Talk: Music as an Icon of Cosmic Salvation

This talk was given at St. Nicholas Orthodox Church (UOC-USA) in Charlottesville, VA.  In it, Fr. Anthony presents Orthodoxy's sacramental view of creation and uses music as an example of how the royal priesthood, in Christ, fulfills its commission to pattern the cosmos according to that of Eden.

My notes from the talk:

I’m grateful to be back in Charlottesville, a place stitched into my story by Providence. Years ago, the Army Reserves sent me here after 9/11. I arrived with a job in Ohio on pause, a tidy life temporarily dismantled, and a heart that didn’t care for the way soldiers are sometimes told to behave. So I went looking for an Orthodox church. I found a small mission and—more importantly—people who took me in as family. A patient priest and his matushka mentored me for six years. If anything in my priesthood bears fruit, it is because love first took root here.

Bishops have a sense of humor; mine sent a Georgian convert with no Slavic roots to a Ukrainian parish in Rhode Island. It fit better than anyone could have planned. The Lord braided my history, discovering even ancestral ties in New England soil. Later, when a young man named Michael arrived—a reader who became a subdeacon, a deacon, and in time a priest—our trajectories crossed again. Father Robert trained me; by grace I was allowed to help train Father Michael; and now he serves here. This is how God sings His providence—melodies introduced, developed, and returned, until love’s theme is recognizable to everyone listening.

Why focus on music and beauty? Because they are not ornamental to the Gospel; they are its native tongue. Beauty tutors us in a sacramental world, not a “God of the gaps” world—where faith retreats to whatever science has not yet explained—but a world in which God is everywhere present and filling all things. Beauty is one of the surest ways to share the Gospel, not as salesmanship or propaganda, but as participation in what the world was made to be. The Church bears a particular charism for beauty; secular beauty can reflect it, but often only dimly—and sometimes in ways that distort the pattern it imitates. Beauty meets the whole human person: the senses and gut, the reasoning mind, and the deep heart—the nous—where awe, reverence, and peace bloom. Music is a wonderfully concrete instance of all of this: an example, a symbol, and—when offered rightly—a sacrament of sanctifying grace. 

Saint John begins his Gospel with the Logos—not a mere “word” but the Word whose meaning includes order, reason, and intelligibility: “All things were made through Him.” Creation, then, bears the Logos’ stamp in every fiber; Genesis repeats the refrain, “and God saw that it was good”—agathos, not just kalos. Agathos is goodness that is beautiful and beneficial, fitted to bless what it touches. Creation is not simply well-shaped; it is ordered toward communion, toward glory, toward gift. The Creed confesses the Father as Creator, the Son as the One through whom all things were made, and the Spirit as the Giver of Life. Creation is, at root, Trinitarian music—harmonies of love that invite participation. 

If you like, imagine the first chapter of Genesis sung. We might say: in the beginning, there was undifferentiated sound; the Spirit hovered; the Logos spoke tone, time, harmony, and melody into being. He set boundaries and appointed seasons so that music could unfold in an ordered way. Then He shaped us to be liturgists—stewards who can turn noise into praise, dissonance into resolution. The point of the story is not that God needed a soundtrack; it is that the world bears a pattern and purpose that we can either receive with thanksgiving or twist into something self-serving and cacophonous. 

We know what happened. In Adam and Eve’s fall, thorns and thistles accompanied our work. Pain entered motherhood, and tyranny stalked marriage. We still command tools of culture—city-building, metallurgy, and yes, even music—but in Cain’s line we see creativity conscripted to self-exaltation and violence. The Tower of Babel is the choir of human pride singing perfectly in tune against God. That is how sin turns technique into idolatry. 

Saint Paul describes the creation groaning in agony, longing for the revealing of the sons and daughters of God. This is not mere poetic flourish; it is metaphysical realism. The world aches for sanctified stewardship, for human beings restored to their priestly vocation. It longs for its music to be tuned again to the Logos. 

Christ enters precisely there—as the New Adam. Consider His Theophany. The Jordan “turns back,” the waters are sanctified, because nothing impure remains in the presence of God. He does not merely touch creation; He heals it—beginning sacramentally with water, the primal element of both life and chaos. In our services for the Blessing of Water we sing, “Today the nature of the waters is sanctified… The Jordan is parted in two… How shall a servant lay his hand on the Master?” In prayer we cry, “Great are You, O Lord, and marvelous are Your works… Wherefore, O King and Lover of mankind, be present now by the descent of Your Holy Spirit and sanctify this water.” This is not magic; it is synergy. We offer bread, wine, water, oil; we make the sign of the cross; we chant what the Church gives—and God perfects our offering with His grace. The more we give Him to work with, the more He transfigures. 

