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COVID and The Lunatic Fringe

During the past 2 years since the SARS-Cov-2 virus emerged as a global pandemic, I’ve been sharing news stories on Facebook. I faced, from the start, enormous and immediate pushback by anti-vaxers. They mocked, belittled, and ridiculed me. I didn’t stoop to their level. I presented the facts with my take on them. This anti-vaxx sentiment is rooted in fear and ignorance.
Imagine if, in the 1950s, a huge portion of the American population refused the polio vaccine for themselves or their children. Polio would still be with us as a scourge. Thank God for vaccines! The ignorance of some people is astounding! And then they try to spin it into a political/patriot issue as if they are brave freedom fighters for refusing to wear a mask, or for refusing to get vaccinated. I’m sick of all of them. This disease is deadly and I’ve lost too many loved ones to see anti-vaxxers lie about the disease that killed them.
Our childhood friend Chris Ordos died from COVID before the vaccines were developed. He was 51 and in great shape physically. He died within 48 hours of having trouble breathing. I’ve seen dozens of reports of people in their 20s, 30s, 40s, and 50s who were healthy, yet died from COVID. This virus is not the same as the influenza viruses we see every year. It is at least 30-50 times as deadly. And the science is clear, the percentage of people who are vaccinated and develop serious enough symptoms to warrant hospitalization, or who die from COVID, are magnitudes lower than the percentage of people who are either hospitalized or who die who are unvaccinated.

Here we see a CDC graph of deaths of the vaccinated versus the non-vaccinated. The difference is clear. Getting vaccinated saves lives.
The majority of Americans realize that the vaccines are safe and effective, with very few vaccine-related injuries, compared to the tens of millions of people vaccinated. What I call the lunatic fringe are the diehard Trump supporters who take their medical advice from their favorite politicians, or from their pastor, instead of listening to the overwhelming global consensus of doctors and scientists who specialize in virology. Such people are willfully ignorant, and literally cannot be reasoned with.
I saw on CNN cases of COVID patients in the ICU who were dying and they still denied they were sick because of COVID. At a certain point cognitive dissonance sets in and they believe the opposite of the media, educators, business, and most importantly doctors and scientists. When you attempt to debate them you see it’s futile. They respond with about a half dozen canned responses, which they heard their favorite political pundit or politician repeat. You can bring up sophisticated arguments, and literally, show them objective data that contradicts their narrative and they just dig their heels in harder and repeat the same tired canards! It’s extremely frustrating to interact with such people.
Trump, early on, politicizing COVID, and making it into a Democrat versus Republican issue, was a great tragedy and a serious mistake which some scientists have estimated makes Trump responsible for 200,000 to 300,000 deaths which could have been averted.
We’ve seen how deadly and unpredictable COVID variants can be, the first delta and now omicron. As the virus keeps sweeping through the global population and continues to mutate who knows what we might face in a future COVID variant. We need everyone to wear masks (these same people who opposed the vaccines are also opposed to wearing masks to reduce the transmission of the virus), social distance, wash their hands and get fully vaccinated. My parents, 2 sisters, and I are triple vaxxed with the first two shots and then the booster. Please, I urge you to take these necessary steps to protect yourself, your families and friends, and even strangers from this deadly and brutal virus. America has surpassed 900,000 COVID deaths with no end in sight. We could’ve had herd immunity by now if only those ignorant and deluded anti-vaxxers had taken the vaccines!! So disgusting.
I should also note how COVID has been handled in the Church. I still see on YouTube, Facebook, and Twitter, pastors railing against the vaccines as the prophesied Mark of the Beast mentioned in the book of Revelation in the Bible. I’ve heard pastors say that taking the vaccines indicates a lack of faith and a lack of trust in God. This is deeply damaging and very immoral. People have literally died because they trusted their pastor, who has a position of authority that they abused! This is wicked and we need to speak out against this, and refuse to tolerate it.
I’ve also read many crazy conspiracy theories saying the vaccines have microchips to track you or toxic substances like graphene, or that they are made from aborted babies. All of these are absolutely false! We need to confront these insane theories and denounce them when we see them.
The COVID virus may be with us for a very long time. Experts are saying it could become a cyclical virus, like flu, which we’d need to be vaccinated against every year to match the genetic structure of the mutated viruses. I pray that we once more will live in a COVID-free world, but if not, my trust is firmly rooted in the sovereign Triune God.
And contrary to what many on social media have told me, no I am not living in fear by being educated and seeing the benefits of masking, social distancing, and taking COVID vaccines. My beliefs about COVID vaccines are not rooted in fear. I am not fearful. I trust God and I trust the science He has blessed us with. Jesus would tell you to get the vaccine if He was on earth right now! LOVE THY NEIGHBOR!!! I saw recently thousands of truckers in Canada driving to the US-Canada border to protest the mandates in their country. This was dubbed the Freedom Convoy. It’s ridiculous, and if the stakes weren’t so high, it would be laughable. These truckers are not modern-day Minute Men fighting to preserve liberty. They are fighting to preserve ignorance, superstition, and an anti-science anti-intellectual worldview. You are not a patriot because you’re an anti-vaxxer or an anti-masker. Both of my grandfathers fought in World War 2 for this great nation of ours. They are true patriots, not anti-vaxxers!
If you have any comments or wish to react to this post, please leave a comment below. Thank you, readers.
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Favorite Christmas Songs
These are some of my favorite songs! Which are your favorites? Please enjoy!
Silver Bells
Silver Bells, Silver Bells
It’s Christmas time in the city
Ring-a-ling, hear them ring
Soon it will be Christmas DayCity sidewalks
Busy sidewalks
Dressed in holiday style
In the air there’s
A feeling of Christmas
Children laughing
People passing
Meeting smile after smile
And on every
Street corner you’ll hearSilver Bells, Silver Bells
It’s Christmas time in the city
Ring-a-ling, hear them sing
Soon it will be Christmas DayStrings of street lights
Even stoplights
Blink a bright red and green
As the shoppers rush home
With their treasures
Hear the snow crunch
See the kids bunch
This is Santa’s big scene
And above all
This bustle you’ll hearSilver Bells, Silver Bells
It’s Christmas time in the city
Ring-a-ling, hear them sing
Soon it will be Christmas DaySilver Bells, Silver Bells
It’s Christmas time in the city
Ring-a-ling, hear them sing
Soon it will be Christmas DaySoon it will be Christmas Day
Soon it will be Christmas Day
Soon it will be Christmas DaySoon it will be Christmas Day
The First Noël
The first Noel the angels did say
Was to certain poor shepherds
In fields as they lay,
In fields where they,
Laying their sheep
On a cold winter’s night
That was so deep.
Noel Noel Noel Noel!
Born is the King of Israel!They looked up and saw a star
Shining in the East beyond them far,
And to the earth it gave great light,
And so it continued both day and night.
Noel Noel Noel Noel!
Born is the King of Israel!And by the light of that same star
Three wise men came from country far,
To seek for a King was their intent
And to follow the star
Wherever it went.
Noel Noel Noel Noel!
Born is the King of Israel!This star drew nigh to the northwest
Over Bethlehem it took its rest,
And there it did both stop and stay
Right over the place where Jesus lay.
Noel Noel Noel Noel!
Born is the King of Israel!Then did they know assuredly
Within that house the King did lie:
One entered in then for to see,
And found the Babe in poverty:
Noel Noel Noel Noel!
Born is the King of Israel!Then entered in those wise men three
Full reverently upon their knee,
And offered there in His presence
Their gold, and myrrh and frankincense.
Noel Noel Noel Noel!
Born is the King of Israel!Then let us all with one accord
Sing praises to our heavenly Lord,
That hath made heaven
And earth of naught
And with His blood
Mankind hath bought.
Noel Noel Noel Noel!
Born is the King of Israel!Hark! The Herald Angels Sing
Hark! the herald angels sing, Glory to the newborn King, peace on earth, and mercy mild, God and sinners reconcile. Joyful, all ye nations, rise, Join the triumph of the skies; with the angelic host proclaim, 'Christ is born in Bethlehem' Hark! the herald angels sing, Glory to the newborn King. Christ, by highest heaven adored, Christ, the everlasting Lord, Late in time behold him come, Offspring of a virgin's womb. Veiled in flesh the Godhead see; Hail, the incarnate deity, Pleased as Man with to dwell, Jesus, our Emmanuel! Hark! the herald angels sing, Glory to the newborn King. Hail, the heaven-born Prince of peace! Hail the Sun of righteousness! Light and life to all he brings, Risen with healing in his wings. Mild he lays his glory by, Born that man no more may die, Born to raise the suns of earth, Born to give them second birth. Hark! the herald angels sing, Glory to the newborn King.
Good Christian Men Rejoice
Good Christian men, rejoice,
With heart and soul and voice!
Give ye heed to what we say:
Jesus Christ is born today!
Ox and ass before him bow,
And he is in the manger now.
Christ is born today,
Christ is born today!Good Christian men, rejoice,
With heart and soul and voice!
Now ye hear of endless bliss:
Jesus Christ was born for this!
He hath op’ed the heavenly door,
And man is blessed forevermore.
Christ was born for this,
Christ was born for this!Good Christian men, rejoice,
With heart and soul and voice!
Now ye need not fear the grave;
Jesus Christ was born to save!
