Category: Music for reflection

Psalm Offering 5, Opus 7 is the newest composed Psalm Offering in a collection of music I am entitling the “Lamentations Psalm Offerings”. Psalm Offering 5 is a musical prayer offered up for the victims of hunger in our world.

Infants and babes faint in the streets of the city. They cry to their mothers, “Where is bread and wine?” as they faint like the wounded in the streets of the city, as their life is poured out on their mothers’ bosom. (Lamentations 2: 11c-12)

One can hardly turn on the television without seeing an advertisement for “Feed Our Starving Children” or other similar programs to feed the starving in the world. Famine, mighty storms like hurricanes, drought, pestilence and so many other natural factors bring on the starvation of people. It is a slow, cold, and cruel death. What is most insidious are those in powerful places who purposely starve out whole segments of people. Governments have been known to purposely starve those who oppose them. One only has to look at the Sudan region of Africa, Syria, and other nations to see the horror perpetuated upon the innocent by starvation.

This Psalm Offering is a prayer to God on behalf of the starving peoples of the world.

Scriptural passage from: Coogan, Michael D.; Brettler, Marc Z.; Perkins, Pheme; Newsom, Carol A.. The New Oxford Annotated Bible with Apocrypha: New Revised Standard Version (Page 1151). Oxford University Press. Kindle Edition.

(c) 2017 by Deacon Bob Wagner OFS. All rights reserved.

About the music: This is a piano piece in a form known as “variations on a theme.” A theme or melody is stated fairly simply, then that theme is varied in many different ways. Within this composition, the theme is originally stated in a time signature of 2/4. The theme shifts to 3/4 (or waltz meter), then to 6/8, and concludes in a 4/4  time signature. Along the way the tempo varies from fairly moderate to extremely fast. The key changes from F Lydian to A Lydian to G Lydian to C minor, to C Lydian and concludes in E minor.

Lydian is an ancient Greek scale in which the scale ascends, whole step, whole step, whole step, half step, whole step, whole step, half step (in contrast to the major scale we are all familiar with: whole step, whole step, half step, whole step, whole step whole step, half step.). The Lydian Scale almost sounds like a major scale but it is still very different, which makes for an unusual melody line.

Psalm Offering 4, Opus 3

The shortest Psalm Offering of Opus 3 is a musical representation of the shepherds coming to see the new born, Jesus. The first melody, A, all in staccato, has almost a joyful sound of people skipping, running, bounding in a rush to see the Christ child. It segues to melody, B, as the shepherds delightfully look upon Mary, Joseph, and their newborn, son. Melody A returns more slowly and stately to conclude this Psalm Offering.

This Psalm Offering was a gift to Dr. Bob Conlin, a very dear friend of my sister, Mary Ruth, and my family. Were it not that Bob was homosexual and my sister heterosexual, they might have married. Indeed, they loved each other very much. Over the many years of my sister’s chronic illness, Bob would often show up, following one of my sister’s many surgeries, in the middle of the night to relieve my parents from their bedside vigil. He would keep vigil by her bedside to talk with her and comfort her if she were awake with pain, or to greet her in the morning when she would awaken. As my sister was in hospice, dying, as a family we discussed who we wanted to be with her in her last hours. The first name that came up was Bob’s name. He arrived about 2 hours before she died. I remember him sitting alongside her in her hospital bed and holding her head in his lap. She died in his arms. I am forever grateful for the love he extended to Mary Ruth, and to my family ever since.

Scripture passage: When the angels went away from them to heaven, the shepherds said to one another, “Let us go, then, to Bethlehem to see this thing that has taken place, which the Lord has made known to us.” So they went in haste and found Mary and Joseph, and the infant lying in the manger. When they saw this, they made known the message that had been told them about this child. All who heard it were amazed by what had been told them by the shepherds. And Mary kept all these things, reflecting on them in her heart. Then the shepherds returned, glorifying and praising God for all they had heard and seen, just as it had been told to them.

