Making Music in Quarantine

Here’s a quick roundup of some of the music videos and songs I’ve really enjoyed that have come about as a result of the COVID-19 pandemic.

“He Will Carry You”: A song by Scott Wesley Brown performed by Zanbeni Prasad on lead vocals, with her husband Benny Prasad on guitar and her sister-in-law Aruni Prasad on backing vocals. [HT: Global Christian Worship]

+++

“The Sun Will Rise”: One of The Brilliance’s early songs, from their 2010 self-titled album—sung here by Madison Cunningham [previously], Matt Maher, Liz Vice, Jayne Sugg, Tyler Chester, and David Gungor, with multiple contributing instrumentalists (see full list on YouTube).

+++

“Maren” (Have Mercy on Us): The First Lady of Ethiopia, Zinash Tayachew, sings a new gospel song whose Amharic title, ማረን, transliterated “Maren,” means “Have mercy on us,” a plea addressed to God. “Do not abandon us during this time when the world is terrorized by bad news,” she sings. [HT: Global Christian Worship]

+++

Apocalyptic Lockdown Blues, a new EP by David Benjamin Blower: One of my favorite singer-songwriters, from Birmingham, England. “Apocalyptic Lockdown Blues is a small oral history of a global pandemic,” Blower writes. “This is folk, rootsy and ambient, with sacred longings, poetry and politics, sung out of windows and accompanied by birdsong.”

+++

“A Celtic Prayer”: Produced by Jonathan Estabrooks, this video features the choir of Fifth Avenue Presbyterian Church in New York City singing a traditional Celtic blessing set to music by Barry Peters. It begins, “May the Christ who walks on wounded feet walk with you on the road.”

+++

Virtual May Morning 2020: May Day, May 1, is a public holiday in England, and for the past five hundred-plus years it has been an Oxford tradition to kick off the celebration at dawn by having the Choir of Magdalen College sing unaccompanied in the Renaissance style from the top of the college’s bell tower. Typically a crowd of thousands gathers for May Morning along High Street and on Magdalen Bridge, but this year the event was canceled due to COVID-19. However, Magdalen College pulled off a virtual choir! The boy choristers and lay clerks recorded their parts from home, under the direction of Mark Williams, which were combined in a video that was released online at 6 a.m. local time. [HT: Joy Clarkson]

The choir sings “Hymnus Eucharisticus,” a seventeenth-century Trinitarian hymn, and “Now Is the Month of Maying,” an English ballett (a light, dancelike part song similar to a madrigal) from 1595, about lads and lasses frolicking in the grass. The prayer in the middle is led by the Rev. Dr. Andrew Bowyer, dean of divinity. The actual church bells did ring out the hour like usual, with a celebratory chime following the performance (the chimes in the video were prerecorded).

+++

“Doxology”: One of the things I miss most about communal (in-person) worship is singing the Doxology together with my church family each week. As part of his “Covers from an Empty House” series, Ben Rector has posted a contemplative rendition at the piano, which captures the sense of both mourning and hope that so characterizes this global moment. [HT: TGC Arts & Culture Newsletter]

+++

“I Know Who Holds Tomorrow”: This song was written by Ira Stanphill in 1950 following a painful divorce. It’s covered here by The Petersens, a family gospel group from Missouri.

+++

Scott Avett [previously] has been posting #emptylivingroomconcert videos on Instagram since the beginning of the year—just him and his guitar (or banjo) and a sixty-second time limit. Here are a few. (He’s the writer of all these songs, I’m assuming.)

View this post on Instagram

#emptylivingroomconcert

A post shared by @ avettar on

Walking the Via Dolorosa through Amsterdam (Part 3)

This is the final part of my commentary on Art Stations of the Cross: Troubled Waters, a multisite exhibition in Amsterdam running from March 6 to April 22. (Read parts one and two.) Unless otherwise noted, all photos are by Eric James Jones/ArtandTheology.org.