Calls you one and calls you all
To gain his everlasting hall.
Christ was born to save,
Christ was born to save!Adeste Fideles (Oh Come All Ye Faithful)
Adeste fidelis Laeti triumphantes Venite, venite in Bethlehem Natum videte regem angelorum Venite adoremus Venite adoremus Venite adoremus Dominum. O come, all ye faithful, Joyful and triumphant, O come ye, o come ye to Bethlehem. Come and behold Him, Born the King of Angels! O come, let us adore Him, O come, let us adore Him, O come, let us adore Him, Christ the Lord. Sing, choirs of angels, Sing in exultation O sing, all ye citizens of Heav'n above. Glory to God In the highest! O come, let us adore Him, O come, let us adore Him, O come, let us adore Him, Christ the Lord.
Silent Night
Silent night, holy night
All is calm, all is bright
Round yon Virgin, Mother and Child
Holy Infant so tender and mild
Sleep in heavenly peace
Sleep in heavenly peaceSilent night, holy night
Shepherds quake at the sight
Glories stream from heaven afar
Heavenly hosts sing Alleluia
Christ the Savior is born
Christ the Savior is bornSilent night, holy night
Son of God, love’s pure light
Radiant beams from Thy holy face
With the dawn of redeeming grace
Jesus Lord, at Thy birth
Jesus Lord, at Thy birthGod Rest Ye Merry Gentlemen
God rest you merry, gentlemen, Let nothing you dismay, Remember Christ our Savior Was born on Christmas Day, To save us all from Satan's power When we were gone astray. (Oh tidings of comfort and joy) (Comfort and joy) (Oh tidings of comfort and joy) (Comfort and joy) In Bethlehem in Jewry, This blessed Babe was born And laid within a manger Upon this blessed morn The which His Mother Mary Did nothing take in scorn (O tidings of comfort and joy) (Comfort and joy) (O tidings of comfort and joy) From God our Heavenly Father A blessed Angel came; And unto certain shepherds Brought tidings of the same, How that in Bethlehem was born The Son of God by name. (O tidings of comfort and joy) (Comfort and joy) (O tidings of comfort and joy)
I’ll Be Home For Christmas (If Only In My Dream)
I’ll be home for Christmas
You can plan on me
Please have snow and mistletoe
And presents on the treeChristmas Eve will find me
Where the love light gleams
I’ll be home for Christmas
If only in my dreamsI’ll be home for Christmas
You can plan on me
Please have snow and mistletoe
And presents on the treeChristmas Eve will find me
Where the love light gleams
I’ll be home for Christmas
If only in my dreamsJingle Bells
Dashing through the snow
In a one-horse open sleigh
O’er the fields we go
Laughing all the way
Bells on bobtails ring
Making spirits bright
What fun it is to ride and sing
A sleighing song tonight
Jingle bells, jingle bells
Jingle all the way
Oh, what fun it is to ride
In a one-horse open sleigh, hey
Jingle bells, jingle bells
Jingle all the way
Oh, what fun it is to ride
In a one-horse open sleigh
A day or two ago
I thought I’d take a ride
And soon, Miss Fanny Bright
Was seated by my side
The horse was lean and lank
Misfortune seemed his lot
He got into a drifted bank
And then we got upsot
Jingle bells, jingle bells
Jingle all the way
Oh, what fun it is to ride
In a one-horse open sleigh, hey
Jingle bells, jingle bells
Jingle all the way
Oh, what fun it is to ride
In a one-horse open sleigh
A day or two ago
The story I must tell
I went out on the snow
And on my back I fell
A gent was riding by
In a one-horse open sleigh
He laughed as there I sprawling lie
But quickly drove away
Jingle bells, jingle bells
Jingle all the way
Oh, what fun it is to ride
In a one-horse open sleigh, hey
Jingle bells, jingle bells
Jingle all the way
Oh, what fun it is to ride
In a one-horse open sleigh
Now the ground is white
Go it while you’re young
Take the girls tonight
And sing this sleighing song
Just get a bobtailed bay
Two forty as his speed
Hitch him to an open sleigh
And crack, you’ll take the lead
Jingle bells, jingle bells
Jingle all the way
Oh, what fun it is to ride
In a one-horse open sleigh, hey
Jingle bells, jingle bells
Jingle all the way
Oh, what fun it is to ride
In a one-horse open sleighChristmas in Killarney
The holly green, the ivy green The prettiest picture you've ever seen Is Christmas in Killarney With all of the folks at home It's nice, you know, to kiss your beau While cuddling under the mistletoe And Santa Claus you know, of course Is one of the boys from home The door is always open The neighbors pay a call And Father John before he's gone Will bless the house and all How grand it feels to click your heels And join in the fun of the jigs and reels I'm handing you no blarney The likes you've never known Is Christmas in Killarney With all of the folks at home
It’s Beginning to Look a Lot Like Christmas
It’s beginning to look a lot like Christmas, everywhere you go
Take a look in the five and ten glistening once again
With candy canes and silver lanes aglow
It’s beginning to look a lot like Christmas
Toys in every store
But the prettiest sight to see, is the holly that will be
On your own front doorA pair of Hop-a-long boots and a pistol that shoots
Is the wish of Barney and Ben
Dolls that will talk and will go for a walk
Is the hope of Janice and Jen
And Mom and Dad can hardly wait for school to start againIt’s beginning to look a lot like Christmas
Everywhere you goThere’s a tree in the Grand Hotel, one in the park as well
The sturdy kind that doesn’t mind the snow
It’s beginning to look a lot like Christmas
Soon the bells will start
And the thing that will make them ring
Is the carol that you sing, right within your heartIt’s beginning to look a lot like Christmas
Toys in every store
But the prettiest sight to see, is the holly that will be
On your own front door
Sure, it’s Christmas once more -
Pittsburgh the City of Bridges
My city of Pittsburgh has the distinction of having the most bridges which support cars of any city in the world! I’m talking about large sized bridges not tiny wood or stone small bridges over ponds and streams! All of our bridges are capable of handling cars. Other cities have small footbridges, small bridges over streams, canals or ponds, but they can’t support cars. To learn more click here!
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Emma Kirkby
The first time I heard this performance was in autumn of 1995 at the store Audio Options on Forbes Ave. in Squirrel Hill, a neighborhood of Pittsburgh, with my dear friend Bany. We used to frequently stop by there to see what CDs they had for purchase, to chat with the very friendly and knowledgeable proprietor Mark, and listen to his excellent component stereo system. Bany and I were students at Carnegie Mellon University. We’d make the long trek of about 1.5-2 miles up Forbes Ave. I was absolutely blown away by English soprano Dame Emma Kirkby’s virtuosity and warmth in this recording! She has the bright and clear tones of a boy soprano, yet with the technical and artistic maturity of an adult. And the really amazing thing about her singing is that there is virtually no vibrato! Which I prefer. The work is Bach’s sacred cantata
Biblical quotations in green font, chorales in purple
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Aria [Soprano]
Tromba, Violino I/II, Viola, Continuo
Jauchzet Gott in allen Landen!
Shout for joy to God in every land!
Was der Himmel und die Welt
An Geschöpfen in sich hält,
All the creatures contained in heaven and earth
Müssen dessen Ruhm erhöhen,
must exalt his glory,
Und wir wollen unserm Gott
and to our God we would
Gleichfalls itzt ein Opfer bringen,
now likewise bring an offering
Dass er uns in Kreuz und Not
since in affliction and distress
Allezeit hat beigestanden.
at all times he has stood by us.2
Recitative [Soprano]
Violino I/II, Viola, Continuo
Wir beten zu dem Tempel an,
We pray at the temple
Da Gottes Ehre wohnet,
where God’s honour dwells,
Da dessen Treu,
where his faithfulness
So täglich neu,
that is renewed every day
Mit lauter Segen lohnet.
Rewards us with unmixed blessing.
Wir preisen, was er an uns hat getan.
We praise what he has done for us.
Muss gleich der schwache Mund von seinen Wundern lallen,
Even if our weak mouths have to babble about his wonders,
So kann ein schlechtes Lob ihm dennoch wohlgefallen.
yet imperfect praise can still please him.3
Aria [Soprano]
Continuo
Höchster, mache deine Güte
Most High God, make your goodness
Ferner alle Morgen neu.
new every morning from now on.
So soll vor die Vatertreu
Then to your fatherly love
Auch ein dankbares Gemüte
a thankful spirit in us in turn
Durch ein frommes Leben weisen,
through a devout life will show
Dass wir deine Kinder heißen.
that we are called your children.4
Chorale [Soprano]
Violino I/II, Continuo
Sei Lob und Preis mit Ehren
May there be praise and glory and honour
Gott Vater, Sohn, Heiligem Geist!
For God the Father, Son and Holy Spirit!
Der woll in uns vermehren,
May it be his will to increase in us
Was er uns aus Gnaden verheißt,
what he promises us through his grace,
Dass wir ihm fest vertrauen,
so that we firmly trust in him,
Gänzlich uns lass’n auf ihn.
rely completely on him,
Von Herzen auf ihn bauen,
from our hearts build on him,
Dass uns’r Herz, Mut und Sinn
so that our heart, spirit and mind
Ihm festiglich anhangen;
depend steadfastly on him;
Drauf singen wir zur Stund:
about this we now sing:
Amen, wir werdn’s erlangen,
Amen, we shall achieve this,
Glaub’n wir aus Herzensgrund.
if we believe from the bottom of our hearts5
Aria [Soprano]
Tromba, Violino I/II, Viola, Continuo
Alleluja!
