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Awe and wonder
Christmas culture
Creed
Music
4 min read

Nine Lessons and Carols needs to be long

The carol service that take time to pull at the golden thread of Christmas.
Choristers stand and sing in choir stalls in a church
BBC.

I have decided that I will make it an annual ritual to grumpily defend a Christmas tradition that I love. Last year it was the traditional Nativity Play. This year it is the traditional carol service. For over a hundred years, at King’s College Chapel at least, the traditional Festival of Nine Lessons and Carols has borne witness to the very best of Anglican liturgy. The service combines candlelight, communal and choir carol singing, and lessons from Holy Scripture in a beautifully evocative manner. I adore the service, and it is very much a highlight of my Advent contemplation.

I am thrilled to say that carol services seem to be as popular as ever! I can hardly name a church that won’t be putting one on, either solo or uniting with other parishes. This warms my heart…and yet a shard of ice remains. A small, but very important gripe: editing. I notice that many services don’t follow the traditional pattern of nine lessons. Some have six. Some five. Some only a few, focusing as much as possible on the carol singing. I have a few clergy friends who enjoy giving me a gentle ribbing when I tell them my plans: “Oh you’re not doing ALL NINE are you!? Oh dear! It’ll be so long!” 

Brevity can be a virtue, and the Church hasn’t always cultivated it. I understand people have busy lives, and that very few of us want to be out late on a cold, wintry evening. I know that mince pies and mulled wine are as close to an irresistible temptation as there could be. I know that 30 to 45 minutes of hymn singing with a bit of Bible seems so lovely and compact. I understand all of this. 

However, I want to argue in favour of keeping all nine lessons: the length is the point! 

We end with a meditation on primordial concepts that cannot be truly comprehended by any mortal, and can only be put to paper in poetry. 

Some of the lessons are long (I’m looking at you Genesis!), and some a wonderfully pithy. It starts at the very beginning of the Bible and spends a good deal of time – nearly half of the readings – meditating on Genesis and Isaiah before we even begin to get to the baby Jesus, and the manger, and the shepherds, and the wise men. We seem to take ages not actually reading about the Story of Christmas…and this is VITAL! 

The traditional carol service concludes with the Prologue of John, that masterful exposition of the theology of the Incarnation, the perfect encapsulation of what a Christian believes is the truth, and the light, and the meaning of Jesus being born in a stable in Bethlehem. The service concludes with mention of the Word, of pre-existence, of Creation, of light defeating darkness, of salvation wrought through spirit and not flesh. We end with a meditation on primordial concepts that cannot be truly comprehended by any mortal, and can only be put to paper in poetry…and yet this is the true meaning of Christmas, and the true meaning of the Scriptures. Everything from Genesis 1.1 has been leading up to this, and everything written in Scripture only makes sense in light of these remarkable verses by John (or so Christians believe). 

When defending the traditional Nativity, I wrote about narrative and story and how they are fundamental to understanding our place in the world and the very meaning of our lives. The same can be said about the full nine lessons. Starting at the Fall of Mankind in the Garden of Eden, stopping to ponder the mercy and promise of God to Abraham and Isaac, being confronted with the wonderful Prophecies of Isaiah (the promise of peace and joy in the Kingdom of God), and then charting the story of the miraculous Birth of Christ, we see the underlying narrative thread of all Scripture: God loves His creation, God makes a promise to His creation, God keeps His promise and brings salvation and reconciliation to His creation. The Christmas story is wonderful and joyous, but it is an act in a larger drama, and we cannot truly understand it (or how it relates to the Prologue of John) if we don’t allow ourselves to encounter the whole story. 

Perhaps I’m putting too much emphasis and expectation on a single service in the year. Carol Services are celebratory, and anything that makes them accessible to as many people as possible is not something I want to malign…but…I pray that the full sweep of Scripture, the full and precious golden thread of the narrative of Scripture, is not lost. It is the meaning of Christmas, and it is the meaning of life, and it fills me with joy when it is celebrated with fellowship, singing, and worship. 

Anyway, grump over. I’m going to eat a mince pie.

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Awe and wonder
Culture
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4 min read

Natalie Bergman brings grief and joy to Union Chapel

A soul-soaked set turned personal tragedy into communal celebration

Jonathan is Team Rector for Wickford and Runwell. He is co-author of The Secret Chord, and writes on the arts.

