Author: Jeffrey Brillhart

Without observing Good Friday, one cannot fully appreciate the joy of Easter. On this solemn day, Jesus willingly suffered and died by crucifixion as the ultimate sacrifice for our sins. It was on Good Friday that Jesus broke the bonds of death and sin. We invite you to join us for one of our Good Friday worship services—at noon or at 7:30 p.m.—as we reflect on the depth of Christ’s love and prepare our hearts for the joy of Easter morning.

At noon, the youth of the church will lead a service of the seven last words of Jesus Christ, which reflect on Jesus’s sayings while on the cross. They are:

Father, forgive them; for they do not know what they are doing

Truly I tell you, today you will be with me in Paradise

Woman, here is your son… Here is your mother

My God, my God, why have you forsaken me?

I am thirsty.

It is finished.

Father, into your hands, I commend my spirit.

Jesus didn’t say all seven things in one gospel account; rather, these are a compilation of the things Jesus said in all four accounts of his crucifixion. Taken together, these words paint a haunting portrait of our savior’s final day.

Through original reflections, prayer, poetry, congregational song, and musical responses from Singing for Life, the youth of BMPC will lead the congregation through these seven words and invite us to reflect on the incarnate God in full humanity and full divinity, act in obedience to God even unto death, and embody God’s love for us even amid terrible pain.

The evening service will follow an annual tradition started by the Music and Fine Arts department in 1989. This tradition has run the gamut of services, ranging from choral-based services to organ music recreating the Stations of the Cross to theater pieces, like last year’s “Tenebrae: The Passion of Dietrich Bonhoeffer.” This year, the service will be led by the Bryn Mawr Chamber Singers and the Reverends Agnes Norfleet and Rebecca Kirkpatrick. Liturgy-rich, the service will include some of the most remarkable musical works in the choral canon. The choir will present works by Antonio Lotti, Maurice Duruflé, Pablo Casals, Charles Callahan, and Francis Poulenc’s sublime “Four Motets for Lent.” This service is designed to help you release your worries and encounter God in a deeply meditative atmosphere, filled with beautiful music, readings, and prayer.

Whether you attend at noon or 7:30 p.m., there are profound and beautiful opportunities to engage worshipfully in this pivotal day and prepare yourself for the miracle and joy of Easter morning.

Of the vast musical repertoire choirs are blessed to sing, sacred British choral works stand as among the most beloved. A quick glance at BMPC’s music library reveals dozens of titles by the likes of Parry, Bainton, Stanford, Britten, Howells, Bairstow, and others. It is worth noting that some of the most positive feedback I receive from the congregation is about this repertoire! For example, Herbert Howells’ “Like as the Hart,” Charles H.H. Parry’s “I Was Glad,” and Edgar Bainton’s “And I Saw a New Heaven” are works that are always praised and appreciated.

We are delighted to present these works, along with some of the most powerful works of the British choral canon, in a concert titled “20th Century British Choral Masterpieces this Sunday, March 16, at 4 p.m. We will join forces with the choir of Church of the Redeemer. An offering will be received to support both choir’s concert tours this summer.

I want to highlight the largest work at Sunday’s concert, Herbert Howells’ astonishing “An English Mass.” Scored for choir, soloists, orchestra, and organ, this work was composed in 1955 for one of the leading musicians of that era, Harold Darke. Howells and Darke shared a particular love for seventeenth-century music. While Howells’ musical language is decidedly neo-Romantic in flavor, his rapport with earlier music is particularly evident in this work. What also comes through is the cathartic nature of much of the writing. You see, in 1938, Howells’ son Michael died of polio at the age of nine. From that moment on, every work he composed was influenced by the profound grief of a parent losing a child.

One moment, in particular, stands out in “An English Mass.” In the movement setting the Creed, Howells takes the text “And I look for the resurrection of the dead” and sets it for a solo soprano. In the sacred British choral tradition, the soprano part was nearly always sung by boy sopranos. At this moment in the Creed, Howells’ grief is temporarily assuaged by the sound of a single treble voice, clearly representing his son, Michael.