English Translation by Francis Browne (June 2008)
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More on Bach's Mass in B Minor
I just posted recently about Bach’s Mass in B Minor (BWV 232), but I had to post again after discovering my favorite recording of this work on YouTube!
Here is a recording by the Taverner Consort and Players directed by Andrew Parrott in which historically informed performance (HIP) practices are used. The alto parts are sung by boys, and the choir is all boys, no girls, just as Bach would have used when this piece was written. Also the tempi are markedly faster than those used in most performances in the 19th and 20th centuries. Also Baroque original instruments, or reproduction copies are used instead of modern instruments. This makes for a fresh and lively performance. And the vocal lines are beautifully clear and distinct and more readily convey Bach’s counterpoint and harmonies. This recording features my all time favorite soprano of Early music and Baroque music the incomparable Dame Emma Kirkby. David Thomas is also outstanding as bass, and one of my favorite bass singers. And, I must mention that the tenor soloist Rogers Covey-Crump is phenomenal.
This stellar, groundbreaking recording from 1985, used one voice per part and a set of ripieno singers for the forte sections. Taverner Consort and Players, conducted by Andrew Parrott.
- Emma Kirkby – soprano
- Emily van Evera – soprano
- Panito Inconomou – alto (child)
- Christian Immler – alto (child)
- Michael Kilian – alto (child)
- Rogers Covey-Crump – tenor
- David Thomas – bass
Recorded in 1984 in St John’s Smith Square, London.
The recording is in 2 parts.
Part 1
Part 2
I. MISSA
Kyrie eleison (Chorus)
Lord, have mercy upon usChriste eleison (Duet – Soprano, Mezzo-Soprano)
Christ, have mercy upon us.Kyrie eleison (Chorus)
Lord, have mercy upon us.Gloria
Gloria in excelsis Deo. (Chorus)
Glory be to God on high.
Et in terra pax hominibus bonae voluntatis. (Chorus)
And on earth peace to men of good will.
Laudamus te, benedicimus te, adoramus te, glorificamus te. (Air – Mezzo Soprano)
We praise thee, we bless thee, we worship thee, we glorify thee.
Gratias agimus tibi propter magnam gloriam tuam. (Chorus)
We thank thee for thy great glory.
Domine Deus, rex coelestis, Deus Pater omnipotens. Domine Fili unigenite, Jesu Christe, Altissime, Domine Deus, Agnus Dei, Filius Patris. (Duet Soprano and Tenor)
Lord God, heavenly King, Father Almighty. O Lord, the only begotten Son, Jesus Christ Highest, Lord God, Lamb of God, son of the Father.
Qui tollis peccata mundi, miserere nobis. Qui tollis peccata mundi, suscipe deprecationem nostram. (Chorus)
Thou who takest away the sins of the world, have mercy upon us. Thou who takest away the sins of the world, receive our prayer.
Qui sedes ad dextram Patris, miserere nobis. (Air – Mezzo Soprano)
Thou that sittest at the right hand of God the Father, have mercy upon us.
Quoniam tu solus sanctus, tu solus Dominus, tu solus Altissimus, Jesu Christe. (Air – Bass)
For thou only art holy, thou only art the Lord, thou only, Christ, art most high.
Cum Sancto Spiritu in gloria Dei Patris. Amen. (Chorus)
With the Holy Ghost in the glory of God the Father. Amen.INTERVAL
II. CREDO – SYMBOLUM NICENUM
(Credo in unum Deum) Patrem omnipotentem, factorem coeli et terrae, visibilium omnium et invisibilium. (Chorus)
(I believe in one God) The Father Almighty, maker of heaven and earth, and of all things visible and invisible.
Et in unum Dominum, Jesum Christum, Filium Dei unigenitum, et ex Patre natum ante omnia saecula, Deum de Deo, lumen de lumine, Deum verum de Deo vero, genitum, non factum, consubstantialem Patri, per quem omnia facta sunt, qui propter nos homines et propter nostram salutem descendit de coelis. (Duet – Soprano, Mezzo Soprano)
And in one Lord, Jesus Christ, the only begotten Son of God, begotten of his Father before all worlds, God of God, light of light, true God of true God, begotten, not made, being of one substance with the Father by who all things were made: who for us men and for our salvation came down from heaven.
Et incarnatus est de Spiritu Sancto ex Maria virgine, et homo factus est.(Chorus)
And was incarnate by the Holy Ghost of the Virgin Mary, and was made man.
Crucifixus etiam pro nobis sub Pontio Pilato, passus et sepultus est. (Chorus)
And was crucified also under Pontius Pilate, suffered, and was buried.
Et resurrexit tertia die secundum scripturas, et ascendit in coelum, sedet ad dexteram Patris, et iterum venturus est cum gloria judicare vivos et mortuos, cujus regni non erit finis. (Chorus)
And the third day he rose again according to the Scriptures, and ascended into heaven, and sitteth on the right hand of the Father: and he shall come again with glory to judge both the living and the dead; whose kingdom shall have no end.
Et in Spiritum Sanctum, Dominum et vivificantem, qui ex Patre Filioque procedit, qui cum Patre et Filio simul adoratur et conglorificatur, qui locutus est per prophetas. Et unam sanctam catholicam et apostolicam Ecclesiam. (Air –Bass)
And I believe in the Holy Ghost, the Lord and Giver of Life, who prodeedeth from the Father and the Son, who with the Father and the Son together is worshipped and glorified, who spake by the Prophets. And I believe in one holy Catholic and Apostolic Church.
Confiteor unum baptisma in remissionem peccatorum. (Chorus)
I acknowledge baptism for the remission of sins.
Et exspecto resurrectionem mortuorum et vitam venturi saeculi. Amen. (Chorus)
And I look for the resurrection of the dead, and the life of the world to come. Amen.III. SANCTUS
Sanctus, sanctus, sanctus Dominus Deus Sabaoth. Pleni sunt coeli et terra gloria ejus.(Chorus)
Holy, holy, holy, Lord God of hosts. Heaven and earth are full of Thy glory.IV. OSANNA, BENEDICTUS, AGNUS DEI
Osanna in excelsis. (Chorus)
Glory be to Thee, O Lord most high.
Benedictus qui venit in nomine Domini. (Air-Tenor)
Blessed is he, who cometh in the name of the Lord.
Osanna in excelsis.
Glory be to Thee, O Lord most high.
Agnus Dei, qui tollis peccata mundi, miserere nobis. (Air-Mezzo-soprano)
O Lamb of God, that takest away the sins of the world, have mercy upon us.
Dona nobis pacem. (Chorus)
Grant us peace.Almost all Bach’s works were composed for specific functions: the instrumental works for Prince Leopold of Anhalt-Köthen and for the Leipzig Collegium Musicum, the cantatas and Passions for religious services at Weimar or Leipzig. The exceptions are the works written for keyboard and the Mass in B minor. This gigantic work was not intended to be sung in its entirety at any specific liturgical ceremony. As Roland de Candé says, “listening to it is not compatible with the duration of the liturgy, not even as part of the most solemn ceremony.” While several of its movements are borrowed from previously written cantatas, it remains a free-standing gratuitous religious work, without specific liturgical function. In this, it is unique not only among Bach’s works, but indeed in the history of music.
Let us look at the circumstances and events of its genesis. Bach, from the first, had in mind a very precise goal. He was annoyed by the numerous vexations to which he was subjected by the authorities in Leipzig where, for nearly ten years, he had been working as Thomaskantor. The ‘most wise’ city council insisted more on his teaching Latin at the St. Thomas school than on the quality of music he was required to prepare for Sunday and holy day services at the St. Thomas and St. Nicholas churches.
On the other hand, the court of Dresden — the capital of Saxony, the state in which Leipzig was located — possessed one of the best orchestras in Europe. Musicians such as Weiss, Zelenka, Pisendel, Hasse Heinichen, plus Italians on tour (including Veracini and Lotti) assured the city a musical life of very high quality. Bach would have loved to add his name to this long list. Thus it was that, on July 27, 1733, he dedicated to the Elector of Saxony a Kyrie and a Gloria — the equivalent of a Lutheran mass — in a bid to obtain the post of court composer. The Saxon court had been Catholic since 1697, when Elector Augustus I converted so as to gain the throne of Poland, becoming King Augustus II. However, except for the question of religious obedience, there was in principal no problem of liturgical usage, for the standard texts were common to both religions. Luther had rejected neither the respective parts of the mass nor the numerous Latin texts: the Kyrie was sung on the first Sunday in Advent, the Gloria and the Magnificat on Christmas, and the Sanctus on all major feasts.
