Hello, fellow music lovers! Today, it is my delight to share with you this musical setting of “The Beatitudes” by Philip Stopford.
Much popular music, referring specifically to much of the Top 40s that play on the radio, and the music widely consumed through movies, video games and various soundtracks are often written in some form of 4/4 time, whether complex or simple. For those of you who are not aware, 4/4 time is part of an organizational system in music called a Time Signature and musicians use this to keep track of what notes to play and when, and in 4/4, time is split up into groups of 4. If you listen to the ever popular “We Don’t Talk About Bruno” from Encanto, the shaker in the background keeps a stead beat, and you can count “One, two, three, four” over and over with it, and you will hear that the music “lines up” in feeling with this pattern. You can also practice that same exercise with “500 Miles” by Hedy West and this excellent cover of “Let Praises Rise” by Trey McLaughlin. (To be clear, there are many examples in popular music that do not follow this pattern, however, the prevailing pattern in mainstream music is some version of 4/4.) The great thing about a pattern like 4/4, and its popularity, is that it is predictable and comfortable; you know what’s coming next, no matter your level personal musical development. It is simply intuition for many, and for others, they’re keeping count and analyzing the chord progression as the music plays.
The most interesting aspect of this setting of The Beatitudes by Stopford is how it is not set to 4/4 time. As a musician reading an octavo, this means there are time signature changes almost every measure, providing a wonderful challenge even for the most seasoned of musicians. For others, it means that while listening one cannot, overall, be lulled into a steady rhythm that is predictable. Therefore, through both the physical sensation of hearing and the theoretical sense, Stopford is asking the listener to suspend comfort, and listen to the cadence of words that have been written.
As in any case, the cadence that Stopford feels, hears and expresses through his work is subjective, which is part of what makes the composition of music a magical and sacred art. Each composer having their own way of hearing and reaching Oneness through their own connection to the divine, and so many of those gifted people sharing their differing pathways with the rest of us, allows a full beautiful world of musical expression with no one right answer. Sure, one may “resonate” more with you, but none are wrong. Just different.
Stopford’s answer is a gorgeous and thoughtful one, focused on text and harmony that combine both our processing of the language and bringing to light the connotation of those words in sonic form.
So today, as you are travelling through your world, and have taken a moment to stop and enjoy this moment through this piece, find below the exact lyrics that Stopford has used, and use this recording to listen.
“Blessed are the poor in spirit, for theirs is the kingdom of heaven.
Blessed are those who mourn, for they will be comforted.
Blessed are the meek, for they will inherit the earth.
Blessed are those who hunger and thirst for righteousness, for they will be filled.
Blessed are the merciful, for they will receive mercy.
Blessed are the pure of heart, for they will see God.
Blessed are the peacemakers, for they will be called children of God.
Blessed are those who are persecuted for righteousness sake,
for theirs is the kingdom of heaven.
Blessed are you when people revile you and persecute you and utter all kinds of evil against you falsely on my account.
Rejoice and be glad, for your reward is great in heaven,
for in the same way they persecuted the prophets who were before you,
who were before you,
who were before you,
who were before you.”
Happy listening,
Chelsie