This is powerful music and among the most challenging works ever presented by the choir. Sunday’s concert, sung by over 100 singers and 21 orchestral musicians, will surely lift your spirits! I do hope you will attend, along with your friends and family members. Following the concert, enjoy a reception in the court, honoring the choirs and Barbara Berry, the artist of the current gallery show “Rhythm and Light.”

The next two major events in our annual series of concerts will celebrate the gifts of British performers and composers. This Sunday, renowned British organist James O’Donnell will make his area debut, playing our magnificent Rieger organ, supported by the men of our Gregorian Chant ensemble.

James, now Professor of Organ at Yale University, has a long and distinguished career, first serving at Westminster Cathedral in London and then twenty-three years as Organist and Master of the Choristers at Westminster Abbey. At Westminster Abbey, James led the Abbey’s music department and oversaw all musical aspects of the Abbey’s work, including directing the celebrated Choir of Westminster Abbey. He was also responsible for the music at royal, state, and national occasions, including the wedding of the Duke and Duchess of Cambridge on 29th April 2011 and the funeral of Queen Elizabeth, the Queen Mother, on 9th April 2002. Most recently, he led the music for the state funeral of Her Majesty Queen Elizabeth II, his last event at the Abbey before coming to Yale.

I smile when I recall going to James’s home outside of New Haven, CT, for dinner and seeing photos of him with the Queen, Prince Charles and Camila, and other members of the Royal Family! I first heard James perform nearly 20 years ago at Yale and recall being flabbergasted by his virtuosity and musicality. This Sunday, his concert will celebrate this pipe organ’s strengths, with works by J.S. Bach, Nicholas DeGrigny, Dietrich Buxtehude, J.S. Bach, César Franck, and Maurice Duruflé. This will be a concert to remember! This Sunday, 2 p.m. The concert will last approximately 70 minutes. A free will offering will be received.

This taste of Britain will continue on Sunday, March 17, at 4 p.m., when the choirs of BMPC and The Church of the Redeemer will join forces with an orchestra to present masterpieces of British music composed for choir and organ. Stay tuned for more information!

Here is a to attend Sunday’s concert.

Many years ago, BMPC member Nena Bryans introduced me to Sister Helen David Brancato. Walking into the court to meet them, I saw Nena with a diminutive older woman. The closer I drew, the more I saw that this nun was a force to be reckoned with! From her dancing eyes to her exuberant energy, I was captivated and immediately became a fan!

I am delighted that Sister Helen will offer a solo show in the BMPC gallery from January 12 to March 2. Her exhibit celebrates the courage and strength of women from diverse backgrounds and eras who have lived with passion and compassion. Hildegard of Bingen, a mystic and visionary, faced exile for standing firm in her convictions. Others, like Dorothy Day, dedicated their lives to the poor and welcomed the stranger through the founding of the Catholic Worker Movement. In Brancato’s painting Song Over the Waters, Eve symbolizes all creative women who continue to channel their energy through writing, painting, teaching, healing, and service. Frida Kahlo, known for painting her pain, also captured her hopes and dreams. These women embodied fidelity and endurance, and these portraits honor the many ways they shared their talents and gifts with the world.

One work stands out to me. Inclusive Feast shows a familiar scene to believers: the Last Supper. However, sitting at the head of the table is a woman. Gathered around her is an assembly of diverse peoples. Diverse in age, diverse in color. One guest at the table holds her baby. I saw this work in Sister Helen’s workshop and was struck by the work’s beauty and message that all are welcome to gather together at the table. This is contradictory to the Roman Catholic Church’s policy that only Catholics may receive the sacrament of communion. I looked at Sister Helen and asked, “Wow, the priests must not have been too thrilled with this painting.” She shrugged her shoulders, laughed, and burst out with, “Not so much!”

