We pull out all the stops on Easter. So do you, I'll bet. We have the flowers, and the music, and the crowds. This year we had an incredible liturgical dancer who carried the paschal candle throughout the sanctuary. The Easter sermon was clear and dramatic and inspiring.
It’s the second movement of Leonard Bernstein’s choral work, Chichester Psalms. A boy soprano (or a countertenor), in the “role” of the shepherd boy, David, sings in Hebrew the opening verses of Psalm 23. He is accompanied–sparingly, fittingly–by the harp. The first several measures are tender but not tentative; filled with sentiment, but without sentimentality (this per Bernstein’s instructions). When the women’s voices take over the text at גַּם כִּי־אֵלֵךְ בְּגֵיא צַלְמָוֶת . . . (Yea, though I walk through the valley of the shadow of death . . .) there’s an ethereal echo-canon effect. This part of the movement, when executed well, is something sublime.
I remember a film about Doubting Thomas that I saw in Sunday school as a girl. It was one of a series that our church showed us: the Bible story was read while a sequence of tableaux ran on the screen—it was not a motion picture, really, but more like a slide show. The actors were all attractive people with earnest expressions, and their faces stayed on the screen for a long time while the text was read. Sometimes the camera would zoom in, so that we could get a really good, long look at a particularly earnest expression.
I think I would find it all a bit too much if I were to view it today. But this was a long time ago.