There’s a saying among church musicians: A good hymn-writer can teach us plenty of things, but George Herbert teaches us that good hymns can also be good poetry. Indeed, look up his name in an English hymnal, and you’ll find the pages to his hymns more worn out than others.

There is a ton of great music written for Easter – no surprise there. But like hymnody, it’s hard to find music that captures the joy of the season without going overboard into a sea of shallowness. The “Hallelujah Chorus” is just too much for me. Thank goodness for George Herbert’s poetry, set by Ralph Vaughan Williams.

Happy Easter!

The final movement of Bach‘s St. Matthew Passion is a tearful lullaby to Jesus: “rest sweetly, good night!” There is a figure that Bach uses over and over again to emulate the sound of sobbing – you can hear it clearly at 2:26, but it is found throughout the piece.

But the best part of this piece is the 7-8 suspension that happens at every important cadence!

if you have no idea what that means, let me explain:

A cadence is a stopping point. A suspension is when you expect a certain note at a certain time, but the composer delays that certain note to intensify the feeling of resolve that you get when you finally hear said note.

So, at 4:48, we expect to hear:
sol fa me re DO

but instead we hear:
sol fa me re TI DO

And that TI, it hurts, but it hurts so good.

This version is very tastefully done. If I ever get to conduct this piece, I assure you I will make that suspension as tasteless as possible.

The Reproaches are a set of responses traditionally sung on Good Friday. The text contrasts the graces of God with the evils done to Jesus: “I gave you saving water from the rock; you gave me vinegar to drink” or “I parted the [Red] sea before you; you parted my side with a spear.”

English composer John Sanders‘ setting of the Reproaches is haunting, perfectly capturing the emotions expressed in the words. The music is simultaneously liturgically functional and stunningly beautiful.