A Friend’s Beautiful Repentance

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James Tissot, The Pharisee and the Publican

 

This past week I witnessed a beautiful act of repentance. A new friend shared with several of us that he had done something he clearly regretted. I began to see the shame and grief he was carrying within himself, despite his initial display of upbeat friendliness. I suspect that he had not joined us consciously intending to share details about what he had earlier done. But, after a bit, his sense of accountability to us, as well as his desire to reconnect with us, overcame his reluctance to be candid. His face became dark, and we could see anguish in his facial expression while – embarrassed – he described what had happened. His principal regret, he said, was that he had let himself and his family down, and he was sad that he had let us down, as well.

It was an uncomfortable few minutes, both for him, and for us. But I was struck not only by the pathos of the moment, and of his admission. I was moved by the beauty of his expression of repentance, and especially by his at-first discrete and then winsome smile as he received and responded to our assurances. We told him that he was beginning to make things well by sincerely sharing his recent experience with us.

The moment passed by all too quickly, especially given how profound it had been for several of us.

We had personally witnessed a touching illustration of what I believe Jesus was getting at in his parable found in Luke 18:9-14, often called The Pharisee and the Publican (or Tax Collector). This parable and other related Gospel sayings or stories are often described as providing us with illustrations of God’s love for us, and of what God’s love for us seeks to nurture in and elicit from us. To me, an often missing word in such characterizations of Jesus’ vision and teaching is ‘beautiful.’

I doubt I will ever forget an observation made by a young aspirant to ordained ministry, about her loss of her father following his lengthy terminal illness: “it is a beautiful thing to have someone for whom you mourn.” There is a similarly strange beauty – and ‘strange’ because it is unexpected – to be found in offering, or in being invited to receive from a friend, grief-filled repentance. Otherwise, we are rarely ever so self-disclosing, so without guile and, hence, so vulnerable. Perhaps the beauty we find here in such moments is the reflected beauty of the divine nature, in whose image and likeness we have been created.

But the loving light of that same divine nature also illumines how our created likeness with God is now marred, and often obscured. This is what can keep us holding our hurts within, while foolishly thinking we are somehow different from others.

And then, on an occasion that can be a surprise even to the one who offers a painful admission, the reflected beauty of the divine nature is briefly revealed, shared, and there before us to behold.

When we find ourselves moved to share our pain and grief by our acts of repentance, we may experience a paradox. We may find that, in the embrace and assurances we receive from those with whom we have been candid, we have received something of even dearer value to us. We may find that we have received a beautiful gift, the gift of experiencing having been found by the One who has come to find us.

James Tissot, The Good Shepherd

 

Additional note: Jesus’ teaching, “blessed are those who mourn,” might best be understood in relation to the grief we can experience accompanying our acts of repentance. Charles Wesley may have had this idea in mind when composing verse 2 of his text for the hymn/poem, “Lo! he comes with clouds descending.”  For we are close to the Father’s heart when our grief is born of sincere repentance.

Every eye shall now behold him, robed in dreadful majesty;
those who set at nought and sold him, pierced, and hailed him to the tree,
deeply wailing, deeply wailing, deeply wailing, shall the true Messiah see.

(Charles Wesley, in the words of Hymn 57 in The Hymnal 1982)

Calder’s La Grande Vitesse

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This past weekend, with the temperature in the lower twenties and lake-effect snow in the air, I had a chance to revisit a favorite sculpture, Calder’s La Grande Vitesse. Sitting on a plaza in downtown Grand Rapids, MI, the sculpture is notable for being the product of the first award granted by the National Endowment for the Arts for a work of public art, with the project dedicated in 1969. It is a stirring example of Calder’s large scale ‘stabiles,’ as distinguished from his better-known mobiles. La Grande Vitesse may be his most successful work in the stabile category, a grouping which comprises several monumental compositions of welded and bolted sections of steel, often painted in Calder’s favorite vibrant and warm bright red.

Because it is lyrical and engaging, La Grande Vitesse has the pronounced effect of drawing the viewer in to engage with the artist’s vision for the work, both visually, spatially, and even in a tactile way. Sculpture is by definition three-dimensional, in that works of sculpture comprise shapes and forms, whereas painting and drawing typically involve two-dimensional images, whether representational or abstract.

