Luke’s Christmas Concert
As I write this blog, I’m listening to Christmas choral music. I love Christmas and have felt that way for as long as I can remember. I especially love the music of Christmas, both sacred and secular. Listening to Christmas concerts, as we did last night and plan to listen again to Saint Olaf University’s Christmas concert, has become an unbreakable family tradition.
Soon after the church began, disciples sang hymns about Jesus, and likely about His birth. Over the centuries, the number of the songs of Christmas is likely uncountable. There is something about humans created in God’s image, that we must sing, and sing about those things that matter most. Wherever there is a church, there is singing!
Where did songs of the birth of Jesus begin? If you pay attention to Luke’s nativity story, you will see it in the actual events themselves. First, it’s important to see a couple of features of Luke’s writing. Of course, he was inspired, but not a mere scribe taking dictation from the Spirit. He tells Theopolis that he had investigated the events closely, and paid attention to those who were eyewitnesses from the beginning. One eyewitness may have been Mary herself. Matthew tells the story from Joseph’s point of view, but Luke centers on Mary, who treasured all of these events in her heart.
Throughout Luke’s Gospel and Acts, he pairs people (often a man with a woman, and often in contrast). In chapter one, the pairing is Zechariah and Mary, who both have an angelic visitation with each being foretold of the birth of a son. Their responses to the announcements are contrasted by each’s level of faith.
Luke employed a common literary technique, called Chiasmus (1). It often looks like A B B A. In Luke 1 it is:
A—Angelic announcement comes to Zechariah (Luke 1:8-20).
B—Angelic announcement comes to Mary (Luke 1:26-38).
B’—Mary’s song (Luke 1:46-55).
A’—Zechariah’s song (Luke 1:67-79).
I’m not saying that Mary and Zechariah were actually singing, but their “songs” are set, not in prose, but in verse, as are the Psalms. There is virtual music in every line. That virtual music soon became actual music, in the same way that Psalms were soon sung.
The first soloist in Luke, however, is neither Mary nor Zechariah, but Elizabeth who sings out in a Spirit inspired fortissimo, “Blessed are you among women and blessed is the fruit of your womb!” The fruit of Elizabeth’s womb (the fully human, though not fully developed, John) joined in with leaping choreography, sensing the fully human and divine Jesus, developing in Mary’s womb.
The songs of Mary and Zechariah combine themes in the songs of Israel past, such as the fulfillment of God’s promises, justice, and judgement. They sing out in joy that their hopes are being realized, and not only their hopes but those of all the world.
The first chorus in Luke’s Christmas concert is an angelic one that in Luke 2:14 sing:
“Glory to God in the highest heaven,
and on earth peace among those whom he favors!” (NRSV)
The final and beautiful solo in Luke’s concert is sung by aged Simeon, who sees the baby Jesus in the Temple and sings:
“Master, now you are dismissing your servant in peace,
according to your word,
for my eyes have seen your salvation,
which you have prepared in the presence of all peoples,
a light for revelation to the gentiles
and for glory to your people Israel.” (Luke 2:29-32 NRSV)
So, Christmas music is God’s gift to us, as He inspires the songs that welcome His incarnate Son. Enjoy all the concerts that continue to do the same.
Tim Kelley
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(1) https://www.litcharts.com/literary-devices-and-terms/chiasmus