A musician wearing black sits on a chair in a desert holding her guitar.
Natalie Bergman.
Natalie Bergman.

In any other context, they would call this revival! A wild belle singing songs of worship and wonder in a chapel packed to the rafters with a diverse crowd of beautiful people in rapture at songs such as ‘Talk To The Lord’ and ‘I Will Praise You’. This is Natalie Bergman at Union Chapel. 

Who? If you don’t already know, you need to know. Following three albums with Wild Belle, her debut solo album, Mercy, was a Gospel album written and recorded in response to the tragic death of her father and stepmother in a road traffic accident. Begun on retreat at a monastery, its lithe, light, luscious rhythms lift the listener from the valley of the shadow of death to the goodness and mercy found in the house of the Lord forever.    

If Mercy equates to the direct songs of praise and witness found on Bob Dylan’s Gospel albums, then her latest release, My Home Is Not In This World, equates to those later Dylan albums (like Infidels, Oh Mercy, Time Out of Mind and Rough and Rowdy Ways) where faith infuses songs exploring life and love. Bergman has quoted T Bone Burnett’s distinction between songs about the light and songs about what you can see from the light. Mercy is the former and My Home Is Not In This World, the latter. 

As a result, tonight, she takes us down paths of sorrow into the wilderness to find the light of God shining on us. At Union Chapel, a series of subtly lit arches ascend behind her and her band guiding our eyes upward until they reach the central back-lit rose window. The beauty of that light is where she takes us through the soulful spirituality of her songs. By the end, the joint is jumping with joy as we sing and dance to ‘Keep Those Teardrops From Falling’. 

Why? Her super-melodic songs draw inspiration from the deep sources of sixties soul, including Motown, while being infused also with the rhythms of reggae and highlife. Her voice ranges from childlike wonder floating on a sea of sound to smoky sultry spirituality. In common with Nick Cave on Wild God, the source of her spirituality is a vulnerability and openness occasioned by the grief she has endured, an experience common to all of us, whether now or in the future.  

She has explained simply and clearly how it happened: “When I began writing, I had already lost the greatest love I’ve ever had, so I had nothing else to lose. I went for it. I sang from the depths of my sorrow and I witnessed a little light while doing so.” As she concludes, “How could anyone have a problem with someone processing grief in a harmless way?” At Union Chapel, it’s clear that they don’t. Instead, what resonated with Bergman in her loss, also resonates with us.  

‘Talk To The Lord’ quotes Psalm 23 – ‘Though I walk in shadows, I won't be afraid / I will fear no evil / For You walk with me’ – in order to state that: 

‘When you are scared, reach out your hand 

Talk to the Lord, talk to the Lord 

If you are sad, He'll dry your tears 

Talk to the Lord, talk to the Lord’ 

In ‘I Will Praise You’, she says ‘When I'm broken, I will sing Your name’, while ‘Shine Your Light On Me’ also quotes Psalm 23 in a prayer for light as she cries like a ‘mourning dove’ for her ‘greatest love’. ‘Paint The Rain’ documents difficult days but discovers that: 

‘In this pain, you make me sing 

When I am blue, you take me in 

My little ways, they feel strange 

You give me a little bit, and you take it away 

You paint the rain’ 

In these ways, she has been enabled to live again and to find joy in family life, with My Home Is Not In This World finding its inspiration in the birth of her son, Arthur. When not lamenting lost loves, My Home Is Not In This World is grounded in the realities of home and natural life. The song ‘My Home Is Not In This World’ contrasts a prior life of glitzy glamour – her home no longer being there - with the life she has now found: 

‘My home 

My home is not in this world 

My home 

My home is not in this world  

 

I want to go outside 

Tell the trees that I love them 

Open my eyes 

See the children in the garden 

Dancing underneath the sunshine 

Swinging underneath the moonlight 

Sing away your sorrow my little one’ 

It’s been said that her ‘greatest achievement is choosing to go against the grain’, a decision that includes her spiritual focus and proves the value of going counter to the culture. It’s also been said that her universal music ‘lives in the hearts and minds and souls of her fellow travelers; born again believers in love, joy, and music’s role as guiding light and lightning rod’. That was certainly the case at Union Chapel where she ‘let the sunshine in’ and we all experienced the everlasting light of love shining on us. 

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