Monday Morning Music Ministry

Easter, 2024

Every Christmas, Handel’s Messiah is Top-Ten in peoples’ lives. In concert halls, churches, and community sings; on radio and TV we hear the oratorio, or at least the familiar “For Unto Us a Child Is Born” and the “Hallelujah” Chorus. Even if only once a year, this is a good thing, culturally and spiritually.

Handel’s masterpiece encompasses, as its simple title proclaims, the entire life of the Savior, from prophesy to Resurrection. Handel lived his life in Germany, in Italy, and thence to England where he generally is embraced as a British composer. Messiah actually was first performed in Dublin. I was privileged to see his writing desk on display in the Writers Museum in the Irish capital.

More provincial than Handel was his landsman Johann Sebastian Bach, born the same year, 1685, only a few miles away, although the two musical titans never met. Bach’s musical reach, however, arguably is greater than Handel’s geographical realms; as great as that of any mortal who ever hummed a tune or wrote a melody.

They may be compared – just as Christmas and Easter may be compared in the business of our lives – but if their works may be compared, it is unfortunate that Bach’s supernal religious works probably are less celebrated than Handel’s Messiah. Anyway, less “familiar” to the ears of average folks, especially during holidays. This is regrettable, because Bach wrote music of astonishing power, musically and of deep emotional import. The B minor Mass; Magnificat; more than 200 cantatas; motets; and two Passions, St John’s and St Matthew’s.

It might seem like I have begun with a predictable tangent before I have even begun this Easter message. But, no; I want to draw attention to the amazing way the human race’s greatest composer presented the Easter story. I wish it were better known to people: more familiar.

For Holy Week vespers services in Leipzig, Germany, Bach wrote the St Matthew Passion and the St John Passion, which were each performed in the St Thomas and St Nicholas churches on alternate years for decades. Three other Passions apparently have been lost. Bach wrote about 1800 pieces of music in his lifetime, and about 1200 are extant. Approximately half of his output was Christian music.

His Passions were series of cantatas to be performed during Holy Week, and in parts during services. They were similar to oratorios or operas but without costumes or drama – singers were assigned roles, and there was a musical “narrator.” The straight biblical narrative was distributed among soloists (evangelists and individual figures including Jesus, Peter, and Pilate) and choirs (various crowds, high priests, Roman soldiers, and Jews). We can appreciate the spectacle that the congregation beheld: a combination of church and theater, Greek-style drama and opera, music and voice, emotive performances.

Two broad categories commend Bach’s favored Passion (possibly the work of which he was proudest of all his compositions), The Passion According to St Matthew.

Musically, it is a succession of amazing melodies, alternating gentle beauty, then tense drama, then profound emotion. It has musical motifs and phrases interlaced, reflecting the underlying themes and meanings of events during Holy Week. The combinations of solo instruments and voices; unique combinations and harmonies; and grand choruses of voices and full orchestral power are impressive.

All is outpaced, of course, by the spiritual message, the meaning of every scene and biblical phrase, and the skill of dramatization – the masterful presentation of the events – and the spiritual significance of every element. This is not a mere recitation of happenings, or a reading of Bible verses. The “Narrator” guides us, but Bach’s composition is a stunning re-creation of the agony and ecstasy of the Crucifixion story. By the verses and voices, the St Matthew Passion provides the points of view of all the participants and observers – including God, by quoted Bible prophesies; Jesus, by His words; and even us, dramatically through the eyes of the crowds in Jerusalem.

History came to call Bach “The Fifth Evangelist,” the accolade bypassing even his spiritual mentor Martin Luther, because of his clarity of spiritual understanding and the power of his musical talent. Some 15 years ago I wrote a major biography of Johann Sebastian Bach, and with every fact I researched, every work I listened to (and listened again and again) my awe increased. He was, in the end, a theologian who could write music, the greatest that humankind has produced or heard. It will be savored as long as men have ears, in the words of H L Mencken.

