Article
Culture
Re-enchanting
4 min read

The falcon’s call

Awed by an encounter with a bird of prey high above a Texas river, Anthony Baker ponders both the place and his place.

Anthony Baker is a theology professor at Seminary of the Southwest in Austin, Texas. He is currently exploring the intersection of classical accounts of Christian holiness with current issues in ecology. 

A view of a lightly misted valley to mountains in a desert area.
The view from the South Rim of the Big Bend National Park.
National Park Service Digital Image Archives, Public domain, via Wikimedia Commons.

Seeing God in Big Bend

The scream from the sky shattered the quiet calm of my cliffside campsite. I'd never heard such a sound—it was like a large crow had decided to try and quack. I rushed out of my tent, where I'd collapsed after making the seven mile trek up the mountain, to find the source of this alarming noise.

I was up on the rim of Big Bend National Park in southwestern Texas, where I'd come on a solitary backpacking retreat. The "big bend" is the abrupt L-turn of the Rio Grande river, as it changes course from southeast to northeast. At the heart of the park rise the stark and severe Chisos Mountains, and the crown jewel of the Chisos is surely the South Rim. A thousand feet beneath me, a sheer drop from where I've staked my tent, there is a whole other mountain range. And ten miles away to the southeast I could see gorgeously striped limestone ridges across the river in northern Mexico.

It's a place that puts you in the presence of the sublime.  Everett Townsend, the pathfinder responsible for bringing the region under the protection of Franklin Roosevelt's government, was particularly awed by this view. As a biographer put it, the view from the South Rim allowed him to

"see God as he had never seen Him before and so overpoweringly impressed him that he made note of its awesomeness…"

What does it mean, though, to see God in a place? Do I need to be up high and far away, staring into sublime depths? The South Rim gives me the impression that I'm hovering like an eagle over the earth, not standing on it like a human. Why are these the places that we think we sense the divine? 

I'd like to think that seeing God in a place can be just as much about close and near attention as it is about sublime distances. What does God look and sound like here, if I stand on the ground and pay as much attention as I can to what I see and hear around me?

The Falcon's cry

I had no Internet connection on the Rim, so when I heard that bird cry out over my head I tried to burn the sound into a mental audio file. Jumping from my tent, I saw a large predator bird shooting directly above me and out over the cliff's edge. The size and shape—a large flying crossbow—told me that I'd been hailed by a peregrine falcon. A sign near my site told me that the section of the ledge where I was camping—where the South and East Rims meet—is in fact a protected nesting ground for the birds, closing to human trekkers each spring.

The peregrine is the world's fastest animal of any kind. They can dive at 200 miles per hour. That means they can only hunt birds in flight, since if they attacked anything on the ground at that speed they would both wind up, as my Granny would put it, "nothing but a greasy spot on the pavement."

A display down at the park's visitors' center had already filled me in on the near demise of the remarkable bird. DDT, a killing-machine of a pesticide that Rachel Carson called out in her book The Silent Spring in the 60s, triggers an immuno-response in female birds who have ingested it into their bodies. This response limits the calcium they can supply to their eggshells. As a result, the eggs were too vulnerable to predators or simply weather, and the embryos were not surviving.

We gave the Nobel Prize to the scientist who discovered how to use DDT to kill insects. It made so much sense, after World War II, to find ways to kill the pests who were spreading disease among the wounded soldiers and other victims of the war. But we were not yet thinking, in those days, about what else we might be killing. Now we're at least thinking, even while we're still killing.

Sin and redemption on the mountain 

What does the falcon, soaring off the Rim, reveal to me about God? Consider, for instance, the doctrine of sin. Taken as an abstraction, sin is what theologians call the manifold ways that humans can turn from their holy God.  But what if we fill that doctrine in with attentiveness to the story the falcon tells us? Here on the Rim, sin looks like failing to be awed enough by this remarkable life form to notice, until almost too late, that we are killing it. 

Similarly, redemption, in the Christian telling of things, refers to the way that God overcomes sin and restores holy relationship. Here on the rim, redemption looks like a shared grief over the damage we've done. It looks also like the effort to protect this space as a bird sanctuary—literally a "holy place." It looks like a hope that falcon and human, like the bird and its own prey, can find a balance of mutual respect and coexistence.

The warning call of God

When I came down the mountain, I got on the Wi-Fi at the lodge outside the park and went searching for bird calls. I found a match for the sound that I'd heard - that caw-quack of a scream. It was the warning call of a peregrine falcon who has found predators in its nesting grounds. The bird was talking about me! Maybe somewhere in her DNA she recognized me as one of the DDT users that ruined her ancestors' eggshells. Hearing that call, as the bird flew off into sublime depths and distances, I suspect I was hearing about the mystery of life, the damage of sin, and the beauty of redemption. In other words, I was hearing the voice of God.

Article
Art
Faith
Music
5 min read

Music and religion belong together

The connections between music and faith and the mystery within.

After 15 years as a lawyer in London, Oliver is currently doing a DPhil at the University of Oxford.

A pianist plays in the foreground and a seated singer gestures with eyes closed behind
Rachel Chaplin accompanies Evi Dobner.

