Category: Music

Easter, Day 6: Mfurahini, Haleluya

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LOOK: The Resurrection by André Kamba Luesa

André Kamba Luesa (Congolese, 1944–1995), La résurrection (The Resurrection), 1992. Peinture grattée on canvas, 45 × 58 cm. © missio Aachen.

The risen Christ bounds victoriously over the abyss—using his cross like a pole vault!—in this scratched painting by the Congolese artist André Kamba Luesa (1944–1995). The flaming pit of hell has been conquered, cleared. And crossing over from death to life, Christ brings us with him. That’s why the men, women, and children lift high their hands in celebration. His victory is ours!

The Gospel of Matthew describes the Crucifixion-Resurrection event as causing a geological quaking; “the earth shook and the rocks were split” (Matt. 27:51; cf. 28:2). Kamba Luesa portrays this frightening phenomenon in his Resurrection. And yet he also uses warm reds, oranges, and yellows to convey the radiant joy of resurrection. The sky is awash in a soft glow. The Son rises with the sun, its orb a halo behind his head.

As is common in Christian art, the artist connects the Resurrection to his own cultural context. His Jesus is African and wears traditional printed cloth, just like those who praise him from the sides. As much as Jesus’s rising was a historical happening that took place some two thousand years ago outside Jerusalem, it is also an ongoing reality whose implications continue to reverberate as the life of God is made manifest in believers all over the globe.

I originally wrote this art commentary for the Daily Prayer Project’s Easter 2023 prayer periodical.

LISTEN: “Mfurahini, Haleluya” (Christ Has Arisen, Alleluia) | Words by Bernard Kyamanywa, 1966 | Traditional Tanzanian tune | Performed by the Azania Front Lutheran Cathedral Main Choir (Kwaya Kuu), Dar Es Salaam, Tanzania, 2018

Mfurahini, haleluya,
mkombozi amefufuka.
Amefufuka, haleluya,
msifuni sasa yu hai.

Refrain:
Tumwimbie sote kwa furaha.
yesu ametoka kaburini.
Kashinda kifo, haleluya;
haleluya, Yesu yu hai.

. . .

[I can’t find the Swahili lyrics to verses 2–5]

This Easter text was written in Swahili by Rev. Bernard Kyamanywa (born 1938), a Tanzanian Lutheran pastor, while a student at Lutheran Theological College Makumira (now Tumaini University Makumira). He set it to a tune from the Haya people of northwestern Tanzania, an ethnic group he belongs to.

The English version of the song, “Christ Has Arisen, Alleluia,” is relatively popular throughout the world. Here’s a video of Christ the King Choir in Molyko Buea, Cameroon, singing the song in English:

Christ has arisen, alleluia!
Rejoice and praise him, alleluia,
For our Redeemer burst from the tomb,
Even from death, dispelling its gloom.

Refrain:
Let us sing praise to him with endless joy;
Death’s fearful sting he has come to destroy,
Our sins forgiving, alleluia.
Christ has arisen, alleluia!

For three long days the grave did its worst
Until its strength by God was dispersed.
He who gives life did death undergo;
And in its conquest his might did show. [Refrain]

The angel said to them, “Do not fear!
You look for Jesus who is not here.
See for yourselves the tomb is all bare;
Only the grave cloths are lying there.” [Refrain]

“Go spread the news: He’s not in the grave;
He has arisen this world to save.
Jesus’ redeeming labors are done;
Even the battle with sin is won.” [Refrain]

Christ has arisen; he sets us free;
Alleluia, to him praises be.
Jesus is living! Let us all sing;
He reigns triumphant, heavenly King. [Refrain]

Trans. Howard S. Olson, 1977 (admin. Augsburg Fortress)

There are many more examples on YouTube of church choirs performing the song, in locales ranging from India to Nebraska in the US. It also appears on the Art & Theology Eastertide Playlist.

Easter, Day 5: Glory to the Risen Lamb!

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Then I saw in the right hand of the one seated on the throne a scroll written on the inside and on the back, sealed with seven seals, and I saw a mighty angel proclaiming with a loud voice, “Who is worthy to open the scroll and break its seals?” And no one in heaven or on earth or under the earth was able to open the scroll or to look into it. And I began to weep bitterly because no one was found worthy to open the scroll or to look into it. Then one of the elders said to me, “Do not weep. See, the Lion of the tribe of Judah, the Root of David, has conquered, so that he can open the scroll and its seven seals.”

Then I saw between the throne and the four living creatures and among the elders a Lamb standing as if it had been slaughtered, with seven horns and seven eyes, which are the seven spirits of God sent out into all the earth. He went and took the scroll from the right hand of the one who was seated on the throne. When he had taken the scroll, the four living creatures and the twenty-four elders fell before the Lamb, each holding a harp and golden bowls full of incense, which are the prayers of the saints. They sing a new song:

You are worthy to take the scroll
    and to break its seals,
for you were slaughtered and by your blood you ransomed for God
    saints from every tribe and language and people and nation;
you have made them a kingdom and priests serving our God,
    and they will reign on earth.

