four large downtown congrega- tions worship together on Good Friday. In that setting, the congre- gations gather together at noon at the host church for worship. A diff erent pastor preaches and the host congregation’s music staff selects music for an ecumenical choir. Rehearsal of music occurs an hour before the service. Each of these examples off ers


some richness and variety in terms of ecumenical worship on Good Friday. However, these examples provide only a skeleton for wor- ship planning. As worship artists, it is benefi cial for us to consider more concrete ideas on how we might approach the development of an ecumenical Good Friday service.


T e Seven Last Words: Each


gospel includes phrases Jesus uttered while on the cross. Mat- thew records Jesus saying, “Eli, Eli, lema sabachthani?” or “My God, My God, why have you forsak- en me?” (Matthew 27:46) Mark records similar words. Luke off ers more words: “Father, forgive them, for they know not what they are doing.” (Luke 23:34) In response to the criminal’s request, Jesus replies, “Truly I tell you, today you will be with me in paradise.” (Luke 23:43) Luke’s fi nal recording of Je- sus’ words is a cry to God, “Father, into your hands I commend my spirit.” (Luke 23:46) John includes an exchange between Mary and a disciple saying, “Woman, here is your son ... Here is your mother.” (John 19:26-27) John’s fi nal two phrases are, “I am thirsty” (John 19:28) and “It is fi nished.” (John 19:30)


T ese seven phrases have


__________________________________________________________________________________________________ January-February 2014 • WorshipArts • www.UMFellowship.org


Major Works: Many of us


been set to music, of course, by Vincent Dubois and Charles Gounod, among others. Consider developing a service where you invite choirs from all church-


enjoy major works that employ texts fi tting for Good Friday. How- ever, those who work with smaller choral groups do not always have the personnel or the funding to utilize such great literature. Doing a major work as an ecumeni- cal service, however, allows this quality music to be sung in an appropriate setting. A Requiem,


can experience the stations of the cross in numerous ways as an ecumenical worship experience. I have seen the following scenario as a recital and also as a worship service: Marcel Dupré’s work by the same name (for organ) can be played by capable organists from numerous congregations. Before each movement, the poetry of Claudel, which inspired Dupré’s composition, can be read. One might include notes in the bulletin including the original French po- etry, the translation, and an artistic representation of each station (perhaps a woodcut). T ere could also be visual images on a screen that depict each station.


13


Considerations for planning


ecumenical worship Every participant needs lead time, so plan far in advance. Artists need to order music, scripts, plan altar designs, and other elements of the worship service.


Participation of diff erent groups may require some education for those traditions that do not celebrate certain feast days. If a tradition doesn’t observe Good Friday, they may want to sing Easter hymns too early!


Each tradition has something to teach the other traditions. Consider ecumenical worship as an opportunity to understand diff erences and clarify your own traditions.


Make sure you have everyone on board (worship design teams, pastors, musicians, etc.). Buy-in is extremely important to making ecumenical worship services work.


Be clear on expectations from the beginning. Make sure those participating know the parameters for what is acceptable (for example, if there will be multiple homilies, make sure clergy have clear time limits).


es to rehearse this masterwork. Hold a couple of rehearsals of all musicians prior to Holy Week. You’ll need to determine who will conduct, how musicians will be employed, etc. Invite clergy of the churches to off er a reading of the Scripture and a short (4-6 min- ute) meditation, followed by the choral setting. Since many of these phrases are included in the stations of the cross, you might encour- age a visual artist to create art for each phrase. T ese representations could be displayed in the sanctuary or projected on a screen as a means of meditation on the texts.


one of the pieces listed above, or even portions of Part II of Messiah would be fi tting. Again, those who plan a service based on a major work will need to consider logis- tics of space, conductors, soloists, instrumentalists, and how costs will be covered.


Le Chemin de la Croix: We


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