And then Holy Friday: the terrible beauty of the Passion. Sin’s dissonance swells to cacophony as the Source of Beauty is slandered, pierced, and laid in the tomb. Icons and hymns do not hide the scandal—they name it. Joseph and Nicodemus take down a body that clothes itself with light as with a garment. Creation shudders; the sun withdraws; the veil is rent. Liturgically, we let the discomfort stand; sometimes the chant itself presses the dissonance upon us so that we feel the fracture. But the dissonance does not have the last word; it resolves—not trivially, not cheaply—into the transcendent harmony of Pascha. On the night of the Resurrection, the church is dark, then a single candle is lit, and the light spills outward. We sing, “Come receive the Light from the unwaning Light,” and then the troparion bursts forth: “Christ is risen from the dead, trampling down death by death…” The structure of salvation is musical: tension, longing, silence, and a resolution that is fuller than our peace had been before the conflict. 

Here is the pastoral heart of it: Christ restores our seal. Saint Paul says we are “sealed with the promised Holy Spirit.” Think of a prosphora seal pressed into unbaked dough; the impression remains when the loaf is finished. Sin cracked our seal; everything we touched bore our corruptions. In Christ, the seal is made whole. In Baptism and Chrismation, that seal is pressed upon us—not only on the brow but on the whole person—so that our very engaging with the world can take on the pattern of the Logos again. We do not stop struggling—Paul’s “what I would, I do not”—but we now struggle inside a music that resolves. Even our failures can become passing tones on the way to love, if we repent and return to the key. 

This is why the Church’s common life matters so much. When we gather for Vespers and Liturgy, we enact the world’s purpose. The Psalms give us perfect words; the Church’s hymnody gives us perfected poetry. Music, rightly offered, is Logos-bearing—it is rational in the deepest sense—and love is the same. Music requires skill and repetition; so does love. Music benefits from different voices and timbres; love, too, is perfected when distinct persons yield to a single charity. Music engages and transfigures dissonance; love confronts conflict and heals it. Music honors silence; love rests and listens. These are not analogies we force upon the faith—they are the way creation is built. 

The world says, “sing louder,” but the will to power always collapses into noise. The Church says, “sing together.” In the Eucharistic assembly, the royal priesthood becomes itself—men, women, and children listening to one another, matching pitch and phrase, trusting the hand that gives the downbeat, and pouring our assent into refrains of "Lord have mercy" and "Amen." The harmony is not uniformity; it is concord. It is not sentimentality; it is charity given and received. And when the Lord gives Himself to us for the healing of soul and body, the music goes beyond even harmony; it becomes communion. That is why Orthodox Christians are most themselves around the chalice: beauty, word, community, and sacrament converge in one act of thanksgiving.

From there, the pastoral task is simply to help people live in tune. For families: cultivate attentiveness, guard against codependence and manipulation, and practice small, steady habits—prayer, fasting, reconciliation—that form the instincts of love the way scales form a musician’s ear. For parishes: refuse the twin temptations of relativism and control; resist both the shrug and the iron fist. We are not curators of a museum nor managers of a brand; we are a choir rehearsing resurrection. Attend to the three “parts” of the mind you teach: let the senses be purified rather than inflamed; let the intellect be instructed rather than flattered; and let the nous—the heart—learn awe. Where awe grows, so does mercy.

And for evangelization in our late modern world—filled with distraction, suspicion, and exhaustion—beauty may prove to be our most persuasive speech. Not the beauty of mere “aesthetics,” but agathos beauty—the kind that is beautiful and beneficial, that heals what it touches. People come to church for a thousand different reasons: loneliness, curiosity, habit, crisis. What they really long for is God. If the nave is well-ordered, if the chant is gentle and strong, if the icons are windows rather than billboards, if the faces of the faithful are kind—then even before a word is preached, the Gospel will have begun its work. “We no longer knew whether we were in heaven or on earth,” the emissaries of Rus’ once said of their time at worship in Hagia Sophia. Beauty did not close their minds; it opened them to truth. 

None of this bypasses suffering. In fact, beauty makes us more available to it, because we stop numbing ourselves and begin to love. The Scriptures do not hide this: the Jordan is sanctified, but the Cross remains; the tomb is real; the fast is pangful. Yet in Christ, dissonance resolves. The Church’s hymnody—from Psalm 103 at the week’s beginning to the Nine Odes of Pascha—trains us to trust the cadence that only God can write. We learn to wait in Friday night’s hush, to receive the flame from the unwaning Light, and to sing “Christ is risen” not as a slogan but as the soundtrack of our lives.

So: let us steward what we’ve been given. Let us make the sign of the cross over our children at bedtime; let our conversations overflow with psalmody; let contended silence have a room in every home; let reconciliation be practiced before the sun goes down. Let every parish be a school for choir and charity, where no one tries to sing over his brother, and no one is left straining alone in the back row. If we will live this way, not perfectly but repentantly, then in us the world will begin to hear the old pattern again—the Logos’ pattern—where goodness is beautiful and beauty does good.

And perhaps, by God’s mercy, the Lord will make of our small obedience something larger than we can imagine: a melody that threads through Charlottesville and Anderson, through Rhode Island and Kyiv, through every parish and prison and campus, until the whole creation—long groaning—finds its voice. Let God arise. Let His enemies be scattered. Christ is risen, trampling down death by death, and upon those in the tombs bestowing life.