Then I looked, and I heard the voice of many angels surrounding the throne and the living creatures and the elders; they numbered myriads of myriads and thousands of thousands, singing with full voice,

Worthy is the Lamb that was slaughtered
to receive power and wealth and wisdom and might
and honor and glory and blessing!

Then I heard every creature in heaven and on earth and under the earth and in the sea and all that is in them, singing,

To the one seated on the throne and to the Lamb
be blessing and honor and glory and might
forever and ever!

And the four living creatures said, “Amen!” And the elders fell down and worshiped.

—Revelation 5 (NRSV)

LOOK: The Vision of the Lamb in the Midst of the Four Living Creatures, from a medieval English apocalypse

Lamb Upon the Throne (Getty)
The Vision of the Lamb in the Midst of the Four Living Creatures and the Twenty-Four Elders, made in London, ca. 1255–60. Tempera, gold leaf, colored washes, and pen and ink on parchment, 12 9/16 × 8 7/8 in. (31.9 × 22.5 cm). J. Paul Getty Museum, Los Angeles, Ms. Ludwig III 1 (83.MC.72), fol. 5.

LISTEN: “Glory to the Risen Lamb!” | Words compiled by Jean Anne Shafferman, 2007, from traditional sources (William Saunders and Hugh Bourne, 1821; Job Hupton, 1805; F. R. Warren, 1878) | Tune: INVITATION (New), from William Walker’s Southern Harmony, 1854 | Performed by musicians at Byford Parish Church, Georgetown, Massachusetts, 2020

Hear the gospel news resounding: “Christ has suffered on the tree;
streams of mercy are abounding; grace for all is rich and free.”

Refrain:
Hallelujah, hallelujah! Glory to the Risen Lamb!
Hallelujah, hallelujah! Glory to the great I AM!

Grace is flowing like a river from the Savior’s wounded side.
Still it flows as fresh as ever; all may live, for Christ has died. [Refrain]

On the cross for our redemption, see him all his lifeblood pour!
There he wins our full salvation, dies that we may die no more. [Refrain]

Easter, Day 4: “I come to my garden”

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LOOK: (She thought he was) The Gardener by Helen Sherriff

Sheriff, Helen_The Gardener
Helen Sherriff (Australian, 1951–), (She thought he was) The Gardener, 2013. Acrylic and oil on found medium-density fiberboard tabletop with parquetry veneer and bark insert, 15 × 10.7 cm.

This painting by Helen Sherriff, which won the Needham Religious Art Prize in 2013, shows Christ appearing to the forlorn Mary Magdalene after his resurrection. Sheriff cut the figure of Christ out of the MDF substrate and “inserted a piece of thick tree bark which had a scar in an appropriate place suggesting a wound,” she writes at ArtWay.eu.

The colorful flowering cast forth from his form is such a unique way to visually interpret the significance of this moment of encounter. “Normally there would be a shadow stretching forward,” Sherriff says, “but this darkness is light.”

Sherriff also notes how the shape of the Stargazer lily is echoed by Mary’s hand held up to shield her face from the brightness.

LISTEN: “J’entre dans mon jardin” (I Come to My Garden) by the Choeur des Moines de l’abbaye de Keur Moussa au Sénégal, on L’heure vient (2007)

This instrumental piece, an air for kora (traditional calabash harp-lute) and recorder, is part of the Liturgy of the Resurrection at Keur Moussa Abbey in Senegal. Its title is taken from Song of Songs 5:1:

I come to my garden, my sister, my bride;
    I gather my myrrh with my spice;
    I eat my honeycomb with my honey;
    I drink my wine with my milk.

Eat, friends, drink,
    and be drunk with love.

The liner notes for this track on the CD sleeve, which are all in French, say, “Christ, in the Christian tradition, is the Bridegroom. He comes, resurrected on Easter morning, to meet Mary Magdalene, seated at the entrance to the tomb. The kora and the flute convey the joy of this Easter reunion with freshness and brightness.”

On Saturday I shared an example of another Christian musician who has linked the Song of Songs to the Easter story.

To learn more about the music making of the Keur Moussa community of brothers, read the 2022 New Yorker profile “The Monks Who Took the Kora to Church” by Julian Lucas, or the blog feature I published in 2017. I also shared their musical setting of the “Vidi aquam” in Wolof last Easter, along with a wood-carved candlestand by Thomas Mpira of Malawi.

Easter, Day 3: Why Are You Weeping?

Victoria Emily Jones1 Comment

Early on the first day of the week, while it was still dark, Mary Magdalene came to the tomb and saw that the stone had been removed from the tomb. . . . [She] stood weeping. . . .