+++

STATION 10. This is the one station I did not get a chance to see, due to its more limited opening hours. Anywhere, Anytime by Masha Trebukova is a temporary installation in the Mozes en Aäronkerk (Church of Moses and Aaron) in Amsterdam’s Waterlooplein neighborhood. It consists of a nine-foot-tall octagonal structure (a “columbarium”) covered with paintings on newspaper, as well as six large-format “books” of paintings on glossy magazine pages.

Columbarium by Masha Trebukova
Masha Trebukova (Russian, 1962–), Anywhere, Anytime, 2019. Temporary installation at the Moses and Aaron Church, Amsterdam, consisting of an eight-paneled “columbarium” with paintings on newsprint, each panel 60 × 290 cm, and “How to spend it,” six painted-over magazines. Photo courtesy of Sant’Egidio Nederland.

A columbarium is a room, building, or freestanding structure with niches for the public storage of funerary urns (which hold the ashes of the deceased). Ancient Romans decorated theirs with frescoes, often of peaceful scenes of the hereafter. Trebukova, on the other hand, has painted this columbarium with images of war and violence, exposing the savagery that causes death. This is not a celebration of paradise gained; it’s a lament for paradise lost.

Hear the artist briefly introduce the piece:

Columbarium (detail) by Masha Trebukova
Masha Trebukova, Anywhere, Anytime (detail). Photo courtesy of Sant’Egidio Nederland.

Trebukova used as her painting surface pages from newspapers and magazines, the headlines often creating consonance with the images while the ads create dissonance. The sleek photos selling vacations and luxury goods, enticing you to treat yourself, contrast starkly with Trebukova’s slashes and smears of color that depict masked gunmen terrorizing families, mass executions, refugees on the run, and individuals huddled over the corpses of loved ones. This contrast urges viewers to consider how our own self-absorption might be restricting our view of what’s going on in the larger world. What incinerations are being carried out as we casually engage in our leisure reading and other entertainments? The vaults in Anywhere, Anytime are fictive, but they prompt us to imagine the many bodies and places being turned to ash as armed conflict and acts of terrorism persist globally. [Images below sourced from the artist’s website]

 

The books are too fragile to be handled by visitors, so they are displayed open in glass cases, laid flat on a black-clothed table, and a video screen nearby loops through all the images in succession. Here is an excerpt from the video, a showcase of book five:

The book appears to have originally been a dance magazine, but Trebukova subverts the elegance associated with controlled bodily movement by recontextualizing these found images of dancers. A woman walking down a rustic road in pointe shoes is given a heavy burden on her back—a child—and a head scarf, recasting her as one of the many mothers fleeing violence in the Middle East. On the following page spread, another dancer’s graceful backbend is re-envisioned as an involuntary response to his having been shot; unlike on stage, this movement will end with a fall.

The Moses and Aaron Church is home to the Amsterdam chapter of the Community of Sant’Egidio, a Catholic lay association committed to prayer, the poor, and peace. Existing in over seventy countries, Sant’Egidio seeks especially to serve the sick, the homeless (including displaced persons), the elderly, and the imprisoned. “War is the mother of every poverty,” they say, and they have been key players in peace initiatives in Mozambique, Algeria, the Balkans, the Democratic Republic of Congo, and other areas.

Trebukova, Masha_Columbarium (detail3)
Masha Trebukova, page spread from “How to spend it.” Photo courtesy of Sant’Egidio Nederland.

+++

STATION 11. Erica Grimm’s Salt Water Skin Boats, a collaboration with artist and arborist Tracie Stewart and soundscape specialist Sheinagh Anderson, is an installation of five sculptural coracles made of interwoven willow, dogwood, fig, and cedar branches; animal skin and gut; cheesecloth; and bathymetric ocean maps imprinted with scientific measurements of things like glacial melt, sea-level rise, and ocean acidification. These are suspended from the ceiling along the nave of the Waalse Kerk and are lit from inside, and they are accompanied by an ambient soundscape that viewers activate by scanning a QR code.