Just as Bach was dedicating his work, Augustus II died and his successor, Augustus III, was crowned King of Poland in 1734. The first two parts of what would be the B-minor Mass were probably first performed during the ceremonies in which Augustus III swore the oath of fidelity, or possibly when he came to Leipzig. Some commentators have seen the Kyrie as funeral music for the dead Elector, and in the Gloria a wish for good portents for the new one. Still with the same goal in mind, Bach was unstinting in writing homages. Within two years he had composed and directed the Leipzig Collegium Musicum in several secular cantatas composed in honor of the Elector: for the birthday of the sovereign, for that of his royal consort, for the birth of an heir, and for his coronation as King of Poland in Krakow. Despite all these efforts, it is highly unlikely that the 1733 Kyrie and Gloria were ever played in Dresden. At last, in 1736, Bach obtained the coveted post at the Dresden court; but he had to remain in Leipzig, for the post turned out to be more an honorary title than a real job. In the opinion of musicologist L.A. Marcel, the position was not a feather in Bach’s cap.
Perhaps at the request of some Dresden friends, Bach decided at the end of the 1740s to finish the B-minor Mass by setting the texts of the mass for which he had not yet written music — with the exception of the Sanctus, which he had set to music for Christmas, 1724. Thus between 1747 and 1749 — certain musicologists prefer an earlier date, however — all the sections were completed. Carl Philipp Emanuel Bach reassembled them a bit later under the name of Große Katholische Messe (Great Catholic Mass), and arranged for the Credo to be performed in Hamburg in 1786. Between 1833 and 1845 Nägeli and Simrok published the first edition of the mass in Bonn. It was entitled Hohe Messe in h-moll (High Mass in B Minor), and described as “the greatest masterpiece of all time and all people.” It was not until 1859, though, that the work was first performed in its entirety — but in a modified version, ‘improved’ according to 19th-century standards and translated into German!
Although it had not been composed in one stroke, the B-minor mass shows formidable unity. Sumptuously orchestrated — and far more often in a gleaming D major, ideal for trumpets, than in B minor, the key of the Kyrie — it is like a gigantic cantata with neither recitatives nor chorales. Only in the Credo, and there only in a few places, did Bach utilize a Gregorian cantus firmus. He recycled pieces, choruses and arias, from a dozen cantatas, but these borrowings are always rethought and reworked both as settings for Latin texts and for their general sense; and by adding a fifth voice to some four-voice choruses, Bach made them almost more perfect than the originals.
The genre of the mass demands a different and more objective treatment than that appropriate for a motet or a cantata. The emotion that Bach breathed into his mass may not have the intensity of that in his Passions, but it is more intense than the masses of his predecessors, whose polyphonic compositional techniques he used. His choral writing is contrapuntal and expresses the full range of emotions, from affliction to triumph, registered in the text, while the airs and duos are more modern and lighten the work’s general texture.
Musical symbolism, so prominent in the Passions and cantatas, is present too in the B-minor Mass. However, it serves more to underline the general sense of a section than to illustrate a specific word or expression. For instance, the violin motifs in Et incarnates est evoke the grace of the Virgin; the consubstantial nature of Father and Son is represented by imitation at the unison of the two voices in the duo Et in unum Dominum; the six-voice chorales of the Sanctus symbolize the six wings of the seraphims as described by the prophet Isaiah; and the change of tonality on the words homo factus est represents the change of being associated with the Incarnation.
But the reasons pushing Bach to write this Mass, the only religious vocal work of his not tailored to the needs of a specific function, remain an open question. Because of its dimensions, because of certain words not acceptable to the Catholic liturgy (for instance, altissime after Jesu Christe in the Gloria), it suits neither the Lutheran rite, in which nothing is sung after the Sanctus, nor the Catholic. Bach must have known that his work could not be played, at least in his lifetime. Maybe he wanted to rival or surpass composers, such as Caldara, Lotti, or Zelenka, who had written similar grand masses; or perhaps in the evening of his life, he wanted to propose, through his musical art, a rapprochement between the Christian churches, a musical solution to their quarrels, so contrary to the spirit of the Gospels. The two oboes d’amore in unison on unam sanctam catholicam ecclesiam would seem to suggest this.
Built on an architecture worthy of its subject and to the high standards of Bach’s genius; expressive of his personal idealism; distilling in the form of a testament the quintessence of his religious opus — many consider the Credo of the B-minor Mass to be Bach’s very last composition, later even than The Art of Fugue: the confluence of all these factors make this monumental work one of the absolute summits of Western music.
– François Filiatrault – English Translation by Douglas Kirk
The following is taken from Dr. Uri Golomb’s PhD dissertation at King’s College,Cambridge. Expression and Meaning in Bach Performance and Reception: An Examination of the B minor Mass on Record. It discusses this 1984 recording by Andrew Parrott which you are listening to.
5.2.2.
Parrott’s recordingAndrew Parrott recorded the Mass in 1984. In an interview with Christopher
Cook (for BBC Radio 3’s Bach Year series), he says that he initially planned to use
the Taverner Choir, as he had done in previous live performances (see p. 129 above).
However, as he became convinced by Rifkin’s arguments, he decided to re-shape his
performance accordingly. He consulted directly with Rifkin (who allowed him to use
his edition), and with Hugh Keyte, his erstwhile musicological advisor.
Parrott’s forces still differ from Rifkin’s on three issues:1.
Ensemble size: Rifkin uses ripienists only when they are explicitly called
for in the manuscript sources (i.e., in the Dona nobis); Parrott makes
selective use of ripienists in several choruses. [25] As far as I could tell, only
the Second Kyrie, Gratias, and Dona nobis are doubled throughout, but
many other movements featured selective doubling. Parrott also employs a
larger string section.2.
Continuo scoring: Keyte (1985: 11) enumerates two deviations from a
strict adherence to the parts (in the Missa) or the score (in the rest): adding
bassoons throughout, despite their being specified only in the Missa parts;
and using a double-bass throughout, despite its absence from the parts.3.
Vocal scoring: Rifkin is convinced that Bach used counter-tenors in
Leipzig; Parrott is convinced that he did not. Having disqualified Rifkin’s
solution, Parrott decided to use boy altos as his concertists, and a mezzo-
soprano for the ripieno.The first two decisions resulted in a richer, more solid and cohesive sonority
than Rifkin’s. The cohesion was partly undermined by the third decision: the boy altos
– especially Panito Iconomou – have a distinct timbre which dominates part of the
texture. Parrott did not retain this idea in his later recordings: in his Johannes-Passion,
he scored the alto for female concertists and boy ripienists; in subsequent Bach
recordings, he used female mezzo sopranos only.[25] Keyte (1985: 10) justified this by claiming that “the Mass gradually floated clear of practical
restraints […] so we are scarcely obliged to re-impose them”. I doubt if Parrott would feel comfortable
with this rhetoric today. Rifkin describes Parrott’s recording as “an arrangement […] openly
acknowledged as such” (2000: 66n). Notwithstanding his own avoidance of such arrangements, he
considers them a legitimate option – one that could actually “bring us closer to eighteenth-century
practices than does the modern all-or-nothing use of the chorus” (ibid: 39).– 142 –
On the whole, however, Parrott’s forces project a firmer sonority (probably
affected by the recording as well). The voices form a more closely blended group
(even in passages scored for concertists only), and the orchestra is more dominant.
Parrott also projects a firmer rhythmic profile, with more solid underlining of metric
accentuation and more incisive articulation. His tempi are usually close to Rifkin’s;
when they differ, Parrott is usually faster (notable exceptions include the Sanctus, and
central triptych of the Symbolum Nicenum). Parrott’s rendition thus features few of the
attributes which led me to associate Rifkin’s version with Renaissance church music;
indeed, it is sharper than Parrott’s own performances of earlier repertoires.Parrott is, generally speaking, the more “interventionist” of the two conductors
(notwithstanding their similar philosophies of interpretation). This tendency is,
however, revealed more consistently elsewhere in Parrott’s discography (e.g.,
Johannes-Passion, Oster-Oratorium) than in his Mass. In some movements (see p.
140 above), Rifkin’s performance is more nuanced and shaped, as he encourages (or
at least allows) greater freedom to his singers. In several orchestrally-dominated
movements, however, Parrott’s interpretation is more detailed: in Cum sancto spiritu,
Sanctus and Osanna, for example, Parrott reveals more local polyphonic detail, and
projects the movements with clearer directionality.Parrott (2000: 151) cites the ease of achieving flexible phrasing as one of the
main advantages of employing a smaller vocal ensemble; again, the best illustrations
in Parrott’s own discography can arguably be found outside the Mass (most notably
his 1997 Trauer-Ode and funeral motets). Interestingly, several movements in the
Mass seem to acquire greater flexibility (i.e., an increasing range of dynamics and
articulation, with more local inflections within phrases) as the performance proceeds
(e.g., Et in terra, Laudamus, Incarnatus, Et in spiritum, second Osanna). It is not easy
to tell to what extent this reflects a deliberate interpretive decision, rather than the
dynamics of the recordings sessions.These features also affect directionality in both performances. Rifkin and Parrott
alike believe that performers should be sensitive to patterns of tension and resolution,
underlining them without being too intrusive. In practice, Rifkin is rarely active in this
direction. His performance features local directionality in individual phrases, but he
does not seem to direct the ensemble with this goal in mind. Parrott projects these
patterns more firmly in later recordings, but his Mass already features several– 143 –
instances (the clearest being the build-up of tension in the fugal expositions of Cum
sancto spiritu, esp. bars 112ff).The combination of clearer directionality and sharper articulation also makes
several movements in Parrott’s recording seem more distinctly light-hearted or dance-
like than Rifkin’s – notable examples being their readings of Christe eleison, Domine
deus (especially the respective shaping of the bass line) and Qui sedes (see also my
discussion of Parrott’s shaping of the First Kyrie’s subject, pp. 172f below). In this
sense, while Rifkin reveals some commonalities with Herreweghe, Parrott sometimes
approaches Koopman’s stylistic priorities. -
Bach Mass in B Minor
Mass in B minor (Messe in h-Moll)
BWV 232
Bach composed this work in Leipzig, 1747-1749; It was mostly assembled from previous materials from 1724 onward.