As she wept, she bent over to look into the tomb, and she saw two angels in white sitting where the body of Jesus had been lying, one at the head and the other at the feet. They said to her, “Woman, why are you weeping?”

She said to them, “They have taken away my Lord, and I do not know where they have laid him.” When she had said this, she turned around and saw Jesus standing there, but she did not know that it was Jesus.

Jesus said to her, “Woman, why are you weeping? Whom are you looking for?”

Supposing him to be the gardener, she said to him, “Sir, if you have carried him away, tell me where you have laid him, and I will take him away.”

Jesus said to her, “Mary!”

She turned and said to him in Hebrew, “Rabbouni!” (which means Teacher).

Jesus said to her, “. . . Go to my brothers and say to them, ‘I am ascending to my Father and your Father, to my God and your God.’”

Mary Magdalene went and announced to the disciples, “I have seen the Lord,” and she told them that he had said these things to her.

—John 20:1, 11–18

LOOK: ‘Woman, Why Are You Weeping?’ by Rebekah Pryor

Pryor, Rebekah_Woman, Why Are You Weeping
Rebekah Pryor, ‘Woman, Why Are You Weeping?’, 2016. Pigment on archival cotton rag, 60 × 59 cm.

Dr. Rebekah Pryor [previously] is a visual artist, curator, scholar, and member of Australian Collaborators in Feminist Theologies. In this photograph of hers, she poses as Mary Magdalene in the garden of the resurrection at the moment when the risen Christ appears to her. Having wept copious tears, represented by the mounds of salt in front of her, Mary kneels in the soil as she converses with this man whom she at first supposes to be the gardener. Pryor writes that “dawn light and the horizon of regrowth suggest the possibility of ‘a new heaven and a new earth’ in which death, dying, mourning and crying will be no more (Revelation 21:1-5).”

LISTEN: “Still Thy Sorrow, Magdalena!” | Original Latin words (title: “Pone luctum Magdalena”) attributed to Adam of St. Victor, 12th century; English translation by Edward A. Washburn, 1868 | Music by Jon Green, 2023 | Performed on Resurrect, vol. 2, a Cardiphonia Music compilation

Still thy sorrow, Magdalena!
Wipe the teardrops from thine eyes;
Not at Simon’s board thou kneelest,
Pouring thy repentant sighs.
All with thy glad heart rejoices;
All things sing, with happy voices,
Hallelujah! Hallelujah! Hallelujah!

Laugh with rapture, Magdalena!
Be thy drooping forehead bright:
Banished now is every anguish,
Breaks anew thy morning light.
Christ from death the world hath freed;
He is risen, is risen indeed:
Hallelujah! Hallelujah! Hallelujah!

Joy! exult, O Magdalena!
For he hath burst the rocky prison.
Ended are the days of darkness:
Conqueror hath he arisen.
Mourn no more the Christ departed;
Run to welcome him, glad-hearted:
Hallelujah! Hallelujah! Hallelujah!

Lift thine eyes, O Magdalena!
See! thy living Master stands;
See his face, as ever, smiling;
See those wounds upon his hands,
On his feet, his sacred side—
Gems that deck the Glorified:
Hallelujah! Hallelujah! Hallelujah!
Live, now live, O Magdalena!

This medieval Easter hymn was retuned by Jon Green, a Texan living in Edinburgh, Scotland, as part of a Cardiphonia project spearheaded by Bruce Benedict to bring new life to some of the old texts found in Resurgit: A Collection of Hymns and Songs of the Resurrection (Boston, 1879). The lyrics follow a longstanding tradition in the church of conflating the identities of two Marys in the Gospels (Mary of Magdala and Mary of Bethany) and that of the “sinful woman” in Luke 7; all three women become Mary Magdalene, characterized as a penitent who scandalously anoints Christ’s feet with expensive perfume and her own tears during a supper at the house of Simon the Pharisee.

None of the Gospels indicates that this anointer was Mary Magdalene. (Matthew, Mark, and Luke do not name her at all, and John identifies her as the sister of Lazarus and Martha.) But popular tradition ascribes to Mary Magdalene this role—hence the references in the first stanza of the hymn.

What we do know, though, is that Mary Magdalene came early Sunday morning to Jesus’s tomb with the intention of anointing his body, only to find the tomb empty. John 20 is, I think, one of the most glorious chapters in all of scripture. John’s is the only Gospel that recounts Mary’s intimate encounter with the postresurrection Jesus. He tells us that she is distraught over the absence of Jesus’s body, which she presumes someone moved to some unknown location. She had wanted to say her proper goodbyes—he had been taken so suddenly—and, as a gesture of honor, to finish the job of treating his corpse with myrrh and aloes that had been hastily performed by Joseph and Nicodemus on Friday. Now unable to do either, she weeps.