Two concept drawings of what became La Grande Vitesse

Although some painters in the modern era have pushed against the distinction I have just offered (regarding multiple dimensions) by their manipulation of the surfaces of paintings, sculpture remains distinctively in a sphere of its own. You can look at the back of a painting, but you move around (and sometimes through) a work of sculpture – something manifestly true with Calder’s stabiles. Whereas a viewer can encounter a painting through visual apprehension and imagination while standing before it in even a small room, a visitor encountering a sculpture – especially a large one – engages with it as an embodied being, interacting with another object occupying a shared space within a common area.

This helps us notice how the location of a sculpture can make a difference in our appreciation of it. With its stunning color and soaring curved surfaces, Calder’s La Grand Vitesse commands the plaza upon which it rests and would be much diminished if placed in a dark and cramped alley just wide enough to accommodate its size. Therefore, when sculptures are beautiful to behold, stirring in their effect, and well-placed, encountering works of this kind can provide a profound, whole body experience. In this respect, sculpture has an affinity with architecture.

What sets La Grande Vitesse apart from some of Calder’s other large stabiles is the extent of the quality of mystery he created by increasing the number of vantage points required in order to get a sense for the shape of the whole. This, then, extends the time it takes to gain an appreciation for the dynamic interrelation among the sculpture’s parts. Not all examples of sculpture merit the observation that when progressing to each new vantage point, the work appears to be different from one’s prior impression of it.

A second distinguishing aspect of La Grande Vitesse connects its formal title with the name of the city in which it has found a home. Grand Rapids is named for a historic feature of the river it straddles, and the sculpture’s French title can be translated with roughly the same two words. Guides also explain that La Grande Vitesse may properly be rendered as “the great swiftness.” These related names for the art work and its alluvial location fit well with its fluid lines, curves, and protruding fin-shaped panels, which would be at home in a marine environment. For me, the masterful conjunction of the scupture’s multiple curved surfaces accentuates the allure of the work, a sculpture that I find simultaneously uplifting, joyous, and very pleasing to behold.

A 1:5 intermediate maquette of La Grande Vitesse bearing Calder’s signature and date

A 1:23 interpretive model for the sight-impaired (placed on the plaza near the sculpture in Grand Rapids)

 

Additional note: Placed next to civic buildings designed by Skidmore, Owings and Merrill, the Calder commission to produce La Grande Vitesse for the City of Grand Rapids was part of a larger project – as in so many cities during the 1960’s – to transform the heart of an urban area with what was then sometimes euphemistically called a process of ‘renewal.’ The photograph below of the 1969 dedication ceremony is revealing in that much of the area surrounding the sculpture plaza has since been covered by useful but not always beautiful government and commercial buildings, as well as a new medical center connected with Michigan State University, adjacent to extensions of an interstate highway.

The Epiphany: Human Power Encounters Divine Authority

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James Tissot, The Magi Journeying (detail)

 

Instinctively, there is something we all seem to seek. We want to find purpose and meaning, and organizing principles for our lives. This desire is anchored in a larger one: we seek to discern what is real, and true.

But where does our common impulse come from? In what does this impulse consist? I think the best answer to these questions is found at the heart of the Feast of the Epiphany. On Epiphany, we celebrate how God has revealed to the world the real and true meaning and purpose for our lives. Epiphany is all about God revealing to us the divine center of everything. Epiphany highlights God’s self-revealing in the natural world, and preeminently in God’s Incarnation, which the Magi came to discover and then worship.

We are able to recognize that it is in the nature of a Creator to order reality, imbue it with purpose and meaning, and hence to bring order, purpose, and meaning to our lives. A perhaps-unexpected word that captures this broad idea is authority, in that God possesses the authorizing power to create things, and guide them. Specifically, we discern this authorizing power in God’s creation of the universe and in the divine agency shaping ongoing history. For God is the author of all that is real and true.

In human life, authority and power are not always neatly aligned, and we experience trouble when the two are at odds with one another. We see this dialectic between the two at work in the events of Holy Week, in the confrontation between divine authority (in the vocation of Jesus), and worldly power (as exemplified by Pontius Pilate). Less obvious is the way this dialectic is manifest in the events that are commemorated in our celebration of Christmas and the Epiphany of our Lord, especially in connection with the visit of the Magi from the East.

