The name of Antonio Stradivari (1644–1737) is legendary in the world of music. His violins, cellos, and violas are so treasured for their craftsmanship and clarity of sound that many have been given their own names. One of them, for instance, is known as the Messiah-Salabue Stradivarius. After violinist Joseph Joachim (1831–1907) played it, he wrote, “The sound of the Strad, that unique ‘Messie,’ turns up again and again in my memory, with its combined sweetness and grandeur.”
Even the name and sound of a Stradivarius, however, doesn’t deserve to be compared to the work of a far greater Source. From Moses to Jesus, the God of gods introduces himself with a Name above all names. For our sake, He wants the wisdom and work of His own hand to be recognized, valued, and celebrated with the sound of music (Exodus 6:1; 15:1–2).
Yet this deliverance of strength in response to the groans of a troubled people was only prelude. Who could have foreseen that, by the weakness of crucified hands, He would one day leave a legacy of eternal and infinite value? Could anyone have predicted the resulting wonder and grandeur of music sung in praise of the Name of One who died—bearing the insult of our sin and rejection—to show how much He loves us?