It’s then that Jesus comes to her, alive and in the flesh, revealing himself as her Lord and as conqueror of the grave. He bids her to weep no more.

The gladness of this moment is palpable in the hymn text by Adam of St. Victor. “Laugh with rapture, Magdalena! . . . Joy! exult . . . ! . . . Live, now live.” We are called to do the same.

Roundup: Multilingual Easter song, modern performance of medieval mystery play, and more

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SONGS:

>> “He Is Lord (In Every People),” adapt. Gregory Kay: In this video from 2021, members of Spring Garden Church in Toronto take turns singing the popular twentieth-century worship song (of unknown authorship) “He Is Lord” in their native languages: English, Portuguese, Arabic, Korean, and Chinese. Greg Kay, one of the church’s copastors, added a fun refrain that highlights the global character of Christianity and the lordship of Christ over all creation, which everyone joins in on. Love this idea! [HT: Liturgy Fellowship]

>> Easter Medley performed by Infinity Song, feat. Victory Boyd: Infinity Song is a sibling band from New York City that was led for years by Victory Boyd, who is now focusing on her solo music career; its current members, represented in this video from 2021, are Abraham, Angel, Israel, and Thalia “Momo” Boyd. (Victory is singing lead.) The group combines the songs “In the Name of Jesus” by David Billingsley, “Jesus Is Alive” by Ron Kenoly [previously], and “Redeemer” by Nicole C. Mullen into an Easter medley at Fount Church in New York.

>> “Yessu Jee Utheya” (یسوع جی اُٹھیا) (Jesus Is Risen), performed by Tehmina Tariq: Tehmina Tariq is a prolific gospel singer from Islamabad, Pakistan. Here she performs a song in Urdu by Nadir Shamir Khan (words) and Michael Daniel (music). Press the “CC” button on the YouTube video player to follow along with the lyrics. For a more recent Easter song that Tariq recorded, see “Zinda Huwa Hai Masih” (The Messiah Is Risen). [HT: Global Christian Worship]

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MEDIEVAL MYSTERY PLAY: The Harrowing of Hell from the York cycle, produced by the YMPST (York Mystery Plays Supporters Trust): From the mid-fourteenth to mid-sixteenth century in England, during the feast of Corpus Christi in early summer, villagers used to enact stories from the Bible on moveable stages called pageant wagons, which would wheel through town making various stops for performance. Playing the roles of sacred personages were not professional actors but members of the trade guilds. Such plays were banned in Tudor times but since the mid-twentieth century have enjoyed a revival.

One of the few complete surviving English mystery play cycles, consisting of forty-eight individual verse dramas of about twenty minutes each, is the York Mystery Plays, named after the historic town where they originated. One of the plays, assigned to the town saddlers, is The Harrowing of Hell. The following video is a 2018 performance sponsored by the York Mystery Plays Supporters Trust, also available on DVD. You can follow along with the script at TEAMS Middle English Texts, though note that the players do adapt it lightly. Learn more at https://ympst.co.uk/.

York Mystery Play (Harrowing of Hell)
A soul writhes in Hades, awaiting rescue by Christ, in the 2018 YMPST waggon play performance of The Harrowing of Hell

For a preview of the language, here’s Adam’s speech toward the end, after Christ binds Satan and casts him into a fiery pit (I love the alliterative phrase “mickle is thy might”!):

A, Jesu Lorde, mekill is thi myght
That mekis thiselffe in this manere
Us for to helpe as thou has hight
Whanne both forfette, I and my feere.
Here have we levyd withouten light
Foure thousand and six hundreth yere;
Now se I be this solempne sight
Howe thy mercy hath made us clene.

Modern English translation:

Ah, Lord Jesus, mickle [great] is thy might
That makest thyself in this manner
To help us as thou hast said
When both of us offended thee, I and my companion [Eve].
Here have we lived without light
For four thousand six hundred years;
Now see I by this solemn sight
How thy mercy hath made us clean.

The YMPST performance incorporates modern elements in the music and costuming, including an electric guitar–driven rendition of the American gospel song “Ain’t No Grave” at the opening and closing.

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ART COMMENTARIES:

Below are discussions of two medieval English artworks of the Harrowing of Hell, one of my favorite religious subjects. In modern-day parlance, the word “hell” (an English translation of the Greek “Tartarus” or “Hades” or the Hebrew “Sheol”) typically connotes a place of eternal torment where the damned go, but in Christian theology it was long used more broadly to refer to the compartmentalized netherworld where both righteous and unrighteous souls go after death to await the general resurrection that will take place at Christ’s return.

>> “The Harrowing of Hell” (Smarthistory video): Drs. Nancy Ross and Paul Binski discuss a fifteenth-century alabaster that’s in the collection of the Victoria and Albert Museum in London. What sticks out to me—the commentators mention it only briefly—is that Christ stands on a green, flowery lawn! The artist is probably alluding to the springtime, the new life, that Jesus’s resurrection ushered in: the redeemed exit the hellmouth, barefoot like their Lord, onto this lush grass. This detail reminds me a bit of Fra Angelico’s Noli me tangere fresco at San Marco in Florence.