Salt Water Skin Boats by Erica Grimm
Erica L. Grimm (Canadian, 1959–), Salt Water Skin Boats, 2018. Willow, dogwood, fig, and cedar branches; cheesecloth; animal skin and gut; bathymetric ocean maps; layers of wax; earbuds; LED lights. Installation view at Waalse Kerk, Amsterdam, in March 2019, part of Art Stations of the Cross.

Small lightweight boats without rudder, anchor, or keel, coracles are unstable watercraft, easily carried by currents and wind. Back in the day, Celtic Christian pilgrims would set sail in them, not having any destination in mind but rather trusting that God would steer their little boats to wherever he saw fit. In a sense, we are all “skin boats” afloat on a vast ocean, not knowing where we’ll end up. But Grimm’s incorporation of numerical data that highlight the dangerous warming, acidifying, and expanding of the world’s oceans pushes this metaphor in a new direction; the work “proposes an analogy,” writes curator Marleen Hengelaar-Rookmaaker, “between our bodies and the vast ecology of the global ocean: between the life-sustaining, precariously balanced ocean chemistry and the chemistry of our own salt-water-filled bodies.”  Continue reading “Walking the Via Dolorosa through Amsterdam (Part 3)”

Son of David, I Want to See (Artful Devotion)

Christ and Bartimaeus by Julia Stankova
Julia Stankova (Bulgarian, 1954–), Christ and Bartimaeus, 2017. Painting on wooden panel, 36 × 45 cm.

And they came to Jericho. And as he was leaving Jericho with his disciples and a great crowd, Bartimaeus, a blind beggar, the son of Timaeus, was sitting by the roadside. And when he heard that it was Jesus of Nazareth, he began to cry out and say, “Jesus, Son of David, have mercy on me!” And many rebuked him, telling him to be silent. But he cried out all the more, “Son of David, have mercy on me!” And Jesus stopped and said, “Call him.” And they called the blind man, saying to him, “Take heart. Get up; he is calling you.” And throwing off his cloak, he sprang up and came to Jesus. And Jesus said to him, “What do you want me to do for you?” And the blind man said to him, “Rabbi, let me recover my sight.” And Jesus said to him, “Go your way; your faith has made you well.” And immediately he recovered his sight and followed him on the way.

—Mark 10:46–52 (cf. Matthew 20:29–34; Luke 18:35–43)

+++

SONG: “Son of David” by Ghost Ship, on The Good King (2013)

Here’s an introduction and acoustic performance by band leader Cam Huxford, who cowrote “Son of David” with fellow Ghost Ship member Shay Carlucci:

+++

“The Blind Suppliant” by Richard Crashaw

Silence, silence, O vile crowd;
Yea, I will now cry aloud:
He comes near, Who is to me
Light and life and liberty.
Silence seek ye? yes, I’ll be
Silent when He speaks to me,
He my Hope; ah, meek and still,
I shall ’bide His holy will.
O crowd, ye it may surprise,
But His voice holdeth my eyes:
O have pity on my night,
By the day that gives glad light;
O have pity on my night,
By the day would lose its light,
If it gat not of Thee sight;
O have pity on my night,
By day of faith upspringing bright;
That day within my soul that burns,
And for eyes’ day unto Thee turns.
Lord, O Lord, give me this day,
Nor do Thou take that away.


This post belongs to the weekly series Artful Devotion. If you can’t view the music player in your email or RSS reader, try opening the post in your browser.

To view all the Revised Common Lectionary scripture readings for Proper 25, cycle B, click here.

Songs about the Flight to Egypt

On the heels of Jesus’s birth came his frantic flight, with parents Mary and Joseph, from the sword of an egomaniacal politician who swore death to all the male children of Bethlehem under the age of two. To secure his own power and advantage, Herod had to squash all potential threats.