My friend the Pulitzer Prize-winning biographer Edmund Morris wrote me a note wherein he called my Bach biography superior to his own study of Beethoven, if you will permit me a little boast (well, I don’t give you a choice). However, he averred that I painted a portrait of Bach as being too much of a Christian; that spirituality was not a major component of Bach’s character. I am afraid that this opinion reflected more of Edmund than it did of Johann. For all of the old German’s success, Bach confessed that he was proudest of being a follower of Christ; then, a husband and father in his community; then, a music-maker.

And here we meet the Easter theme. We must all be proudest – first importance in our lives; the focus of all we do – of “knowing Christ and Him crucified.” The Easter story, the dramatic Passions, should be read and listened to and meditated upon, every week of the year, not only during Holy Week.

Indeed, the message of the cross, the Resurrection, the Ascension, should be the themes of our lives. Church “days” are useful to help us focus, motivating our faith and devotion, reminding us of how the Savior of our souls suffered on our behalf. His sorrows and pain were endured to fully identify with broken humanity. His death was a substitute for the punishment we deserve as sinners.

God became flesh and dwelt among us, a sublime mystery. And – you know the story – His Incarnate Son’s resurrection from the dead is to show the promise of our eternal life. Unspeakable glory awaits us.

You can experience the story in what may be a new way. I recommend that you set apart a couple hours, open the link to the music video below, and let the story of Passion Week, the genius of J S Bach, and the mastery of conductor Karl Richter bathe your soul. The artistry of the performance matches the innovative music of Bach. Orchestra and choir are in a stark setting here. A giant cross above and behind the musicians changes its position amid bright and dark lighting, reflecting the tones of the unfolding Biblical text. I pray that you find the time to savor this.

And have an even more blessed Easter.

+ + +

Click: Bach St Matthew Passion BWV 244 Karl Richter in parts

3-25-24

Mama, I just don’t understand the things in Jerusalem this week. There are strange things happening every day. I am scared, very scared. And just a week ago, on the Sabbath, I was wild with joy, as I wrote you afterward. I write to you now about more recent events.

Maybe you have heard all these things. Or maybe not; maybe it will all be forgotten in a fortnight. I don’t know.

You remember how I wrote about this man called Jesus, the preacher and healer everybody talked about – some called the Messiah, including himself – how he finally entered Jerusalem. I wrote how the people, almost the whole city it seemed, welcomed him and cheered him.

Yes, I was in that happy crowd. I called his name. I put my cloak on the ground before him. I waved palms to honor him. Maybe you heard – he rode on a donkey. Some thought it strange, but you and I talked about how many ancient words and prophecies were fulfilled in his life and the things he did. Too many to number! And this was one of them, the humble king choosing to come as a servant.

Then. Day after day, it was like a nightmare. The Jewish elders accused him of blasphemy. Some people started to doubt who Jesus said he was, and made up stories about the miracles. The religious leaders made demands that the Roman rulers arrest Jesus. They threatened a revolt in the streets.

Pontius Pilate went along with their demands, and the people became a mob, convinced of all the lies being told. The Romans arrested Jesus, but that was not enough. Pilate offered the mob to pardon Jesus, but that was not enough. Jesus was thrown in jail, but that was not enough. In the public square, Jesus was stripped and whipped until the skin on his back was like bloody ribbons, but that was not enough. Usually, for the Romans, that is a virtual substitute for the death penalty, but that was not enough. The religious leaders and the mob screamed that Jesus be nailed to a cross until dead.

Pilate made a show, washing his hands of responsibility… but that was not enough.

No one spoke for Jesus. His mother wept, but all his friends scattered and claimed they never knew him. I am ashamed to say that I hid, too, and was silent. You know who else was silent? Jesus himself – he just quietly suffered. Mama, I just don’t understand.

I did watch as he carried that heavy cross to the Hill of the Skull outside Jerusalem. I watched as they nailed his wrists and his ankles to the wooden cross and raised it. I watched for three hours as he writhed in pain. He finally spoke a few words. You will be interested in things he said – he prayed to God that his tormentors be forgiven, for they know not what they do.