Harrowing of Hell alabaster
The Harrowing of Hell, England, 15th century. Carved, painted, and gilt alabaster, 58 × 32 cm. Victoria and Albert Museum, London.

>> “Under the Earth” by Joanna Collicutt: The Visual Commentary on Scripture is a free online resource that provides material for teaching, preaching, researching, and reflecting on the Bible, art, and theology. For one of her three VCS-commissioned “visual commentaries” on Philippians 2:1–11, Rev. Dr. Joanna Collicut has selected an illumination of the Harrowing of Hell from a thirteenth-century psalter. The Christ Hymn that forms the meat of this passage celebrates Jesus’s descent and ascent, and in verse 10 it says that at his name, every knee will bow in heaven, on earth, and “under the earth.” This phrase had never stood out to me until now.

Resurrection (Arudel 157)
The Harrowing of Hell and The Holy Women at the Tomb, from an English psalter (BL Arundel 157, fol. 110), ca. 1220–40. Ink, tempera, and gold leaf on vellum, 29.5 × 20 cm. British Library, London.

Easter, Day 2: Lift Up Your Heads, O Gates!

Victoria Emily Jones3 Comments

Lift up your heads, O gates!
    and be lifted up, O ancient doors,
    that the King of glory may come in!
Who is the King of glory?
    The LORD, strong and mighty,
    the LORD, mighty in battle.
Lift up your heads, O gates!
    and be lifted up, O ancient doors,
    that the King of glory may come in!
Who is this King of glory?
    The LORD of hosts,
    he is the King of glory. Selah

—Psalm 24:7–10

LOOK: Christ’s Descent into Hell from the Stuttgart Psalter [HT]

Harrowing of Hell (Stuttgart Psalter, fol. 29v)
Christ’s Descent into Hell, from the Stuttgart Psalter, made at the scriptorium at St. Germain-des-Prés in Paris, ca. 820–30. Cod.bib.lat.fol.23, fol. 29v, Württembergische Landesbibliothek, Stuttgart, Germany. Click on image to see full page and explore further.

The above psalm passage is read at several times during the church year, depending on your tradition: during Advent, in relation to Christ’s coming into the world (see, e.g., here); on Palm Sunday, where the gates are those of Jerusalem; and on Ascension Day, when Christ (re)enters heaven. But in some illuminated psalters—such as the Stuttgart Psalter from ninth-century France—it is connected with Jesus’s descent into hell between his death and resurrection.

On the Psalm 24 page of the Stuttgart Psalter, the manuscript’s anonymous artist has depicted Christ storming the gates of hell, which are guarded by two winged, fire-spitting demons. Satan or Hades (Death) cowers in the bottom left corner, licked by flames and fearful of his imminent end. Encompassed in a green mandorla and accompanied by an angel, Christ breaches enemy territory, using a long slender cross to break down the doors behind which Satan has kept souls imprisoned. He is here to strike Death dead and gain back his beloveds in an awesome display of glory, power, and love.

(Related post: “Crucifixion, Harrowing, and Transfiguration”)

LISTEN: “Lift Up Your Heads” | Text: Psalm 24:7–10 | Music by Joseph M. Martin and Jon Paige, 1996 | Performed by CMS College Choir Kottayam, dir. Vimal Kurian, 2015

Lift up your heads, you everlasting doors;
open up and let the King of glory come in.
Let the King of glory come in.
(Repeat)

Who is the King of glory?
Who is the King of glory?
The Lord of hosts!
He is the King of glory.
The Lord of hosts!
He is the King of glory.

Lift up your heads, you everlasting doors;
open up and let the King of glory come in.
Let the King of glory come in.

Alleluia, let us sing
To the one eternal King;
Alleluia evermore
To the King and Lord of lords.

Who is the King of glory?
Who is the King of glory?
The Lord of hosts!
He is the King of glory.
The Lord of hosts!
He is the King of glory.

Lift up your heads, you everlasting doors;
open up and let the King of glory come in.
Let the King of glory come in.
(Repeat)

You can purchase the sheet music for this choral piece at J.W. Pepper. For an album recording available on Spotify and elsewhere, see Written in Red (2011) by the East Valley Chorale.

Easter, Day 1: Welcome, Happy Morning!

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LOOK: Harrowing of Hell by Kateryna Shadrina

Shadrina, Kateryna_Harrowing of Hell
Kateryna Shadrina (Ukrainian, 1995–), Harrowing of Hell, 2021. Acrylic on gessoed wood, 40 × 30 cm.

