Music for a Christian

Music is a strange thing.  It has such qualities that enable it to change the rhythm of your heart, the rate of your breathing, alter your mood within moments, and more importantly usher you into the very throne of God above.  A very powerful force if you ask me.  If music is so inspiring, is it really wise to assume that it is innocent and passive when within seconds it can break your heart, sweep away your emotions or even throw you into anger?  Music does not sound all that unassuming when it is put like that, but everyone knows that is exactly what it does to the human body.  However, not only does it affect the physical, it penetrates even as far as the soul and spirit.  What I listed above are only the physical, outward reactions of listening to music.

Our spirit has a reaction to music as well, whether positive or negative.  I think the most important thing for a Christian to do is perceive what the purpose of the music is and what it was intended for.  I recently posted about the score Angels and Demons.  That score is very beautiful yes, but also very disturbing!  Why?  Because it was intended for a movie which spreads and supports a lie, damaging the reputation of not only Jesus Christ, but His followers.  Now for a lot of you reading this, soundtracks are not exactly the music you would rather listen to over anything else, like me.  What about Katy Perry, Lady GaGa, U2, Michael Jackson, Coldplay,  the list goes on and on.  What is the purpose of their music?  Many do not lay it out for everyone, to be honest, but in those numerous cases you, as a wise Christian need to look into how they live their lives.  If they are immoral, God-hating, Satan worshiping, talented, musical artists, beware!  Music, if it can help you see God clearer, can obviously work the other direction.  If they are talented, all the more reason to steer clear because that means their message is all that more enticing.

Now obviously those are all secular artists listed and by listening to them, a certain amount of moral degradation is already assumed.  However, if you have no idea of the past for Ms. Perry, you would be very shocked to find she turned her back on Jesus Christ or just played church her young adult life and now lives only for the world.  What about Coldplay?  Very popular band, but who inspires their music?  (By the way, a good amount comes from George Harrison who was into Indian Mysticism) I’m not saying those who have are evil by any means, but if you do not know, its like getting blindsided by a car.   You have no idea what to expect nor will you.  Their morals and worldview will hit you square between the eyes before you can beg for mercy or say, “I love Jesus.”  Get the point?

In the least, listen to your music in a proactive way.  Do not just zonk-out and drink their water, without first making sure their water which is freely offered, is not dirty.  Make an effort to hear their lyrics and make sure you are clear that they are false or true.  C.S. Lewis was right on the money when he said, “The most dangerous ideas are not the ones that are argued, but the ones that are assumed.”

Take a glance brothers and sisters at the music you listen to.  It could make the difference in you drinking Christ’s ever-satisfying water, or you becoming sick with the world’s poisoned pool.

Angels and Demons

What is the line for a Christian when it comes to secular music?  When there are no lyrics to be heard, is it more damaging to listen to wordless music which blasphemes and defames the reputation and perception people have of God?  If you have not considered the questions I have just listed, try listening to the score of Angels and Demons and let me know what you think.  Hans Zimmer unfortunately did outstanding work and even used my most favorite violinist for the creation, Joshua Bell, however, the line must be drawn somewhere.  This score contains some of the most intimate and closely knit coral to orchestra work I have ever heard, but with track names such as God Particle, Election By Adoration, Science and Religion, and Black Smoke, I would not recommend this collection of works to any who revere God in any sort of way.

Election By Adoration is a very moving piece but from start to finish, it seems to scream, “Woe to us mortals for setting up such a fictitious idea of God!”  It really is a shame for what kind of message it proclaims for Bell’s violin is gorgeous.  They are such passionate pieces but even without seeing the movie, your spirit is so troubled and for almost unexplainable reasons, except for the motive behind Angel’s and Demons.

As for an excerpt for the style Zimmer writes this in, he takes the great choral sound which exemplifies the majestic cathedrals of the catholic church and turns it Dark Knight-ish.  Meaning it is a Batman score, but with gigantic choirs.

This whole CD teaches an extremely valuable lesson.  Music is an incredibly powerful form of communication and needs to be held in just as high of accountability as the written word.  You just have to draw the line in the sand. For me, it is here at respect.  I will not listen to music, no matter the composer nor the performer which dishonors Jesus Christ and what He has done.

Feel free to tell me if I’m wrong, maybe I am just overly sensitive but I don’t think so.