There were two other crosses, one on each side – condemned men. One mocked Jesus; the other called him Messiah, and begged forgiveness. Jesus uttered that the man would be with him in Paradise.

Jesus looked down on his mother, and said “Behold, your son.” Her sorrow was wrenching. Then he looked, it seemed, into my eyes too! And it was like he saw into my soul. It was like he saw all humanity. It was like he looked toward eternity.

Just before he died, he said, “It is finished,” and I wondered whether he meant his life… or his mission, his purpose. Maybe we will never know. Will this all be forgotten? It looks like the religious leaders, the government, maybe Satan himself, have won.

Mama, I don’t understand any of this. A week ago, the only things that many of us could think of were his teachings, his miracles, his healing. His love. And now… this. Please don’t condemn me. I went along with the crowd. They couldn’t all be wrong, could they? I went along with the government rulers. They couldn’t all be wrong, could they? I went along with the religious leaders. They couldn’t all be wrong, could they?

I must go to you, and let us search the scriptures together. For I seem to remember that he foretold that he would overcome death. And we have been taught that the Messiah would suffer the punishments for sin that we deserve. And he said he would rise again.

But, Mama, I have to tell you that he did die. I saw it. The skies turned dark and the earth trembled. It felt like all of creation groaned. A Roman centurion looked up and called him the Son of God. But they took his dead body from the cross. They prepared it for burial. They put him in a tomb, and they sealed it.

Mama, two days have passed, and he has not come back to life.

There are strange things happening every day, but Jesus rising from the dead is not one of them. Mama, I just don’t understand.

+ + +

Click: O Sacred Head, Now Wounded – Bach’s St Matthew Passion

4-19-21

Life goes on.

Easter is over; Memorial Day is next; Summer begins; will the lockdowns end? Oh, those politicians. Oh, those riots, Oh, those headlines. Best if I ignore TV news for awhile. Before we know it, school will start up again… or will it? I wonder if we’ll get more free checks by then?

It doesn’t always take “bread and circuses” to keep us distracted. Modern life, even without pandemic frenzy and political upheavals, presents a full agenda.

Life goes on; the sun rises, we tend to business, the sun sets, and we sleep till tomorrow. Things please us, and things alarm us… but there’s always tomorrow to worry, and, maybe, fix things. It has always been that way, right?

Just as it happened in the days of Noah, so it will be also [in the last days]: they were eating, they were drinking, they were marrying, they were being given in marriage, until the day that Noah entered the ark, and the flood came and destroyed them all.

Jesus looked ahead to our times, and (in Matthew and, here, in Luke 17) spoke about complacency, sin, self-delusion, and people taking false comfort in the meme “life goes on.” Who did He think He was, the Son of God or someone, thinking He could prophesy? What gave Him the authority to warn people?

How much worse it will be for those who never really know the Truth – never heard it, or honestly never had it presented to them. But for Christians who came through Easter, who have known the Truth, who have “accepted” Jesus, how many go through the year in effect saying, “Jesus died… Whatever.” Or “He rose from the dead… Whatever.” Or “I’ll go to Heaven, no worries” … and then eat, drink, marry, give in marriage. Whatever.

The suffering, death, resurrection, and ascension of Jesus gave humankind, in effect, a “Get Out Of Jail Free” card. That is so casual a view as to be near blasphemous, unless we realize how basically profound it is. As the saying goes, Salvation is free, but a great price was paid.

What Jesus said about the days of Noah, and our days, is that people putter about, doing this and that, when great things portend, if we would only see them. But we don’t.

Did Jesus die for your sins? Act like you know it, and thank Him!

Did Jesus rise from the dead? Act like it transforms your life too!

Did Jesus send the Holy Spirit? Act with guidance, wisdom, and power!

The Atonement was Jesus trading the punishment for your sins for the chance to live a life of love and service. The greatest deal in history, excuse my casual language again. It does not deserve a “Whatever” from those who have been redeemed.

If you do not act like your life has been transformed by Christ’s grace then, in fact… you have not been transformed.

