{"chapter_no":"5","chapter_title":"Hymn of Zion - Gloria in excelsis Deo","book_id":"4","book_name":"Beauty the World Has Never Seen","subchapter_no":"0","page_no":"674","page_number":"1","verses_count":0,"total_pages":3,"page_content":"

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Chapter 5<\/p>

Hymn of Zion - Gloria in excelsis Deo<\/h1><\/p>

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The message of Zion is proclaimed by the Lord through inspiring music—The first seven
movements of <\/i>Gloria by Vivaldi are linked to principles of Zion as they are performed by the choir and
orchestra<\/i>—The first movement Gloria in excelsis Deo begins the performance.<\/i><\/p>

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Lights in the auditorium were turned up. <\/p>

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Brother Williams paused for a moment while members of the Tabernacle Choir and
Orchestra at Temple Square prepared themselves. <\/p>

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\"The glory of Zion is the glory of the Lord. And glory is where we begin the choir music
for this conference. The choral composition Gloria<\/i> by the composer Vivaldi has been chosen as
the supporting theme of my talk today. For guidance, we looked at a remarkable performance of
this work from 1965 by the Robert Shaw Chorale, with soloists Adele Addison, Saramae Endich,
and Florence Kopflef. <\/p>

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\"Beautiful music is one of the most important tools we have in the gospel. But merely
listening to this special music today will not be enough. We must feel it in our souls, recognizing
it for what it is—a gift of the Spirit. The message of Zion, indeed, the voice of the Lord to the
world, is proclaimed therein.<\/p>

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\"Aided by the choir and orchestra, we will go step by step through the first seven
movements of Gloria<\/i>, relating them to the principles of Zion as we go.<\/p>

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\"In addition, it is proposed that we start a new tradition in the Church, a celebration of
Zion on the second week of June where Gloria<\/i> and other great works of music can be
performed—a feast of good music together with a feast of good food. The contents of this talk
today will be published in the Home<\/i> magazine––a new regular insert for the Ensign<\/i> each month–
as an example of the music and spoken word format that may accompany such festivals year in
and year out in stakes. We look forward to many more talks from this podium on the subject in
the years ahead. If we become energized in this work, all of our other callings and assignments in
the Church will be quickened by the Spirit of Enoch and magnified by the Lord. <\/p>

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\"So, let's begin. I am not a music expert myself, so I relied upon Carolyn greatly in
preparing this portion of my talk.\"<\/p>

\"The title of the first movement we will hear is 'Gloria in excelsis Deo.' It is the starting
point of the composition and a catalyst to get our hearts pumping. This movement is obviously
about praising the Lord, so it sounds triumphant and grand. The trumpet is complemented
intentionally by the oboe, which has a rich, thick, and penetrating sound. About thirty seconds in,
you may notice that the music pauses, and there is an echo. This is because the music is intended
to be performed in a church having a high level of reverberation. The composer intentionally
stops the music on the dominant chord, lets it ring, and then continues on with the tonic chord.<\/p>

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\"The dominant chord is the second most important chord within tonality. It is considered
a 'drama or tension bringer' and precedes, in most cases, the tonic chord, which is perceived as
the one that brings the tension down and back home. <\/p>

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\"The dominant chord is like the spark that ignites us when we have desire in the gospel;
whereas, the tonic chord is like the humility and serenity we feel at the end of the day when
kneeling together in family prayer. Desire might also be likened to the horse Aldebaran of Ben
Hur––the swift and powerful horse that pulled the chariot along from the outside. Humility is the
horse Antares––the slow and steady horse that anchored the chariot team from the inside,
particularly around turns, preventing Aldebaran from taking the chariot off course and out of the
charioteer's control. A catalyst for Zion––a charioteer––needs desire to excel in the gospel, but
he needs also humility and constancy of purpose to stay under control and to steer a steady
course<\/span>.<\/p>

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\"String instruments have a D tone [sound] as an open string, which means the player does
not shorten the string with his or her fingers, thus enabling the string to sound in its full length
and give it more power and sonority—exactly what is needed in this type of music. It is as
though the Spirit of God is moving upon the strings rapidly, back and forth, without ceasing. Our
hearts are very much like these strings. The Spirit moves briskly upon them, back and forth, to
raise us up from normalcy—our calm waters in life—and into a powerful storm of love and good
works in the gospel.<\/p>

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\"In Latin, excelsis literally means in the highest degree. There are multiple translations of
Gloria in excelsis Deo. In this first translation, the highest degree refers to glory—the highest
degree of glorification of people towards God. Another translation refers to the place where God
resides––in other words, heaven. A true meaning or translation might be the combination of
both, for both interpretations seem valid and true. But we should avoid getting caught up into the
precise English translation of the lyrics used in Gloria<\/i> or we will lose sight of the big picture.
Zion is about our feelings in the gospel and not about definitions of words or doctrinal
expositions. <\/p>

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\"Listen at about one minute and, also, at about one minute and twenty during this
movement. The powerful voices of the Choir will fill this auditorium as you have never heard
them before, taking us with them into the presence of God. A fulness of sound will pass through
your body, a fulness that transcends music itself and uplifts your soul. There is gradual
ascension, as though Zion is just off on the horizon and well within reach.\" <\/p>

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Brother Williams paused his talk and stepped away from the podium. <\/p>

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Immediately, the conductor stood up and took control, like a general coming forth to lead
his soldiers into battle, or like a stake president rising up to take direct command of the
priesthood holders in his stake and lead them forward in the cause of Zion. The conductor
glanced at each section of the orchestra and then upwards at the choir. Everyone was ready. It
was time to begin.<\/p>

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The orchestra went first, filling the auditorium with music. The choir followed. A
delighted audience listened excitedly for the next two and a half minutes until the auditorium
became silent again. It was a masterful performance!<\/p>

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A few seconds passed, then Brother Williams approached the podium again. <\/p>

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\"Let me start,\" said Brother Williams, \"by asking this question: Can we all agree that this
first performance of the Choir just now was lukewarm and a little wishy-washy? Should we ask
them to start over and try again?\"<\/p>

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Coming to order and caught off guard, the audience reacted in shock, quietly whispering
such things as What is he saying<\/i>? Of course not! <\/i>The <\/i>C<\/i>hoir<\/i> was amazing!<\/i><\/p>

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Brother Williams beamed at the audience and broke into a smile. <\/p>

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\"Surely, we all know better! In fact, Carolyn and I had the pleasure of hearing this first
piece a number of times during rehearsals. Even in practice sessions, the Choir sang out with
unmatched conviction, leaving no doubt that they are inspired musicians. <\/p>

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\"I asked this question of you for a reason. Imagine if all of our congregations throughout
the Church were to stand up and sing the opening hymn of stake conference every month with
this same power and energy. Would we even need speakers at all? Perhaps we would, but only as
filler to provide rest between great moments of song as we raise our voices in glory to God. <\/span><\/p>

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\"That, most assuredly, would be the sound of a stake that is on the move in the gospel!<\/span>\"<\/p>

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