THINK ON THESE THINGS Heaton 4

“Banding in the army is more than a musical pursuit, yes, of course making music with fellow musicians is a satisfying thing, a fulfilling activity, but for Salvationist there’s more to it than that of personal, a spiritual dimension, that if overlooked or diminished or played down can leave both the performer or listener shortchanged.” General Shaw Clifton

The General's words were used as the introduction to the Enfield Citadel's playing of A Bandsman's Tale.

The man who inspired Elgar Howarth to write his famous work was his first cousin Bill Weaver who was for over 50 years a playing member of the Cardiff Canton Salvation Army Band, Wales. The piece was written in tribute to Bill on his retirement from the band in 2005. 

The music paints 
a portrait of a Salvation Army bandsman who becomes confused with the nature of Salvation Army music. 'Though familiar phrases and rhythms present themselves, he is unable to understand their meaning, or appreciate their significance. He is tempted by more worldly music, at once easy and slick. Always, however, he remembers the first few notes of the Founder’s Hymn — at the height of his confusion, almost in terror, he hears it yet again, distorted by distance 
and memory; it saves him. He hears again, oddly at first, the sound of the Salvation Army band and remembers the words of Lindsay’s poem: 
Booth came marching with his big bass drum. 
‘Are you washed in the blood of the Lamb?’ The Founder’s Hymn combines with the sounds of the band’s march. There is rejoicing as he rejoins his friends.' 
Elgar Howarth

Has SA or other music performed in non-religious venues, with a spiritual or religious thread brought you or someone you know back to your/their religious roots? Or caused you to meditate and rethink your relationship with God? Is this not in itself a valid argument for endorsing, encouraging and exercising less control of music dedicate to and gifted to the Salvation Army.

By Sameer Rahim, Assistant Books Editor

“About a month ago I got chatting to a priest about his Easter plans. As part of his studies he was visiting the Sufi prayer sessions I sometimes attend, and I took the chance the question him about a piece of music I had always been curious about: Bach’s St Matthew Passion.

The priest told me I should listen to it once a year on Good Friday as part of a church service. Any other time or setting would not be true to the composer’s Christian vision.

The St Matthew Passion is not an opera but it does have opera-like aspects such as music, text, singing and drama. It has been performed on secular stages (there was a well-known Jonathan Miller production in 1993 revived at the National Theatre last year) and is enjoyed by non-Christians and even atheists.

Yet there is no getting round the fact that Bach, a devout Lutheran, annotated his scores with the initials “JJ” (Jesus Juva, Help me Jesus) at the start and “SDG” (Soli Deo Gloria, Glory to God alone) at the end. Could I, a non-Christian, fully appreciate such a work? Or would my experience be closer to the priest’s at my Sufi prayers, who sat respectfully but uncomprehending during the Arabic chanting?

To find out I went on Good Friday to St George’s Church in Hanover Square, for the London Handel Festival performance of the St Matthew Passion. Sitting at the far end of a pew, I read in the programme that since we were at Vespers “applause is not appropriate”. (That’s certainly one big difference from opera.) There were hymns sung before and after the Passion and a sermon during the interval. The first performance in Leipzig in 1727, where Bach worked as the church organist, was on similar lines though while our service lasted four hours his would have been even longer.

The grave opening sets the tone. (I like this slow version from 1971 by Karl Richter.) In his excellent little book on Bach’s masterpiece, the music critic Victor Lederer compares the movement to the overture of a large-scale opera such as Mozart’s Don Giovanni or Bellini’s Norma. One part of the chorus invites the audience to share its grief, “Kommt, ihr Töchter, helft mir klagen, sehet”, “Come, ye daughters, share my mourning,” and another part, ignorant and ready to educated, replies by asking “Who? How?”Ask, “What are the two times of the year non-Christians tend to think the most about spiritual things?” Most Christians know the answer – Christmas and Easter.”?