One of the few things Jesus asked in a response was that we share the news of what He did. Can it be possible, then, to share without showing great enthusiasm? If you had a cure for cancer, and a friend or stranger had cancer, would you not share that? Even if it were “uncomfortable”? Even if they ridiculed you for trying to save their lives?

“Whatever”… and shrugging your shoulders cannot be your response.

We can have a thousand responses. But I suggest three:

1. Come (again?) to know the Truth – Jesus embodied the truth: “I am the way, the Truth, and the life.”

2. Repent of your “Whatevers.” In the St Matthew Passion is the prayer “Erbarme Dich” – Have pity, my God, for the sake of my tears!
Look here, how bitterly my heart and eyes weep before you.
Have pity, my God.

3. Share! “Go tell it!” Love others. Stay above the mundane. Rebuke the Whatevers. “Go into all the world…”

Life goes on. Act like it!

+ + +

Click: Have Pity on My Failings
J. S. Bach – “Erbarme Dich, Mein Gott”

Easter 2016

An early Easter message. Appropriate, because I would like us to wrap Good Friday, the “world’s three darkest days,” the Easter Resurrection, and the Ascension all in one meditation. Besides, the Easter story was foretold many years before Jesus’s Passion – throughout the Old Testament, most comprehensively and accurately in the 53rd chapter of Isaiah. That’s an even earlier telling.

The essentials of Jesus’s life on earth are scarcely questioned any more, except by the intentionally scornful: which means that some people do not doubt, but rather reject. The fact of His Resurrection, on the other hand, is a dubiety to some. It is interesting to consider that people saw the risen Christ after the tomb, and yet not everyone believed. They believe Jesus somehow came back to life, but not that He was divine.

Many did come to faith. But even the Jewish historian Jospehus recorded the facts of Jesus’s life and ministry and miracles and resurrection – that Jesus mingled with people for 40 days – yet never came to belief himself. It is not unusual, frankly, to imagine people, even ourselves, to hear about a miracle, possibly witness one, and yet… shrug. Or consider it “one of those things we can’t explain.”

This happens, and it says less about a Resurrected Savior than it does about our stubborn, contrary, or lazy human nature.

Yet there were many records of That Week.

Jesus not only performed miracles, He was a miracle. Everything about His birth, life, and ministry were prophesied. He did amazing things; random things, sometimes, to bring blessings or to prove His divinity. He spoke amazing words, unassailable lessons. He was God incarnate; fully God and fully man, who loved and sorrowed, laughed and wept, ate and drank and traveled. He read minds, calmed storms, and healed the sick.

Yet vulnerability proved to be His major miracle. During His last week, He emptied Himself of divine prerogatives.

He went to Jerusalem, knowing death awaited. And more: scorn, insults, lies, torture, painful crucifixion. It is said that death on the cross is the most excruciating of slow deaths. Myself, I believe that the betrayal, denial, and abandonment of His friends was more painful than His physical end.

As a man, he prayed fervently, we know not all. As God, He willingly bore the humiliation and death, speaking only words like “It is finished” – it being the plan established before the foundations of the world: that this holy Incarnation would satisfy the substitutionary death we all deserve. If we believe and confess this belief, we are saved. Another miracle.

Our contemporary world wants us to believe strange things… strange lies. Not only that there is no God, but that there are no sins. Only mistakes and bad choices. And that medicines, or therapy, or education, or the government will make everything OK. Humankind has asserted mastery of our own souls for several centuries, ever more intensely, inventing reasons to reject God and deny His fingerprints on creation. Lo and behold, the past century was the bloodiest freaking 100 years in history, starring the most savage monsters a secular world could imagine.

Were the events of Holy Week in vain? Christ, with calm determination, fulfilled His destiny. He entered Jerusalem to public acclaim, preserving His humility. By the end of the week the Jewish zealots and the puppets of the Roman government caused people to scream for His murder. It happened… after what we mentioned: humiliation, injustice, abandonment, torture, and death that, perhaps, no mortal among us ever has endured.