Slumdog Millionaire

Slumdog Millionaire has to be one of the best composed soundtracks of this year.  It definitely, in my opinion should of won a grammy, but  unfortunately, just as the movie fell prey to jealousies in Hollywood, so the score dropped from favor until recently.  A.R. Rahman did a masterful job.

Contrary to popular belief, he did not compose the Iron Man score and before Slumdog, never really had United States exposer.  Whenever a composer hits America, that is usually his or her break to fame so to speak.  Rahman has done Elizabeth – The Golden Age, but that did not get any coverage.  What is very fascinating is he has actually written the score to the London Musical Theater, Lord of the Rings.  Some of the reviews said, “A hugely impressive production” – The Guardian “This show is a wonder, go with an open heart, wide open eyes and prepare for enchantment” – The Times

This production was very well received and I believe that Rahman obviously had a great deal to do with that.

Slumdog was, at first not as well taken, but in the following weeks and months, it’s popularity grew immensely.  After seeing it and listening to it quite extensively, I know why.  If you are a young person who likes a heavy beat and sweet licks in any type of sound, this is an awesome record to have.

I think that very important attributes that need to be seen in good scores are the abilities to not only disappear into the movie and help you concentrate on what is transpiring, but also taking over scenes and making an otherwise pointless action, have impact and excitement.  These songs, even if you can’t recall what exactly is happening for their duration, still convey the emotional depth of the motion picture.

Nearly all of the tracks within this album have a very heavy drum, different languages (the last track has at least three), and usually a more wandering melody.

Take that as you will, I think this is a must for a young persons music library.  If not for enjoyment, buy it for a good cross- culture experience.

The very Last Samurai

  Who is the first actor you think of who needs to be a tough, drinking, hard-to-figure-out, sharp shooting pistol slinger/soldier who can turn samurai and fight bushido style with a sword?  Tom Cruise, of course!  But sarcasm aside, it is once again a Hans Zimmer score that enchants listeners and makes The Last Samurai what it is.

  Typifying The Last Samurai is the concept and time period where America is advancing into the west and developing quite rapidly.  Japan wants what the US gained and, true to history, hires many western professionals to educate themselves in the “art” of living civilized.  Thus, Zimmer’s music really needs to have direction from archaic to western.  It needs to have an Asian feel, but still move the listener toward higher developed melodies.  Your guess is as good as mine as to how that should sound, but in my opinion, I think Zimmer really captures this through his score. 

 The Last Samurai does not just start with, “THIS IS THE MELODY!”, which is something very different from and uncharacteristic of many Zimmer scores.  Although it is nice to have that solid foundation for all other tracks which follow those first three or so, but this score has such a refreshing take.  Zimmer almost forces you to listen to the whole CD in order to truly enjoy the last tracks.  In fact, it starts quite obscure and, quite honestly, takes an authentic Oriental feel with the use of musical instruments played in Japan. 

As the movie progresses and Tom Cruise continues to find the beauty of the old way verses America’s fast lifestyle which was being taught in Japan.  He “finds his peace” in the midst of drinking, killing and turmoil. 

  By the end though, it is difficult to describe the emotion brought out by in the feeling of a massive bass drum repeatedly resounding to the tune of a charge to everyones death (this is obviously a guy’s movie for sure). The last track is incredibly redemptive.  It embodies the calm after the storm quite literally.  There are no more ethereal pipes in the end.  No more wandering for good ol’ Tom Cruise and no more searching for listeners.

  I think there is something for two types of people in this album.  First there are those like me who love Zimmer’s intensity and passion in all things complex.  Although some of his melodies are hard to understand, they always pan out into very appropriate themes. 

  Second are those that don’t appreciate the complexity as much but love beautiful melodies, in which case there are some very simple but moving refrains. If you don’t fit either of these categories, I wouldn’t recommend this album for you. Even though it is one of my favorite soundtracks, I do admit it is not for all listeners. 

  Tom Cruise is a lucky guy to have been a beneficiary of such a complementary score as Zimmer’s.  If it hadn’t been for the great skill of Hans Zimmer, good luck to Tom, becoming that tough, drinking, hard to figure out, sharp shooting pistol slinger/soldier who can turn samurai and fight bushido style with a sword.  For some reason, I just don’t think it would of worked out in the end.

Defiance

What words adequately describe such an atrocity like the Holocaust?  When lips tremble, and words falter, music spans the the gap between knowledge and speech.  Music is the bridge which spans the abyss of doubt and confusion and connects the voice which can not speak, to the mind which knows that it must.  