This contemporary icon of the Resurrection shows Christ standing atop the gates of hell—which have fallen into the shape of a cross—redeeming Adam and Eve while flames whip all around. In the sudden rush of rescue, his cloak billows behind him. His mandorla—that is, the radiant oval that frames him—is traditionally gold, but here the artist has chosen a deep royal blue, symbolic of heaven, and jade green for healing, renewal, and prosperity. The black oval in the upper right may signify the mouth of the empty tomb, or the portal through which Christ will return with the newly liberated to the realms above.

LISTEN: “Welcome, Happy Morning!” | Original Latin words by Venantius Fortunatus, 6th century; English translation by John Ellerton, 19th century | Music: NOEL NOUVELET (traditional French tune), 15th century | Performed by the Green Carpet Players (musicians of Redeemer Church of Knoxville), feat. Tyler Anthony, on Rise, O Buried Lord, 2011

“Welcome, happy morning!”
age to age shall say:
hell today is vanquished,
heav’n is won today.
Lo! the dead is living,
God forevermore!
Him, their true Creator,
all his works adore.

“Welcome, happy morning!”
age to age shall say:
hell today is vanquished,
heav’n is won today.

Maker and Redeemer,
life and health of all,
thou, from heav’n beholding
human nature’s fall,
of the Father’s Godhead
true and only Son,
manhood to deliver,
manhood didst put on.

Thou, of life the author,
death didst undergo,
tread the path of darkness,
saving strength to show.
Come then, True and Faithful,
now fulfill thy word;
’tis thine own third morning:
rise, O buried Lord!

Loose the souls long prisoned,
bound with Satan’s chain;
thine that now are fallen
raise to life again;
show thy face in brightness,
bid the nations see;
bring again our daylight;
day returns with thee.

I like how this hymn—whose origins are in the sixth century!—integrates the Incarnation into the story of Easter, enfolding together Jesus’s birth, life, death, and resurrection as well as his second coming.

To deliver humanity from the thrall of sin and death, the second person of the Trinity put on human flesh. He lived faithfully and died a sacrificial death. And then this God-Man came back to life! Now all the created world praises his name. The hymn ends with a prayer to see resurrection life in our world and for Christ’s return. “True and Faithful” in the third stanza are epithets of Jesus, the white-horse rider, in Revelation 19:11.

The musicians of Redeemer Church of Knoxville have paired the early medieval text with the fifteenth-century French carol tune NOEL NOUVELET, which is more commonly used with “Sing We Now of Christmas” and “Now the Green Blade Riseth” but works equally well here. The group brings a raucous energy and sings at a quickened tempo, using xylophones, mandolins, and trumpets in their celebration of the Risen Christ.

This song and many others can be found on my Eastertide playlist.

During the Easter Octave (the first eight days of the fifty-day season of Easter), I will continue publishing short daily posts in this art-and-song format.

Holy Week: The Women Prepare Burial Spices

Victoria Emily Jones1 Comment

LOOK: Myrrhbearers by Kateryna Kuziv

Kuziv, Kateryna_Myrrhbearers
Kateryna Kuziv (Ukrainian, 1993–), Myrrhbearers, 2021. Egg tempera on gessoed wood, 40 × 40 cm.

LISTEN: “The Women Prepare the Spices (Song of Songs 8)” by Katy Wehr, a setting of Song of Songs 8:6–7, 13–14, on And All the Marys (2018)

O set me as a seal upon thy heart
O set me as a seal upon thine arm
For love is strong, strong as death, my love
And jealousy is cruel as the grave

Its flashes are the living flame of a blazing fire
That cannot be drowned out in a flood
All earthly gold in exchange for love
Would be utterly contemptible and scorned

Come, my love
Let me hear your voice
My companions and I wait in the garden
Make haste, my love, and shine out like the rising sun
Like a stag appearing on the mountain

After the crucifixion of Jesus, a small group of his female followers purchased spices and prepared them to bring to the tomb to anoint his body on Sunday morning. (Sabbath restrictions prevented them from doing work on Saturday.) This was an act of love and reverence that served the practical function of counteracting the smell of decomposition.

The singer-songwriter Katy Wehr [previously] imagines the women consoling each other by singing excerpts from the Song of Songs as they crushed the myrrh, mixed it with oil, and bottled it up for transport—maybe also as they headed over to the gravesite. Wehr has set to music four of the verses from the book’s final chapter, a setting she says she hopes conveys a tone that is both mournful and hopeful.

The Song of Songs, or Song of Solomon, is an ancient collection of Hebrew love poems that Christians have long read as allegorical of the love between Christ and his bride, the church.

Wehr’s selections comment on the nature of love: it is permanent, strong, passionate, inextinguishable, and priceless. The female speaker in the poem seeks to stamp herself on her lover’s heart like a seal, claiming him as hers. She professes love’s power, which is as severe and enduring as death. In the context of this passage, the word “jealousy” appears to be used in the positive sense to mean zeal or passion—a resolute devotion.

