Mozart and the Miserere

Here’s the ultimate “what’s so great about your fourteen year old?” challenge. As much as I enjoy the following story, the music itself is what slays me. I can’t imagine being prevented from hearing these harmonies! It makes me excited to think of celestial choirs. The below story is taken from here.

“Wolfgang Amadeus Mozart is widely considered to be one of the greatest musical geniuses to live. A child prodigy, who was excellent at playing music before even reaching the age of 10, Mozart has many interesting stories surrounding his life. One such story, being perhaps the most fascinating one, is the story of “Miserere Mei, Deus.” This song, translated as “Have Mercy on Me, O God,” was a song composed during the reign of Pope Urban VIII in the early 1600s. It was written by a man named Gregorio Allegri, for use exclusively in the Sistine Chapel. It was played as part of the exclusive Triduum services around Easter Time. Thus, no one could reproduce it or play it anywhere else, as only the Sistine Chapel had access to the song.* It was forbidden to transcribe or play the music anywhere else, and doing so would result in excommunication. It remained a secret for nearly 150 years.”

Here’s one of my favorite recordings of the Miserere. Listening will help you appreciate the power of this story, and if you can’t listen to the whole thing, listen to the first 45″ and from 3:10 to 4:10.

“This is the point where 14-year-old Mozart comes in. While visiting Rome, Mozart went to the Sistine Chapel and heard the song. He was enchanted by the beautiful music. Later that day, Mozart went home and, amazingly, wrote down the piece entirely from memory. You may be thinking, what is so impressive about this? However, this shows how much of a true musical genius Mozart was. Transcribing a song is incredibly difficult, especially hearing it only one time. It is very easy to mess up similar sounding notes, and remembering the song from only one listen is also incredibly challenging. However, what I just told you was the difficulty of transcribing a normal song. What Mozart transcribed was Miserere Mei, Deus, a 15 minute long, 9 part choral song. Essentially, Mozart transcribed 9 different lines of melody, playing all at once for 15 minutes straight, from his own memory after hearing the song only once. Not only was he able to transcribe the song, but he also did it nearly perfectly in one try.”

“Mozart would go back a few days later to make corrections to his transcription. Eventually, it was discovered that he had made this piece. However, Mozart was never punished. Instead, the Pope summoned him and commended him for his immense feat of musical genius.”


*I have seen other sources suggested two other copies were allowed outside of the Vatican: for the Holy Roman Emperor, and for the King of Spain. But the main idea stands!

2020 In Review

You’ve probably never heard this, but this past year was unprecedented
Anyway, instead of the pleasantries and pontificating, let’s get on to what was interesting this past year.

Music
My two favorite albums this year were Wild, Free by Acceptance and What’s New, Tomboy? by Damien Jurado. Both albums show significant departure of style from previous works. I miss the power pop of Acceptance, and some of Jurado’s other albums had more singles that I loved. Nevertheless, I found myself listening to these over and over. There are a number of stand out tracks on each album. For Acceptance, “Cold Air” is an obvious single, but “Wildfires” is where its at for my money.

On the Jurado album, “Arthur Aware” is my favorite offering:

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Marriage: Lay Your Life Down

So when I lose my way, find me
When I loose love’s chains, bind me
At the end of all my faith, till the end of all my days
When I forget my name, remind me

So intones Andrew Peterson from his 2010 song “Dancing in the Minefields”

Select lyrics:

And we’re dancing in the minefields
We’re sailing in the storm
This is harder than we dreamed
But I believe that’s what the promise is for

So when I lose my way, find me
When I loose love’s chains, bind me
At the end of all my faith, till the end of all my days
When I forget my name, remind me

‘Cause we bear the light of the Son of Man
So there’s nothing left to fear
So I’ll walk with you in the shadowlands
Till the shadows disappear

‘Cause he promised not to leave us
And his promises are true
So in the face of all this chaos, baby,
I can dance with you

I Am Worn By the War In Me


…I don’t believe the words you said
But I can’t find the words I want
Oh, I can’t find the words I want

…Oh, I’m afraid of the world I’m in

One day I will see Heaven’s reach…
Oh, I’m worn by the war in me

Chorus
Somebody found me here
Somebody held my breath
Somebody saved me from the world you left
If you’re gonna cry my tears
If you’re gonna hold my breath
If you’re gonna let me see the sun you set
Oh, I am lost and found
Oh, I am lost and found

Our Idol is the Worship “Experience”

AlexMcDonaldAlex McDonald is a pianist. But not just any pianist: he made his orchestral debut at 11, earned a Doctorate in Musical Art at Juilliard, recently competed in the 14th Van Cliburn International Competition in Fort Worth, Texas, and is younger than I am! World magazine interviewed Alex McDonald, where he made a staggering point about worship. I hope to come back and revisit this idea in greater detail, but for now, consider his suggestion all of our arguments about music styles in the “worship wars” are just a smokescreen for the idolatry in our hearts.

What role do you think church music should play in one’s experience of worship?

In modern churches, we have a graven image of what the experience of God ought to be like, and we want our music to simulate that experience in us. It could be an organ or a praise team—either can create a God experience that may not have any of God in it at all. But people will feel like they’ve worshipped. Continue reading