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Making a Way:
The Process of Repentance and Repair
Remembering an era of history we wish never to repeat nor forget

The Rev. Sarah C. Stewart, Rector

"This book is definitely worth your time and attention.  If you only have time to read one chapter, I would suggest Chapter Six on Justice Systems.  There is a lot there to ponder and discuss.”  - Jill Lighty

Apologize!

Ms. Jocelyn A. Sideco, Pastoral Associate

"This book has so many thought provoking ideas that will undoubtedly lead to a great discussion.  Even if you didn’t have time to read the book, you should come.  The evening is structured to have access for all!" - Jill Lighty

Brave Beginnings Can Arise from Failure

Rev. Sarah C. Stewart, Rector

Rolling Up our Sleeves is the first shift

Jocelyn A. Sideco, Pastoral Associate

Fanny -- The Musical

Susan Jane Matthews, Director of Music

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In our Lenten read, On Repentance and Repair, Rabbi Danya Ruttenberg draws on the work of the 12th-century Jewish philosopher, Maimonides, and his 5-step process of repentance and repair:

  1. Naming and owning harm (confession)

  2. Starting to change

  3. Restitution and accepting consequences

  4. Apology

  5. Making different choices 

This Lent, we invite you to practice empathy and compassion by recognizing harm and injury experienced in our world. God's own compassion led Jesus to enter into human brokenness, fully embracing our suffering and pain, to be with us in the fullness of our experience.

"Repentance—tshuvah—is like the Japanese art of kintsugi, repairing broken pottery with gold. You can never unbreak what you have broken. But with the sincere and deep work of transformation, acts of repair have the potential to make something new."

 

“We must constantly urge the organizations and institutions in our lives along the path of repentance, to show them that the way forward can be an ongoing process of more transparency, more accountability, more amends, more taking ownership, more structural change, more focus on care for those who were harmed and those who were impacted.” 
- excerpt from “Institutional Obligations” in On Repentance and Repair: Making Amends in An Unapologetic World (109)

Standing in Berlin, gazing across that open, abstract Memorial to the Murdered Jews of Europe, with its sloping outdoor spaces, 2711 concrete stelae of varying heights, and disorienting visual lines, I was lost to the world: What inspired New York architect Peter Eisenman (winner of the design contest sponsored by the Bundestag in 1999) to this 

artistic vision as an enduring witness to the people whose lives had been snuffed out in the Shoah? Did Eisenman wonder who might have chosen to stand against the tide in the German Parliament on that fateful legislative day, when the so-called Law to Remedy the Distress of the People and the Reich was passed? How many elected leaders turned a blind eye to the tactics of intimidation that Hitler and the Nazi Party officials used, detaining political opponents in camps so that they could not be present to vote against the Enabling Act, on March 23, 1933? Did any of the judges on the Supreme Court raise an eyebrow about the legitimacy of the process by which Hitler's dictatorship was ushered in? As he enacted laws, including ones that violated the Weimar Constitution, without approval of either parliament or Reich President von Hindenburg, did anyone dare to speak out? Visitors walked those intersecting paths in silence on that overcast summer morning as I and my colleagues in the travel seminar gathered to reflect on our experience of remembering an era of world history we wished never to repeat nor forget.  

“Apologize to your sister,” is a common refrain in my household. After a punch, a kick, a pinch, a ponytail pulled, Jessica and I would intervene with a “Look what you just did. Now, apologize to your sister.”

The offending sister would sometimes reluctantly indulge us before running away to continue playing while her sister remained screaming, crying, dumbfounded, hurt.

Danya Ruttenberg’s On Repentance and Repair challenges the common cultural tendency to prioritize forgiveness over repair and accountability, arguing that true reconciliation requires acknowledging harm, taking responsibility, and making amends. 

Rewind. Child screams because her sister pulled her hair and ran away. Parent goes to console the victim whose hair was pulled. She cries for a bit while receiving a hug or space (her choice). Other parent finds the other child to ask what happened, and to begin to coach her in acknowledging the harm and taking responsibility. Then both are invited to see one another and be seen by each other and encouraged to make it right with one another.

