Save me, O God: for the waters are entered even to my soul. I stick fast in the deep mire, where no stay is: I am come into deep waters, and the streams run over me.
(Psalm 69:1-2, 1599 Geneva Bible)
Is it, as Bosch would have it, a sinking scene,
hut scarcely erect, while in the background
knights and crusaders fight, and crazed faces peek
through cracks in the broken structure?
If so, my crazed face peeks.
Show me the truth through the falling thatch.
Let me climb to the roof to see
the light greater than the dark in me.
Or, as for Dürer, does the Light lie in castle ruins?
Do relic-arches arc around the one who put
the promise-bow into the arching sky?
Do dark clouds gather on the edges? If so,
those clouds are me. O light eternal,
lighten the load the makes me droop and bristle.
I drown in the dry of my day.
Unwise, I come. Do not send my tattered folly away.
“What can I give him,
Poor as I am?”
Today is one of the most important days in the old church calendar, but also one of the most widely forgotten: the feast of Epiphany. Today we remember the wise men visiting Jesus, but we also remember what this represents, that the Gospel has been made known to the nations. Epiphany is an older celebration than Christmas, and in some early church documents it appears to have been the date when the Eastern church at least celebrated Jesus’ birthday. It’s a wonderful day, full of rich significance for believers to celebrate. Today we’re going to enlist one of my favourites, Bach, to see us through, with the help of his first Epiphany cantata. You can read the text and translation here.
I will arise with the stars.
In dappled light, the ground illuminates to show
the king made low,
the way made known.
I will arise with the stars to see
the glory that shines from east to west,
though wearing humble clothes.
I will arise with the night.
With nothing in my hand to give, I will receive
for years enclosed.
I will arise in the night to see
the light that day has not received
and now is bright to see.
I will travel with the kings
though I am no king, nor have ever been wise.
I will arise
with the stars in my eyes
and give a broken heart, for all
the better your treasure to store.
On this night in Shakespeare’s day, there would have been wild revelry to celebrate the twelfth night of Christmas. He even named one of his plays this, a sign perhaps that it was to be performed on the twelfth night, but also a possible nod to the ways that Christmas switches around our ideas of wisdom and foolishness, poverty and wealth. This same inversion is captured for me in the wondrously celebratory first movement of Bach’s Brandenburg Concerto No. 4, a piece which surprises listeners by placing the recorder, not usually a solo instrument, alongside the violin. It isn’t a Christmas carol in any sense, but I think it’s still a fitting conclusion to our early music Christmas season. It also works well as a soundtrack to one of our texts for today, Proverbs 22:2, which says, “The rich and poor meet together: the LORD is the maker of them.”
“The rich and poor meet together”
Hear this: it’s singing,
Nothing is as you have thought it to be.
Listen: the king is
enthroned, he is ruling.
Yet see how he rules, how he lays down his crown.
Watch this: the minstrels
sit at the king’s table.
See how the courtiers have no place to lounge.
are trilling in triumph.
Come to the feast! (Leave your privilege behind.)
“The LORD says to my Lord…” (Psalm 110:1). These are surely some of the more mysterious words to appear in the Bible. Who is the second Lord to whom the writer, King David, is referring? Who could even be understood to be David’s Lord apart from God, the LORD? David, after all, was king of all Israel; no-one beside God was higher than him. And yet he looks to another Lord who will be made king over everything and who, mysteriously, will also be a priest forever too. In Jesus, the mystery is, if not resolved, at least given flesh so we can behold it.
Today’s piece is Vivaldi’s powerful setting of Psalm 110, entitled “Dixit Dominus” (“The LORD says”) after the first two Latin words in the psalm. I’ve chosen Caravaggio’s strange Nativity scene, which anachronistically features Saints Francis and Lawrence, to help us to reflect on the wonder that this mighty king chose to come as a tiny baby. Caravaggio’s famous chiaroscuro lighting manages to hihglight Jesus’ face without resorting to the artistic cliches of his day. The presence of two saints known for their love of the poor seems fitting for this simple, peasant scene into which the king of all creation chose to come to earth.
Sit at my right hand
All earth is your footstool;
soon so will your enemies be too.
Yet You sit at our feet, minuscule, helpless,
Creator on the floor of creation,
infinite made finite,
the dew of your youth around you on the hay.
Judge of the nations: the nations come
to see your defenseless form, to catch
the future glory in your minute moment.