He hung on the cross for three hours, comforted, at least, by His beloved mother who did not leave Him. He died; a spear was thrust in His side; the centurions affirmed His death; He was taken to a tomb, washed and prepared for burial, wrapped in cloths. A large stone sealed the tomb, guarded by Roman soldiers with special instructions.

Then, the three darkest days of humankind. What were those like, in Jerusalem? His enemies were satisfied that Jesus, the major troublemaker, celebrity, pretender in their eyes, was finally gone from the scene. But His followers – who should have known better, since they knew scripture and His prophesies – nevertheless despaired. They went into hiding: perhaps His fate would be theirs?

There are records of an earthquake, of stormy skies – of nature groaning – of the veil in the temple spontaneously ripping in two. Could His followers been more despondent and terror-stricken? What days they must have been!

But… Easter dawned. Jesus rose. He lived. He lives. Mary, having met Jesus in the garden, became the world’s first evangelist of the Good News when she ran and told the cowering Disciples.

The rest, to coin a phrase, is history. But it is not quite history as we know it. His story, literally. Mary and her friends saw, and believed. The Disciples, first scared and skeptical, believed, and saw, and believed in ever greater numbers. Jesus, in a transformed body, preached and blessed and taught and performed miracles. More people believed. Within a generation there were churches, gatherings of devout believers, not only in faraway Rome, but in pagan outposts like the island of Britain.

And after 40 days, the final prophecy fulfilled – more than a miracle, but the confirmation of His divinity – the bodily Ascension of the Christ into Heaven. “It is best for you that I go away, because if I don’t, the Holy Spirit cannot come. If I do go away, then I will send the Advocate, the Comforter, to you.” Thus, Christ in us.

But remember That Week. If you are ever tempted to think that your faith would be stronger “if you only could have seen the things of that week,” or if you hear others say that… remember that His Disciples, who lived every day with Him for three years, scattered like autumn leaves. Remember that people who had witnessed miracles wound up demanding His death. Remember that many who saw Him after the tomb still were skeptical.

You can believe in miracles – or not – but believing in Jesus Christ, the only-begotten Son of God; confessing His Resurrection; and inviting Him to live in your heart and life, is the summation of This Week, and the Gospel itself.

+ + +

Have you listened to Handel’s Messiah at Christmastime? Even if you have not, I invite you to listen to an equally great masterpiece. The St Matthew Passion by Johann Sebastian Bach tells the story of Easter week. On (coincidentally) this week of Bach’s birthday, number 331, I offer a link to one its greatest performances, conducted by Karl Richter. The art direction is stark! Appropriate, but note the changing backgrounds, the over-arching cross, the mood reflecting the spiritual import. With English subtitles. Three hours, 22 movements. Be prepared!

Click: Bach: St Matthew Passion

3-24-14

At Christmastime many people listen to Handel’s “Messiah.” Some of us listen to excerpts; some listen to the entire work. Some people attend performances at local churches or watch television broadcasts. For some people it is their only exposure to Baroque music during the year… and for too many, sadly, their only exposure to church music. Yet, in the words of the Sursum Corda portion of the liturgy, it is meet and right so to do. In all times and in all places – or, as often as possible – we should commune with our God. And that should apply to Easter as much as Christmas; with other supernal music as much as the traditional “Messiah.”

If we would wade into the waters of debate about the relative importance of dates in the Christian calendar, we would be reminded that over the centuries, Christmas was a relatively minor celebration, at least compared to Easter. (And that the Feast of the Ascension – marking Jesus’s physical rise to Heaven, completing the affirmation of His divinity, closing the theological circle of the Incarnation, begun with the Virgin Birth – was once more observed than it is in today’s churches.)

A propos these observations, I offer a suggestion that we all reverently replicate the consideration we give to Easter, and the attention we pay to the “Messiah,” by something new this Lenten season. Lent should be more than giving up chocolate, anyway!

Additionally, Lent gives us 40 days (that is, more than the week or so that Christmas affords) to enjoy music, and contemplate this season, concerning the most profound event in the history of humankind.