Netherlands Bach Society – Jos van Veldhoven, conductor
- Hana Blažíková, soprano 1
- Anna Reinhold, soprano 2
- David Erler, alto
- Thomas Hobbs, tenor
- Peter Harvey, bass
This performance was recorded December 15th 2016 at the Grote Kerk, Naarden, Netherlands.
This choral masterpiece is the last major work Bach wrote. It was finished in 1749, just one year before Bach’s death. It was likely not performed in its entirety during Bach’s lifetime It is the only total mass (missa tota) Bach ever composed! In Bach’s day, Masses composed for Lutheran services usually consisted only of a Kyrie and Gloria. It’s for a Lutheran service/mass, but it will be very familiar to Roman Catholics who attend the Latin Mass. I think Bach was showing his admiration for Renaissance composers of the mass such as Palestrina, and Bach advanced the style in his own characteristic manner. I think also it was in part due to a ecumenical spirit in Bach which recognized that Christian faith existed beyond just the Lutheran church. Bach here achieves rich, multi-layered, and fine-tuned counterpoint and produces complex polyphony which delights. Bach’s B Minor Mass is one of the towering achievements of the Baroque era, and indeed of all Western classical music. It is the summation of Bach’s creative output and displays a level of technical mastery. stylistic fluency and imagination unparalleled in music.
As usual for its time, the composition is formatted as a Neapolitan mass, consisting of a succession of choral movements with a broad orchestral accompaniment, and sections in which a more limited group of instrumentalists accompanies one or more vocal soloists. Among the more unusual characteristics of the composition is its scale: a total performance time of around two hours,[2] and a scoring consisting of two groups of SATB singers and an orchestra featuring an extended winds section, strings and continuo. Its key, B minor, is rather exceptional for a composition featuring natural trumpets in D. – Wikipedia
Significance
The Mass in B minor is widely regarded as one of the supreme achievements of classical music. Alberto Basso summarizes the work as follows:
The Mass in B minor is the consecration of a whole life: started in 1733 for “diplomatic” reasons, it was finished in the very last years of Bach’s life, when he had already gone blind. This monumental work is a synthesis of every stylistic and technical contribution the Cantor of Leipzig made to music. But it is also the most astounding spiritual encounter between the worlds of Catholic glorification and the Lutheran cult of the cross.
Scholars have suggested that the Mass in B minor belongs in the same category as The Art of Fugue, as a summation of Bach’s deep lifelong involvement with musical tradition—in this case, with choral settings and theology. Bach scholar Christoph Wolff describes the work as representing “a summary of his writing for voice, not only in its variety of styles, compositional devices, and range of sonority, but also in its high level of technical polish … Bach’s mighty setting preserved the musical and artistic creed of its creator for posterity.”
The Mass was described in the 19th century by the editor Hans Georg Nägeli as “The Announcement of the Greatest Musical Work of All Times and All People” (“Ankündigung des größten musikalischen Kunstwerkes aller Zeiten und Völker”). Even though it had never been performed, its importance was appreciated by some of Bach’s greatest successors: by the beginning of the 19th century Forkel and Haydn possessed copies.
Please enjoy this performance!
1. Program notes on the B Minor Mass by Douglas Bush In 1817 the Swiss critic Hans-Georg Naegeli praised Bach’s Mass in B Minor as “the greatest work of music in all ages and of all people.” Though some may wish to qualify Naegeli’s statement, the Mass is one of the greatest monuments in western art music. This notwithstanding, there are some intriguing considerations when viewing the Mass from a historical perspective.
In contrast to its present fame, the work was largely unknown well into the nineteenth century. Its delayed reception by later generations was perhaps the result of the general unavailability of a score (Beethoven tried unsuccessfully on several occasions to obtain a copy of the Mass). The first published edition appeared in 1845, with a second and improved edition appearing in 1856 as the sixth volume in the newly-formed Bach Gesellschaft’s publication of Bach’s complete works.
Although most Mass settings stem from the Roman Catholic tradition, the Mass in B Minor originated within the Lutheran liturgy. While Luther had sought to reform points of doctrine, he did not oppose the liturgy of the Roman Church. His Formula missae of 1523 retained the five musical portions of the Latin Mass Ordinary Ü that is, the Kyrie, Gloria, Credo, Sanctus (with Osanna and Benedictus), and Agnus Dei. In his Deutsche Messe of 1527 Luther provided an alternative German vernacular mass, but he seems to have considered the Latin Mass a higher form of worship.
The immense dimensions of the B Minor Mass render it virtually unusable within the liturgical rites of either the Roman or Protestant churches. Even in Bach’s day, when the main church services lasted approximately three hours, there would have been insufficient time to perform a work of this scope (the sermon alone usually lasted more than an hour). Bach worked on the Mass over a period of more than fifteen years (1733-1749), collecting, revising, and composing new music that would provide a “summa” of artistic achievement in his sacred vocal music, one that would unite his creed as a Christian with his creed as a musician. The resulting work represents an anthology of Bach’s finest vocal music and at once displays all the variety and beauty of his instrumental writing. Part III of the Clavier-Uebung, published in 1739 and containing a collection of organ works of the highest quality, was dedicated to “the spiritual delectation of the lovers and, especially, the connoisseurs of this kind of work.” This seems to have been Bach’s purpose in the Mass in B Minor as well.
With mounting perplexity pertaining to his position as the Cantor of St. Thomas Church in Leipzig, Bach wrote a letter (dated 27 July 1733) to the new Elector of Saxony, Friedrich August II, stating: “In deepest Devotion I present to your Royal Highness this trifling product of that science which I have attained in Musique…” Seeking to secure the patronage of the Elector, the “trifling product” proffered was a beautifully prepared presentation score for a Missa, comprising the Kyrie and Gloria sections of what is now known as the Mass in B Minor. This pair of movements joined four other such settings, in the keys of A, G, G Minor, and F. In Lutheran worship the Kyrie-Gloria Mass was the preferred norm.
It appears that towards the end of the 1740s Bach became interested in completing a “Missa tota”, setting the complete text of the Mass Ordinary. Bach’s large-scale plan for a complete Mass setting can already be seen in the structure of the Kyrie-Gloria Mass of 1733. This is evident not only in the five-part choral writing or in the large orchestral forces, but especially in the expansive and varied structure of the individual movements. The three sections of the Kyrie typify the variety characterizing the entire Mass. The initial “Kyrie eleison” seems to bear a similarity to the opening of the St. John Passion, perhaps representing the imploring multitudes of humanity in an urgent plea for mercy. The opening massive chords are followed by an expansive fugue with an obligato orchestral part. The “Christe eleison” employs the modern operatic duet style. The duet may also refer to Christ as the second member of the Trinity and to the duality of his divine and human natures. The final “Kyrie eleison” tends towards the older style of vocal polyphony, therefore dispensing with independent orchestral accompaniment. Not only are these three movements greatly differentiated in style and compositional technique, they also establish the sequence of the keys of B minor, D major and F-sharp minor, thus unfolding the broad harmonic frame of the whole.
The Gloria continues the stylistic diversity of the Kyrie, and in addition to four large choral movements (“Gloria in excelsis Deo”/”Et in terra pax”; “Gratias agimus tibi”; “Qui tollis peccata mundi”; “Cum Sancto Spiritu”) contains four equally large solo or duet movements accompanied by obligato instruments (violin, flute, oboe, and horn) and orchestra. Thus the Kyrie-Gloria Mass of 1733 is musically complete in itself, all five voices having a solo and each different group in the orchestra having an obligato part.
The “Symbolum Nicenum” or Credo, added to the score in the years 1748-49, consists of nine movements. Originally there had been only eight movements, the “Et in unum Dominum” movement also contained the words “Et incarnatus est.” But after the completion of the “Symbolum Nicenum,” possibly even after the completion of the entire score, Bach wrote a separate movement for this latter segment of the text, likely making this the last vocal composition he ever wrote. The nine movement structure of this section is architecturally symmetrical: at the beginning and end a pair of choral movements form a frame (“Credo in unum Deum,” having a liturgical chant melody or cantus firmus, and “Patrem omnipotentem”; these two opening choruses correspond to “Confiteor unum baptisma,” lso having a cantus firmus, and “Et expecto” at the conclusion of the “Symbolum”). Two solo movements stand next to these outer framing sections, while three choral movements stand in the center, underlining the Christological nucleus of the Credo (“Et incarnatus est” [And was incarnate]; “Crucifixus” [And he was crucified]; “Et resurrexit tertia die” [And rose again on the third day]).