Where is your sceptre? You drink
from your mother’s breast; cannot
yet lift your head, nor fight.
Await the voice: “Sit at my right hand.”
But first you will cry, “I thirst”,
and, “It is finished,” and, “My God,
my God, why?” Heaven surrounds you,
but first the sword and the nails.
First the manger, this moment in eternity’s grasp.
On the ninth day of Christmas, apparently, someone’s true love once gave them nine ladies dancing. Impractical though this is as a Christmas present (not to mention hard to wrap), it suits today’s carol well: the majestic “In dulci jubilo”, set by the seventeenth-century German Lutheran composer Michael Praetorius. The story of the text, originally written by 13th-century German mystic Heinrich Suso, is a story of dancing being brought into the midst of grief. According to the (auto?)biography of Suso, The Life of the Servant, Suso was told by an angel to stop the intense mortifications that he was practising and instead to join the angels in their dance: “Now this same angel came up to the Servant [Suso] brightly, and said that God had sent him down to him, to bring him heavenly joys amid his sufferings; adding that he must cast off all his sorrows from his mind and bear them company, and that he must also dance with them in heavenly fashion. Then they drew the Servant by the hand into the dance, and the youth [angel] began a joyous song about the infant Jesus, which runs thus: ‘In dulci jubilo’, etc.” It may or may not be a true story (more about the fascinating life of Suso can be read here), but the f
act remains that a man known for his austere ascetic practices also gave the medieval church one of its most joyful hymns. Today’s poem is inspired by Suso and the angel’s words.
Join the dancing
Angels dance around the stall.
Sing! Sing! One and all.
Come to earth, enthroned in hay,
sleeps the shining, living Day.
Leave your grieving songs, your weeping.
Dance, dance, with angels leaping.
Though the darkness now may linger,
Heaven dwells within a manger.
Cast off your ashes and your sackcloth.
The king is resting in a food trough.
Nothing now can snuff his light.
Sing, dance, with all your might.
Another year begins, and today we have a special piece of music to see in the new year: Bach’s Cantata for New Year’s Day, Part IV of his spectacular Christmas Oratorio. This cantata takes as its theme the presentation of Jesus at the Temple, but as often happens with Bach the story is explored through a number of voices who apply the story as aptly to our hearts today as for Bach’s hearers in his day. You can read the text and its translation here.
Order my beginning: For New Year’s Day
When they took him, on the eighth day,
as required by law,
with their offering of pigeons
(an allowance for the poor),
there was nothing about them
to startle the eye,
the custom being usual,
his name ordinary.
Yet the many other Yeshuas
in Bethlehem alone
were named looking backwards,
to a hero long gone.
This child looked forward.
His saving acts stood
in the imminent future,
with an immanent God.
No wonder the marvel,
the gathering throng,
the prophecies spoken,
the singing of songs,
and me on the sidelines,
praising and yet
reluctant to settle,
still hedging my bets.
Does salvation start here?
No, it’s as ancient as Him,
but it reignites dulled hearts
and lights growing dim.
O order my days here,
my thoughts and my sight.
My years will be nothing
save He sets them right.
The story of Simeon has given the church one of its oldest hymns, called the “Nunc Dimittis”, after the first two Latin words of the song: “Now dismiss…” There have been many musical versions of Simeon’s song, but today’s poem takes as its inspiration a modern setting by the living Swiss composer Carl Rütti. Rütti’s setting, full of dissonance and peace at the same time, perfectly captures the tension of the story, a moment of jubilation, fulfilment of age-old longing and pure relief and release. The same mood is captured for me in the painting by Rembrandt, who tackled the story of Simeon at the start and end of his career. This is the second of his versions, left unfinished at his death. Is it fitting that he never finished it? Rembrandt caught many of the most poignant moments of Scripture in a manner both raw and sublime. I personally love the second version much more than the first, though the latter is polished where the former is rough. Yet the roughness fits the theme perfectly: Simeon’s praying hands stretched out with the infant Jesus balanced over them, his eyes barely open, his mouth open just enough to say this final prayer. I’ve tried to capture some of this in today’s poem.
After the silence, a cascade
of wonder, of sound, of light.
Before the darkness, a sight
of promise, of presence, of peace.
And in this aching and drooping of arms,
an answer, a dimming, an eternal day.
Now dismiss. I hold the day;
I hold the way that holds me into night.