Psalm Offering 2, Opus 3

This Psalm Offering is a musical rendering of the Lucan phrase, “and Mary pondered all these things in her heart.” The recurring figure in the left hand is reminiscent of Chopin’s “Berceuse”, literally a lullaby. Within this gentle music I see Mary cradling her new born child to her breast, affecting that rocking back and forth movement that is inherent, it seems, to all mothers. The musical form of this Psalm Offering is 3 part, ABA form.

I wrote this Psalm Offering for Elaine Roesser. Elaine, and her sister, Helen, began playing music in church as children at St. Victoria Church in Victoria, Minnesota, a few miles west of Chanhassen. They continued to play Masses throughout their entire life. Elaine married Ron Roesser, from Chanhassen, and has lived and raised her family there. She is a lovely woman, with a very sharp mind (she worked at the Chanhassen Bank for a very long time), and a good friend. Ron and Elaine have pretty much adopted Kenny Smith as a member of their family.

Scripture passage: Luke 2:19

And Mary kept all these things, reflecting on them in her heart.

PSALM OFFERING 8 Opus 6

I dedicate this Psalm Offering to my youngest daughter, Beth. Intelligent, articulate, dedicated to serving others, and fearless, Beth reminds me most of my sister, Mary Ruth. Though she is close to receiving her Bachelor Degree in Psychology, music has been central in her life. From the time she was very little, she had a way of setting everything to music, including her song for Ruthie, “Mommie, good girl!” Early in the morning before school, she and Meg would sing and sing, knowing full well it would irritate the hell out of her brother Luke. I remember her singing Gershwin’s aria, “Summertime” from the opera, Porgy and Bess, at her high school senior choir concert. Dressed in a long black gown, standing alone in front of the curtain, the audience was spellbound as she sang that beautiful song. I just sat there, a big smile on my face, as tears streamed from my eyes. Oh, how proud I was of her!

This Psalm Offering originated in a musical sketch I initially composed as a setting for Psalm 45. It is composed in simple three-part form. Both the A and B melodies are what I would describe as sweeping, dramatic melodies moving over a range of two octaves. The song has the quality of an operatic aria. Perhaps, that is why it seems so appropriate for Beth (and, in case you might be thinking it, Beth, I am not calling you a Diva). Love you, beautiful girl!

Psalm Offering 10, Opus 6

This Psalm Offering is dedicated to my oldest daughter, Meg. The one quality of Meg that I have always felt present in her is compassion. I remember Meg, about 4 years old, sitting on my lap and watching the Disney cartoon movie, Dumbo. When it got to the part of the movie where Dumbo’s mother is imprisoned in a cage, and baby Dumbo is mourning the loss of his mother. Dumbo’s mother sings the song, “Baby, Now Don’t You Cry.” Poor Meg. She buried her face in my shoulder and sobbed her heart out. Of course, as we know, things eventually get better for Dumbo and for his mother in the movie. However, to this very day, tears well up whenever I think of that one moment Meggie and I shared.

In high school, Meg sang in the regional competitions, I was so honored that the song she sang for the judges was the one I composed for my ordination, “Abba, Yeshua, Ruah.” I also had the honor of  accompanying her on the piano. As I recall, Meg received an “excellent” score for her singing.

This Psalm Offering is in simple three part, ABA form. The A and B melodies are simply stated at the beginning and then as they are repeated get more and more elaborate. Stylistically, the song is different from the preceeding songs of this Opus. I don’t know if it is the use of major seventh chords, which in some ways lends a slight air of mystery to the melody. Some of the compositions of this Opus seem to flow easily onto the staff, and others, like this Psalm Offering took some time to create. I must have spent close to 4 hours on the last 15 measures of this Psalm Offering, composing, erasing, composing again, and erasing again, over and over until I finally arrived at what was finally written. To my beautiful Meg, her compassionate heart, her wry and raunchy sense of humor, and her dedication to those she loves and serves, this song was well worth all the work. (And, incidentally, Meg, with a little practice you will be able to play this.)