Sister Helen studied portrait painting at the Pennsylvania Academy of the Fine Arts and explored various visual art forms at the Tyler School of Art, Temple University. A painter, printmaker, and illustrator, she has exhibited professionally in the Philadelphia and New York areas and formerly taught visual arts at Villanova University.

Sister Helen collaborated as an illustrator with Henri Nouwen on Walk with Jesus: Stations of the Cross and with Evelyn Mattern on Why Not Become Fire? Encounters with Women Mystics. One of her most significant accomplishments has been leading an open studio for artists aged six to eighty at the Southwest Enrichment Community Art Center in Philadelphia.

A recipient of an Independence Foundation Artist Fellowship, her work is part of the collections at the Museum of Contemporary Religious Art at Saint Louis University and Villanova University. Sister Helen’s artist statement reflects her deep commitment to her mission:

“My work is bound up with the human condition. I respond to nature peacefully and to human nature with healthy agitation. It is important for me to interact with the lives of the poor. Through painting, I try to bring the depth of my insight into the pain, the strength, and the dignity of my subjects.”

Please join us in the gallery this Sunday, January 12, at 11:15 a.m., where Sister Helen will lead you on a gallery tour and talk.

For more than 40 years, BMPC has enjoyed an annual musical event during the seasons of Advent and Christmas. These Sunday afternoon programs have run the gamut from semi-staged operettas to celebrations of the American southwest to performances of “Messiah,” to performances of Menotti’s “Amahl and the Night Visitors, “to Lessons and Carols services. This year, we will offer a foretaste of Christmas Eve with a festive Christmas Lessons and Carols service.

Patterned after the celebrated annual services at Kings College Cambridge, this service will feature nine lessons accompanied by singing, either by the Sanctuary Choir or the congregation. The lessons detail the story of the fall of humanity, the promise of the Messiah, and the birth of Jesus told in nine short Bible readings or lessons from Genesis, the prophetic books, and the Gospels, interspersed with the singing of Christmas carols, hymns, and choir anthems.

Joining the Sanctuary Choir is the Bryn Mawr Festival Brass and carillonneur Lisa Lonie, who will present a festive prelude before the service.

Sunday’s service is filled with gorgeous choral works, including favorites by John Rutter, John Stainer, G.F. Handel, David Willcocks, and Philip Ledger. Of special note, in anticipation of the choir’s tour to France next summer, Pierre Villette’s stunning “Hymne à la Vierge” will be presented in French! This service presents an opportunity to hear amazing choral music and to lift your voices in praise in several carols accompanied by brass and organ. This is also an opportunity to show gratitude to friends and family by inviting them to join you in what promises to be a deeply stirring service of word and music. A free-will offering will be received to help defray the costs of the service. Please join us this Sunday, December 15, at 4 p.m.

Regardless of one’s stage in life, certain dates are remembered. A child’s birthday, a couple’s first date, the birthday of a beloved pet, perhaps the date you were offered your dream job, and, of course, wedding anniversaries! For most of us, those landmark dates also include the date a loved one passed from this life to the next. While birthdays are typically observed in a group with much festivity, dates such as a spouse, parent, or child’s passing are typically observed with some solitary reflection. I have lived long enough to now observe many such dates –my brother and mother, numerous choir members, and countless beloved members of BMPC. Even with the passage of time, these observances are difficult.

With this coming Sunday’s observance of All Saints Day, the BMPC congregation and friends in the community will be given the privilege of coming together as a very large family to remember our loved ones, especially those who have left this earth during the past year. During this most moving service of the year, the choir will offer one of the most beautiful choral works of the 20th century, Maurice Duruflé’s Requiem. Composed in 1947, Duruflé’s setting is perhaps the most moving of all settings of the Requiem. It has none of the bombast of Verdi’s or Berlioz’s settings. Like Fauré’s setting, this is a Requiem filled with peace and hope. Unique to Duruflé, he based much of the material in his Requiem on Gregorian chant and the Gregorian Mass for the Dead.

