Still louder ever rose the crowd’s Hosanna in the highest! ‘O King,’ thought I, ‘I know not why In all this joy thou sighest.’
— The Merchants’ Carol
Where thy victorious feet, Great God, should tread, In honor this green tapestry is spread; And as all future things are past to thee, The triumph here precedes the victory.
— Giambattista Marino, “Palm Sunday”
An anthem for Palm Sunday, “Ride on! ride on in majesty,” sung by the choir of St. Barnabas Episcopal Church, Bainbridge Island, WA, under the direction of Paul Roy, with the late Darden Burns on piano. Lyrics by Henry Hart Milman, music by Mark Shepperd. Jesus’ entry into Jerusalem is from “Day of Triumph” (1954) a feature film produced by my father, James K. Friedrich. The palm branches are from Taryn Elliott via Pexels. My footage of the Seattle viaduct, shot the day before its demolition began, imagines Jesus’ entry into our own cities, while the empty road in Montana recalls the spiritual, “Jesus walked that lonesome valley.” The one who rode among the cheering crowds must go alone to the cross. The sun directs its deathly gaze through the smoke of a forest fire in the Bitterroot Mountains. The irony of Palm Sunday’s “triumph” is seen in the video’s final image of Christ, now carrying the cross through a different kind of crowd (Lippo Memmi, Santa Maria Assunta, San Gimignano, Tuscany, c. 1340).
Our parish service of Advent Lessons and Carols is virtual this year, using music recorded in 2019, and readers recorded in 2020. I added visuals inspired by the texts. The choir of St. Barnabas Episcopal Church on Bainbridge Island, Washington, is under the direction of Paul Roy, who also plays the organ. Priscilla Jones plays cello, and Rick Baty is on trumpet. The Rev. Karen Haig, rector of St. Barnabas, is the Officiant.
I share it here with my wish that your own Advent, dear reader, may be a season of hope and peace as the friends of God watch for the dawn.
The service music and notes on the images:
Veni Emmanuel (arr. Raymond H. Haan): The empty church at nightfall, like all of us scattered in our pandemic isolation, longs for the dawning of the day when God’s friends will once more fill this sacred space with thanks and praise.
Savior of the nations, come (Martin Luther’s variation on Ambrose of Milan, translated by William M. Reynolds and James Waring McCrady, with a powerful 16th century tune): Text and images celebrate the “wondrous birth.”
Adam lay ybounden (15th century text, setting by Boris Ord, 1897-1961): Had there been no apple and no Fall, the carol says, there would be no Queen of heaven and no Incarnate Word (some theologians dispute this—God wants to be with us under any circumstances—but the “felix culpa” is here charmingly argued). The last image here contrasts Eve picking an apple with Mary picking the sacramental Host to feed the people.
There is no rose of such virtue (15th century text, setting by Stephen Carraciolo): This lovely text compares Mary to a rose, and so do the images.
When the King shall come again (text by Christopher Idle, b. 1938): The images illustrate the hymn’s vision of a redeemed Creation: earth’s loveliness restored …rivers spring up … ransomed people march on God’s highway toward “the Lord with glory crowned.”
See, amid the winter’s snow (text by Edward Caswall, 1858; tune by John Goss, 1800-1880)): The text hails “redemption’s happy dawn” and gives us the key Nativity images, but the first line dictated the imagery, which I shot at home in winters past. The relaxing footage induces a contemplative mind receptive to the Mystery.
People, look east (words & music by Eleanor Farjeon, 1881-1965; arr. James E. Clemens): This lively carol prompts a variety of images— looking east at dawn (Mt. Rainier, Seattle from a ferry), home and hospitality (St. Barnabas in the snow), birds (pine siskins, goldfinches), stars, and angels (from Annunciation paintings). The final line, “Love, the Lord, is on the way,” inspired the linking of Mary’s pregnancy to the eucharist Host being adored by the angelic host.
Magnificat (setting by Thomas Attwood Walmisley): Mary’s great hymn of reversal is accompanied by diverse images of the Mother of God.
Lo, he comes with clouds descending: Charles Wesley’s great hymn of the Second Coming, with its stirring tune by Augustine Arne (1710-1788), calls for clouds and—unusual for the season—Passion imagery.
Sleepers, wake! A voice astounds us (arr. J.S. Bach): The words for this great Advent hymn call us to watch for the imminent dawn of salvation. Thus the images of the nocturnal moon (light in the darkness) conclude with sunrise light. The long night is over at last.