Written in 1983, this cantata portrays the final week of Jesus’ life from the perspective of those who loved him most—especially Simon Peter, His mother, and Mary Magdalene. The opening anthem is based on these words from Psalm 126: They that sow in tears shall reap in joy. He that goes forth weeping, bearing precious seed, shall come again rejoicing, with a harvest bountiful. This theme of joy in the midst of untold suffering underlies the whole work.

"In December of 1981, our family traveled to north Georgia to spend Christmas with my family. My father, then in his late sixties, was retired from his work in newspaper labor relations, and enjoyed having time for woodworking and music. Neither of us had music degrees, but we both loved writing music, and occasionally collaborated on songs.

At some point during this Christmas week, my father suggested that we collaborate on writing an Easter cantata. As soon as he did, I had a sense of confirmation, and even knew that we should base this cantata on Psalm 126:5-6, and that the name of our cantata would be Via Dolorosa (Latin for Way of Tears). As we continued to discuss this dream, God placed in us the desire to view the events of Holy Week through the eyes of those who were closest to Jesus: His mother, Mary; Mary Magdalene; and Peter.

We returned to our home in Melbourne, Florida, and went on with the business of life. Before long, however, I started getting lyrics and even cassette-recordings of song ideas from my father—it occurred to me that he was really serious about this project! Soon, lyrics and tunes were flying back and forth between us. (This was before computers, or even fax machines, were available to us.)

During this process of collaboration, things were happening that defied rational explanation. For instance, my father wrote the verse to a song (Behold Thy Son) and I wrote the chorus to the same song (600 miles away). They crossed in the mail, and, upon receiving his verses, I discovered that my verse and his chorus fit together like hand-in-glove—one in the minor key, and one in the major!

Another God-moment happened later in the month when I was playing and singing some of the songs for Sherry MacLean, a dear friend and fellow musician, now at Prince of Peace church. When I finished, she suggested that a song that I wrote several years before (Heart Cry) should be a part of Via Dolorosa. By this time, I was very aware that God was doing something far bigger than my father and I could ever do, and my spiritual antenna was definitely in receiving mode! So I replied to Sherry, “That may be true, but Heart Cry would

need to have new lyrics.” After walking her to her car, I went to the mailbox. In it, I found my father’s new words for Heart Cry, which was Mary Magdalene’s love song to Jesus!

On the last Saturday of January, 1982, my father and I realized that there were only two songs yet to be written: Gethsemane and The Last Supper. My father opted to work on the former, and I agreed to work on the latter. That night, after our boys were in bed, I struggled with ideas for The Last Supper. Since the boys were asleep, I couldn’t use the piano, and was getting nowhere fast. Finally, I prayed, “Lord, there is no way I can write any song unless you give it to me!” Immediately the lyrics, melody, and harmonies of the piece dropped into my consciousness. The verses came more slowly, but the chorus to this song has remained unchanged until this day.

When I talked to my father the next day, I learned that he had also received Gethsemane. A few days later, he drove down to Florida. We worked day and night for the next several weeks to complete the hand-written choral score for Via Dolorosa.

My pastor, Jamie Buckingham (a well-known Christian author), wrote the narration for us. My friend and colleague, Don Wood (choir director at First Methodist of Melbourne), agreed to conduct the joint choir (FUMC and Tabernacle Church) in separate performances that year.

There was no time to write out the piano accompaniment, so the first score was for soloists and choir only. I took this to the printer in mid-February. That evening, one of my choir members, who did not know that I had taken the music to the printer that day, handed me a message that God had given her for me that afternoon: 'I go before these scores to perform My Father’s work!'

Thanks be to God for this incredible gift! It has been sung many times in many places over these years. It is our holy privilege to share it with you!"

Clare Toy