James Tissot, The Magi in the House of Herod

The Magi, also called ‘wise men,’ or ‘kings’ from the East, arrive in Israel having been guided by an authoritative power greater than themselves. Because of their witness to this higher authority and its implied power, the visitors pose a threat to Herod and his courtiers, who exercise earthly authority and its attendant power. This emerges in the interaction between people who are witnesses to divine authority and its power, and others who are possessors of worldly authority and power. The emerging conflict, later seen in the events of Holy Week, arises amidst the challenges surrounding the beauty revealed in what we call the Epiphany, the revealing of divine light to the whole world rather than to just a particular nation or the people of a particular religious tradition.

The Magi from the East, by explaining their quest, prompt Herod to act. He acts viciously and violently through orders given to soldiers under his command. The result is the series of murders we acknowledge every year on December 28, in the ‘red letter day’ we call the Massacre of the Innocents.

James Tissot, the Adoration of the Magi

What are we to make of the Epiphany of God in human form, and the tragic circumstances to which it led? At the heart of Christian belief is the conviction that God became present to us through a human birth. He revealed himself in a human person who embodied two natures, one fully divine, and one fully human, whose natures are distinguishable yet inseparable. Such a person, regardless of appearances, was and is the transcending center or heart of all that is, manifest in human form. He is, therefore, the One who truly possesses divine authority and divine power. Einstein – who was not in any sense a traditional believer – said this: “The most beautiful thing we can experience is the mysterious.” The divine center of reality, manifest and revealed in a human being, is the most mysterious beautiful thing that we can experience.

Here is the wonder of it: in God’s mysterious Providence, the birth of the Messiah would bring death to many (in the Massacre of the Innocents). And – years later – the death of the Messiah would bring the possibility of new birth to all, through the redemption of human being from the power of sin and death.

Yet, it would be some decades later before those who proclaimed Jesus as Messiah, and the embodiment of God, could understand the connection between his birth along with those soon-resulting deaths of the Innocents, and his later death, along with its soon-resulting new births for those who came to believe in him.

Our proper response to all this — indeed our only response to all this can and should be to praise the Holy One of Israel, the one whose death brought new life to all who receive him. He has come to us. Come let us adore him. And let us receive him with renewed hope and joyful hospitality, in all his light-filled glory.

A blessed Epiphanytide to you and your loved ones.

 

The Arrival of the Messiah in James Tissot’s Art

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James Tissot, The Vision of Zechariah, with which Luke begins the great story (Luke 1). The priest, Zechariah receives an epiphany, telling him that he and Elizabeth will have a son, to be named John, later known as ‘the Baptizer.’

 

With this post for Christmas, I share with you a series of paintings by James Tissot on the theme of the Nativity of Jesus. Readers of this blog will know of my high regard for this artist’s life and work. I am pleased to share this collection of Tissot’s paintings related to the great events we celebrate for twelve days in the Church’s calendar year.

The paintings featured here, and many others, later became the illustrations in Tissot’s four volume, The Life of Our Lord Jesus Christ, published in English in 1897-8. The originals of these paintings were purchased by the Brooklyn Museum in 1900, and examples from this collection are periodically on display, both there and elsewhere.

May you and your loved ones have a holy and blessed Twelve Days!

The Betrothal of the Holy Virgin and St. Joseph (mentioned in Matthew 1 & Luke 1)

The Annunciation to Mary (Luke 1)

The Magnificat (Luke 1)

The Vision of St. Joseph (telling him of the coming child, and that he is to receive Mary as his wife / Matthew 1)

The Visitation (of Mary to her cousin, Elizabeth, the expectant mother of John, who would become the Baptizer / Luke 1)

St. Joseph Seeks Lodging at Bethlehem (Luke 1)

The Birth of Our Lord Jesus Christ (Luke 1)

The Adoration of the Shepherds (Luke 2)

The Adoration of the Magi (Matthew 2)

The Flight Into Egypt (Matthew 2)

The Massacre of the Innocents (Matthew 2)

The Sojourn in Egypt (Matthew 2)

The Presentation in the Temple (Luke 2)