The movie Defiance is one which most mature young people must watch and soak in.  Not only because it has a very unique view of the Holocaust, but also because the music which James Howard has composed for it rivals even that of Schindler’s List.  For those of you who don’t know, Schindler’s List was composed by John Williams for Itzhak Perlman (a jew) and has been, since 1993, the defining violin solo for the Holocaust.  

Howard takes a different approach to Defiance which I think beautifully conveys meaning through a directionless and dark time.  Beauty, as I say it here would refer to this album being striking, moving or awe inspiring, not only from the sound it creates, but more importantly what it says.  (It is liken to the beauty of the cross of Jesus Christ which moves believer to tears of thankfulness to their Savior) Instead of the lyrical and very jewish theme of John Williams, which can at times feed into the directionlessness (say that ten times faster) of an already directionless time, Howard has a powerful and extremely passionate melody.  It always has an ending in sight.  Very appropriately, Joshua Bell performs the score.  What a perfect match.  Bell is the type of violinist which moves so much as he plays, that it is sometimes hard to tell how he gets such a good sound with all the motion.  Regardless, some of these pieces, especially the Main Titles, sends chills up your spine.  When Bell hits those opening chords, it grips your heart for the pain which is pictured on the screen.  

This music doesn’t just accompany the movie, it embodies it.  What is Defiance or more importantly, where is the hope in the Holocaust?  Listen to Howards music, and by the end of the soundtrack it will be sweeping, hopeful themes which quickly makes the confusion and pointlessness of these times become inspirational and affecting.  Not in the sense that they lose their impact nor that those terrible times become any less than that. 

 

Howards music is the bridge that helps the mind shout what it feels it must speak, either because it feels inadequate or is wholly unable to proclaim.  What is that you wonder?  Simply stated, those who died, died not in vain. 

The Village

While having its moments of beauty, Howard’s score for The Village is plagued once again by melodic immaturity.  It is like candy which at first sits well but soon after gives a bitter aftertaste.  The bitter aftertaste being, “Did I really spend money on this CD?”  Yes, that might be harsh, but Howard is too good to be allowing such a great opportunity such as this, get thrown away on a freakishly unentertaining score.  Oh, these numbers are definitely scary enough, but will it actually sell if buyers know what they are getting.  I think not, but maybe I’ll be proven wrong.

Some tracks are just plain insane. This coming from the guy who likes to listen to the Dark Knight!  Very dissonant, roaring and not making a lick of sense, I really have no idea how this could be enjoyable to anyone.  Maybe to the hard core heavy metal fan, but a soundtrack? please.  Obviously you must put what the composer writes for the movie on the CD, but if you expect to sell any copies after the initial excitement wears off, you really need to have some sort of order in the music even and especially with those gripping tracks.

To his credit, there are a few good violin solos scattered about, but they are wheat among many thistles.  While these few songs are just a violin and aren’t at all the mind numbing tracks for the exciting parts of the film, they are very underdeveloped.  The main question potential buyers need to be asking is, “Are the few worth the trouble or money?”  My advice, save your cash.  

The candy sure looks good in the jar when itunes gives just a sampling, but the enjoyment doesn’t last long and there are such better albums out there for you to be spending your hard earned dollars on.  

Lord of the Rings

Have you ever wondered, when you are watching that really intense part of some movie, why that part is so exciting, especially if its just some dude just sitting there sweating?  If it weren’t for music, I don’t think I’d be the only guy that thinks Tom Cruise makes a retarded Samurai. (I love that movie. Don’t get me wrong)  Music makes movies what they are without a doubt.  It conveys what the lame Hollywood actors don’t or can’t.  All the more reason to have a man like Howard Shore compose the Lord of the Rings score.

Every theme in this masterfully written soundtrack exemplifies, not only each and every scene from the movie, but even down to each character, relationship, emotion and nationality.  A stunning feat really if you think about the magnitude of J.R.R. Tolkien’s Middle Earth.  

Howard Shore, to be quite honest, is not liked a whole lot in the musical realm.  After soaking in these soundtracks, I am not sure why.  I would put him as my second most favorite writer if, for nothing else then the Lord of the Rings score.  (I am basing my opinion off a set of Shore’s best works from all the movies.  Quite a long album but as an FYI, I did not buy every album separate.)