Let us avoid the temptation, for a time, to watch and wait upon events that explode in our midst, as compelling as are Russian osmotic invasions, or the perplexing disappearance of passenger planes. Let us look inward and commemorate an event 2000 years old but as immediate as the seconds and minutes of our fleeting lives.

I suggest we listen to one of the greatest creative works of the human race, Johann Sebastian Bach’s “Passion According to St Matthew.” The word Passion refers specifically to the rejection, betrayal, suffering, humiliation, torture, pain, and death of Jesus. That we should focus on these details indicates no prurience: that any person, much less the Son of God who could have waved it all away, endured such things, for us, ought to inspire our devotion.

So the “St Matthew Passion” enables us to understand, to internalize, to enrich our faith. There is a link below to an astonishing performance. I commend it, to watch in portions or in one dedicated private time. If you cannot, I will still explain why it is beneficial, and how art can serve our appreciation of the gospel.

Johann Sebastian Bach’s setting of the Passion story is based on Matthew chapters 27 and 28. Christian composers, as early as the eighth century, but mainly in the 16th-18th centuries, wrote Passions to be distinct from other church music. Passions used large ensembles, sometimes two choirs, orchestras, and organs. They were dramatic presentations, with “narrators” and soloists. Sometimes they were performed outside churches, occasionally in costumes and with dramatic action, a halfway-house to oratorios or opera.

In Bach’s version, he declined costumes but achieved great drama. In our video link you will see a stark and spare performance stage, singers in simple suits or dresses. There are no props; it is not in a cathedral. However you will notice profound symbolism in the changing placement of the singers; the colors that light the performance stage; and the illuminated Cross that floats above the performers – changing shades, morphing from dark to light to dark.

This video – made in 1971, and conducted by the legendary Bach interpreter Karl Richter – is an immense work of art in itself.

You will be grateful that the text, translated to English, is on the screen. When subtitles do not appear, it is because singers are repeating phrases. This impactful video allows you to appreciate the myriad of subtleties Bach used to emphasize the STORY of the Passion, behind the lyrics and melodies. Words are biblical passages, or the librettist’s paraphrases.

Take note of the highlighting of meaningful words, by orchestral emphasis. Notice that solo voices have keyboard accompaniment; Jesus has keyboard and strings… except for His dramatic cry “Why hast Thou forsaken me?”

Notice the music (instrumentation and style of play) reflecting singers’ hope, sorrow, or desperation.

Notice the musical (and the camera’s) emphasis on words like “Barabbas!” and “kill Him!” and “crucify!” Notice Bach’s use of musical devices – pulsating rhythms for tension; short bursts by the flutes to suggest tears; upward modulation when hope is displayed.

Note the repetition of musical themes (popular church tunes) by the choruses to unify the narrative themes.

This is a monumental work of art.

The “St Matthew Passion” was considered by Bach to be his most significant work. It was first performed in Leipzig at the St-Thomas Church in 1727, and many Holy Weeks thereafter; he frequently revised it. His autograph score shows loving attention, written in red or brown inks according to the biblical and dramatic libretto sources, and employing calligraphy in careful Gothic or Latin letters. He preserved it as an heirloom.

Baroque music and Bach’s genius temporarily were out of fashion after his death in 1750, and the “St Matthew Passion” was never performed again until 102 years after its debut. Felix Mendelssohn had discovered it, conducted a condensed version in Berlin… and the Bach Revival, which has never stopped, began. Mendelssohn, a Jew converted to Christianity, found his Lutheran faith much strengthened by Bach’s work.

Other famous Passions of our time include the play in Oberammergau, a small Bavarian town of two thousand inhabitants, half of whom stage and act in the seven-hour re-creation of Holy Week events. The play has been produced every ten years since 1634 when the town, threatened by the bubonic plague, collectively prayed for mercy and vowed to share with the world this portion of the gospel story if they were spared. In Drumheller, Alberta, Canada, every July the Canadian Badlands Passion Play is presented in a thirty-acre canyon bowl that forms a natural amphitheater. And of course many people watched the movie “The Passion of the Christ” a decade ago.