Bach seemed to have a particular interest in numerology, a system of occultism (hidden or concealed meaning) built around numbers. Each letter of the word “Credo” was assigned a number according to its respective position in the alphabet Ü hence C=3, R=17, E=5, D=4, and O=14, the total sum of the numbers equaling 43 (i and j having the same number since they were interchangeable in eighteenth-century German). Interestingly, there are 43 entries of the plainsong melody. Further, there are 45 measures in the first Credo section, and 84 measures in the “Patrem omnipotentem” totaling 129 measures, or 3 times 43, thus giving a threefold repetition of the Credo number. This reflects the textual meaning of “Credo in unum Deum” (I believe in one God), so that the reference is to the Holy Trinity, Father, Son and Holy Ghost. Bach scribbled the number 84 in the autograph score, 84 being the sum of 7 times 12 (the holy number of the church multiplied by the number of the apostles), obviously concerned with the number of measures in the second Credo.
The Sanctus and the following pieces also belong to the 1748-49 completion of the Mass, but nearly all have earlier origins. The Sanctus had been written for Christmas in 1724, in an easily alterable version for three sopranos, alto, tenor, and bass. The “Osanna” is the only double choir movement in the Mass, and it is a remodeling of the opening chorus from the secular cantata No. 215. The Benedictus is perhaps a reworking of a lost piece. The Agnus Dei also began as a parody of an older movement from the Ascension Oratorio (BWV 11), but in addition to radical alterations of the original material, it contains extensive newly composed sections. The concluding “Dona nobis pacem” repeats the music of the “Gratias agimus tibi” section, thus emphasizing the composer’s conception of this section being an expression of gratitude.
As Bach grew older, the Mass in B Minor must have seemed to him to be a bequest to his successors and to the future. His primary interests now lay in the pursuit of “musical art and science,” and the fulfillment of the scholar-composer’s obligation to formulate a summary of his work. The Mass encapsulates as does no other composition Bach’s choral artistry Ü it is the “summa” of all his sacred music. It offers a compositional spectrum whose breadth and depth reveal both academic and spiritual penetration. A complex system of thought at many levels went into the creating of this great Mass. It seems to exemplify in every detail Bach’s statement that “the final aim and reason of all music is nothing other than the glorification of God and the refreshment of the human spirit.”
2. George Stauffer – “The Universality of the B Minor Mass” Although we may not be able to pinpoint Bach’s specific reason for writing a Missa tota, we can be reasonably sure that in turning to the Latin Ordinary for his last large-scale project, he wished to devote his final energies to music that would transcend the parochialism of his German-texted vocal pieces. As Bach must have realized toward the end of his life, his German-texted vocal works were local fare, based on libretti by town poets and aimed at are rites and celebrations. Removed from their original contexts, the pieces lost much of their meaning. In 1753 Caspar Ruetz, Kantor of the Marienkirche in Luebeck, described how a huge pile of church music he had inherited from his predecessors has been diminished by half from its use for stove fires and scrap paper. “Who would give anything for it,” he lamented, “other than someone who needs scrap paper, since nothing is more useless than old music.” Surely Bach was aware that vast quantities of music suffered this fate, especially vocal works with circumscribed utilty. One can imagine him sitting in his study in the late 1740s, sullenly scrutinizing the 350 or so German-texted vocal pieces he had labored so diligently to produce and realizing that the entire lot might be consigned to flames or the scrap paper pile after his death.
The Latin Ordinary offered an alternative. Its text was universal, unbound by day, event, or location. It was a public, not private, proclamation, with Biblical citations removed from their incident-specific contexts and transported to a more generalized realm. The opening lines of the Gloria, connected with Christ’s birth in the Book of Luke, are transformed into an ecstatic hymn of praise in the Ordinary. The words of the Sanctus, spoken by Isaiah in the Old Testament, become a broad, congregational affirmation. Writing a Mass gave Bach the opportunity to transfer his endeavors from the Lutheran Proper to the Catholic Ordinary, from the specific to the universal. In the half-century following his death, it was the B Minor Mass that traveled to Vienna and London, not his German-texted cantatas. “The Great Catholic Mass” presented the possibility of geographical and historical transcendence.
The project also allowed Bach to survey his own vocal composition, from the first mature cantatas of Weimar (the “Crucifixus,” from Cantata 12), to the five Leipzig church cycles of the 1720s (the “Qui tollis,” from Cantata 46 or the “Patrem Omnipotentem,” from Cantata 171), to the galant Collegium pieces of the 1730s (the “Osanna,” from BWV Anh. 11), and finally to the Latin-texted studies of the final years (the “Credo”). It also gave him the opportunity to draw on music written for church (Cantatas 46, 171), for bureaucratic rituals (Cantatas 29, 120), and for ceremonial events (Cantatas BWV Anh. 9, BWV Anh. 11, and the wedding serenade Auf! suessentzuckende Gewalt). Whether or not it was the goal of the work, the Mass does represent a Bach “specimen book,” as Wolff put it, a highly select sampling of vocal music culled from four decades of sacred and secular composition.
Then, too, the parody procedure gave Bach a final chance to rework and refine his earlier scores. Bach’s first biographer, Johann Nikolaus Forkel, expressed delight in the composer’s ability to make “little by little, the faulty good, the good better, and the better perfect.” In the B Minor Mass, we find the type of perfection that appears in the skillful parody revisions of the 1730s and 1740s. But there is something else. During the revisional process Bach normally expanded preexisting material, embellishing lines, thickening textures, adding measures, composing new sections. His indefatigable inventiveness seemed to propel him in that direction. The opening movement of the Concerto in A Minor, BWV 1044 (fifty-one measures longer than its harpsichord prelude original), Contrapunctus 10 from the Art of Fugue (twenty-two measures longer than its original), or the parody movement “Sicut erat in principio” from the Gloria in excelsis Deo (six measures longer than its “Cum Sancto Spiritu” original) are typical examples of his tendency to enlarge.
In the B Minor Mass, Bach moved in the opposite direction, toward concision. The “Osanna in excelsis” is thirty-three measures shorter than its model (the “A” section of the chorus “Es lebe der Koenig”), the “Agnus Dei” thirty measures shorter than its model (the aria “Entfernet euch, ihr kalten Herzen”), the “Qui tollis” fifteen measures shorter than its model (the chorus “Schauet doch und sehe, ob irgend ein Schmerz sei”). In many cases, the succinct character of the Latin text and the sectional nature of a Mass setting called for torsos rather than full movements. No matter what the motivation, however, in making abridgments Bach not only rescued some of his best “old music”: he also distilled it. The B Minor Mass is more than a cross-section of Bach’s art. It is his art in highly concentrated form.
The synthesis of styles also contributes to the universality of the B Minor Mass. At the outset of the Baroque Era, Monteverdi effectively demonstrated the potential of stylistic pluralism Ü the idea that composers should use both the a capella [without instruments] writing of the sixteenth century and the
filled [with instrumental backup] writing of the seventeenth Ü in the Vespers Collection of 1610. The Vespers Collection is just that, however: a collection of independent liturgical pieces illustrating the various stylistic possibilities of the time. The B Minor Mass, which might be viewed as Bach’s answer to the Vespers of 1610, goes beyond Monteverdi’s principles. It is a true “reunion des gouts” (to play on Francois Couperin’s term of 1724), a true joining of tastes, in which ancient and modern; Italian, French, and German; vocal and instrumental are amalgamated in a single continuous work. Styles are sometimes juxtaposed, as in “Credo” or “Confiteor,” in which a Renaissance chorus and a Baroque walking bass are combined. Other times they are placed side by side, as in the operatic “Christe eleison” and the Palestrina-style “Kyrie” II. Yet as we have seen, he work has overarching organizational bonds that fuse the movements into a harmonius whole. The inclusive eclecticism of the B Minor Mass, with its blending of diverse elements, points to the cosmopolitan idiom Ü and Enlightenment ideals Ü of the Classical Era.
Furthermore, the B Minor Mass has a directness that counterbalances the complexity of Bach’s writing. The key scheme is unusually straightforward for a large-scale vocal work. The emergence of and eventual dominance of D major after the dark B minor/F# minor opening produces a sensation of triumph not unlike the apotheosis that takes place in Beethoven’s minor key symphonies. The instrumental band of the B Minor Mass has a distinctly modern cast, with a four-part Italian string body and pairs of woodwinds Ü two flutes, two oboes (aside from the “Sanctus”), and (presumably) two bassoons Ü that point forward to the late-eighteenth-century public ensemble of Haydn’s “London” Symphonies. With the exception of the oboe d’amore, Bach avoided the colorful specialized instruments found in many of his earlier vocal works. The absence of recitative, too, contributes to the broad appeal of the B Minor Mass. The text and music do not address personalized emotions, the role of recitative in Bach’s cantatas. Rather, they speak more generally, in public terms. In place of recitative, the “formless form” of the Baroque, Bach employed strong, unambiguous structures: fugue, da capo, motet, ritornello, ground bass. The architectural clarity of each movement adds to the directness of the whole.
