn our thoughts towards the True and the Good. At this point his religion resembles no longer any clamp from outside on our liberty within, but rather a help and liberator of all that is best in me from all that is worst, because unless I am proud, I am bound to admit that not everything inside myself is ordered and harmonious.

At which point supernatural grace is no longer conceived of as a kind of policeman landing on the back of my nature to control by force whatever it does. Rather it is a very good friend that will, if I wish, enable the best in me to liberate itself from the worst, or at least strive to do so.

Was not, and is not still, one driving force behind Vatican II and the Conciliar religion, the widely shared sense of Catholic Tradition being a sort of unbearable policeman, as though all natural impulses are bad? Yes, the impulses of my fallen nature are bad, but there is good in our nature underneath that bad, and this good must be allowed to breathe, because from inside us it synchronizes perfectly with the true religion of God coming from outside. Otherwise I fabricate a false religion out of my bad impulses – like Vatican II.

Kyrie eleison.

“Tristan” Chord

“Tristan” Chord on October 24, 2009

Remarkable confirmation of the Society of St. Pius X’s balanced position on the validity of the Newchurch sacraments appeared last week in the bulletin of a fighting Gaul, “Courrier de Tychique.” From a “reliable source” it appears there that Freemasonry, ancient enemy of the Church, planned for the Conciliar Revolution to invalidate the Catholic sacraments, not by alteration of their Form, rendering them automatically invalid, but rather by an ambiguity of their Rite as a whole, undermining in the long run the Minister’s necessary sacramental Intention.

The “reliable source” is a Frenchman who heard directly from a venerable old priest some of what Cardinal Lienart on his deathbed confessed to the priest. No doubt fearing Hell, the Cardinal begged the priest to reveal it to the world, and thus released him from the Confessional seal. The priest was thenceforth discreet in public, but in private he was more forthcoming as to what the Cardinal revealed to him of Freemasonry’s three-point plan for the destruction of the Church. Whether or not he entered Freemasonry at the precocious age of 17, the Cardinal rendered it supreme service when only two days after the opening of Vatican II he wrenched the Council off course by demanding irregularly that the carefully prepared Traditional documents be rejected altogether.

According to the Cardinal, Freemasonry’s first objective at the Council was to break the Mass by so altering the rite as to undermine in the long run the celebrant’s Intention: “to do what the Church does.” Gradually the Rite was to induce priests and laity alike to take the Mass rather for a “memorial” or “sacred meal” than for a propitiatory sacrifice. The second objective was to break the Apostolic Succession by a new Rite of Consecration that would eventually undermine the bishops’ power of Orders, both by a new Form not automatically invalidating but ambiguous enough to sow doubt, and above all by a new Rite which as a whole would eventually dissolve the consecrating bishop’s sacramental Intention. This would have the advantage of breaking the Apostolic Succession so gently that nobody would even notice. Is this not exactly what many believing Catholics are now afraid of?

Howsoever it may be with the “reliable source,” in any case today’s Newchurch Rites of Mass and Episcopal Consecration correspond exactly to the Masonic plan as unveiled by the Cardinal. Ever since these new Rites were introduced in the late 1960’s and early 1970’s, many serious Catholics have refused to believe that they could be used validly. Alas, they are not automatically invalid (how much simpler if they were!). They are worse! Their sacramental Form is Catholic enough to persuade many a celebrant that they can be validly used, but they are designed as a whole to be so ambiguous and so suggestive of a non-Catholic interpretation as to invalidate the sacrament over time by corrupting the Intention of any celebrant either too “obedient” or insufficiently watching and praying.

Rites thus valid enough to get themselves accepted by nearly all Catholics in the short term, but ambiguous enough to invalidate the sacraments in the long term, constitute a trap satanically subtle. To avoid it, Catholics must on the one hand shun all contact with these Rites, but on the other hand they must not discredit their sound Catholic instincts by exaggerated theological accusations which depart from sound Catholic doctrine. It is not always an easy balance to keep.

Kyrie eleison.

Hammerklavier Sonata

Hammerklavier Sonata on September 12, 2009

Music, history and theology are closely intertwined, because there is only one God and all men were created by him to go to him. History relates their actions amongst one another according as they go to him or not, while music expresses the harmony or disharmony in their souls as they make their history towards him or not. The music of Beethoven (1770–1827), taken as dividing into three Periods, is a clear illustration.