None can be more powerful than Bach’s version. If you are unfamiliar with, or dislike, “classical music,” this video will not kill you. If the hairstyles or once-cool eyeglasses of 1971’s performers look squirrely, just imagine how we would look to them; or how a magical capture of the actual 1727 debut in Leipzig would look to us. Or how the original suffering and death of Jesus, nearly 2000 years ago, would have seemed if we were there…

… ah! THAT is the art of J S Bach. This performance of the “Passion of Jesus Christ as Recorded by St Matthew,” DOES bring us back to the amazing, profound, and significant events of our Savior’s willing sacrifice for us. It is REAL. All the elements of Art – not just music and words, but the nuances of staging – drive the meaningful messages home. To our hearts.

+ + +

Click: Bach’s “St Matthew Passion”

The conductor and musical director of Munich Bach ensembles, as noted, is the great Karl Richter. The members of the instrumental and vocal ensembles are more numerous than in Bach’s more intimate times. This performance is longer than three hours (and was originally performed in segments during the weeks of Lent in Bach’s churches) but I beg you not to make it “background music.” The staging – the arrangement of the singers, the lighting, especially the position and illumination of the cross that floats above all – is profoundly significant.

3-14-11

The events of recent days should persuade even the most cynical and least alarmist among us that we are in fact living in a “page-turning,” if not “chapter-ending,” moment of world history. Endemic economic troubles, from budget crises to virtual national bankruptcies; street protests resulting in governments’ instability and regime changes across the world; devastating earthquakes and tsunamis in Japan, with incalculable tolls in terms of life, infrastructure, and health, there and elsewhere… we are indeed on the cusp of a new world.

The old order changeth, yielding place to the new;
And God fulfills Himself in many ways,
Lest one good custom should corrupt the world.

Many of the changes we see, such as the overthrow of dictatorships, are harbingers of hope. But many other changes clearly suggest the contrary – the unleashing of anti-Christian persecution; long-term economic downturns; serious challenges to health and recovery in Japan. Human beings often hope for change, but when it brings insecurity and misery we are constrained from embracing the New without praying for wisdom, and discerning God’s hand.

We have entered the season of Lent. Is there a temptation to avoid looking inward and commemorate an event 2000 years old, when we feel the need to watch and wait upon events that, instead, are exploding in our midst?

The opposite should be our reaction. And the coming observance of Easter is splendid timing.

As with the woman who anointed Jesus with precious oils, disasters and troubles of the world we will always have with us. But we serve God’s purposes when we honor Him by drawing closer in communion, when we enter into His suffering that He endured to identify with our suffering (o sweet mystery), when we contemplate the Passion of His sacrifice, death, and resurrection. We will make the world a better place by achieving these things ourselves… and sharing them with the world.

It is a custom to “give something up” for Lent. I am going to suggest to you something different from chocolate and sitcoms. Give up two hours of your life this week, in advance of the Easter season. Set aside the time, shut out possible distractions, and prepare for an exposition of Christ’s suffering and death that will touch your soul. You will do your understanding of Christ’s sacrifice and your devotion to the Cross a favor to watch the video you can click to, below.

Johann Sebastian Bach’s setting of the “Passion” story (Jesus’s intense emotions and sacrificial suffering) is one of the great works, not only of church music or the Baroque period, but of human creativity. Based on Matthew chapters 27 and 28, the St Matthew Passion was in the form of a once-common performance vehicle, the “musical passion.” Christian composers, as early as the eighth century, but mainly in the 16th-18th centuries, wrote Passions to be different from other church music. Passions used large ensembles, sometimes two choirs, orchestras, and organs. They were dramatic presentations, with “narrators” and singers. Sometimes they were performed outside churches, and sometimes in costumes and with dramatic action.

In Bach’s version, he declined costumes but achieved great drama. In the version you can download below you will see a spare performance stage, singers in simple suits or dresses. There are no props; it is not in a cathedral. But you will notice great meaning in the changing placement of the singers; the colors that light the performance stage; and the lighted Cross that floats above the performers – changing colors, morphing from dark to light to dark. This video – made in 1971, and conducted by the legendary Bach interpreter Karl Richter – is an immense work of art in itself.