The presence of dance and dance-like idioms further broadens the appeal of the B Minor Mass. As Doris Finke-Hecklinger has shown, Bach’s attraction to dance music began in earnest in he Coethen years, when galant dances first appeared in substantial numbers in his secular cantatas. The B Minor Mass is permeated with dance: the giga- or gigue-related nature of the “Gloria in excelsis Deo” and “Qui sedes,” the passepied qualities of the “Pleni sunt coeli” and “Osanna,” the rejouissance character of the “Et resurrexit,” the passacaglia bass pattern of the “Crucifixus,” the pastoral hues of the “Et in Spiritum Sanctum,” and the gavotte-like rhythms of the “Et expecto” point to a work that is very much a part of the present world. Bach used the secular to portray the sacred, and in so doing he lifted both to an all-embracing plane. His repeated use of chamber meters Ü 3/8 in the “Gloria,” “Pleni sunt,” and “Osanna” and 6/8 in the “Qui sedes” and “Et in spiritum” in particular Ü shows that he was attuned to the growing appeal of light, galant instrumental dances and did not hesitate to draw on their persuasive power.
Indeed, much of the attraction of the B Minor Mass comes from the instrumental nature of Bach’s writing. Thrasybulos Georgiades has reasoned that as Mass settings evolved from the Middle Ages to the Baroque Era, they moved from a literal reiteration of the text to a more ambiguous interpretation. In the Middle Ages, the monophonic lines of plainchant reflected Latin speech patterns. In the Renaissance, chant was retained in polyphonic settings and used as the basis for composition, but it was objectified Ü that is, placed into a mensural rhythm. With the advent of concerted settings in the Baroque, the text of the Mass Ordinary was further distanced from its speech origins and placed in a fully instrumental context. Taking the “Et incarnatus” from the B Minor Mass as an example, Georgiades argues that its depth of expression goes far beyond normal Baroque text settings. The “Et incarnatus” expresses the inexpressible because Bach created music that serves as symbol, symbol not specifically tied with speech. The opening instrumental figure not only outlines in advance the general shape of the vocal theme, but establishes the Affekt of the entire movement, an Affekt of mystery and wonder. Thus the instrumental writing determines the outcome of the setting, even though the setting is highly vocal in nature.
One can easily point to other examples: although the fugue theme of “Kyrie” I reflects the rhythmic declamation of the word “Kyrie”, the melody itself is strongly instrumental, with leaps that do not come naturally to the voice. Indeed, the piece initially proceeds for twenty-nine measures in a purely instrumental manner. When the voices enter…, they add complexity and expressiveness to the movement. But the Affekt has been set by the instrumental band. In the “Gloria,” the opening instrumental fanfare establishes the atmosphere of triumph before the voices are heard. The instrumental parts in the “Gloria” could well stand alone, a fact which led Smend to propose that the music stemmed from an instrumental concerto. Even in Palestrina-style movements we find that Bach uses instrumental lines to ameliorate the severity of the vocal counterpoint: violin parts and a walking bass line in the “Credo,” a walking bass in the “Confiteor,” a battery of trumpets and timpani in the “Gratias” and “Dona nobis pacem,” and an independent continuo part in “Kyrie” II.. The stile antico [antique-style] preludes of Clavieruebung III, written ten years earlier, are much more austere. They are more strongly modal and without instrumental additions Ü “unsympathetically old-fashioned,” as Peter Williams has put it. The a capella movements of the B Minor Mass are different. Bach has enriched the [older] Palestrina idiom with Baroque instrumental counterpoint.
All of this contributes greatly to the Mass’s universal appeal. The intense instrumentalization of the score gives the work an attractiveness that goes beyond its text and helps to account for its success in the concert hall as well as the church, before listeners who know no Latin. Wilfrid Mellers credits the remarkable impetus of the music to its linear energy and “rhythmic ecstasy.” The forward drive comes from the instrumental character of Bach’s writing.
In the B Minor Mass, Bach realized the full potential of the Neapolitan idiom Ü the same idiom that gave birth to the enduring instrumental form of the Classical Era. Surveying the significance of Beethoven’s symphonies in 1813, the well-known writer and critic E. T. A. Hoffmann praised instrumental music as the highest art, because “scorning every aid, every admixture of another art (the art of poetry),” it “gives pure expression to musicÍs specific nature.” This is a Romantic view, of course, and Hoffmann praised Beethoven’s instrumental music most of all because it opened a realm “of the monstrous and the immeasurable.” Bach’s “Great Catholic Mass,” with its strong instrumental foundation, does not open the realm of the monstrous. It does, however, transport the Latin Ordinary to the realm of the immeasurable.
3. John Butt, from Bach: Mass in B MinorCounterpoint and fugue are often the first things that the music of J. S. Bach calls to mind. Yet while it is extremely important to recognise BachÍs remarkable achievements in the field of counterpoint, it is perhaps a mistake to give these first priority in a broader analysis of his work. Counterpoint remained the primary compositional procedure of BachÍs age (whether studied or practised in its strictest form or in the shorthand of figured bass) and constitutes the basic fabric of all compositions, however chordal or “harmonic” they may appear. Therefore counterpoint and fugue itself were techniques rather than forms: the means of passing from one note or conglomeration of notes to the next, the means of controlling and displaying the principal thematic material, the inventio. Certainly many works of BachÍs may be described as fugues, but the relevance of fugal procedure to the structure as a whole is often only local. For instance the Kyrie of the Mass in B Minor is a large-scale ritornello movement as well as a fugue, so an analysis purely in terms of fugal process would necessarily be superficial.
Nevertheless, counterpoint is the next focal point in this study, standing as it does between the larger formal principles which influence the structure of individual movements, and the motivic detail of the instrumental and vocal lines. Many elements of BachÍs compositional style will emerge that are already familiar: the sense of proportion, economical use of the material, and the subtle frustration of expectation. A study of counterpoint also addresses the question of BachÍs historical position and his own attitude towards older styles and techniques.
As a product of the Lutheran musical environment of Thuringia, Bach would automatically have assimilated the standard compositional procedures of the late seventeenth century. The background to all styles would still have been the “strict” counterpoint of the late sixteenth century, but this had been greatly modified by the freedoms established with the Italian seconda prattica and also by the principle of the figured bass. This tended to reduce the contrapuntal integrity of the inner voices, thus emphasising the melodic importance of the outer ones. Throughout the Baroque era theorists and composers tended to temper the degree of freedom introduced according to the function of the music (chamber and dramatic music were respectively freer than church music), and Bach would always have been familiar with the stricter contrapuntal style traditionally associated with church music. However this residue of the Renaissance style was essentially “second hand”, seen through the eyes of tradition and the ruling stylistic assumptions. BachÍs study of the stile antico proper represents a conscious desire to imitate the sixteenth-century models themselves.
Christopf Wolff’s thorough examination of Bach’s assimilation of the stile antico shows that he began to imitate the style in the early 1730s, after having already written the bulk of the Leipzig cantatas. The first significant product of BachÍs attempts was the second “Kyrie” of the Missa (1733 Ü but the music might be older), the last being the “Credo in unum Deum” and “Confiteor” of the Symbolum Nicenum. Although recent revisions to the chronology and the recognition of composing score in the “Confiteor” modify WolffÍs opinion that BachÍs study of the ancient style was complete by the early 1740s, it still seems that the Mass constitutes the focal point of BachÍs activity in this field and that the manuscript collection of sixteenth-century polyphony might have been assembled with this project in mind. Clearly the high profile of the stile antico in the Mass as a whole shows that Bach was making a conscious effort to incorporate all the styles that were available to him, to encompass all music history as far as is was accessible. In this respect it has much in common with the third part of the Clavieruebung (1739), which similarly comprises an anthology (and cycle) of music derived from the liturgy, covering all available historical styles, and having no practical function as a single work…
The studied neutrality of BachÍs stile antico is often juxtaposed with music of a strikingly expressive style. Just as the setting Kyrie, Gott heiliger Geist BWV 671 from Clavieruebung III concludes with an unexpected chromatic coda, alluding to the human plea of “eleison” (have mercy), the “Confiteor” ends with an intensely chromatic bridge, one of the most remarkable examples of its kind. While the integrity of the part-writing and chromaticism are not foreign to the madrigal style of the late sixteenth century, this passage is essentially tonal in its background structure. Indeed its enharmonic progressions seem to stretch Ü rather than predate Ü tonal conventions. This section contrasts the more strongly with the stile antico portion, shooting off the scale of Baroque expressive vocabulary. Here the effect is not one of emotion, rather one which seems to complement the sheer mystery of the statement “and I expect the resurrection of the dead”, something which contrasts both with the joy of the succeeding music (to the same text) and the timeless doctrine of “one baptism for the forgiveness of sins”, which precedes it.
If you would like to download the musical score in PDF format please click here.