Duruflé’s masterpiece, presented along with Dr. Norfleet’s sermon, the Lord’s Supper, the reading of the names of those members who have died this past year, and the tolling of the carillon, will demonstrate the church at work as an agent of comfort and peace, and a powerful witness to Christ’s Resurrection.

In October 2005, I formed a new choir at BMPC. Singing for Life (S4L) was envisioned as a musical group for singers of all experiences, age 55+. Why Singing for Life? I was concerned that we were not offering musical outlets for singers who perhaps no longer felt comfortable driving at night or could not meet the rigorous demands of the Sanctuary Choir. Within just a few rehearsals, it was clear that S4L was here to stay!

What I didn’t know then was that a movement was beginning to play out throughout the United States. Little by little, older adult choirs were popping up all over! Why has this become such a powerful movement?

Studies have shown that singing in a choir has incredible health benefits. Singing regularly improves one’s breath capacity (did you know your breath capacity decreases by 1% a year? Singing can stop that decrease). Singing with others has powerful mental health benefits. A good choral experience is also a physical workout that positively impacts breath, muscle strength, and posture. Local vocal expert Robert Sataloff describes the act of singing in a choir as a “Voice Lift!”

A typical S4L rehearsal includes deep breathing exercises and vocalization to help expand and strengthen your singing and speaking voice and focus on posture. Our repertoire includes both sacred and secular music. We also sing in various languages (studies link language learning with mental acuity). To date, we have sung in Italian, Japanese, Hebrew, English, and German, to name a few!

S4L rehearses on Thursday mornings, 9:30-10:45 a.m., beginning October 3 and culminating with a concert at Dunwoody on December 19. No experience is required. Led by Jeffrey Brillhart and Kara Goodrich (who made her Opera Philadelphia debut as Mimi in “La Boheme” in spring 2022), S4l will make you smile as you discover or re-discover the joy of making music with wonderful people. To register, contact .

In 1989, the Sanctuary Choir embarked on its first choir tour. That tour, to Austria and communist Czechoslovakia, turned out to be so exciting that the thirst for travel subsequently led the choir to places as diverse as South Africa, Cuba, and Brazil, along with Northern Ireland during the “troubles” and Russia during the chaotic rule of Boris Yeltsin. Some tours have focused on exploring our roots. Tours through the American South and, several years later, through Luther’s Germany whetted that appetite and gave us a context for who we are in this time in history. And, with a war now raging in Gaza, our most recent tour to Israel and Jordan proved to be incredibly poignant, especially considering our profoundly moving encounters with Palestinian children in the West Bank.

We are excited to announce the next choir tour will be to France in June 2025. As many of you know, France has been a particular passion of mine since traveling to Paris as a 14-year-old and experiencing the glories of Notre Dame Cathedral for the first time. Since then, I have enjoyed extended stays in Paris several times (twice for six months and, most recently, for two months) and traveled extensively throughout the country. An important connection for BMPC is that Notre Dame Cathedral organist Olivier Latry designed our marvelous pipe organ. He and his colleagues, Vincent Dubois and Philippe Lefebvre, have performed here many times over these past few decades.

One of the highlights of our choir tours has been the inclusion of “friends of the choir” on our journeys. Typically, 20-30 travelers join us, adding to the richness of our experiences. We warmly invite you and your friends from the church and community to join us on this tour to France. Information is available . If you have any questions, feel free to contact , who is serving as the tour manager.

Twenty-four years ago, I was in the midst of post-recording production with the recording engineer who recorded the Sanctuary Choir’s Christmas CD, “Welcome Yule.” Producing a CD is an immense amount of work. Each piece is recorded 3-5 times. One CD can easily take four long evenings to record. The production process takes even longer. About halfway through the editing, our producer, George Blood, asked me, “Jeff, what do you think the five greatest choral works are?” I quickly responded with, “J.S. Bach’s “Mass in B-minor,” Mozart’s “Requiem,” Mendelssohn’s “Elijah,” Beethoven’s “Missa Solemnis,” and Brahms’ “Requiem.” Over my long career, I have had the privilege of conducting all these works, in some cases, several times. Of all these works, Brahms’ “Requiem” holds the most special place in my heart. I am thrilled to be able to conduct this masterpiece on Sunday, April 28, at 4:00 p.m. with our sublime Sanctuary Choir.