She goes on to describe love as fiery and intense.

It seems her lover has gone out for the day, or gone on a trip, and she calls him back home. She can’t wait to hear his voice again. She waits outside for him in the garden, wishing for him to come bounding back into her arms.

“Make haste, my love, and shine out like the rising sun.” One can imagine the myrrh-bearing women of the Gospels hoping beyond hope that their beloved Jesus would arise, would speak their names once more, would prove that love is indeed stronger than death.

Holy Week: Jesus Dies

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It was nine o’clock in the morning when they crucified him. . . .

When it was noon, darkness came over the whole land until three in the afternoon. At three o’clock Jesus cried out with a loud voice, “Eloi, Eloi, lema sabachthani?” which means, “My God, my God, why have you forsaken me?” . . . Then Jesus gave a loud cry and breathed his last.

—Mark 15:25, 33–34, 37

LOOK: Crucifix 45 by William Congdon

Congdon, William_Crucifix 45
William Congdon (American, 1912–1998), Crocefisso 45 (Crucifix 45), 1966. Oil on canvas, 152 × 139 cm. Collection of the William G. Congdon Foundation, Milan.

After his conversion to Catholicism in 1959, artist William Congdon [previously], an American expatriate living in Italy, spent the next twenty years of his life painting dozens of Crucifixions. One of them, Crocefisso 45, shows the crucified Christ immersed in near total darkness. His form is barely differentiated from the black background but can just be discerned by the faint band of light that outlines it. Congdon writes that he wanted to portray “a body soaked with pain to the point that one cannot distinguish the body from the pain, almost as though the pain had become a body and not the body a pain.”1

Christ’s head, like a gaping hole, hangs down to rest on his dimly luminescent chest. It’s as if the light of the world has been eclipsed. Art historian Giuseppe Mazzariol wrote of the recurring nero sole (black sun) in Congdon’s work, whose purpose is “to express the spiritual widowhood of a world marked by suffering.”2 Here it expresses the utter desolation of Good Friday.

Fred Licht writes that “in the Crucifixes [of Congdon] the black spot becomes the storm over Golgotha which is repeated every year with the advent of Good Friday, erasing the images from the altars, extinguishing the candles, and plunging the Christian world into deepest night.”3

Notes:

1. William Congdon, Esistenza/Viaggio di pittore americano: Diario (Milan: Jaca Book, 1975), 154.

2. Giuseppe Mazzariol, Introduzione a William Congdon, exh. cat. (Ferrara, 1981).

3. Fred Licht, “The Art of William Congdon,” in Fred Licht, Peter Selz, and Rodolfo Balzarotti, William Congdon (Jaca Book: Milan, 1995): 11–58.

LISTEN: “The Sun’s Gone Dim and the Sky’s Turned Black” by Jóhann Jóhannsson, on IBM 1401, A User’s Manual (2006) [HT]

The sun’s gone dim
And the sky’s turned black
’Cause I loved her
And she didn’t love back

“The Sun’s Gone Dim and the Sky’s Turned Black” by the late Icelandic composer Jóhann Jóhannsson (1969–2018) blends, as does most of his work, traditional orchestration with contemporary electronic elements. The elegiac lyrics, which repeat multiple times over the nearly six-minute runtime, are adapted from “Two-Volume Novel” by Dorothy Parker, a four-line poem about unrequited love.

This piece was inspired by a recording of an IBM mainframe computer that Jóhannsson’s father, Jóhann Gunnarsson, made on a reel-to-reel tape machine in the 1970s. (Gunnarsson was an IBM engineer and one of Iceland’s first computer programmers, who used early hardware to compose melodies during his downtime at work.) It was recorded by a sixty-piece string orchestra, with Jóhannsson on vocals.

Credit goes to the Rabbit Room not only for this find but also for connecting it to Good Friday. (I found the song on their Lent playlist.) Imagine the speaker as Jesus on the cross, speaking to the world that he so loved (John 3:16) but who rejected him. Even the sky mourns with him as the sun veils her face. All is dark and seemingly lost.

Roundup: One-word poems, “Go to Hell” musical setting, and more

Victoria Emily Jones1 Comment

POEM SEQUENCE: “The Unfolding” by Michael Stalcup: Michael Stalcup has published a sequence of five short poems in Solum Journal that “tells the story of Jesus’ death and resurrection by unfolding five words that take us from Maundy Thursday through Easter Sunday,” he says. “I wrote these poems in a very unusual way, restricting myself to words that could be formed from the letters in each poem’s title. . . . This poetic form calls for creativity within intense limitations, which seems fitting for Holy Week—a time when Jesus crafted the most beautiful art this world has ever known within the constraints of his own suffering and death.” Stalcup has also presented them on Instagram (click on the image below).