Jesus Among the Doctors (the boy, Jesus, at age 12, visiting the Temple in Jerusalem with his parents / Luke 2)

 

Note: the titles attached to the images above are those that are provided by the Brooklyn Museum

An Advent Magnificat

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Jim Janknegt, Joyful Mystery 1

 

Neither the Bible nor history tell us the precise details about the Annunciation to Mary, such as on what day the Angel appeared, or when Jesus was later born. The Angel’s wondrous appearance could have happened on a drab winter’s day. Yet, by virtue of the Angel’s message, it was also like spring. Our Church calendar and holy tradition reckon that the Annunciation was in March. If it was in the spring, the average high temperature in northern Israel would have been in the 60’s. So it could easily have been a season colored by the appearance of emerging flowers and foliage.

Faithful to the pattern of Scripture, Jim Janknegt seeks to portray something beyond literal circumstances. He has more than flowering plants, trees, and shrubs in mind. The decorated edge of the painting is a border of roses, which evoke the mysteries named in the Rosary, of which this scene is only the first. Inside that border are more flowers, and these also play a symbolic role. For we find lilies on Mary’s dress, suggestive of a later-to-be-revealed Easter, and calla lilies in a vase on the table, traditionally associated with the Annunciation to Mary.

Even more dramatically, flowers cover a large part of the angel, which suggest something transcendent and other-worldly. The Angel has come to speak the Word: the Word of Life, which is also a Word of blessing (look at the Angel’s hand-gesture!). Central in the painting, but depicted in a very subtle background way, is a great tree. Surely, it is the Tree of Life, from Genesis and Revelation, the first and last books of the Bible. Surely, the tree also prefigures that toward which everything in this moment is heading ~ the dead wood of the Cross, which paradoxically became a life-giving tree. Yes, it is springtime! But, this is springtime in salvation history.

So this is what we begin to see in Jim Jangknegt’s painting: his portrayal of the Angel’s Annunciation to Mary is not so much about springtime in the world. Instead, it is about springtime for the world.

 

Jim Janknegt’s painting, featured here, is used by permission of the artist. The text of this post is based on my homily for Sunday, Advent IV, of this year, which may be accessed by clicking here.

Allan West: Japanese Culture and Art

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In more than one way, Allan West is an unusual artist. His life and work have been deeply imbued by the spiritual aesthetics of Japanese culture and its traditional art of painting. For over forty years, he has dedicated himself to Nihonga, the less and less practiced method of painting using minerals for pigments, mixed with the liquid medium of a glue made from deer protein. This approach to painting has been practiced consistently in Japan, where luminous paintings from the 11th century can still be appreciated for their original beauty. The closest parallel in Western art is egg tempera painting, in which painters in earlier centuries mixed pigment with egg yolks instead of the modern practice of mixing pigments with oil or an acrylic medium.

Allan West was born and grew up in Washington, D.C., and his sojourn in Japan began in a period of mission work there as a member of the Latter Day Saints. Two factors transformed the vector of his life. He came to realize that he had an affinity with Japanese culture, especially with its artistic tradition, and he was struck by the Japanese sensitivity to living in harmony as much as is possible with the natural world.

More particularly, with his memory of pursuing painting from the time of his childhood, he recalls his own experiments with mixing pigments with various liquids to achieve a more fluid paint medium. This predisposed him to accept an observation offered by a viewer of his early work, who told him that his preferred approach to painting had a long tradition in Japan. As a result, West moved to Japan in 1987, with his wife and children, to learn from that tradition. He has lived and worked in Tokyo, ever since.

In a short video introduction to the artist, released by the Prime Minister’s Office in Japan, Allan West shares the following about his life’s work (screenshot above, and link below):

I use the Japanese painting technique to express the beauty and essence of the natural seasons. It has been 40 years since I moved to Japan, attracted by the traditional pigments and techniques of Japanese painting. Japanese natural materials can retain their clear vibrancy for more than a thousand years. I’m proud to inherit the tradition of Japanese painting and its wisdom that cherishes nature’s beauty and harmony with humankind. Through my art I’d like to convey the appeal of Japanese culture to the world.

