Last Saturday evening, October 4,
the St. Louis Symphony Orchestra and chorus had taken the stage for the 2nd
half of the concert, tuned and Markus Stenz, the guest conductor for the
concert and soloists had entered, ready to perform the incredible “Requiem” by
Johannes Brahms. Just as the conductor
began to step onto the podium, chanting broke out in the form of singing, and
banners calling for justice for Mike Brown and the recognition of issues of
systematic racism were unfurled.
Leaflets were dropped – “A Requiem for Mike Brown.” This continued for a little while. Eventually the protestors left the hall and
the concert continued and the Brahms was performed.
It has been interesting, and also
discouraging, to read the various accounts of this event – from both
sides. First though, let me say that I
am supportive of the protestors. I
support their call for justice, and their passion for calling attention to
institutionalized racism that is so incredibly pervasive that it sometimes
boggles the mind. The militarization of
the police is also very troubling. And
when you add those two things together you have a lethal mix. Mike Brown, Trayvon Martin and so many others
are victims of this mix of racism and resorting to violence as an initial
response. How many children need to be
killed before we take a serious look at the issues of racism and pervasive
violence in our society? Violence begets violence – and violence solves nothing
it just makes everything worse. This protest drew attention to these things in
a way that was appropriate.
Even so, I have to say I think the
protest ended too quickly and in the process a wonderful opportunity was
missed. It is disappointing that the
protestors left the hall after the protest.
How much better it would have been if they had simply sat down and
experienced the Brahms in honor and in memory of Mike Brown and all of the
others who have been victims of racism.
The protest gave us faces for this requiem. How disappointing than they didn’t see it
through. The incredible music and beautiful
biblical text of this work is such a profound statement of healing and love. What more appropriate piece is there?
Brahms composed the work between
1865 and 1868 in response to loosing people in his life who were very dear to
him. He purposefully chose not to use
the traditional Latin text of the Requiem Mass (set in Requiems by Mozart and
Verdi). Instead he chose a series of
Scripture texts that he felt reflected his own feelings and that he found
comforting and profound. He set these
texts – in German – in hopes that others would find this work both approachable
and comforting. I have always found this
work to be a very powerful and moving experience. Indeed, Brahms himself is
quoted as wanting to change the title from “A German Requiem” to “A Human
Requiem.”
There is another reason I found
their leaving before the performance a disappointment that has been reinforced
by some of the published commentary on social media. And this is that leaving before the
performance further reinforces the divisions in our society. The Us
vs. Them dichotomy. The US who
believes in justice and works for these issues as opposed to THEM – those
wealthy entitled rich white folks who attend the symphony; Or – the US who are
civilized and like to be entertained at the symphony vs. THEM, those outsiders
and troublemakers who interrupt my evening outing. These are two sides of the same coin. But I think both attitudes are myopic and are
simply not in touch with reality.
Now, I certainly understand that
there is the impression that the arts – especially the performing arts,
classical music, chamber music, orchestras and operas – are for the wealthy and
the entitled. This is partly due to the
fact that the performing arts require a lot of financial resources. It is expensive to produce opera and maintain
a great orchestra. And in our day of
declining government support a lot of the money comes from wealthy men and
women. This is a two-edged sword. The capital is desperately needed and without
it orchestras and opera companies could not continue. But it does give the impression of elitism,
which is not aided by the attitudes of some of these wealthy donors who seem to
glory in this elitism and send their contributions with a large dose of
expectation that they get to call at least some of the shots. This attitude of entitlement is, in my view,
one of the most dangerous challenges to the performing arts. Wealthy, entitled men and women who have no
qualifications other than their money dictating artistic values and
issues. We see this playing out in
Atlanta right now, and I have seen it over and over again in lots of other arts
organizations from Peoria to Minneapolis.
“But I come to the opera/to the
symphony to be entertained!” Then you
have come to the wrong place.
Entertainment is only one dimension of great art. It will and must also connect you to
something deep inside of you – it will and must push you to recognize the
deeply human dimension of your life – your emotions, your losses, your joys,
you sorrows – it is all there. And in
the process it will also connect you to other human beings of all races and
economic classes. This is what art is
for and this is why the wealthy and powerful down through history have tried to
control and suppress great art. It is
dangerous. It is dangerous for folks to
begin to get in touch with their own humanity and begin to see themselves in
community with others. But it is also powerful
and liberating.
For those with means – your support
of the arts is both an obligation and an opportunity. It is a gift to the communities in which you
live. What a great opportunity for you
to be able to support this work which will touch so many people, for the
performing arts belong to all the people.
The St. Louis Symphony belongs to all the people of St. Louis – not just
the donors, but to all the people – including the people of Ferguson! And this music can transform and deepen our
commitment to each other and to the work of justice. This is why I want the protestors to come
back to the symphony. It is their
symphony too. That Brahms performance is
for them and for Mike Brown and for all of us.
For… “the ransomed of the Lord shall return, and come to Zion with songs and
everlasting joy upon their heads: they shall obtain joy and gladness, and
sorrow and sighing shall flee away.” Isaiah
35:10 – Part II, Brahms “German Requiem.”
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