Thus the birthday festivities were cut short as the Holy Family packed up what little they had and hit the road running, seeking asylum in another country.

Flight to Egypt by Jean-Francois Millet
Jean-François Millet (French, 1814–1875), The Flight into Egypt, ca. 1864. Conté crayon, pen, ink, and pastel over gray washes on paper, 31.1 × 39.4 cm. Art Institute of Chicago.

Many families are still making this difficult journey today: fleeing home in order to escape persecution and/or death.

Even though the Flight to Egypt is a part of the Christmas story, it’s often omitted from present-day nativity pageants and carol services because we prefer to bask in that which is quaint and cozy and cute and joyful, and we want that happy ending. We don’t want the darkness to rain on all the Christmas light. This is a real shame. By leaving out this event from our retellings of Jesus’s birth narrative, not only do we do a disservice to his memory, we neglect an opportunity to see Christ in our refugee neighbors.

(Related post: “Maria von Trapp, plus seven artists, on Jesus the refugee”)

To help remedy this omission, I’ve compiled a list of songs based on the Flight to Egypt so that churches can consider using them (or be inspired to write their own!) as part of their Christmas observances. I’ve purposely excluded “The Cherry-Tree Carol,” a centuries-old ballad derived from an apocryphal story about the Flight to Egypt from the Gospel of Pseudo-Matthew (chapter 20); I did so not only because the anonymous lyricist reset the episode during the Journey to Bethlehem, when Jesus was still in the womb, but because, though charming, there’s nothing historic, spiritually valuable, or socially conscious about it, and it perpetuates a popular stereotype of Joseph as stubborn and unkind that I believe scripture itself does not bear.

Also excluded are the several carols about the Massacre of the Innocents—the episode that prompted the Flight to Egypt. The two episodes are obviously related, but I want to focus here on the Flight.

CONGREGATIONAL HYMNS

I could find only one song on the topic that was written with congregational singing in mind, and that is “Flight into Egypt” by the Rev. Vincent William Uher III (1963–). It’s made up of four verses and the refrain “Kyrie eleison” (Lord, have mercy), a common prayer in Christian liturgies. Because the hymn uses a plainchant tune, it has an irregular meter and may therefore be a little tricky for congregations to pick up right away. But the words are so beautifully crafted and set, and Rev. Uher gives his permission for noncommercial use, as long as credit is given. I put together a printable hymn sheet, reproduced below the lyrics. (Click on the image to open up the sheet as a PDF in a new tab.)

“Flight into Egypt” (1997) – Words: Vincent Uher | Music: Plainchant mode V, 13th century

Lonely travelers from the stable
Out beneath the hard blue sky
Journeying, wandering, hoping, praying
For the safety of their child
While our mother Rachel’s weeping
Fills the streets of Bethlehem.
Kyrie eleison.

Warned by angels moved to save him
Who was born our kind to save
Joseph leads his holy family
Far from Herod and harm’s way
Mary shielding and consoling
Jesus Christ the Son of God.
Kyrie eleison.

Fleeing from the land of promise
They in Egypt find a home
Strange the workings of God’s mercy
House of bondage now God’s throne
But for sons who all were murdered
Sorrow breaks the House of Bread.
Kyrie eleison.

True the tale of flight and exile
Out of Egypt comes God’s Son
Angels tell of Herod’s dying
All is ended, all begun
Jesus will grow up in Nazareth
And the world will all be stunned.
Kyrie eleison.

flight-into-egypt-by-vincent-uher

Because of the scarcity of carols referencing the Flight to Egypt, I took to writing some verses of my own, using already-popular hymn tunes. Each of these verses is intended not as an additional stanza to the carol whose tune it shares (that would render the narrative structure incoherent) but as a standalone reprise of sorts. I envisioned any one of them being sung as part of a Christmas Eve service following the reading, as part of the total Christmas story, of Matthew 2:13–14.   Continue reading “Songs about the Flight to Egypt”