His First Period containing the relatively tranquil works of his masterly apprenticeship to Mozart (1756–1791) and Haydn (1732–1809), corresponds to the last years of pre-Revolutionary Europe. The Second Period containing most of the glorious and heroic works for which Beethoven is best known and loved, corresponds to the French Revolution’s spreading of upheavals and wars throughout Europe and beyond. The Third Period containing profound but somehow puzzling masterpieces, corresponds to Europe’s attempting after the Congress of Vienna (1815) to re-construct the old pre-Revolutionary order on post-Revolutionary foundations – a puzzle indeed.

As Beethoven’s Third Symphony, the “Eroica” (1805), by first giving full expression to his heroic humanism of a new world, was the pivotal work between the First and Second Periods, so his 28th Piano Sonata, the “Hammerklavier” (1817), was the pivotal work between the Second and Third Periods. It is a huge piece, lofty, aloof, admirable, yet strangely inhuman . . .The first movement opens with a resounding fanfare to be followed by a wealth of ideas in the Exposition, a climactic struggle in the Development, a varied Recapitulation and an again heroic Coda, features all typical of the Second Period, yet we are in a different world: the harmonies are cool, not to say cold, while the melodic line is rarely warm or lyrical. The brief second movement is hardly more friendly: a stabbing quasi-Scherzo, a rumbling quasi-Trio. The third movement, Beethoven’s longest slow movement of all, is a profound and almost unrelieved lament, in which moments of consolation merely highlight the prevailing mood as of a resigned hopelessness.

A pensive introduction is needed to make the transition to the Sonata’s last movement, normally swift and uplifting, but in this case swift and grim: a jagged main theme is worked over, slowed down, turned back to front and upside down in successively ungainly episodes of a three-part fugue. To the slow movement’s raw grief is responding raw energy in a musical struggle more brutal than musical, with the exception again of one brief melodic interlude. As in the “Grosse Fuge” string quartet movement, Beethoven is here foreshadowing modern music. “It is magnificent,” the French General might have said, “but it is not music.”

Beethoven himself climbed down from this Mount Everest of piano sonatas to compose in his last ten years some more glorious masterpieces, notably the Ninth Symphony, but they are all somehow overcast. The hero’s uninhibited exultation of the Second Period is a thing mostly of the past. It is as though Beethoven had firstly basked in the godly old order, secondly stridden forth to conquer his human independence, but thirdly been driven to ask: What has it all meant? What does it mean to make oneself independent of God? The horrors of modern “music”are the answer, foreshadowed in the “Hammerklavier.” Without God, both history and music die.

Kyrie eleison.

Documenting Distress

Documenting Distress on April 12, 2008

Commenting on last week’s „Eleison Comments” which were highly critical of the modern Revolutionary art movement known as Dadaism, a Catholic friend wrote to me, „I love Dadaism.” I am not sure of my friend’s reasons, but there is one lovable aspect to many a modern Revolutionary movement, even for Catholics, in fact primarily for Catholics!

This is because Catholics are best able to grasp how the key to the last 500 (or 700) years of the history of mankind has been its apostasy, its slow but steady turning away from God, in particular from his divine Son, Our Lord Jesus Christ. This eliminating of the true Messiah has left in men’s lives an enormous gap to be filled, a gap unknown before the Incarnation. Hence a variety of false messianisms in modern times.

Communism is an outstanding example. It is the messianism of materialism. For it may be just as materialistic as the bourgeois society it seeks to destroy, even more so; and it certainly has nothing better with which to replace the residual human values of that society. Yet Communists are driven by a quasi-messianic urge to create their horrible new world. It is as though they are saying, „Better no god than your false hypocritical »God«!” And to the extent that the God of the bourgeoisie is a false god, the Communist messianism rejecting it is not false. In this respect Communists may at least be credited with a messianic dimension. Similarly in the scream of protest of Rock musicians there is something just, however negative their protest proves finally to be.

Now Art, Literature, History, Culture, Music, each of them with a capital letter, are all worshipped as substitute religions by modern devotees who, because they have no present religion, pump up these by-products of true religion in the past to take its place. Hence the Dadaists’ refusal of „Art,” and their „re-definition” of art. „What is your Art?” they ask. „It is our godless god,” say the Art-worshippers.„Your godless god is a urinal!” snorts Dada.

Alas! How many Dadaists or Art-worshippers, or Rockers, or Communists, show any signs of looking for the real solution to that problem which they all share?

Kyrie eleison.