If compared another composer, as a means for context, he is a Williams without the fanfare brass, random and somewhat annoying dissonant sections.  Shore’s use of choirs is, I think, the greatest of any contemporary composer.  His works are marked by the use of voices, very often a solo voice, but also an incredibly unique mixture of strings and winds (and yes that means brass too).  That may even be to a fault however.  There sometimes comes a point when you think, “ok, will someone please shoot the pipe player?!”  Thank God for the skip button.  That was in no way my attempt to deter you from Shore.  I think the Lord of the Rings soundtrack, as a whole is excellent, but to buy every single CD for each movie may be stretching it.  

Howard Shore outstrips Williams hands down in terms of gloriousness.  There are some pieces which you just want to plug it in and crank it up. i.e. Forth Eorlungas / Isengard Unleashed, The Bridge of Khazad Dum.  These are two which perfectly combine the power of brass and choirs but even at times go to just one voice.  Simply stunning.  

Shore obviously displayed such an attention to detail as he wrote.  From a playful violin to depict hobbits to spiraling themes for Gondor, he even gives the chills for the Dark Lord.  There is even a distinction between the themes for Rohan and Gondor even to the extent that you get an idea for their culture.  I mentioned a spiraling theme for Gondor because it is much more proud than its fellow counterparts, Rohan.  The White City exemplifies Gondor in its majesty and so appropriately, its song is that which reaches to its spires and ramparts.  Meaning that it ever grows and grows until it bursts open like a sunrise.  The people from Rohan conversely, as we know from the movie, live in thatched huts and halls made of wood.  Their theme thus, is not upward in motion, but sideways.  It grows in passion, not necessarily power.  

Looking back I think that Shore and the Lord of the Rings score needs more ears from listeners.  So many of these pieces are so well written, I think they deserve a look from those who have not sat down and listened to them yet, and a second look from those who already have and didn’t like them. 

p.s. Thank the Lord Almighty that Zimmer wrote masterful music for Tom Cruise to act to so he didn’t have to be a retarded Samurai.

Pride and Prejudice

Yes he is a great pianist, and no I’ve never met anyone who can pronounce his name.  Jean-Yves Thibaudet (go figure, he’s French) is the marvelous and quite simply the luckiest (and most deserving) performer of the Pride and Prejudice soundtrack.  To speak plainly, it is beautiful, passionate, entertaining and altogether wonderful for all listeners.  If you have heard these numbers and did not like them, you either were predisposed to dislike them or you don’t understand good music.  It is truly a treasure and most certainly a must for all music lovers both young and old. 

In spite of sounding old and classical, this whole score is remarkably original.  Having only a couple pure classical pieces, it is actually nearly impossible to tell which tracks are contemporary and which are archaic.  

A great majority of these songs, especially the latter half of the album are very moving covering all the emotions which love brings.  From soft solo cello to intense piano and orchestra, this music always puts you at ease and calms the spirit.  There are a couple of tracks which are energetic and masterfully performed by apparently very accomplished musicians in the art of chamber music.  Pride and Prejudice also contains seamless handoffs between winds and piano.  There is never a break in beauty.  It goes from beautiful to even more breathtaking.  

To give a better idea of the style of music I am talking about, the first half of this soundtrack is very Mozart in terms of texture, energy and joy.  Thus it is very joyful and really draws you into the time period which is so stunningly portrayed in the movie.  Listening to the music after watching the silver screen, it is not at all difficult and, I must say, irresistible to find yourself living the motion picture itself.  

The latter half of the album contains very passionate pieces of music played principally by cello and piano.  It is hard to describe these last few tracks in how soft and yet how intense they are.  

All this to say, I really can’t pronounce Thibaudet’s name so I wouldn’t recommend reading this post aloud but hey, maybe you can find one of those frozen chosen who actually can.  On a more serious note, there isn’t a single track I would skip on this album and I would highly recommend this soundtrack to anyone seeking not only a dollar well spent, but also soothing music for all occasions. 

James Newton Howard

  Young, ambitious, and in need of development pretty well sums up James Newton Howard’s music.  He very often finds a good melody and can’t quite get off of it and branch out.  This, in my opinion reduces what I call the re-playability.  Even in spite of this seemingly critical factor, his melodies are quite often breathtaking and very original.  I have never firstly, heard any track that sounds alike with Howard’s music nor secondly, a score who’s melody sounds like another even within his own repertoire.  All of his scores, yes, have the same sensitivity to them, but unlike even giants such as Williams, Zimmer and Shore, Howard’s all seem to have a distinct uniqueness to them which is always enjoyable.  I am obviously not talking about song to song, but album to album. 