Clinical Psychologist, mom of 3 and founder of the Podcast and community Good Inside, Dr. Becky would remind us to help both children remember they are good inside. She writes, “The principle of internal goodness drives all of my work—I hold the belief that kids and parents are good inside, which allows me to be curious about the “why” of their bad behaviors.” We can identify with both the victim and perpetrator. We are her at different times.  And both need, more than ever, to be seen and cared for. There is a good kid that just expresses frustration or anger or jealously in a particular way. Love on them and help them figure out why a bad behavior emerged.

I am struck by the simplicity of this idea and the complexity of caring for both involved in the conflict. On the one hand, how do you show care to the victim? On the other, how do you love and get the perpetrator to acknowledge the hurt they did without just jumping to “apologize!”

Ruttenberg writes, “All too often in our culture, forgiveness granted to an unrepentant perpetrator -- or to a particularly repentant perpetrator, or to one whose inner work is unclear but who can write a compelling social media post expressing regret -- is conflated with absolution. That is, if the person who has been wronged grants the perpetrator forgiveness, it's read as if the victim is closing the books freeing the perpetrator from any further obligation to do the work of transformation, of change, of making amends, of becoming the kind of person who doesn't do that harmful thing anymore.” (183)

A moment of conflict, may be just that, a moment, perhaps a long one if people are not ready to acknowledge the truth of the hurt, pain, and consequence. It is not enough for my child who experienced her hair being pulled to say, “I’m ok. I’m fine.” This expectant claim may seem to clear the guilty party of taking responsibility. What may be more important is for us to say is this, “we know you both are hurt and frustrated and possibly sad and angry. How can we say a sorry that gets us to stop mis-treating you? Is there something you want your sister to own that she hasn’t yet?”

And more importantly, the invitation to more transformation must be extended: “I believe you want something more between you and your sister. And I believe you are frustrated and upset. Can we tell our body to do something else besides hurt people around us when we are frustrated? What’s something else we can do?”

“On the journey of repentance profound healing can happen. Individual lives and relationships can be transformed. Communities and cultures can move toward care, accountability, restoration. Institutions can do the work needed to protect the people they serve. Nations can face the truth of what they have done—even if the work is imperfect, messy, or haphazard—and can make the choice to write a new story for tomorrow. Repair is possible. Atonement is not out of reach. What is needed—and this is, of course, a great deal—is the willingness to do the work. What is needed is the bravery to begin.” - excerpt from “Atonement,” in On Repentance and Repair (p. 201-02).​

There is a term I’ve always found ironic: “too big to fail.”  The phrase usually describes institutions thought to enjoy either explicit or implicit backing by a larger, more stable institution in the event of a crisis. The words are meant to convey confidence in the institutional stability of that particular body. When the financial system of the United States was thrown into a tailspin by the real estate bubble bursting, many institutions, originally believed to be too big to fail wound up disappointing us. The higher powers everyone had assumed would step in to provide a backstop chose NOT to prop them up. And these institutions did fail.

 

Cory Booker’s record-breaking speech on the floor of the Senate on Tuesday, as he channeled the spirit of the late, great civil rights leader from Georgia, Representative John Lewis, who originally dared Americans to get into some “good trouble,” evoked curiosity in my heart about systems we may still assume are too big to fail. The March 26 deportation “mistake” that landed Maryland resident Kilmar Abrego Garcia in an El Salvador prison, due to an “administrative error” that ignored his protected legal status to be in the United States, and the subsequent mischaracterization of Abrego Garcia as a convicted gang member by one of our highest ranking elected officials in the country, raises more questions about institutional and societal failures in America. We have choices about what can come next after such egregious failures. No institution, no individual, no government is too big to fail. And every failure points us toward a journey of repentance, as a community and as a nation charged with moving toward the care, accountability, and restoration that Danya Ruttenberg writes about in her book, On Repentance and Repair.

 

The stories in our Christian tradition show us, above all, that our failure is not the end of the story. Human failure can bring us to a new beginning, if we bravely turn toward the work of repair that always accompanies God’s call to repentance. Jesus knows we, like every disciple, have failed before. And in this season of societal failings that grieve God’s heart Jesus calls us not only to see that repair is possible, but that repentance provides the primary pathway to the transformation we crave. 