With these few words, spoken in a soft and nuanced voice in the video, Allan West is saying much. Having returned to Japan with the intent of learning a method or a technique, he had the sensitivity to realize that he needed to learn the Japanese language and let its culture become ingrained within him in order for him to be able to practice Nihonga painting with some degree of integrity. The photo below contains a number of important cues concerning what West has received and learned from the tradition of which he describes himself as an inheritor.

Allan West paints sitting on the floor in a Japanese way, on mats woven from rice-straw. As has been noted, the paints he uses are made up of ground minerals mixed with a glue-like medium of deer protein, paints which he values for their fluid quality. Hence, the surfaces that are to be painted need also to rest upon the floor, to avoid the paint running. Many of the surfaces upon which West works are large in size, like the sometimes wall-sized decorative folding screens for which he has become known. To be able to paint such expansive surfaces in their totality, instead of panel by panel, the artist designed a narrow rolling platform, allowing him to reach any area of a full-sized screen (as in the image above). This photo also displays West’s use of vibrant mineral-based colors as well as metalic foils and powders, such as gold leaf, some of which are found in the glass containers on the shelves behind him.

Allan West’s present Yanaka, Tokyo, studio

Unlike some artists, both Western and Asian, Allan West welcomes visitors to his studio, and actively encourages those who are curious not only to view his art, but to witness his creative process. To this end, his present studio, much modified into a traditional Japanese-looking structure from its prior use as an automotive maintenance facility, has large and welcoming sliding panels and windows, through which those walking by can view him painting. Through providing this access to his creative work, he hopes to promote a sustainable future for Nihonga, and to persuade Japanese visitors in particular that even an American immigrant can appreciate, learn, and become proficient in an ancient Japanese art form.

The following images provide examples of Allan West’s beautiful work:

The following image displays the interior of Allan West’s attractive and welcoming studio and gallery building:

 

Readers who wish to become more acquainted with Allan West and his work might view the YouTube video mentioned above (the link is here). Allan West’s studio and gallery can also be visited in a virtual way by clicking this link.

The Beauty of Philip Simmons’ Charleston Ironwork

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Gate to the Philip Simmons Memorial Garden, Anson Street, Charleston (featuring a Simmons design)

 

Philip Simmons, was a blacksmith who spent his life and working career in Charleston, SC, where much of his work is preserved by homeowners, collectors, and a foundation dedicated to honoring his legacy. Along with his lifelong body of ironwork, he has been described as a national treasure. Born in 1912 in the Old South, he received a very limited education and apprenticed himself at an early age to blacksmiths he saw in his Charleston neighborhood. Eight decades of work in a blacksmith’s shop followed as he pursued what some might call a trade craft, and which in his hands was truly an art.

Mary E. Lyons has written a book about Simmons for young persons, which includes some compelling photos of his work. She offers this introduction to the artist: “Philip Simmons began his career as an untrained boy. Now he is called the Dean of Blacksmiths by professional smiths across the country. His memories show that skill and patience take years of work. They also prove that everyone can achieve both. An honored artist, teacher, and businessman, Philip Simmons is the working person’s hero.”

Though the circumstances in which he lived and worked were modest, he is warmly remembered by his home city, and he has been commemorated by a marker at the Fort Sumter and Fort Moultrie National Historical Park (shown above), by the preservation of his home and studio, as well as by a high school named in his honor. Numerous examples of Simmons’ ironwork can be seen on walking tours in Charleston, in the course of which one can enter, through a gate fashioned by Simmons, a memorial garden for named for him maintained by the Garden Club of Charleston.

An egret, one of Simmons’ favorite motifs in his ironwork

In addition to representations of egrets, other images such as palmetto fronds, hearts, fish and serpents, number among those images often featured in Simmons’ ironwork. The artist’s choice of these images reflected his sensitivity to the locale in which he was raised, both Daniel Island where he was born, and then Charleston and its low country and aquatic surroundings.

A major turning point in Simmon’s life’s work came with an unexpected opportunity brought to him when he was 64, an age when many contemplate retirement. He was invited to participate in the 1976 Bicentennial commemorative Festival of American Folklife to take place on the Mall by the Lincoln Memorial in Washington, D.C. Asked to craft a gate onsite during the event, Simmons wondered about the imagery that he might select for the project. Thinking about images that would reflect where he was from, he settled on the moon, stars in the sky, the rolling surface of water, and fish. This combination of images reflected, in his mind, the night sky sparkling upon the waters of the two rivers that form Charleston Harbor. The resulting gate, which has come to be known as the Star and Fish Gate, was purchased by the Smithsonian Institution (image below).