His most famous scores include the titles, I am Legend (His best in my opinion), Defiance (performed by Joshua Bell), The Ring (1 and 2), Lady in the Water, Batman Begins, The Dark Knight and The Village. 

In regards to the Batman movies, Howard cowrote both of these scores with my favorite composer, Hans Zimmer who, oddly enough was Howards former mentor.  Both student and teacher have put together award winning scores which are the cutting edge in the future of movie music.  Their music make these movies what they are. (I will post further on these scores to give more detail). 

For a little further insight into what I meant about this man’s music not being very re-playable, he hasn’t really mastered the art of hiding themes so that the listener doesn’t recognize he or she is listening to the same theme.  Thus it isn’t a, “Oh this man’s music is so great!” rather it is more of a, “Oh, its this theme again.”  Great themes nonetheless, using different rhythm, instruments and chord progressions seem to be his greatest weakness. 

I would recommend I am Legend over all his other scores I’ve heard thus far.  Most listeners who like entertaining and passionate music will probably like this soundtrack as well as some of his others.  There are a couple of tracks which are very intense and would most likely get skipped by the majority of listeners, but there are quite a few piano/string tracks which are simple and elegant.  The Batman duo I would only say young people would enjoy.  Both, quite often have a heavy rock feel to them and The Dark Knight in particular has a very edgy and dark feeling to it. 

I encourage you to search out Howard because once you find his beauty, his pieces seem to always leave the listener wanting more. Be prepared to find gold but bring a shovel because his gems are buried beneath a layer of immature melodic development.  Cautious buying and good research are the most reliable treasure map with James Howard. 

John Williams

Appropriately the first man to be written about on this blog because he was the first man to make movie music matter, John Williams. 

His music can be described in a few short words, brassy, spastic, and majestic.  Not as bad as it sounds but his strings are particularly sporadic in their melodic direction.  Which means, for those who have NO IDEA what I just said, the notes tend to be farther apart with many sharps and flats. Thus the melodies, especially the strings, sound more choppy (and thus harder to read for the player). His music is characterized however with legendary themes such as Star Wars, Indiana Jones, Jaws, Seven Years in Tibet, E.T., The Olympics Theme, Jurassic Park, Schindler’s List, Simple Gifts (played at President Obama’s 2009 inauguration) Hook (with Robin Williams) and Saving Private Ryan just to name a few.  Obviously an amazingly prolific writer.  

In contrast to the usual less melodic strings, there is always the inspiring brass fanfares which inevitably end up in William’s scores.  There is also quite often one short section which takes a very good knowledge of music theory to understand.  Take the Olympic Centennial – Summon the Heros for example.  Starting with a huge brass fanfare, it then drops to a solo trumpet which conveys the depth of endurance and passion in the hearts of competitors.  After the melody is traded back and forth between the strings and brass, about 4 minutes into the piece, he gives you exactly what I am talking about in the mildly dissonant section.  Keep that in mind with all his music.  Although itunes gives a sampling of the “best section”, Williams may throw one of these sections in without warning which might ruin the piece for you depending on how dedicated you are to always understanding where the melody is going.  In buying Williams, it is important to know what you are looking for.  Talk to those who have bought his soundtracks before so you don’t fall prey to one of his less desirable scores.  If you are just looking for a CD packed full of these renowned numbers, he has a few of them out of all his greatest.  A good buy in my opinion. (John Williams Greatest Hits 1969 – 1999 2 CD set. Really not too expensive) 

My most favorite Williams theme is the Duel of the Fates from his score for The Phantom Menace.  Its just a stunning choral piece filled with passion, excitement and surprises.  If you love intense, loud and inspiring music, you will love this one I’m sure. 

John Williams, to sum it up, has amazing talent for the majestic themes (Star Wars, Indiana Jones etc.) and amazing sensitivity (Schindler’s List, Seven Years in Tibet), but if you are looking for something to listen to that doesn’t require your entire mental capacity, I would not recommend Williams.  If you are, however looking for the man who started it all and for some really great music for road trips and enjoyment, this guy really delivers the entertaining themes.