 

What have we done and left undone? As ever, the work of repentance and repair begins only with God’s help. What will our start look like, individually and together? The stakes are high and our world is hurting. Where are you being asked to begin as you consider God’s call to participate in penitential habits of repentance and repair this Lent?​​​​​

"If you want to build a world that determines appropriate consequences for harm, that centers the needs and healing of those most impacted, and that helps the perpetrator transform into an agent of healing, repair, and ongoing renewal, we have tremendous cultural and systemic work to do. A great many structures in our society today will need to change. But change is possible, if there is the communal will to demand it." - excerpt from “Justice Systems,” in On Repentance and Repair (p. 167).​

I've been praying with this question: "what is our collective will?" When I take a moment to consider our world, our nation, our diocese, our community, my family, I wonder about the amount of shared activity, well-timed and coordinated, to do a thing that matters.

Take, for example, my own will to get out of the house by a certain time. Well... I can say "we're leaving!" only so many times. I can threaten to leave without getting any results. Or I can create the conditions that allow for seeing and flourishing so that the result is a whole relationship moving towards the common reality. 

I need to build in margin, or time and space, to be able to wrestle with disappointment and imperfection. 

Not only does change require a vision for what's possible, but a scaffolding of how in order to establish the probable, the likelihood.

We, each of us and collectively, have work to do to "re-pair" and live into our belonging-ness with God and one another. We were made to be in relationship, so it is just painful when we are not. 

What is the work YOU must do these days to live into real, daily interconnectedness that fosters faith, hope, love, and life? 

What is the work for us to do together? 

I'm rolling up my sleeves, and I'm all ears. 

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This Lent, the Choir School has begun a journey to write and perform a musical about the German Romantic composer and pianist Fanny Hensel (1805-1847). Until the past few decades, Fanny Hensel’s compositions have remained in the shadow of her younger brother, Felix Mendelssohn. When Fanny suddenly died of a stroke at the age of 41, she had only been publishing her music under her own name for a year, though she composed over 450 works. She was a virtuoso pianist, but she did not perform publicly. Her music was heard by the guests at the Sunday concerts (Sonntagsmusiken) that she hosted at her Berlin home.

The Choir School gathered at the home of two Choristers, Anna and Alice Malhotra, to begin research for the musical by watching a 2023 film documentary directed by Fanny’s great-great-great granddaughter, Sheila Hayman: Fanny, The Other Mendelssohn. The film both tells of Fanny’s life as a musician and traces recent sleuthing which brought her gorgeous Ostersonate (Easter Sonata) for piano to light in 2010. Choristers insightfully responded to 36 questions as they viewed the film, which includes a recording of St. Paul’s organ in the wedding scene. They began to consider broader lessons that might be drawn from Fanny’s life on vocation, the work to which a person is called by God.

 

In coming weeks during their Wednesday rehearsal time, guided by poet and writing coach Mia Malhotra, the Choir School will draft a script and take on roles in the musical. They will be learning music Fanny highlighted in her Sunday concerts by Bach, Beethoven, Gounod, Felix Mendelssohn, and Fanny Hensel herself, and will consider how Fanny has opened the door to women musicians beyond her time.

 

For those attending the parish retreat at the Bishop’s Ranch, I will offer a sneak preview concert of the Easter Sonata on Saturday afternoon, along with the first four movements (months) of her Das Jahr to which the sonata is linked.


Make sure to save the date of 4pm Sunday, May 18 for the Choir School’s production of Fanny-The Musical!

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Fanny the musical
On R&R Lent2
Remembering an era
apologize
Brave Beginnings
Rolling Up our sleeves

This week the choir begins rehearsing Johann Sebastian Bach’s Osteroratorium (Easter Oratorio, BWV 249), which will be offered at both the 9am and 11:15am celebrations on Easter Day, April 20. Easter Oratorio was first performed by J. S. Bach in Leipzig, Germany three hundred years ago, on Easter Day, April 1, 1725. French horns, oboes, flutes, string quintet and timpani will join with the choir and 1929 Skinner organ in this profoundly joyful Baroque music.