Philip Simmons’ crafting of the Star and Fish Gate in a temporary workshop set up on the Washington Mall, complete with a portable foundry and anvil, attracted a great deal of attention during the festival, and resulted in the artist gaining national attention. Among those taking an interest in Simmons’ work, and then helping bring it to a wider audience, was John Michael Vlach, a professor at George Washington University. Vlach published a biography of Simmons in 1981, which may have helped those at the National Endowment for the Arts to take note of Simmons’ lifetime of achievement in the field of blacksmithing. In 1982, the NEA awarded Simmons with a National Heritage Fellowship, the United States government’s highest honor in the folk and traditional arts. Other honors followed, including the Order of the Palmetto, his home state’s highest honor, as well as induction into the South Carolina Hall of Fame. During his lifetime, he was referred to as “a living national treasure.”

Simmons’ iron work incorporating the medical symbol of a caduceus, and a fish representing an aspect of his home region as well as the Christian faith

In spite of all of the accolades and honors he received later in life, Philip Simmons continued with humility to devote himself to his art, and to teaching younger aspirants and apprentices who wished to become proficient themselves in creating beautiful yet also functional ironwork. Despite the very significant cultural differences between his approach and those of Japanese craftspeople, I find Simmons’ approach to his life’s work characteristic of the best of what is often described as folk art, work that is appreciated for its beauty without necessarily calling attention to the artisan who made it.

Displayed below are images of a number of Simmons’ creations as a blacksmith.

A Simmons gate for St. Philip Episcopal Church, Charleston

The cover of Mary Lyons’ book for young persons, featuring Philip Simmons at work on a piece of scrolled iron

 

The full title of John Michael Vlach’s book, mentioned above, is: Charleston Blacksmith: The Work of Philip Simmons. The book includes a map of Charleston showing the location of Simmons’ works, as well as brief descriptions of them.

The New Is Now

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Advent is here! Once again, I am mindful of the opportunity this brief ‘season’ provides for spiritual reflection and growth. Of course, this is an opportunity that is easy to miss or overlook, given how busy most of us tend to be as we prepare for Christmas and the New Year.

As I did last year, I commend once again Eugene Peterson as an Advent companion. This time, in addition to his fine book on John’s Revelation, Reversed Thunder: The Revelation of John and the Praying Imagination, I am recommending his shorter book on the letters to the seven churches that are found in Revelation. It is titled, This Hallelujah Banquet: How the End of What We Were Reveals Who We Can Be.

Those who attend or who have been shaped by the experience of worship in a liturgical church may be aware of the paradox presented to us by the current Church season. Whereas the culture around us anticipates the “end” of the year, liturgical calendars mark this week as the beginning of a new one. This month includes the darkest day in the northern hemisphere and the start of a period of colder months for many. Yet, it is also our time for celebrating the light that has come into the darkness and, with the solstice, the beginning of a new series of months leading up to the day with the longest hours of daylight.

Peterson’s The Hallelujah Banquet begins with a quote from T.S. Eliot’s “Little Gidding,” in his Four Quartets:

What we call the beginning is often the end
And to make an end is to make a beginning.
The end is where we start from.

Part of the paradox we may experience at this time of the year is prompted by our ambiguous use of the English word, end. With this word, we speak both of the termination of something, as well as its point of fulfillment. Perceiving this helps make sense of how an ‘end’ can be a place from which we also start. What is the end of the human person, a philosopher might ask. To which that same thinker might respond, the end of the human person is to be happy, and live in peaceful coexistence with others. Perceiving our ‘true end’ can help us not only to keep in mind where we are headed, but can better help us get there.

If adding another book to our reading list is more than we can imagine doing at the moment, I have a suggestion for an Advent thought project – a project that might lead a person to write three or four tight paragraphs by the end of this new month. Consider composing, and then writing, your own obituary! After first thinking of any accomplishments or points of satisfaction that may lie in our past, such an exercise will likely involve some musing on how we are not meeting, or may have fallen short of, previously identified hopes and goals. In writing our own obituary, we can do this: identify and now begin to live toward what we hope honestly can be said about us, and about how we have used our time, energies, and resources, along with others.

