The Bible has inspired all types of music through history. Classical music traditions of the world have largely originated in music composed for religious worship, and the influence of the Christian Church on European music isn’t any exception. Folk traditions in Christian communities have an equally wealthy heritage of telling Bible stories through song, and we still see the legacy of those in Christmas carols and nativity plays.
The long history of exchange between so-called sacred and secular music means the Bible is commonly found hiding in plain sight, even in a concert that has no religious purpose. Meanwhile, sung services at cathedrals and university chapels still attract considerable ‘audiences’ who wish to listen to choral music performed in its original setting.
We often hear that the Bible is being dismissed as irrelevant, yet it continues to be given an expressive voice in music and other art forms, its stories and poetry still appealing to audiences who would not otherwise read it for themselves.
Here is my quick guide to where you may find the Bible on the BBC Proms this 12 months. Whether you end up standing with other prommers on the Royal Albert Hall, or listening to the radio while standing on the kitchen sink, make sure you be aware of the numerous and varied ways the concert events could give you recent perspectives on familiar (and fewer familiar) Bible passages.
Songs and hymns from the Bible
Some of those are composed for church worship, but others arise from personal devotion, interest or curiosity in regards to the biblical texts. Anton Bruckner composed out of deep personal faith, and his biblical settings are well represented with Psalm 150 (19 July) and three more motets of varied origins drawing from Psalms 37 and 89, Genesis 28, Exodus 3 and Philippians 2 (1 September). Other composers have looked to the Old Testament as sources of inspiration to meditate on their Jewish heritage. These include Ernest Bloch’s settings of Psalms 137 and 114 (4 August) and Steve Reich’s Jacob’s Ladder inspired by the story in Genesis 28 (30 August).
An entire day of mostly sacred music from the English choral tradition has been scheduled (7 September). Among other hymns, it will include Hubert Parry’s coronation anthem I used to be glad (Psalm 122), three motets and selections from part songs by Charles Villiers Stanford (Book of Wisdom 3, Luke 24, John 20, Acts 1, Psalm 119, John 19), John Ireland’s Greater Love Hath no Man (John 15) and Edward Elgar’s Give unto the Lord (Psalm 29). Later that very same day, there might be a concert that may include two gospel songs inspired by Bible passages, He’s got the entire world in his hands (2 Timothy 1) and Didn’t it rain? (Genesis 6—9), in addition to a workshop that may invite the audience to take part in these songs.
The Bible in conversation with other texts
Catholic and Orthodox liturgies for the mass, and particularly the mass for the dead (referred to as the Requiem), have been the topic of many major compositions. Many of those ancient texts are drawn from biblical sources, but are sometimes set alongside other poetry and prayers. Verdi’s Requiem (23 July) and Faure’s Requiem (4 September) are perhaps essentially the most famous, and interesting for the undeniable fact that neither Verdi nor Faure were especially religious. Drawing from more odd sources, Janacek’s Glagolitic Mass (28 August) is a rare setting of a mass translated into Old Church Slavonic, and John Tavener’s Song for Athene (25 August) combines Orthodox funeral texts with texts from Shakespeare in memory of an actress of Greek heritage.
Benjamin Britten’s War Requiem (17 August) and John Pickard’s Mass in Troubled Times (25 August) use the texts as commentary on contemporary events. Britten included texts by the war poets, composing the Requiem for the opening of Coventry Cathedral. Pickard has worked with theologian Gavin D’Costa to compile texts in five languages spanning quite a lot of religious traditions.
The Bible’s great stories in song
Oratorios could also be understood as sacred operas. They often tell stories from the Bible and were traditionally composed for the period of Lent when secular and dramatised opera performances weren’t considered appropriate. This 12 months’s Proms will include oratorios from the 2 most famous composers of the genre. JS Bach’s St John Passion (19 August) uses the Gospel of John to inform the story of Jesus’ death and resurrection, while Handel’s Messiah (7 September) draws from a broad range of texts from across the entire Bible to inform an overarching story of God’s plan for the world fulfilled through Jesus.
The poet WH Auden wrote a set of Christmas poems within the hope that it will be set to music to form a Christmas Oratorio. This project was never accomplished, aside from some individual songs composed by Britten. A Shepherd’s Carol is essentially the most well-known of those, imaginatively drawing from the story of the shepherds in Luke 2 (25 August).
Inspiration for instrumental music
Some composers have used the Bible because the inspiration for instrumental music without singers. Mel Bonis’ Salome (16 August) is a piano piece rescored for orchestra that evokes the story of the girl that demanded the pinnacle of John the Baptist (Matthew 14, Mark 6). There was a selected fascination with this character within the late nineteenth century. Oscar Wilde wrote a play about her which Richard Strauss was an opera in 1905, shortly before Bonis composed her piano piece. She later included this as a part of a series celebrating ‘Legendary Women’ alongside Ophelia and Cleopatra.
The Bible incorporates an interesting expression, that ‘the word could be very near you’ (Deuteronomy 30.14). It’s closer than you may think, and has a habit of creating an appearance in unexpected places. We may not be a nation of avid Bible-readers, but in our arts and culture it stays a remarkably familiar presence that’s definitely price celebrating.
Joanna Heath works in Bible Society’s international team and is a Visiting Fellow in Music on the Open University.
