Every Valley: Advent with the Scriptures of Handel’s Messiah is a devotional aid for the Advent season. It seems very appropriate given that, even though Handel’s Messiah was originally performed during the Lenten/Easter season, the work is more often performed at Christmas. And, while we all know that the “lyrics” from the Messiah are based in an English translation of scripture, we don’t always get the scripture verses in context. The beauty of Every Valley is that it not only gives us the lyric as it is sung, but also gives us the larger passage where it is contained. To make it even better, Albert L. Blackwell (a church music professor himself) doesn’t simply write devotionals based on lyric and scripture, but he builds off scholars (37 of them, to be precise) and their exegesis, as well. The good news about using so many exegetes is that many of the devotionals are extremely well-done. The bad news about using so many exegetes is that the totality is somewhat uneven.
For example, in dealing with the final suffering servant song (Isaiah 52:13-53:12), the writer went a very different direction than I thought was accurate. Modern church members tend to immediately jump from the Old Testament meaning to interpreting the passage as talking about Jesus’ suffering prior to and during the crucifixion. Yet, it is very likely that ancient Israel thought of itself as God’s servant. To some degree, Israel even perceived herself as suffering to help usher in God’s salvation to the world. And, of course, if we protract that understanding all the way to the 1st century CE (AD traditionally), Jesus as Savior does come from Israel and His death. So, Jesus can be understood, by extension, as the ultimate Suffering Servant. It might also be, again by extension, applied to the church. In following Christ, we should be willing to “suffer” to serve those who need to come to Jesus as Lord.
Yet, Every Valley derails me by identifying the suffering servant with the poor, the homeless, refugees, those who experience prejudice, and the like (p. 76). Since the Suffering Servant was supposed to suffer vicariously for others, it probably doesn’t fit as neatly as Blackwell (or his source) tries to stretch it. Similarly, I’m not totally sold on the way Blackwell uses Psalm 2 as being tied strictly to speaking the truth to power (pp. 126-130). It is, but it is more than that.
On the other hand, I really like Blackwell’s observation on the angelic birth announcement of Luke 2 (in Handel’s 16th and 17th pieces) when he pointed out that similar phrasing opens the account of Jesus’ life and, in the triumphal entry, starts to close the account of Jesus’ life (p. 48). I also found it very rich when, discussing Handel’s 19th piece and Isaiah 35:1-7, he writes: “The God who cares for the dry and barren places cares for each and all of us. God shows up even in the desert and barren places of life to await us with renewal, restoration and salvation.” (p. 57) I appreciated the cautionary observation when discussing Handel’s Arioso #30 and the first chapter of Lamentations on which it is based. Blackwell reacted to the realism in Lamentations by writing: “Mumbling half-hearted cliches will not help. When it is time to speak, we should not rush to comfort.” (p. 99)
Another piquant observation was built from Air #36, Chorus #37, and Psalm 68. Blackwell writes: “Faith is rooted in the experience of the believing one, but God cannot be limited to my experience alone because God is bigger than my experience of God.” (p. 118) In fact, while I questioned one use of Psalm 2 as meaning to speak the truth to power, I particularly enjoyed the way Blackwell juxtaposed Psalm 2 (Tenor Recitative #42 and Tenor Air #43) and Jesus’ temptation in Luke 4 (pp. 132-133). Blackwell also has a strong devotional on the “Hallelujah Chorus” where he uses the lyrics to compare the Christian victory with the power of Rome (p. 139).
As a devotional book, Every Valley: Advent with the Scriptures of Handel’s Messiah definitely fulfills its purpose. It allows the reader to reconsider familiar (and some unfamiliar) biblical passages applied to Christ when juxtaposed with this classic musical work. It helps make an Advent season more meaningful and even inspired me to coordinate some of my Advent sermons with airs, recitatives, and choruses from the great work. As exegesis, it is uneven, but it has been my experience that most books of devotion are uneven. Every Valley comes highly recommended, just not perfect.