I. Kyrie and Gloria (“Missa”)
0:05 Kyrie eleison (Coro)
11:07 Christe eleison (Duetto)
15:56 Kyrie eleison (Coro)
19:43 Gloria in excelsis Deo (Coro)
21:25 Et in terra pax (Coro)
26:06 Laudamus te (Aria)
30:09 Gratias agimus tibi (Coro)
33:19 Domine Deus (Duetto)
38:39 Qui tollis peccata mundi (Coro)
41:39 Qui sedes ad dexteram Patris (Aria)
45:50 Quoniam tu solus sanctus (Aria)
50:33 Cum Sancto Spiritu (Coro)II. Credo (“Symbolum Nicenum”)
54:14 Credo in unum Deum (Coro)
56:13 Patrem omnipotentem (Coro)
58:15 Et in enum Dominim (Duetto)
1:02:38 Et incarnatus est (Coro)
1:05:52 Crucifixus (Coro)
1:08:58 Et resurrecit (Coro)
1:12:56 Et in Spiritum Sanctum (Aria)
1:18:13 Confiteor (Coro)
1:22:18 Et expecto (Coro)III. Sanctus
1:24:30 Sanctus (Coro)
1:26:58 Pleni sunt caeliIV. Agnus Dei (“Osanna, Benedictus, Agnus Dei and Dona Nobis Pacem”)
1:29:19 Osanna in excelsis (Coro)
1:31:59 Benedictus qui venit (Aria)
1:36:22 Osanno in excelsis (Coro)
1:39:05 Agnus Dei (Aria)
1:45:17 Dona nobis pacem (Coro) -
Silent Holocaust
Since 1973 when the US Supreme Court legalized abortion, in the Roe v. Wade case, there have been over 63 million children murdered in cold blood by their mothers!
Think of what these children could have accomplished as doctors, engineers, scientists, musicians, artists, filmmakers, teachers, lawyers, etc. I’m convinced someone from this genocide would have discovered a cure for cancer. Think of the innovations and breakthroughs which God gave us that we lost forever.
I firmly believe that we need to outlaw all abortion, not regulate it. Abortion is always murder in every single case!
The main motive behind abortion is sex on demand without any consequences. This is a lie from Satan! People want to fornicate and commit adultery, but instead of being responsible and bringing a new life into the world, rather they chose to deliberately destroy that life through abortion for the sake of convenience and expediency. This wanton attitude towards sex developed with the rise of feminism in the 1960s.
I am disgusted with Republican leaders and Republican Supreme Court justices since the administration of President Ronald Reagan who have done virtually nothing to overturn Roe v. Wade and make abortion illegal. Republicans haven’t even been able to outlaw partial birth abortion which is done late during a pregnancy.
Democrats and progressives see abortion on demand, for any reason and at any point in a pregnancy, as a fundamental human right. I just read President Macron of France is pushing the European Union to recognize abortion as a human right.
I believe Christian priests, pastors, ministers, and elders also bear a huge amount of responsibility for not doing everything within their power to outlaw abortion. And we the Christian majority of this country bear a huge responsibility for allowing a liberal minority to dictate the law and for us allowing this silent genocide to continue for so long, for so many decades, unabated.
I believe the innocent blood of the abortion victims cries out to God for justice. Unless American repents and outlaws abortion God will utterly destroy America, probably through a nuclear attack from Russia or China.
The kindergarten through 12th grade education system (public schools), academia (the universities), the entertainment industry (Hollywood), the vast majority of mainstream news media, and the vast majority of corporations now support abortion on demand! The Democrat party is in favor of abortion of demand.
It angers and saddens me to contemplate this silent holocaust which seems to have no end in sight. And this isn’t just an American problem, it is a global problem with 46 million abortions worldwide every year!
Please pray, fast, teach, exhort, witness, speak out, and do everything within your power to end abortion. The infants being slaughtered have no voice, they are totally defenseless. We must be their advocates!
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Calvinism Explained
I’m a Calvinist. That means I subscribe to the 5 points of Calvinism. The Doctrines of God’s free and sovereign grace are more easily remembered by the acrostic TULIP. These 5 points of Calvinism were not invented by John Calvin. They came from the Synod of Dordt (1618-1619) where leading Reformed thinkers came together to answer to give an answer to the 5 points of Arminianism:
The Five Articles of Remonstrance are five points of Arminian theology written in 1610 by followers of Jacobus Arminius (1560—1609) outlining their disagreement with five key doctrines of Calvinism. The Five Articles of Remonstrance became a source of much controversy in the early Dutch Reformed Church of the Netherlands.
Remonstrants is the formal name given to adherents of Arminius (Jakob Hermandszoon in Dutch) who protested to the State of Holland in opposition to their Calvinist rivals. The term remonstrate means “to make a forceful, reproachful protest.”
After Arminius died in 1609, believers who shared his convictions came together in January 1610 to put down in writing their views concerning all the disputed doctrines. A document in the form of a remonstrance was drawn up by Jan Uytenbogaert, a leader of the Remonstrants and close friend of Arminius. It was signed by more than forty of Arminius’s followers.
The five articles were taken from the work of Arminius in his Declaratio Sententiae (1608). They briefly defined the Remonstrants’ doctrine and set the agenda for the resulting controversies. With only a few changes, the Five Articles of Remonstrance (also referred to as the Five Articles of Arminianism) were signed again and presented in July 1610 to the State of Holland as a plea for greater theological tolerance.
The Five Articles of Remonstrance heartily rejected Calvinistic positions, declaring that they were not contained in God’s Word or the Heidelberg Catechism. The Synod of Dort in 1619 deemed the five articles to be unedifying, dangerous, and not fit for preaching to Christian people. The points of protest are as follows:
Conditional predestination: Arminius taught that God elects individuals to salvation based on His foreknowledge of those who, by the grace of the Holy Spirit, believe in Jesus Christ and persevere in faith. This doctrine is sometimes called “conditional election.” In short, a person’s salvation is conditioned upon him or her choosing God. This first article refuted the Calvinist doctrine of unconditional election, the view that God elects individuals to salvation based solely on His will and not on anything inherently worthy in the individual or any choice that he or she makes.
Universal, unlimited atonement: Arminian theology teaches that Jesus Christ died to pay the penalty for the sins of every person in the world. His saving grace is extended to all, but His atoning death becomes effective only in those who believe in Him and receive Him by faith. Calvinists believe in limited atonement—that Christ’s death only covered the sins of the elect.
Total depravity, or deprivation: The classic Arminian position is that “man has not saving grace of himself.” Salvation is by grace alone. Humans are incapable of exercising saving faith apart from God’s grace. This view did not diverge significantly from the Calvinist position of total depravity.
Grace is necessary but resistible: Arminianism rejects the Calvinist belief in irresistible grace, teaching instead that people have the free will to resist the grace of God and reject His call to salvation. The Calvinist doctrine of irresistible grace contends that, when God calls a person to salvation, he or she will inevitably be saved.
The possibility of falling from grace: In this fifth article, the Remonstrants did not utterly reject the idea of eternal security but admitted the need for further study, although it was later adopted as an established doctrine. Calvinists hold firmly to belief in the perseverance of the saints, meaning a person who is elected by God will continue in faith and will not permanently deny Christ or turn away from Him. The Remonstrants affirmed that believers are empowered to live a victorious life but also conceded the possibility that a person might exercise his or her own free will to turn away from Christ and lose salvation.
The conflict caused by the Five Articles of Remonstrance escalated with a counter-remonstrance in which the Remonstrants’ views were sharply attacked. Eventually, under Prince Maurice of Orange at the National Synod of Dordt in 1618—1619, the Five Articles of Remonstrance were officially condemned by the Canons of Dordt, and the Remonstrants were denounced as heretics.
For the next decade or so, the Remonstrants were prohibited from holding church services in the Netherlands. Those who did not comply were persecuted, imprisoned, or banished. With the arrival of Prince Frederick Henry after the death of Prince Maurice in 1625, the Remonstrants’ outlook began to improve. They could now build churches in the Netherlands and receive their banished preachers home again. But they were only tolerated and not officially recognized as an independent church community until after the revolution of 1795 when the church and state were separated in Holland.
https://www.gotquestions.org/Five-Articles-of-Remonstrance.htmlSome more background on the Remonstrances – the Five Points of Arminianism.
- 1. Jacob Hermann was a Dutch theologian who lived from 1560 to 1609. He was best known by the Latin form of his last name–Arminius.
- 2. Although he was reared in the reformed tradition and taught in a Calvinistic seminary, Arminius had serious questions about sovereign grace as it was preached by the Reformers.
- 3. Several years after his death his students, called Arminians, formulated his concerns into five main points which they presented to the Dutch Parliament which had subscribed to the Reformed Doctrines of the Belgic and Heidelberg Confessions.
- 4. This “Remonstrance” was presented to the State of Holland and in 1618, a National Synod of the Church was convened in Dort to consider the teachings of Arminius in light of the Word of God.
- 5. After 154 sessions which lasted seven month The Five Points of the Remonstrance were found to be contrary to the Scripture and were declared heretical.
- 6. The Five Points of the Remonstrance may be summarized:
FREE WILL. Arminianism teaches that man has a free will. The fall of man was not total. There is enough good left in man for him to will to accept Christ unto salvation.
CONDITIONAL ELECTION. Arminianism teaches that election is based upon the foreknowledge of God that certain persons will believe. Man’s act of faith is the condition for his being elected to eternal life, as God foresees him exercising his free will in positive volition towards Christ.
UNIVERSAL ATONEMENT. Arminianism teaches that God loves everybody without distinction and without exception and Christ died for everyone. Redemption was general not specific. The death of Christ provided grounds for God to save all men just as long as each person exercises his free will to accept Christ.
OBSTRUCTABLE GRACE. Arminianism teaches that since God wants all men to be saved, He has sent the Holy Spirit to woo all men to Christ. However, since man has free will he is able to resist God’s will for his life. Finite man on an individual basis resisting the calling of the Holy Spirit will and can frustrate God’s omnipotent.
FALL FROM GRACE. