O Crux, Ave

O Crux, Ave: A Piano Recital for the Feast of the Holy Cross

All Saints' Episcopal Church Performing Arts Series 

September 21, 2025

Spoken program notes

I am going to talk a bit about the pieces I am playing, but first I would like to share why I am playing them. 

Many Christians celebrate a Feast of the Cross around the middle of September. It is a time to consider that, over the centuries, the Church has found there is something to be gained by engaging the Cross with the imagination. 

In that spirit, Christians have looked for the true cross, built churches in its shape, and dedicated them to its honor. We have developed practices of venerating its image and of commemorating the path Jesus to took to his crucifixion. And in our worship, we use the gesture of the cross to bless ourselves and others, to sanctify baptismal waters, and to consecrate bread and wine as our Eucharist. 

This afternoon’s recital is a meditation on such spiritual traditions.

1. Legend: St. Columba Rebukes the Beast of Ness

Based on the Irish tune COLUMBA, my Columban Legend unfolds the story of the saint’s confrontation with the beast of the River Ness. Making the sign of the cross, signified in the music by a brief passage of expanding and contracting intervals, Columba sends one of his monks into the water to retrieve a boat. On sensing the monk’s presence, the beast rises to the surface and rushes at him with the intention of devouring him but is rebuked by the saint who, once again, makes the sign of the cross, reversing the monster’s motion. The legend concludes with a song of praise sung by the bystanders who have witnessed this demonstration of God’s power. 

2. Prelude in F Sharp Minor, WTC II by J. S. Bach

Hear these words from a 10th century Irish prayer.

Christ’s cross over this face, over this ear, over this eye . . .

Christ’s cross to accompany before me, to accompany behind me. 

Christ’s cross to meet every difficulty both on hollow and hill. 

Christ’s cross eastwards facing me. Christ’s cross back towards the sunset. 

In the north, in the south, increasingly may Christ’s cross straightway be. 

Christ’s cross up to broad Heaven. Christ’s cross down to earth. 

Let no evil or hurt come to my body or my soul . . .

Christ’s cross be all my strength until we reach the King of Heaven. 

From the top of my head to the nail of my foot, O Christ,      
against every danger, I trust in the protection of the cross.                                                                    

Till the day of my death, going into this clay, I shall draw without: 

Christ’s cross over this face. Christ’s cross over me as I lie.

3. from Via Crucis by Franz Liszt

Liszt envisioned his Via Crucis for use during the annual devotion of the Stations of the Cross in the Roman Colosseum.  In the introduction to this work, Liszt evokes that liturgical remembrance of Jesus’ journey by quoting the ancient hymn “O crux ave” and writing in musical styles of pipe organ and choir. In the second selection, Liszt depicts the eye-to-eye encounter of mother and son along the Via Dolorosa with a starker texture and a melody that winds its way from the agonizing to the sublime. In the final selection, Liszt returns to richer musical resources but adds an accompaniment like a faltering heartbeat ultimately leading to a series of haunting harmonies that mark the strange scene of the Lord’s lifeless body being taken down from the cross and laid in the tomb. 

4. Two-Part Invention in E Major by J. S. Bach

One of the great exemplars of artists who consecrate their genius to God, Bach wrote works permeated by Christian symbolism. 

As the midpoint of this recital, his Invention in E Major can be heard as an elegant sonic projection of cross-like geometry. In virtually every measure of this music, one musical line rises while another falls, creating a sense of many mirror images and intersections. 

While listening, one might also be reminded of Jacob’s Ladder interpreted as a type of the Cross where heaven and earth meet.

5. from Bagatelles, Op. 119 by Beethoven 

Andante con moto, a l'Allemande, and Andante cantabile

Whether channeled through the form of a large symphony or a tiny vignette, the elemental passion of Beethoven’s voice never fails to come through. That quality in these three bagatelles is a life-affirming answer to the somber nature of Liszt’s Via Crucis pieces. 

Beethoven has the hands of the pianist crossing playfully for much of the first piece, leaping from register to register in the second, and finally gliding with a gentle joy in the third. 

6. Fugue in F Sharp Minor by Bach

From “The Dream of the Rood” portions of which existed as early as the 8th century being carved on the Ruthwell Cross.

Its unknown poet writes:

I beheld in sorrow the Savior’s tree until I heard it utter a sound;

that best of woods began to speak words: 

“It was so long ago––I remember it still––

that I was felled from the forest’s edge, ripped up from my roots. 

Strong enemies seized me there,

made me their spectacle, made me bear their criminals;

they bore me on their shoulders and then set me on a hill,

enemies enough fixed me fast. 

Then I saw the Lord of mankind hasten eagerly, 

when he wanted to ascend upon me.

I did not dare to break or bow down against the Lord’s word,

when I saw the ends of the earth tremble. 

Easily I might have felled all those enemies, and yet I stood fast.

Then the young hero made ready—that was God almighty—

strong and resolute; he ascended on the high gallows,

brave in the sight of many, when he wanted to ransom mankind. 

I trembled when he embraced me, but I dared not bow to the ground, 

or fall to the earth’s corners––I had to stand fast.

I was reared as a cross: I raised up the mighty King, the Lord of heaven; 

I dared not lie down.

7. Legend: St. Francis Blesses the Birds

Liszt’s Franciscan Legend paints the picture of Francis preaching to the birds that they should be grateful for God’s provision as should his brothers who are looking on the scene. Liszt masterfully conjures the sounds of birds as well as the speech of the saint all in an atmosphere of sacredness. The phrases of the saint’s sermon have a cross-like contour, rising and encircling a particular pitch. The legend concludes with Francis’s benediction spoken over the birds as he makes the sign of the cross and they fly aloft, disappearing into the brightness of the sky.