For those of you who are familiar with the piece, you may know that it was originally conceived for a full orchestra and large chorus. However, what you might not know is that Brahms himself arranged the original orchestral accompaniment for a piano duet: four hands on one piano. This more intimate version, arranged in 1869, with the wonderful writing for two pianists supporting the voices, is deeply moving. Brahms was no stranger to writing for two pianists; his Liebeslieder Waltzes, composed for two pianists and choir, are among the finest works ever composed. For our performance on April 28, we will use two pianos, all the better to support our wonderful choir.

It appears to be generally agreed among scholars that by early 1865, Brahms had already formed a clear concept and structure of the Requiem, including the choice of texts and early drafts of the music. He wrote the finished form of the greater part of the work, five movements, during 1865 and the first half of 1866. After revisions and more work over the next 18 months, he conducted the first public performance in Bremen Cathedral on Good Friday of 1868 in a version with six movements. During the following year, he wrote a seventh movement, no. 5, and the first public performances of the Requiem in its final form with seven movements were given in Cologne on 16 February 1869 and in Leipzig two days later. It was well received and gained early popularity, though more so in Protestant northern Germany, England, and the United States than in Catholic countries such as France and Italy.

Brahms was brought up in the Protestant tradition of the German theologian and church reformer Martin Luther, and in his title for the work, Ein deutsches Requiem, he is saying two things: this work is not a setting of the liturgical Requiem Mass of the Roman Catholic Church, and its text is not in the Latin of the Roman liturgy, but in the German of his native tongue. Brahms wrote to his publisher that his Requiem “cannot be sung in place of a Requiem Mass in church,” and it was thus primarily for the concert platform. Scholars believe that Brahms may have been agnostic in his religious beliefs.

Nevertheless, Brahms’ choice of texts, from the Old and New Testaments and the Apocrypha in Luther’s translation, are a meditation on the rest, peace, and comfort that can be found in the Christian scriptures when contemplating the inevitable circumstance of death. They make no mention, as in the Catholic Mass, of the day of wrath and of final judgment, and they have no prayer to Christ for the rescue of the faithful from the pains of hell. They speak rather of comfort for those who mourn and of the transitory nature of this life, expressing a firm belief in life after death and the blessed state of those who ‘die in the Lord,’ a belief that after the trials and troubles of this mortal life, there comes a life of peace and joy where ‘sorrow and sighing shall flee away.’

Except for the short fourth and seventh movements, Brahms chose verses for the text of each movement from different books of the Bible and, despite this variety of sources, combined them to complement each other in their message and to set out his own vision and understanding of his Requiem. However, the varied musical color and structure of both the work as a whole and as reflected in each movement deepen and enhance the meaning of the text. As Brahms understood so clearly, music adds its own deeper dimension and fullness to the meaning of words.

We are thrilled that baritone Nicholas Provenzale and soprano Kara Goodrich will be the soloists for this performance. Those of you who attended our Good Friday Bonhoeffer production know how magnificent a singer Nicholas is. Kara, who grew up in BMPC (her mother was a staff singer in the Sanctuary Choir), is now beginning a career as a professional singer. Her role as Mimi in “La Boheme” with Opera Philadelphia last spring brought rave reviews. Accompanying them will be pianists Susan Rogel Ricci and Laura Ward, who will be at the two concert grand pianos.

A free-will offering will be received to benefit the Homeless Advocacy Project, a non-profit organization that provides legal assistance to Philadelphia’s large homeless population. https://www.haplegal.org/

We look forward to bringing this spectacular work into your life on April 28 at 4:00 p.m.