Calvin R. Stapert

This book was amazing. Stapert offers an in-depth analysis of the theological content of Bach’s music as understood through the lens of the Heidelberg Catechism. For clarity’s sake, I’ve separated my review into sections that address different elements of Stapert’s work.

Scope
The book’s scope is massive, and it covers a lot of ground. Stapert takes his time in setting up Bach’s music, and a lengthy introduction describes the different types of musical pieces that Bach wrote. A show more music glossary in the back defines musical terms. I think the intention was to make a book that would be readable even by people who are unfamiliar with Bach and with classical music. For the most part, I think he succeeded, although there were several places where, if I had not had a musical background, I think I would have struggled to understand. That said, the broad themes that he traces will make sense even if a few of the details are lost, and the introduction to Bach’s works was phenomenal. Stapert really packed a whole lot of information into just a few pages.

Theology
As for the theology itself, I have to say I was surprised and impressed by the premise of analyzing a Lutheran musician by a Calvinist document. There have been so many divisions in the Church, so much discord and separation, that I am always glad to find a book that actively tries to make connections between different denominations. The only other book I know that tries something similar is C. S. Lewis’ Mere Christianity. Stapert even refers to that book specifically, mentioning the common ground for all Christian denominations. Stapert says, “What unites the various branches of the Christian faith is far more extensive and runs far more deeply than the history of our divisions, quarrels, and animosities would indicate.” This book, then, takes three different sections of the Calvinist catechism and illuminates them with selected passages from Bach’s music. The result is a beautiful, almost reverent, meditation on a specific theological concept. These sections read almost like mini devotionals, and although the focus is perhaps different from Bach’s own Lutheran tradition, the theological statements themselves are on point.

Libretti
The libretti are given in their original German, along with an English translation that strives, whenever possible, to maintain the original syntax. In this way, readers can see exactly how the ideas are stated in the music, and they can tell which parts of a sentence are emphasized in the score.

Music
I was glad to see the music itself given in-depth analysis. From the Easter music in a minor key to the angelic symbolism of the trumpet—even the strings’ musical “halo” given to Jesus’ lyrics in the Passions—so many different musical qualities are examined in great detail. He examines modulations into different keys; he contrasts various sections as they play the same phrase. He shows certain rhythmic patterns that convey certain emotions, tracing each individual motif across many different iterations. He even goes so far as to trace earlier uses of a single melody across Bach’s many works. If you’ve ever wondered what a Lenten tune was doing in the middle of Bach’s Christmas Oratorio, look no further!

How it could have been better
This is a very minor point, but I would have liked more historical context for some of this. For example, at one point, he reminds his readers that Bach’s soprano would have been a boy. I’m not clear on which soprano he means—all of them? Or just one, for a particular piece of music? I’m also not clear as to why. Was that a common practice for Bach’s time? Was it a personal preference of his? Or did it come from the church? If so, would it have held for all the churches where he worked over the course of his career, or just the one who employed him at that specific time? Would things have been different for concert performances? As I said, it’s a minor point, but I was very curious. I was interested to know how the music would have been experienced in Bach’s own time.

All in all, a wonderful book, meticulously researched. Informative and uplifting. show less

Messiah in June and July!

This is my third time reading this. I listened to it on audio the first two times, and you can see my review below. I bought the Kindle version because I wanted to be able to underline things in it and use it as a reference book for writing my devotional on Messiah.

It is so much better to read it than to listen to it! I am convinced the narrator is not the best "voice" for the author. I liked it so much more just reading the printed version. It is heavy on the show more music, but I needed that since I am not an expert on Italian oratorio, secco recitatives, arias, etc.! I learned so much more being able to see it in print and think I really understand and appreciate Handel's Messiah even more! (Is that even possible?).

