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"There is a need for the light of the gospel to permeate the arts community, … to reverse the tide of a poisonous, self-destructive attitude," says Douglas Yeo, bass trombonist for the Boston Symphony Orchestra. "The problem really is spiritual, an unwillingness to fulfill the role that we have clearly defined for us in the symphony orchestra."

Audiences would be amazed at the attitudes among symphony members, Yeo thinks.

When one thinks of unreached people groups, classical musicians aren't likely to spring to mind. But hundreds of musicians are aiming to reach the world of classical music with a Christian witness. Yeo openly shares the gospel and his views on the brutal competition in classical music, employing his Web site (yeodoug.com) as a forum.

He believes Christian musicians can be role models, pointing to Paul's description of the body with each member having its part. His part is third trombone, and he is content with it—an attitude apparently rare in the competitive world of classical music.

John Kasica, percussionist with the St. Louis Symphony, says he applies Christ's servant philosophy to his fellow professionals. "If you serve your colleagues and give them the first opportunity to have the best part, and encourage them and help them sound better rather than compete with them—let them be the best—you reap what you sow. God will position you to do the best work. Now that takes a lot of faith in God—to die to your own talent—but that's what it takes."

"With the arts, you have an opportunity to bring the gospel to people in creative ways. We don't always have to use words." notes Kasica's wife, Paula, a professional flautist.

The desire to communicate God's glory through beautiful music was a motivating force behind the founding of the Christian Performing Artists' Fellowship (CPAF), which got its start in Washington, D.C., by holding professional classical music performances by Christians. Since its inception in 1984 with six founding members, CPAF has grown to about a thousand members, mostly professional musicians and academicians in the performing arts, including music, theater, and dance.

Members of CPAF study the Bible and grapple with everyday applications of biblical teachings to their craft. They also go to great lengths to learn the language of their "people group" extraordinarily well. While excellence in art is an end in itself, they believe their musical credentials must be beyond question in order to gain a hearing for the gospel with their colleagues, as well as witness to paying audiences who expect the best. All this takes hours of daily practice.

Two years ago, in its quest for virtuosity, CPAF debuted the MasterWorks Festival, a summer camp for promising Christian music students ages 14 to 24. The faculty includes musicians from major orchestras such as the National Symphony (D.C.), the New York Philharmonic, and the Pittsburgh Symphony, and instructors from leading schools of music, including Juilliard and Eastman in New York State.

Held annually at Houghton College in rural western New York, the festival is designed to help young musicians hone their skills to the highest level in preparation for classical music careers, while at the same time providing spiritual instruction to help them avoid compromising their Christian character. One morning, Alan Harrell, cellist with the Cleveland Orchestra, led campers in a clapping exercise to demonstrate how hard it is to go against the beat—as Christians in a worldly environment must do all the time. On another day, Roslyn Langlois, a pianist from Tasmania and resident camp counselor, gently addressed the issue of competition: "If we have a sneaking fear or a worry about someone being better than us, the Holy Spirit is there to say, 'Love them, bless them, give thanks for their gifting. Don't worry, I'll look after yours.' "

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October 5 1998, Vol. 42, No. 11