The text freely draws on the resurrection story of Luke 24:1-12, the appointed gospel reading for this Easter Day. Following an instrumental sinfonia and adagio, to be offered at the prelude to our service, the chorus Kommt, eilet und laufet (“Come, hurry and run”) dances with the great joy of the empty tomb, telling of Christ’s resurrection from the dead. This chorus frames a duet for tenor and bass (Lachen und Scherzen, “Laughter and merriment”) that seems truly the music of unrestrained joy. A tenor aria expresses hope that death will be but a brief sleep from which one awakens to eternal life. In a bass recitative, Jesus’ victory over death is proclaimed. The jubilant fanfares of the final chorus Preis und Dank (“Praise and thanks”) close the oratorio with praise and thanksgiving that Christ conquered death and opened to all the gates of everlasting life.

 

You are invited to consider underwriting the instrumentalists for this special music offering on Easter Day. One player may be underwritten for $500, though all size donations are gratefully received. Dedications to loved ones may be submitted for inclusion in the Easter Day bulletin.

Susan Jane Matthews, Director of Music

Running to the empty tomb
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Fanny--the Musicalp2
Fanny -- The Musical, part II

Susan Jane Matthews, Director of Music

It is a delight to share that the youth of the Choir School are fully immersed in the creation of Fanny – The Musical to be performed at 4pm Sunday, May 18 at St. Paul’s. Roles have been assigned from ranked preferences and five scenes are being imaginatively written by the youth during their Wednesday rehearsal times, with the guidance of Mia Malhotra, Anmol Gupta, and Gail Nezvigin:

 

1. Sunday at Lea’s (1815)
2. Fanny’s Wedding (October 1829)
3. Felix Visits Buckingham Palace (July 1842)
4. Sunday at Fanny’s (1846)
5. Opening the Door to future Women Composers (1847; Dream Sequence)


In the role of Fanny and Wilhelm’s son Sebastian is 5-year old Yanni Culatana. He is introduced in Scene 4 by his full name, Felix Ludwig Sebastian Hensel. Each part of his name connected him to a famous musician, the vocation his parents so desired for their child – Felix Mendelssohn, Ludwig van Beethoven, and Johann Sebastian Bach. During St. Paul’s weekend retreat at the Bishop’s Ranch, Yanni, reminiscent of the blossoming of another fine young organist in St. Paul’s community (Michael Caraher!), spent every spare moment at the chapel harmonium. It seems the role fits!


In the role of French composer Charles Gounod (1818-1893) is 16-year old baritone Dmitri
Nezvigin. Gounod had tremendous respect for Fanny Hensel who had introduced him to the piano music of J. S. Bach and Beethoven when they met in Rome in 1839. Gounod is perhaps most well- known today for his vocal setting of the Ave Maria over the Prelude in C Major that opens J. S. Bach’s Well-Tempered Clavier. Dmitri will sing The King of love my shepherd is, a baritone solo by Gounod paraphrasing Psalm 23 in Scene 4 of the musical, with a preview at the 10am Eucharist on March 30.


Participants in the Bishop’s Ranch Retreat had a sneak preview of Fanny Hensel’s Easter Sonata (1828) in a concert of her organ and piano music on Saturday afternoon. Composed when she was 22 years old, the Easter Sonata was first recorded in France in 1972 as a work of her famous younger brother, Felix Mendelssohn. Through some intense sleuthing, the work was correctly credited to Fanny in 2010 and published in an urtext edition by Barenreiter in 2024. It is a stirring four-movement work of passion and resurrection, with musical themes that appear again in April of her 1841 Das Jahr. The final movement of the Easter Sonata closes with the German Agnus Dei: Christe,
du Lamm Gottes
. I look forward to playing a movement during Scene 4 of Fanny-The Musical. It was an immense joy to learn and perform this work, nearly two hundred years after its composition.

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Fanny Part 3
Fanny -- The Musical, part III

Susan Jane Matthews, Director of Music

"The King of Love My Shepherd Is" by Charles Gounod

Dmitri Nezvigin, baritone (begins below at 1:07:53)

During communion of a service for the Fourth Sunday in Lent, 16-year old baritone Dmitri Nezvigin sang "The King of Love My Shepherd Is," a paraphrase of Psalm 23 by the French composer Charles Gounod (1818-1893).  Gounod is perhaps most well-known for his vocal setting of the "Ave Maria" over the piano prelude in C Major that opens Johann Sebastian Bach’s "The Well-Tempered Clavier."