Here is my review from last year. It is not everyone's cup of tea, but I am a nerd when it comes to Messiah:
When I first started trying to listen to this in 2010, I thought: BORING! The narrator sounded a bit stuffy, and it went on about Italian Oratorio and all that, but I gave it a second try Christmas season 2011. I sat down and really listened to it. It is a WEALTH of insight and information about this masterpiece! I loved it. If you are a Messiah Geek like me, it will benefit you greatly to understand the ins and outs of this gift from Handel!
If you are not a Messiah geek, it may be a bit too academic, but I listened to it again this Christmas, and I found myself wanting to write down quotes. I listened to a little of the book and then the part of the music he had just described. I love that I would go to bed and wake up with these Scripture songs in my head during the Christmas season because CHRIST is what the season is all about!
It will be my annual tradition!
My devotional will be the whole month of December and will be at the BIBLE BOOK CLUB . Lord willing, I might make it into an e-book and/or a nice Christmas devotional book with pictures! We will see! show less

Without a doubt Handel's "Messiah" is one of the most enduring and beloved musical works of all time. Stapert provides background on the oratorio form along with some insights into the composer Handel. He then goes on to describe the work's earliest and enduring performance. He discusses some of the truths taught in the oratorio in light of theology. The final section of the work offers a commentary on the work. Stapert's audience is decidedly an academic one. The writing is probably too show more stilted to be enjoyed by all but those obsessed with the work or musical form. Recommended only for music professionals with a strong interest in the classical tradition. Those interested in more contemporary forms of worship or wanting a devotional read on Handel's work will probably want to pass. show less

I have always enjoyed listening to the "Hallelujah Chorus" from Handel's Messiah. Unfortunately, the extent of my knowledge of Handel's entire classic piece has been very limited. I can't recall having ever listened to the entire work, much less having known anything about its background. I've enjoyed listening to Calvin Stapert's book, Handel's Messiah: Comfort for God's People in which Stapert takes us through a brief biographical sketch of Handel's history. Stapert also includes a history show more of the "oratorio" (a term that up until I read this book was completely unknown to me) style of music and how Handel introduced - or rather invented - the English oratorio. Stapert goes over each piece of Messiah touching on several theological points including the anticipation of the Messiah and the culmination of redemption in Christ.

In listening to this book, I learned quite a number of things. One was how the style of the oratorio differed from operas and what effect this had on the Messiah. I found it interesting that the oratorio style of music did not even exist in England before Handel "due to Puritan opposition during a critical time in opera's development elsewhere" - interesting because we see similar oppositional mentalities to various musical types and genres in some Christian circles even today. Handel recognized the merit of music as art, but also wanted to do more than entertain. As Stapert puts it "It does not reject entertainment as the goal. It rejects it as the only goal."

Perhaps the best part of the book was Stapert's walking the reader through the story of redemption, progressing through Scripture's recognition of a need of a Messiah, the anticipation of the Messiah's coming, his arrival, his death and resurrection, and the promise of his return. The notes on how the musical styles and variations underscored the lyrics of each piece was also very interesting.

While the book itself was very interesting, the narrator (James Adams) of the audio book from Christianaudio made me feel like I was in some kind of music literature class taught by a professor who deemed himself just above the task. While Adams' narration is perfectly pronounced, with dramatic pauses and inflections at just the right places, it holds none of the "Comfort" of Handel's work, but felt rather cold and distant. I didn't hear the literary voice of the author in the reading so much as the art museum dryness of the narrator's own voice.

Although the audio version from Christianaudio contains a few selections from Handel's Messiah, the selections are comparatively few. I found it much more helpful to find and listen to the entire work, pausing the audiobook after each section to listen to the piece just discussed and then proceed with the next. I would recommend purchasing the actual book along with a full album of Handel's Messiah instead of sitting through the droning of Adams' narration.

(I did not take away any stars since this product page is for the physical book and not the audio recording. The book itself deserves 5 stars. Thanks to Christianaudio for providing a free review copy of the audio version of this book.) show less