Advent 3, Year A, December 14, 2025
I grew up singing in church.
I didn’t grow up a Lutheran,
and so, the hymnody I learned
was not the baroque melodies
and ancient chants of the early
and medieval church,
but the old timey,
shaped note,
and bluegrass tunes
of early 20th century Appalachia.
When I was growing up,
the church choir
sounded more like the Grand Ol’ Opry
than a grand old opera.
There was no pipe organ,
only a piano,
and a reluctant pianist,
who was more talented than confident.
There were a few different choir directors
in my time there.
This position was usually filled
like the pianist’s position;
whoever could say “no” least convincingly
ended up with the task.
It was pick-up choir.
We didn’t rehearse,
and everyone who wanted to
was invited to join us from the congregation.
It was often a 50/50
or 60/40 split
between choir and congregation.
It was in this church singing
that I was introduced to the Spirituals.
Songs like “Were You There?”
“Sweet Little Jesus Boy,”
and “Sweet, Sweet Spirit.”
These songs moved me
in ways that the other old-timey music we sang
never did.
Singing in church
turned into singing in school,
where I learned more Spirituals,
like “Elijah Rock,”
“Soon I Will Be Done”
and a cadre of Spirituals
arranged and composed by Jester Hairston.
In his autobiography,
Fredrick Douglass writes about his experience
as a slave in Maryland
before his escape.
Douglass writes about the songs the slaves sang.
He writes:
“[These songs] told the tale of woe
which was then altogether beyond my feeble comprehension; they were tones loud, long, and deep;
they breathed the prayer and complaint
of souls boiling over
with the bitterest anguish.
Every tone
was a testimony against slavery
and a prayer to God
for deliverance from chains. …
I have been utterly astonished,
since I came to the North,
to find persons
who could speak of the singing among slaves
as evidence of their contentment and happiness.
It is impossible
to conceive of a greater mistake.
Slaves sing most
when they are most unhappy.
The songs of the slave
represent the sorrows of his heart;
and he is relieved by them,
only as an aching heart
is relieved by its tears.”
This as all made me wonder,
What should we make of Mary’s singing?
How should we hear Mary’s words?
What tune was her heart singing that day?
Would her happy words
be set in a minor key,
or in ecstatic exaltation
to make the Hallelujah Chorus
sound like a radio jingle?
Our gospel reading today
is a song
that Luke’s Gospel tells us
arises from the heart
of a young girl,
visited by an angel,
pregnant before her arranged marriage,
sent away to live in secret
with her distant cousins,
in a land occupied by a foreign power.
When she arrives at her hiding place,
her secret is known,
even by the baby in her cousin’s womb.
Mark Lowery’s
“Mary Did You Know?”
is a sweet song,
but the better question is,
Mary, did you cry?
Did you stress eat?
Did you doubt?
Were you afraid?
Were you embarrassed?
Did you hold the hand
and wipe the brow of Elizabeth
as she gave birth to John?
Did this terrify you?
How did you bear the weight
of being “blessed” for “all generations?”
Were your hands raised to the sky
as your soul magnified the Lord,
or did your tears wash the dust from your face?
As Douglass reminds us,
spontaneous singing
ought not deceive us into believing
that the joy of Mary’s song
was somehow proof
that Mary’s ankles didn’t swell,
that her back didn’t hurt,
that she didn’t have morning sickness
or weird cravings,
or that this child
now “with child”
wasn’t overwhelmed
by the enormous weight
of all that she knew.
Mary sang to remember;
to remember the promises of God,
to remember the promises of the angel,
to remember the faithfulness of God,
the goodness of God,
the mercy and justice of God.
Mary sang to remind us,
of God’s promises,
and faithfulness,
and goodness,
and mercy,
and justice.
Mary sang to remind God.
Mary sang to
“breathe the prayer and complaint
of bitter souls boiling over in anguish….
a prayer to God for deliverance from chains.”
A prayer to God
to scatter the proud in the thoughts of their hearts,
and to scatter proud thoughts in her own heart.
A prayer to God
to bring down the mighty and raise up the lowly,
and to make sure she was one of the lowly ones.
A prayer to God
to fill the hungry with good things
and send the rich away empty,
and to trust that what filled her now
was indeed a good thing.
Mary sang for joy,
a joy born of anguish transformed,
sorrow transcended,
suffering transmuted.
Mary’s song did not spring from her joy.
Mary’s joy sprang from her song.
Beloved,
Mary’s song
is a form of prayer
we have long neglected.
Mary’s song
arose from her willingness
to embrace the reality that was.
Mary’s song,
and the songs of slaves
were not weak resignation
to the suffering of the moment
as God’s divine, inscrutable plan,
but blessed assurance
in the nearness of a God who suffered with them,
the steadfastness of a God who would deliver them,
the justice of a God who would vindicate them,
and the power of a God
who transforms pain into comfort,
sorrow into solace,
suffering into relief,
and death into resurrection.
Mary’s pondering of the angel’s greeting
and treasuring the truth in her heart
reconciled her to the harsh reality of the world
as it is,
and grew in her
the hope of the world to come.
When we allow these songs to rise up in us,
to well up in our hearts,
and minds,
and mouths
we too have joined Mary’s song,
the song of hope for slaves,
the oppressed,
the hungry,
the lowly.
We have become the mother of God,
bearing life and hope and salvation
into the world
by our song,
by our prayer,
by our joy.
Amen.








