The Transfiguration has a hundred sermons in it. But to me the most touching element is the subplot.
Epiphany | Transfiguration Sunday (Year A)
Exodus 24:12-18; Psalm 2 or Psalm 99; 2 Peter 1:16-21; Matthew 17:1-9
I grew up in Southern Baptist congregations. By the time I left high school I knew the four steps to salvation and the meaning of Jesus’ sacrificial death as a substitutionary atonement for my sins. I could articulate this understanding of salvation in clear and simple terms. Within the metanarrative of evangelical Christianity it made perfect sense and was logically coherent. Then my fundamentalism began to unravel.
by John W. VestFebruary 18, 2014
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.