PSALM OFFERING 9 Opus 6

I dedicate this Psalm Offering to my son, Luke. Of all our children, Luke has had to face the most challenges in life. Born with a visual disability and Aspergers, Luke has never allowed himself to be limited by these challenges, whether it be learning to ride a bicycle, or graduating from Vocational School with a degree as an audio studio technician. Luke is an excellent musician, his specialty being the guitar. His musical skills are extraordinary whether it be playing Hendrix or Page or Clapton. While he rarely plays for an audience, Ruthie and I have had the joy of listening as Luke performs in his room. When I feel in need of courage, I look to Luke, whose life is a source of courage for me.

The music for this Psalm Offering is modeled off of that of the late Renaissance Period dance form called a Courante. The Courante was a dance in triple meter and was played at a fast tempo. The literal translation of Courante is “running.” The Renaissance Courante was described as a fast, jumping style of dancing. In the Baroque Period, the French Courante was a slow, stately dance of the Royal Court. However, the Italians preferred it to be considerably faster in tempo.

The music is composed in a strong, fast tempo in triple meter (3/4 time) and is in three-part, A,B,A form. Though the variations of melody A and B change from dotted rhythm to triplets, to running 16^th note arpeggios, the strong feeling of three beats is maintained throughout the music. The music has a joyful lift to it, much the same as the joyful lift Luke has given to me in life.

Psalm Offering 12 Opus 6

This Psalm Offering, the last of Opus 6, is dedicated to my daughter (in-law), Olivia. Unlike our other four children, who entered into my life through Ruthie’s womb, Olivia entered my life in loving Andy. I could see immediately why Andy was so incredibly in love with her. Beautiful in heart as well as appearance, Olivia makes an instant impact on all who know her. She is remarkable in all that she does, and her compassion and love for her family and others is evident in her every action. Artistic does not quite do her justice as a photographer. She is able to take the cheapest throw away camera, and take pictures that leave me spellbound. Now that her own father has passed away, I am honored to be her adopted father.

As with Psalm Offering 7, the music for Olivia’s Psalm Offering initially was composed as a hymn melody. Like much of the music from that time in the late 1980’s, the melody lay unused in that plastic storage bin waiting to become something grander than just notes on a sheet of paper. There is an Irish influence integrated into the melody line. It is all the more apropos for Olivia. While her ancestry is Filipino, she was a major participant in our big family trip to Ireland in 2000 (commemorating Ruth’s and my 25^th wedding anniversary). She, along with Meg and Beth, did kiss the Blarney Stone, and I think that the Irish magic that is part of that ritual assimilated in ways mysterious with her Filipino DNA. The musical form of the song is Variations on a Theme. The theme is simply stated at the very beginning, then with each restatement, the theme undergoes a variety of changes. There are times when the melody is augmented (lengthened) and other times it is diminished (shortened). Changes in the tonic key, rhythm, harmonic rhythm and accompaniment keeps it melodically interesting. Overall, there are 9 variations of the initial theme before it arrives at the Coda. I chose this musical form to reflect the wonderful multi-faceted qualities of the person to whom it is dedicated.

Psalm Offering 11 Opus 6

This Psalm Offering is dedicated to my oldest son, Andy. He is a man of integrity, and honesty. There are many qualities which Andy possesses too many to list. Those that stand out are intelligence, a skillful builder, and an artist in his trade. However, his greatest quality is his love and dedication to his beloved, Olivia, and their children. He has taught me more as a son than I will ever teach him as his father. He began to teach me the moment he was born. The doctor directed me to leave Ruth’s side (“you’re not going to be of any help to her, you know…”) and to stand behind him as she gave birth. As I stood directly behind the doctor, I saw Andy emerge from his mother’s body. I was dumbstruck with awe at the sacredness of his birth. The presence of God was so strong in that delivery room. From that moment on, I began to learn, with Andy as my teacher, the lessons of being a father. Blessed with four children, they are my professors in life, each an expert in their own particular way. However, Andy remains significant as the first of the four teachers.