J.S. Bach, Handel, Haydn, Mozart, Beethoven, Bruckner, Elgar. The list could go on and on. That is – a list of composers and musicians who wrote music for and played music within the Church. The roots of Western classical music are in the church, as Jeremy Begbie shows in his book Resounding Truth. In fact, it was only relatively recently that ‘popular music’ meant music outside of the Church. The Church has been a great sponsor of the arts throughout modern history, not least in the great Michaelangelo. It is time for that sponsorship of human creativity, in all its forms, to return (see the Renaissance project of Wycliffe Hall, Oxford, for a new initiative on precisely this).

Why is it, though, that music and religion can sit so closely alongside one another? And why, in this day and age, might it be time for the two to reconnect?

For all its form and structural devices, there will always remain a horizon of mystery about music. Roland Barthes called music a field of signifying and not a system of signs. In other words, even in its most programmatic examples, music-as-sound has a kaleidoscopic range, which refuses to be pinned down to one meaning or another. This is why Friedrich Schleiermacher in the nineteenth century found music so useful in the elaboration of his religious idea of Gefühl – an inward yearning and feeling, or, as he also called it, the intuition of the universal. And it is for this same reason that Karl Barth in the twentieth century, a passionate listener to Mozart, was so cautious of using music constructively within his theological system.

Even in its most programmatic examples, music-as-sound has a kaleidoscopic range, which refuses to be pinned down to one meaning or another.

In that sense, music is well placed to carry the new wave of Christian apologists like Elizabeth Oldfield, James K.A. Smith, or even this website, seeking a new direction away from rationalism and clever abstract truth-claims. God is both more real, and more mysterious than that. Music, in fact, can lead the way for language itself. To release language from the captivity of pointing to apparently clear and obvious truth is a distinctly Christian move. After all, we remember that truth is not what a rationalist, or an empiricist, or a logical positivist would want, but is a person, Jesus Christ. And language, like music, can embrace such a mystery. The word ‘God’, as the theologian Gerhard Ebeling once wrote, brings to utterance the mystery of reality. To refer to God is the most pure possibility of language. It affirms the presence of what is completely hidden. “To speak about God”, Ebeling continued, “means to speak about reality as a whole and therefore to speak about humanity, who is exposed to reality as a whole. Conversely, to speak about God is to deny that one can speak about the world as a whole as such, by speaking only about the world, or that one can speak about humanity as such at all by speaking about nothing other than humanity.”

Whilst music without words, then, has often been assumed to be the most numinous, there is no reason why music with words should be any less numinous. Language paired with music knows a not-just-of-this-world reality. Even the most didactic settings in church hymn books engage right-brain activity, shape the memory, and therefore contribute to life formation. Ignoring that function in the shrunken assumption that the goal is simple mathematical truth is a form of sub-human, less-than-creation, folk-lore.

The word ‘God’, as the theologian Gerhard Ebeling once wrote, brings to utterance the mystery of reality. To refer to God is the most pure possibility of language. It affirms the presence of what is completely hidden.

We must celebrate, then, a whole new generation of composers who have written glorious music for Church choirs setting texts from the Bible, amongst them, Sir James MacMillan, Judith Weir, Cheryl Frances-Hoad, Arvo Pärt, Alexander and Joanna Forbes L’Estrange, and Deborah Pritchard.

And to their number, we can also now add a professional oboist, Rachel Chaplin, whose beautiful new album ‘Music from an Inner Space’, seeks to guide the listener into religious contemplation. This is an account where words and music both contribute to create a space for contemplation and prayer.

The words are most often taken from the Psalms, given stunning new accounts in these compositions for strings, trumpet, piano and soprano voice, but also in the composer’s own settings such as the remarkably poignant See Him. Psalm 51 is rendered with a bubbling brook of cleansing water rather than the deathly painfulness of Henry Purcell’s setting. A short verse from Psalm 23, ‘he leads me beside quiet waters’, manages both to be consoling and to feel unsettling, urging the listener into a new and uncomfortable space. Like a tree gives Psalm 1 one of its best-ever accounts, with a confidence, a liveliness, and a sense of purpose normally missed.

The simplicity of the vocal settings, combined with the immense skill of the accompanying players, promises for this music to be heard more widely, and reconstructed in different contexts, private and public, within and without the church. What’s more, the care of the musical curation is matched by the composer’s sourcing of paper for the liner notes, artwork for the album cover, and accompanying beeswax candle, specially designed for the album. Listening should not just be on the go. Listening should go with what Charles Taylor would call attention: stopping, lighting a candle, and breathing, still, for more than the length of time it takes to boil a kettle.

Many of us enjoy listening to music of all kinds. Most of us recognise feelings and emotions which appear to go beyond the data and push notifications which the world loudly proclaims to us. Choosing contemplation and prayer over production and wealth-creation can usher us into a form of life which is more human. Music and religious feeling were made for each other.

You can catch Rachel and the group performing the album at the Greenbelt Festival on 24 August 2024.
More details at www.rachelchaplinmusic.com