 

In the Choir School's upcoming performance of Fanny - The Musical on May 18, Dmitri will play the role of Charles Gounod.  Dmitri has worked with 11-year old Anna Malhotra in writing Scene 4 of the musical in which he attends and performs at one of the Sunday concerts at the home of Fanny Hensel (played by Anna Malhotra). Charles Gounod first met Fanny Hensel in Rome in 1839, when she was visiting Italy with her husband Wilhelm.  Fanny Hensel introduced Gounod to the piano music of J. S. Bach and Beethoven, which had a tremendous impact on his composition.

 

Below is an excerpt from the dialogue of Fanny - The Musical.  The choir has just sung the Bach/Gounod "Ave Maria" and  Fanny introduces the next performance.

 

Fanny Hensel:

We will now hear “The King of Love My Shepherd Is,” also by you Monsieur Charles.

 

Charles Gounod:

Thank you, Frau Fanny.  Through Psalm 23, I would like to sing of how God helps me in my life.  

Music of Holy Week and Easter Day    

Susan Jane Matthews, Director of Music

Music of Holy Week and Easter Day

Risen Lord, Risen Lord.

Give us a heart for simple things.

Love, laughter, bread, wine, and dreams,

Fill us with green growing hope:

Risen Lord, Risen Lord.

Make us a people whose song is Alleluia.

Whose sign is peace, and whose name is love;

Risen Lord, Risen Lord.

Give us a heart for simple things and to sing Alleluia,

And to sing Alleluia.

 

~ Words of “Risen Lord” by Rev. John Hencher,

to be sung by the trebles of the Choir School for Easter Day in an anthem by Barry Rose.

 

With Palm Sunday the journey of Holy Week begins, the cries of the crowd quickly change from loud palm-waving “Hosannas!” that hail Jesus as he enters Jerusalem to “Crucify him!” at Pilate’s questioning.  This is a way of suffering and death, but also the way to the “green growing hope” of Easter.  Through the music of the Holy Week and Easter Day liturgies we reflect once again on the last days of Jesus’ life on earth as God among us, with a prayer to truly “make us a people whose song is alleluia.”

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Vermillion Flycatcher

at Holy Cross Cemetery, Colma; February 2025.

April 10                     10am Palm Sunday 

                                   10th-century Chant | All glory, laud and honor Lucy Kendall, trumpet

                                   Tomás Luis da Victoria | Hosanna filio David

                                   Johann Sebastian Bach | Crucifixus (Mass in b minor)

                                   Alice Parker | Wondrous love

                                   Sergei Rachmaninoff | Vocalise Haruka Ota, cello

 

April 17                     7:30pm Maundy Thursday

                                   The King of Love my Shepherd Is Dmitri Nezvigin, soloist

                                   Ralph Vaughan Williams | Five Mystical Songs:  The Call  Anmol Gupta, soloist

                                   Jessica French | Tantum ergo

                                   Amy Beach | Peace I leave with you

 

April 18                     7pm Good Friday

                                   Chant | The Passion according to John

                                   Shruthi Rajasekar | did you know

                                   Sarah MacDonald | Crux fidelis

                                   Kim André Arnesen | Even when He is silent

                                  

April 19                     8pm Great Vigil of Easter  

                                   Giovanni Pierluigi da Palestrina | Sicut cervus

                                   W. H. H. Harris | This joyful Eastertide

                                   Craig Courtney | Ukrainian Alleluia

                                   Charles-Marie Widor | Toccata in F (Symphony 5 for Organ)

                                  

April 20                     9am & 11:15am Easter Day  

                                   Chamber Orchestra of Flute, Oboe, French Horn, Timpani, Strings, & Organ

                                   A 15-minute prelude for piano and chamber orchestra precedes each service.

                                   Fanny Hensel | Easter Sonata

                                   Johann Sebastian Bach | Easter Oratorio

                                   Grayston Ives | Missa Brevis (Gloria, Sanctus)

                                   Barry Rose | Risen Lord

                                   George Frideric Handel | Hallelujah (Messiah)

                                   Charles-Marie Widor | Final (Symphony for Organ & Orchestra)

Easter Music
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