Psalm

Like millions of others, I was a devoted Dave Brubeck fan—ever since I first heard his music in the 1950s.

Like millions of others, I was a devoted Dave Brubeck fan—ever since I first heard his music in the 1950s.

The Gideon Bible treats the Bible as comfort food. But a diet of the Bible consists of conflict and confrontation.

The runaway slave narratives compiled by Devon Carbado and Donald Weise are as moving as any story by Suzanne Collins or J.R.R. Tolkien.

I'm thinking about Psalm 33. It's a good one. It begins with music and ends with this reminder that princes and horses are not actually running the show. I know. I was surprised as well.

Some days it might feel that way, mind you, but it's not really the way things are. I always want question that kind of logic...ontology again. If Congress reinstates the draft then they are running the show. There is this thing called "power" and some people have more than others in some contexts. How does an ontological theo-philosophical argument slow down Congress or what have you?

I'm thinking about Psalm 33. It's a good one. It begins with music and ends with this reminder that princes and horses are not actually running the show. I know. I was surprised as well.

Some days it might feel that way, mind you, but it's not really the way things are. I always want question that kind of logic...ontology again. If Congress reinstates the draft then they are running the show. There is this thing called "power" and some people have more than others in some contexts. How does an ontological theo-philosophical argument slow down Congress or what have you?

There is no denying that in today’s world a culture of loneliness and isolation plagues individuals of every age, race and socioeconomic status. Although the church provides a sacred community that may help combat this loneliness, even the most devout believers have, at one time or another, questioned how or even if God is present in their suffering.

There is no denying that in today’s world a culture of loneliness and isolation plagues individuals of every age, race and socioeconomic status. Although the church provides a sacred community that may help combat this loneliness, even the most devout believers have, at one time or another, questioned how or even if God is present in their suffering.

The psalmist knows loneliness. Even the most faithful believers have anguished over the fear that somehow God is not listening to their cries.

The psalmist knows loneliness. Even the most faithful believers have anguished over the fear that somehow God is not listening to their cries.

The psalms are poignant. They bear emotion in a way that grabs our souls. They are comprehended by the heart in a way the head can’t.

But I falter when I try to preach them.

The psalms are poignant. They bear emotion in a way that grabs our souls. They are comprehended by the heart in a way the head can’t.

But I falter when I try to preach them.

The psalms are poignant. They bear emotion in a way that grabs our souls. They are comprehended by the heart in a way the head can’t.

But I falter when I try to preach them.

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.

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.