Who cares about classical sacred music?

This is such an important question for Soli Deo Gloria and for me as I seek to grow the organization. Unfortunately, the work of SDG meets with some of the same off-putting perceptions, I think, as does the classical music industry as as whole. Namely, that we are dealing with an archaic mode of expression that is of little relevance to the world around us today, that classical music is a museum piece of sorts, understood and appreciated only by the few who’ve either studied it in one way or another or who are wealthy or just plain snobby. And with the particular focus of SDG, the pool is narrowed even further as we’re talking about people with a peculiar interest in a certain genre of classical music and in propagating its age-old traditions.

The fact is that a lot of people do care about classical music, and among this group many are especially drawn to great works for chorus and orchestra, a genre largely represented by music based on scriptural narratives, church liturgy or other religious texts and traditions. I read with interest an April 22, 2007 New York Times article that revealed that, according to recent studies by the National Endowment for the Arts and Chorus America, choral singing is, “the most popular creative art form in the country. More than 23 million adults perform regularly in a choir or chorus.” That’s 23 million Americans who more likely than not either currently perform or have performed music from the repertoire that SDG espouses. And undoubtedly, many of them do this at their own expense year after year, paying choir dues and purchasing their own scores. How exciting and at the same time how frustrating it is to realize that a large majority of this music-loving populous probably doesn’t even know that Soli Deo Gloria exists, much less that it directs its efforts to “preserve, promote and enhance” the repertoire that so inspires them! I believe that the organization is moving toward a broader awareness of its work in general, but at the moment it’s safe to say that for SDG there’s still much to do in the way of “preaching to the choir.”

As to what kind of people actually do support the work of SDG, I’m encouraged to say that it’s a relatively heterogeneous bunch. Some, the majority in fact, assist our efforts because of a central, God-honoring passion in their lives that resonates with our vision to make music as Bach himself espoused, “For the Glory of God Alone.” But for others, the care for sacred music stems simply from a love for the great masterworks of sacred music, quite independent from any religious inclinations. And this is to me one of the most wonderful things about SDG: We are celebrating a repertoire of music around which lies a beautiful and all-too-rare meeting ground for people with disparate political and religious points of view. In fact, I believe that some people find in sacred music a medium in and through which spiritual concerns are encountered and understood in such a way that it represents a more substantive and meaningful experience than they might have (or perhaps would ever allow) elsewhere, including the church. It is also not the super rich that enable our efforts. Even the few angel donors whose support has enabled SDG’s greatest work are really far more generous than they are wealthy. It is not the Bill Gates of this world who are keeping SDG afloat, especially in meeting our day-to-day needs as most of the support that makes its way to our office comes in the form of $100 checks.

The question of who cares about classical sacred music leads naturally to questioning why anyone should care about it, and why care specifically about works written “in the Biblical tradition.” I hope to post some thoughts on those important matters sometime down the road.

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Related post: Fiddling while Rome burns?

August 22, 2007 | Filed Under SDG general 

Comments

3 Responses to “Who cares about classical sacred music?”

  1. Craig Nelson on September 24th, 2007 7:38 am

    Chandler,
    Read your article, but loved the video you included about the cell phone guy. I am a pastor (and the nephew of John Nelson) who has to deal with cell phones occassionally. I never thought of our choir going and serenading the guy!
    Blessings.
    Craig Nelson
    Naples, FL

  2. Ken Hoover on November 24th, 2008 1:22 pm

    Albert Schweitzer wrote of J.S. Bach, “Bach includes religion in the definition of art in general. All great art, even secular, is in itself religious in his eyes; for him the tones do not perish, but ascend to God like praise too deep for utterance.”
    My own view of sacred music includes such works as RVW’s Serenade to Music (Shakespeare), R.Strauss’s Four last songs, even Delius’s A Mass of Life (a setting of text by Neitzche), Boris’s death scene from Musorgsky’s opera, etc. Any music that confronts the human condition, challenges thoughtless behaviour and uplifts the spirit with hope, comfort and inspiration.

    Best wishes,

    Ken Hoover,
    Producer and Host of Great Sacred Music
    on
    Sundays 8:00-11:00 ET

  3. Ken Hoover on November 24th, 2008 1:22 pm

    Albert Schweitzer wrote of J.S. Bach, “Bach includes religion in the definition of art in general. All great art, even secular, is in itself religious in his eyes; for him the tones do not perish, but ascend to God like praise too deep for utterance.”
    My own view of sacred music includes such works as RVW’s Serenade to Music (Shakespeare), R.Strauss’s Four last songs, even Delius’s A Mass of Life (a setting of text by Neitzche), Boris’s death scene from Musorgsky’s opera, etc. Any music that confronts the human condition, challenges thoughtless behaviour and uplifts the spirit with hope, comfort and inspiration.

    Best wishes,

    Ken Hoover,
    Producer and Host of Great Sacred Music
    on
    Sundays 8:00-11:00 ET

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