The central question in such an exercise is not so much about how I wish to be remembered, and is more about toward what end I now wish to live.

No matter what, whether we do some intentional reading and/or writing, or not, I encourage noticing and then remembering a feature found in both John’s Gospel and in John’s Revelation. It is the use of the present tense. In John, Jesus says, “… whoever believes has eternal life.” Has, not will have. And in the Revelation, God declares, “Behold, I make all things new…” I make, not I will make. For as God says, at the conclusion of that last book in the Bible, “… I am the Alpha and Omega, the beginning and the end.”

One compelling theme in Peterson’s, This Hallelujah Banquet, is this focus on the present reality of God’s transforming work in the world, and in our lives. Of course, we might object with words to this effect: “but how can this be real, since I don’t see or feel like it is happening!” Yet, in time, the eyes of faith come to see the light in the darkness, and how the end can also be a beginning.

 

The quote from John’s Gospel is from 6:47, and the quotes from Revelation are from 21:5-6

Reconciliation is Always Possible

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A recent LA Times article was titled, “Hello Simon, my old friend…” Those of us who can remember the late 1960’s surely have clear memories of hearing tunes from Simon and Garfunkel’s milestone album, Bookends, and especially of the way their music was featured in the December, 1967, release of the movie, The Graduate. Even those born years later may have in their minds an inescapable link between the names of the two artists, whose cooperative work remains so memorable. Despite their ‘Oh, so beautiful’ recordings, the two broke up their musical partnership in January of 1970, shortly before the release of their best-selling and perhaps providentially titled album, Bridge Over Troubled Water.

Simon and Garfunkel performing in the earlier days of their musical partnership

Many of us who remember hearing their music when it was first released, or who have come to love and appreciate it since those years, don’t realize the extent of their difficult creative relationship as artists. All too soon, they drifted apart, speaking only occasionally with one another, though in subsequent years they did perform together on a few occasions, including at Jazz Fest in New Orleans in the spring of 2010. To his later regret, Art Garfunkel made some unwise and unguarded comments during an interview in 2016, that were hurtful to Paul Simon.

At Jazz Fest, New Orleans, 2010, with Garfunkel singing with a damaged voice adding to the strain in their relationship

Art Garfunkel has now spoken to the press about his regret concerning those prior comments, and shared what he had said to Paul Simon at a recent lunch together: “First time we’d been together in many years. I looked at Paul and said, ‘What happened? Why haven’t we seen each other?’” Garfunkel then shared this: “I cried when he told me how much I had hurt him.” “Looking back,” with obvious regret, he reflected that he had perhaps “wanted to shake up that nice guy image of Simon & Garfunkel.”

An early photo of the duo which may suggest some of the tensions in their partnership

Their reconciliation came at that long overdue lunch, which Garfunkel said, “…was about wanting to make amends before it’s too late.” Having acted upon his desire to reconnect with Simon, Garfunkel offered that “it felt like we were back in a wonderful place. As I think about it now, tears are rolling down my cheeks. I can still feel his hug.”

This recent reconciliation between Paul Simon and Art Garfunkel is heartwarming and a beautiful thing. It can be a source of hope for all of us regardless of who we are, or our place in this often confused and fast-paced world.

Simon and Garfunkel at a reunion concert in Central Park, NYC, in 1981

Reconciliation, especially following upon things we have done to hurt and impair a relationship with another person, is perhaps one of the most difficult things for us to contemplate doing, and then to try and enact. Surely, we can all acknowledge this based on personal experience. Especially when we are aware that this reality has the potential to be a shadow presence at some Thanksgiving gatherings this week, whether among family members or groups of friends.

Achieving reconciliation with another person in this life is never assured, no matter how much we may desire it. And what such a desired result may require is an openness to that hoped-for resolve happening between us, even if the circumstances surrounding that possibility seem remote and uncertain. Yet, though this kind of openness is necessary, it is not in itself sufficient for the desired result. Forgiveness by one or both parties plays a key role in the process. And forgiveness usually requires an acknowledgement rather than a dismissal of what may have happened to cause the breach in the relationship.