The Unfolding by Michael Stalcup

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ARTICLE: “Don’t Rush Past Good Friday” by Brian Zahnd: Pastor and author Brian Zahnd cautions us not to shortchange the cross on the way to Easter, but rather to slow down and dwell there, beholding the crucified Christ.

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SONGS:

>> “Friday Morning” by Sydney Carter, performed by Timothy Renner: This Good Friday song by the English folk musician Sydney Bertram Carter (1915–2004) is difficult—one might even say blasphemous. That’s because it’s voiced from the perspective of the “bad” thief, who is spewing hatred and bitterness over his fate and blaming God for having created such a cruel world. But we’re aware of an irony in the refrain that the convicted man is not: “It’s God they ought to crucify / Instead of you and me, / I said to the carpenter / A-hanging on the tree.”

Read or listen to a reflection on “Friday Morning,” by Andrew Pratt, here.

>> “Go to Hell” by Nick Chambers: This song is a setting of a poem by Pádraig Ó Tuama from his collection Sorry for Your Troubles (Canterbury Press Norwich, 2013). The title is shocking, I know, but it’s derived from a line in the Apostles’ Creed, where we Christians profess that after Jesus died, he “descended into hell.” The singer-songwriter, Nick Chambers, writes in the YouTube video description: “In between Good Friday and Easter Sunday is possibly strangest day of the Christian year. On Holy Saturday, not only is Jesus, the God-Man, in the grave; traditions abound about his descent to the dead, his ‘harrowing of hell.’ What does it mean for the coming down of God-with-us not to end on earth but ‘under the earth,’ extending hope to the furthest regions of human pain and abandonment? Such a question deserves more poetry than explanation.”

“Go to hell” is a slang expression of scorn or rejection, to which Jesus was no stranger. As in the previous song, there’s an irony here, in telling Jesus to go to hell—because he did. Literally. Ó Tuama meditates on how Jesus shares in our vulnerabilities and yearnings and seeks to pull us out of the hells we’re in and redeem our stories.

Hear the poem read by the poet here, or at the end of the Stations of the Cross video below. “he is called to hell, this man / he is called to glory . . .”

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GUIDED MEDITATION: “Stations of the Cross, Good Friday, 2020” by Pádraig Ó Tuama: In 2020 the poet-theologian Pádraig Ó Tuama put together this twenty-minute video reflection for Good Friday structured around the Stations of the Cross, consisting of photos of art he’s taken and the praying of collects he’s written. (Several of the collects can be found in his book Daily Prayer with the Corrymeela Community from 2017.) The throughline is a set of stained-glass Stations by Sheila Corcoran at the Church of Our Lady Queen of Heaven at Dublin Airport; others are by Jong-Tae Choi, Gib Singleton, Sieger Köder, Richard P. Campbell, and Audrey Frank Anastasi.

Corcoran, Sheila_Veronica's Veil
Sheila Corcoran, Station 6: Veronica Wipes the Face of Jesus, ca. 1964. Stained glass, Church of Our Lady Queen of Heaven, Dublin Airport. Photo: Patrick Comerford.
Campbell, Richard_Stripped
Richard P. Campbell (Dunghutti/Gumbaynggirr, 1958–), Station 10: Jesus is stripped of his garments, 2001. Reconciliation Church, La Perouse, Sydney, Australia.

But before stepping onto Jesus’s Via Dolorosa, Ó Tuama considers Judas, sharing a stained glass panel by Harry Clarke that illustrates a medieval legend about the Irish monastic saint Brendan the Navigator. According to the Navigatio Sancti Brendani Abbatis, on one of his voyages St. Brendan encountered Judas at sea, tied to an iceberg. He learned that an angel had taken pity on Judas in hell and given him a reprieve of one hour to cool himself from the flames of judgment. Ó Tuama then prays for those who, like Judas, are tormented by guilt and see no way out.

He closes with a reading of his poem “Go to Hell” (set to music in the previous roundup item).

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SONG: “For the Songless Hearts” by Jon Guerra: “There’s a lot of hubbub around Easter weekend in churches. And for good reason,” says singer-songwriter Jon Guerra. “But our hearts can’t always cooperate with the prescribed mood of the Easter season: ‘Celebrate! Be happy! Sing!’ Sometimes the last thing we are able to do is sing. Thankfully, Good Friday and Easter are not about mustering a mood. Good Friday and Easter are about remembering that there is One who meets us in our life and meets us in our death. He sings for us—and over us—when we can’t.”

That’s what “For the Songless Hearts” is about—a single released in 2017, and which Guerra sings with his wife, Valerie. In a Mockingbird blog post about it, Guerra admonishes, “Remember that before the tomb was empty, it was full. ‘When he was laid in the tomb, he laid right next to you.’” Jesus knew the depths of sorrow and the sting of death. We are not alone in such experiences.