You will be grateful that the text, translated to English, is on the screen. When subtitles do not appear, it is because singers are repeating phrases. This impactful video allows you to appreciate the myriad of subtleties Bach used to emphasize the story of the Passion, behind the lyrics and tunes. Take note of the highlighting of meaningful words, by orchestral emphasis. Notice that solo voices have keyboard accompaniment; Jesus has keyboard and strings… except for His stark, solo cry “Why hast Thou forsaken me?” Notice the music (instrumentation and style of play) reflecting singers’ hope, sorrow, or desperation. Notice the musical (and the camera’s) emphasis on words like “Barabbas!” and “kill Him!” and “crucify!” Notice Bach’s use of musical devices – pulsating rhythms for tension, short bursts by the flutes to suggest tears, upward modulation when hope is displayed. Note the repetition of musical themes (popular church tunes) by the choruses to unify the narrative themes. This is a monumental work of art.

The St Matthew Passion was considered by Bach to be his most significant work. It was first performed in Leipzig at the St-Thomas Church in 1727, and many Holy Weeks thereafter; he frequently revised it. His autograph score shows loving attention, written in red or brown inks according to the biblical and dramatic libretto sources, and employing calligraphy in careful Gothic or Latin letters. He preserved it as an heirloom.

As Baroque music and Bach’s genius temporarily was out of fashion after his death in 1750, the Passion was never performed again until 102 years after its debut. Felix Mendelssohn had discovered it, conducted a condensed version in Berlin… and the Bach Revival, which has never stopped since, commenced. Mendelssohn, a Jew converted to Christianity, found his Lutheran faith much inspired by Bach’s work.

Other famous Passions of our time include the play in Oberammergau, a small Bavarian town of two thousand inhabitants, half of whom stage and act in the seven-hour re-creation of Holy Week events. The play has been produced every 10 years since 1634 when the town, threatened by the bubonic plague, collectively prayed for mercy and vowed to share with the world this portion of the gospel story if they were spared. In Drumheller, Alberta, Canada, every July the Canadian Badlands Passion Play is presented in a thirty-acre canyon bowl that forms a natural amphitheater. And of course many people watched the recent movie The Passion of the Christ.

None can be more powerful than Bach’s version. If you are unfamiliar with, or dislike, “classical music,” this will not kill you. If the hairstyles or once-cool eyeglasses of 1971’s performers look squirrely, just imagine how we would look to them; or how a magical capture of the actual 1727 debut would look to us. Or how the original suffering and death of Jesus, nearly 2000 years ago, would have seemed if we were there…

… ah! That is the art of J S Bach. This performance of the “Passion of Jesus Christ as recorded by St Matthew,” does bring us back to the amazing, profound, and significant events of our Savior’s willing sacrifice for us. It is real.

A better understanding of what He did for our sake will make us better stewards to minister to the world – especially in these horrible times – for His sake.

+

Click: The St Matthew Passion — Johann Sebastian Bach

This will be a complete performance, in many segments of various lengths; a total of about two hours. Each segment will automatically move to the next. If you desire a full-screen (and one does not automattically pop up), click only this icon, once, at the beginning: the “joint arrows” that point right and down; that, when your cursor hovers over it, is called EXPAND. Click that for a full screen of the video. It is from the amazing YouTube channel of SoliDeoGloria.

The conductor and musical director of Munich Bach ensembles, as noted, is the great Karl Richter. (The members of the instrumental and vocal ensembles are more numerous than in Bach’s more intimate times. The accessible profundity is akin to Bach’s, however, without doubt) Soloists are Peter Schreier as narrator; Walter Berry, bass; Julia Hanari, contralto; and Helen Donath, soprano. You will notice, of course, that this a Lenten subject; it will bring you right through the Crucifiction.

The quotation above is by Alfred, Lord Tennyson, “The Passing of King Arthur” from Idylls of the King.