This is how and why memories, even of hurts, injury, and injustice, have the potential to be holy, and why forgetting (especially willful forgetting) may limit the extent to which we experience reconciliation. To forgive is an act of will, whether or not feelings of forgiveness arise within us or abide. And once forgiveness is willed, and then expressed, the reconciliation that follows upon openness might -and even may – in time happen.

There are grounds for hope, at least with regard to Simon and Garfunkel. They appear to be planning a series of reunion concerts in 2025. We can look forward to enjoying once again the fruit of this most creative musical collaboration.

 

The Stirring Choral Music of Michael John Trotta

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Michael John Trotta introducing his choral work, “Requiem,” in a YouTube video

 

Recently, I had the providential opportunity to meet Baton Rouge resident, and LSU School of Music doctoral recipient, Michael John Trotta. Only later did I learn of his impressive and internationally recognized accomplishments. Four albums incorporating recordings of his musical work can be found on Spotify, among them his stirring and evocative setting for the traditional Latin Requiem. Through subsequent messaging with him, I learned of the recording session that he directed this year of his “Requiem,” with the London Symphony Orchestra and the London Voices. It is a beautiful work of music, all the more meaningful for him and subsequent listeners in that the recording was made in support of the charity, Hospice UK.

A recent screenshot from Spotify featuring the music of Michael John Trotta

Michael John Trotta writes passionate and lyrical sacred music – a series of words not everyone will string together. Reflecting on his music, I am aware of my inclination to find verbal analogies rooted in the visual arts. And so, parallel to how some painters, sensitive to the role of light in our perception of color, seek to mix several colors to achieve a particular hue, Trotta’s choral music strikes me as an effort to express a wide and full spectrum of harmonious sound.

My initial perception of his compositions, that he presents sacred music that is passionate and lyrical, may also be akin to my use of the word beauty in connection with the paintings of Jackson Pollack. In both cases, I may be expressing an unexpected conjunction of ideas that can, I believe, properly belong together. Trotta’s musical works inspire me to write about them in this way.

Those who love to hear large groups of voices singing in harmonic patterns, especially of examples from Renaissance and early English vocal music, as well as modern compositions influenced by them, may find a similar pleasure in hearing his work. For me, this is due to how Trotta’s original choral music and his arrangements provide a moving and also meditative listening experience.

Trotta conducting the London Symphony Orchestra and London Voices while recording his “Requiem”

As an amateur listener, I find that Trotta’s compositions and arrangements are evocative of traditional art forms without sounding imitative. Composed in creative dialogue with musical history, his work retains what we might call a traditional ‘vocabulary.’ This may have parallels with what we can discern in various works by contemporary practitioners of other art forms. Parallel examples of an engagement with traditional elements in an artistic field may include composition and subject matter in painting; ornament or the lack of it and the use of certain structural elements in architecture; as well as selected harmonic patterns and chord sequences in music.

Nigel Short leading the ensemble, Tenebrae, accompanied by organ, while recording “Requiem” in the parish Church of St. John the Evangelist, Islington, North London

Michael John Trotta’s music helps support my renewed sense of confidence that contemporary artists and composers, as well as writers, can utilize and work creatively with inherited forms of expression and yet present new, fresh and compelling compositions. Trotta may epitomize the wisdom expressed by Jesus in another context, that “every scribe {or composer} who has been trained for the kingdom of heaven is like a master of a house, who brings out of his treasure what is new and what is old (Mt. 13:52).”

Michael John Trotta, in Carnegie Hall, conducting the premier of his compositional setting for the traditional Septem Verba Ultima (The Seven Last Words {of Christ})

The pieces that Trotta has composed and or arranged are not only musically harmonious, but also spiritually congruent with what we know about the grace-filled peace and presence of God. Michael John Trotta’s approach to the art of music can broaden our appreciation not only for beauty expressed in the past, but also for beauty as it may be presented anew today. I am very encouraged by my new experience of historically informed music that Trotta’s compositional work has opened for me.

A performance of Michael John Trotta’s” Requiem,” Sunday, April 21, 2024 at Tabernacle Presbyterian Church in Indianapolis, Indiana

 

Since first posting this piece I have corrected a couple of the details mentioned in two of the photo captions.