The music was first conceived as a setting of the great Canticle from Paul’s letter to the Philippians. As with many of these early settings of musical ideas, not much ever came of it until now. The tempo of the song is Presto con moto, literally “fast, with great movement.” From the very first notes, the tempo never variates in speed, but remains constant to the very last chord. The song is in simple 3 part, ABA, form, with variations on those two melodies every time they are restated. There is nothing subtle in this song, the melody strongly punctuated with syncopation, heavily articulated with accents, staccato, and both. If there is a metaphor for this music, it is like musical fireworks, flashes of accentuated melody, followed by booming chords. Perhaps this metaphor is all the more appropriated since I was busy composing this over the fourth of July weekend. The joy that permeates this music is only an indication of how joyful Andy has made my life.

(Painting: Massacre of the Holy Innocents in Bethlehem, artist: Matteo di Giovanni.)

PSALM OFFERING 1 OPUS 7

This music written in long stretches from Friday, July 8 to Sunday night July 10, is in memory of ALL victims of gun violence. It is my supplication to God to change the hearts of stone into hearts of flesh of specifically those who willingly profit in the gun industry, those who choose violence instead of civil discourse, those who worship at the altar of weapons. This is my supplication to God for all who are maimed  and murdered by guns every day. This is my supplication to God for all mothers, fathers, brothers, sisters, children and friends whose hearts have been crushed by the cruel acts of violence against their loved ones. In Isaiah, chapter two, we hear the prophet speak of turning spears into pruning hooks, and swords into plowshares. I believe that the metal and components that make up guns is not even worthy of being turned into agricultural implements. Rather, all materials that make a gun must be melted into a molten mass never to be used for any other purpose than to be buried into the earth.

ABOUT THE MUSIC: The sharp dissonant chords, heavily accented that assail the ears like gunshot, the rapid staccato passages like automatic gun fire, the sostenuto pedal blurring all these sounds into an almost undiscernible noise marks section A of this music. I was thinking of a poem by Denise Levertov, entitled “On A Theme From Julian’s Chapter XX” in which the poet is describing the death of Jesus on the cross.

“One only is ‘King of Grief’.

The onening, she saw, the onening

with the Godhead opened Him utterly

to the pain of all minds, all bodies

• sands of the sea, of the desert –

from first beginning

to last day. The great wonder is

that the human cells of His flesh and bone

didn’t explode

when utmost Imagination rose

in that flood of knowledge. Unique

in agony, infinite strength, Incarnate,

empowered Him to endure

inside of history,

through those hours when He took Himself

the sum total of anguish and drank

even the lees of that cup:” (BREATHING THE WATER, by Denise Levertov, A New Directions Book, © 1984, 1985, 1986, 1987 by Denise Levertov)

 

The second melody, B, is the lament of those who have been crushed by the death of their loved ones by gun fire. The Italian word Lacrimosa literally means to sob. It is derived from the Feast of Our Lady Of Sorrows, the mother of Jesus, as she watched him die on the cross. The minor key expresses the sorrow, the descending passages of melody are the tears that flow. The scripture passage that ran through my mind as I composed this is the quote we hear from Matthew’s gospel on the Feast of the Holy Innocents. Matthew quotes a passage from Jeremiah:

“A voice was heard in Ramah,

sobbing and loud lamentation;

Rachel weeping for her children,

and she would not be consoled,

since they were no more.”

 

As the lamentation of melody B ends, the violent chords of A return, the two sections battling back and forth in change of meter, change of tempo, as more are killed and more lament until the lament drowns out the deafening sound of the gun fire and predominates to the end of the piece, slowly reducing in sound as sobs gradually slowly soften. The music ends ominously as the final two chords of violence very quietly reenter at the end.

Since the time the laws of our land that regulated the legal ownership of guns were eviscerated by legislators who prostituted themselves to the gun lobby and the gun manufacturers, the deaths by guns has only escalated. It is a horrific litany: Columbine, Sandy Hook, Aurora, San Bernadino, Orlando, Tucson, Fort Hood, Binghamton, Dekalb, Omaha, Charleston, Honolulu, St. Paul, Dallas. The number of deaths by gunshot is in equal proportion to the increased sale of guns. It is overwhelming and tears at the heart of our nation. The utter inhumanity, not for some noble purpose, but to make money on death, tears at my heart. This is not what the authors of the Constitution had in mind when they penned the second amendment. This is not what God has in mind for we who have been created in the womb of God.