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The Bible has impressed all types of music by historical past. Classical music traditions of the world have largely originated in music composed for spiritual worship, and the affect of the Christian Church on European music is not any exception. Folk traditions in Christian communities have an equally wealthy heritage of telling Bible tales by tune, and we nonetheless see the legacy of those in Christmas carols and nativity performs.
The lengthy historical past of change between so-called sacred and secular music means the Bible is commonly discovered hiding in plain sight, even in a live performance that has no spiritual objective. Meanwhile, sung companies at cathedrals and college chapels nonetheless appeal to appreciable ‘audiences’ who want to hear choral music carried out in its authentic setting.
We typically hear that the Bible is being dismissed as irrelevant, but it continues to be given an expressive voice in music and different artwork varieties, its tales and poetry nonetheless interesting to audiences who would not in any other case learn it for themselves.
Here is my fast information to the place you would possibly discover the Bible on the BBC Proms this 12 months. Whether you end up standing with different prommers on the Royal Albert Hall, or listening to the radio whereas standing on the kitchen sink, make sure to be aware of the numerous and diverse methods the live shows might give you new views on acquainted (and fewer acquainted) Bible passages.
Songs and hymns from the Bible
Some of those are composed for church worship, however others come up from private devotion, curiosity or curiosity concerning the biblical texts. Anton Bruckner composed out of deep private religion, and his biblical settings are properly represented with Psalm 150 (19 July) and three extra motets of assorted origins drawing from Psalms 37 and 89, Genesis 28, Exodus 3 and Philippians 2 (1 September). Other composers have regarded to the Old Testament as sources of inspiration to meditate on their Jewish heritage. These embody Ernest Bloch’s settings of Psalms 137 and 114 (4 August) and Steve Reich’s Jacob’s Ladder impressed by the story in Genesis 28 (30 August).
An total day of largely sacred music from the English choral custom has been scheduled (7 September). Among different hymns, it will embody Hubert Parry’s coronation anthem I used to be glad (Psalm 122), three motets and alternatives from half songs by Charles Villiers Stanford (Book of Wisdom 3, Luke 24, John 20, Acts 1, Psalm 119, John 19), John Ireland’s Greater Love Hath no Man (John 15) and Edward Elgar’s Give unto the Lord (Psalm 29). Later that very same day, there shall be a live performance that can embody two gospel songs impressed by Bible passages, He’s obtained the entire world in his palms (2 Timothy 1) and Didn’t it rain? (Genesis 6—9), in addition to a workshop that can invite the viewers to take part in these songs.
The Bible in dialog with different texts
Catholic and Orthodox liturgies for the mass, and particularly the mass for the dead (referred to as the Requiem), have been the topic of many main compositions. Many of those historic texts are drawn from biblical sources, however are sometimes set alongside different poetry and prayers. Verdi’s Requiem (23 July) and Faure’s Requiem (4 September) are maybe essentially the most well-known, and fascinating for the truth that neither Verdi nor Faure have been particularly spiritual. Drawing from extra uncommon sources, Janacek’s Glagolitic Mass (28 August) is a uncommon setting of a mass translated into Old Church Slavonic, and John Tavener’s Song for Athene (25 August) combines Orthodox funeral texts with texts from Shakespeare in reminiscence of an actress of Greek heritage.
Benjamin Britten’s War Requiem (17 August) and John Pickard’s Mass in Troubled Times (25 August) use the texts as commentary on modern occasions. Britten included texts by the warfare poets, composing the Requiem for the opening of Coventry Cathedral. Pickard has labored with theologian Gavin D’Costa to compile texts in 5 languages spanning a wide range of spiritual traditions.
The Bible’s nice tales in tune
Oratorios could also be understood as sacred operas. They often inform tales from the Bible and have been historically composed for the interval of Lent when secular and dramatised opera performances weren’t thought of applicable. This 12 months’s Proms will embody oratorios from the 2 most well-known composers of the style. JS Bach’s St John Passion (19 August) makes use of the Gospel of John to inform the story of Jesus’ dying and resurrection, whereas Handel’s Messiah (7 September) attracts from a broad vary of texts from throughout the entire Bible to inform an overarching story of God’s plan for the world fulfilled by Jesus.
The poet WH Auden wrote a set of Christmas poems within the hope that it will be set to music to type a Christmas Oratorio. This undertaking was by no means accomplished, aside from some particular person songs composed by Britten. A Shepherd’s Carol is essentially the most well-known of those, imaginatively drawing from the story of the shepherds in Luke 2 (25 August).
Inspiration for instrumental music
Some composers have used the Bible because the inspiration for instrumental music with out singers. Mel Bonis’ Salome (16 August) is a piano piece rescored for orchestra that evokes the story of the lady that demanded the pinnacle of John the Baptist (Matthew 14, Mark 6). There was a selected fascination with this character within the late nineteenth century. Oscar Wilde wrote a play about her which Richard Strauss became an opera in 1905, shortly earlier than Bonis composed her piano piece. She later included this as a part of a collection celebrating ‘Legendary Women’ alongside Ophelia and Cleopatra.
The Bible accommodates an fascinating expression, that ‘the phrase could be very close to you’ (Deuteronomy 30.14). It’s nearer than you would possibly suppose, and has a behavior of creating an look in sudden locations. We won’t be a nation of avid Bible-readers, however in our arts and tradition it stays a remarkably acquainted presence that’s definitely value celebrating.
Joanna Heath works in Bible Society’s worldwide workforce and is a Visiting Fellow in Music on the Open University.
