Sacred is Forever

Duke Ellington

W. A. Mozart

 

 

 

 

 

 

 

Sacred is Forever

 

Music, in its highest applications, has long been used to communicate the infinite, even to the Supreme Being. Song, dance and all kinds of instrumental music, have been seen by virtually every culture through history as a means of getting closer to wherever and whoever that culture considers God. Two concerts I attended in recent months both displayed the attempts of the most famous composers of their day to express the connection of the material world with the spiritual.

Just after Christmas, the Seattle Jazz Repertory Orchestra gave the 26th of its annual Duke Ellington sacred music concerts. It was my first, but I think I can safely say that everyone in the sold-out audience left there feeling closer to whatever their concept of God is. The concert featured the entire pallet of Ellington the composer – blues, dance, “serious” music, vocals for soloist and ensemble, solo piano and, of course, pieces featuring one or more members of the orchestra. As I experienced the concert unfolding, I related it to my seeing Duke himself in 1973, one year before his death. What I realized was that Ellington’s instrument was the orchestra. One reason his music lives on so vibrantly is that everyone who plays it feels like he wrote whatever piece they’re performing expressly for them. He had the wonderful ability to control and direct the very talented people around him while allowing them to shine individually and grow artistically.

Duke’s connection with the spiritual side of life came through in everything he did, but this night and these pieces were steeped with a conscious effort to express that connection and share it with all mankind. He understood the power of music to move and unite people as well as to entertain. There were stellar performances throughout the evening, particularly the piano, vocal ensemble, the vocal soloists and soprano sax but the focus rightfully was on The Infinite and the Supreme Being. The spirit of the holy name was best summed up by the final piece, Praise God and Dance (Psalms 149:3 & 150:4). An elated celebration of Life and the Lord, complete with baritone and alto, full chorale, every part of the orchestra and a sensational tap dancer.

Duke Ellington has been quoted as saying, “Every man prays in his own language.”  Clearly, Duke’s language was music.  

In February, a different sort of sacred concert was held at Benaroya Hall. One of my musical fantasies has always been to hear Mozart’s Requiem performed in a church in Vienna at Christmas time. I’ll still hold out for that one, but this performance should keep me satisfied for some time to come.

The evening started out normally enough with a Mozart symphony and horn concerto. Both were impeccably performed, and a total delight to experience live. I’ve always enjoyed Mozart’s sense of structure, dynamics, melody and his sense of humor.

His Requiem and Mass in D Minor, however, was an experience of an entirely different flavor. For one, the piece was obviously composed with the human voice in mind, and the orchestra in this piece was very much subdued. For this instrument (the human voice), considered by many to be most intimate and closest to God, he wrote some of his most beautiful music in what amounts one long prayer. Throughout the performance I kept thinking how it would’ve seemed so much more appropriate to have stained-glass windows and high arched ceilings and to be sitting on a not so comfortable pew. The holiness and reverence of the peace pervaded the hall regardless. I really felt as if I was witnessing the very personal act of one man opening his soul to the Lord in prayer.

Stylistically, the piece is much more baroque than most Mozart and showed how thoroughly he understood his craft and how steeped he was in Bach and Handel. The overall feel of the piece was much more Baroque than the Classical genre Mozart typifies. It seemed more appropriate to the Latin text and the singers.

Bottom line for any work of art though is whether or not it had an emotional impact on the intended audience, not whether it pleased the masters or critics. Judging from my reaction and that of the rest of the audience, Mozart’s Requiem still packs a punch some 220 years after its composing. Absolutely sacred.