Passion

To Symphony Hall, Birmingham, for the annual Good Friday performance of JS Bach's St Matthew Passion.

I'm a bit of a late-arriver as far as Bach is concerned, kept away for years by the assumption that a soft-hearted Puccini-boy such as me would have little in common with this austere northern genius.

Was I wrong!

Attracted by the fact that the Birmingham performance (a) was in the afternoon, (b) to be given in English and (c) would feature a spacious interval for tea and buns, I decided to take a chance on JSB.

That was twelve years ago. With the exception of one year, I've been back for Bach every Good Friday since.

Those first performances were by the London Bach Choir and the English Chamber Orchestra, under the direction of Sir David Willcocks, for whom this was an experience of profound devotional, as well as musical. significance. The audience was asked to refrain from applause, the performance beginning and ending in silence.

These days there's clapping but, more importantly for this listener, the text is still given in English.

The Matthew Passion was created to be part of a Good Friday liturgy - it's for a congregation, rather than an audience.

At its heart is the simple delivery of St Matthew's narrative of the final hours of Jesus' life, given in clear, wonderfully expressive 'recitative' (sung speech) by the tenor in the role of the Evangelist.

A bass takes the part of Jesus, his words against the background of strings, providing a kind of musical halo.

The narration is interspersed with many choral passages, giving the onstage choirs the opportunity to take on the role of the crowds, calling for the release of Barabbas, clamoring 'Let him be crucified' and, in a moment of great beauty, offering the Centurion's words: 'Truly this was the Son of God.'

More frequently, though, the choral passages simply invite the hearer to a personal meditation on the significance of the events being played out. This invitation is extended further in six or seven 'chorales' (hymns) in which the original hearers would have joined.

Similar passages for the solo singers continue the theme of transferring these external events to the inner, spiritual world of the individual listener.

For me, the most powerful moment of the entire piece comes immediately after the words 'and he gave up his spirit' and before the opening of the hushed opening of the chorale 'Be near me, Lord, when dying': a silence - long, spacious, profound.

The work's extraordinary power is linked to this constant connecting of the outer with the inner world. History connects with my story. And every time I hear the Matthew Passion, new connections emerge, I discover new aspects. I'm always surprised.

Created for ordinary churchgoers (which meant the whole community), the St Matthew Passion is remains accessible, powerful and beautiful - and popular. I'll be back next year.

Father Matthew

Mr Gnome and I have recently discovered the internet broadcasts of this cheerful, intelligent Anglican cleric from Rye, New York.

This one gives a taste of his thoughtful, attractively untraditional, traditional approach.

Our favourite, however, is his rather brilliant explanation of the Ascension, based on (what else?) the Mary Poppins narrative.

Devoted

The spectrum of music inspired by the Christian gospel is, praise the Lord, of infinite variety.

At one end are, I guess, Handel's Messiah, Bach's St Matthew Passion and Gregorian chant.

And at the other....?

Well, never having heard the musical content of this album, I can't judge this arresting contribution from Uncle Les and Aunt Nancy, not to mention the elegantly dressed Randy.

But the cover art is, I feel, truly, truly special and, in its way, rather glorious.

And I'm certain that, out there somewhere, are middle-aged people with reason to be grateful to Les, Nancy and wee Randy.

And, en passant, a prophecy: I predict that within five years Nancy's upswept specs will once again be the height of chic....

Thanks to Brett for bringing this to my attention.

Son of Man

This terrific new film from South Africa has not received the exposure it deserves.

Here's the commentary from the Warwick Arts Centre website:

Mark Dornford-May brings the greatest story ever told to the screen in this crisp, rousing and politically engaging film. The language is modern, as is the setting, a violent township in the fictional Kingdom of Judea, which could stand in for any African country which has experienced poverty, upheaval, political corruption and ethnic conflict.

Modern parallels are implied - war-torn Judea is taken over by 'coalition forces' until democracy is established - but details are irrelevant. Jesus is a political figure, videoed by a spying Judas, making his mixed bag of disciples give up their guns, tempted by a black-leather-clad Satan. Hypnotic visuals, eloquent music and gritty performances make this a riveting, moving experience.

Not only a political figure, but a healer as well. And, yes, he rises. It's a wonderful, unconventional film.

Sadly, it probably won't get a screening at your local multiplex, so look out for it when it comes out on DVD.

Director Mark Dornford May's previous film was U-Carmen, equally extraordinary, and starring the magnificent Pauline Malefane in the title role. (She is Mary in Son of Man.)

Ronnie and the Sacraments

This splendid book was published in 1947, to introduce Anglican boys and girls to the meaning of those symbolic, faith-related acts known as sacraments....

It's tempting to smirk at the Glen Baxter-ish glory of the (unattributed - tsk!) illustrations.

But one can't helped being touched by the straightforward earnestness of the text - and by the clarity of explanation mediated through the Blytonesque narrative.

Having said all that, one slightly yearns for the debut single of indie band Ronnie and the Sacraments....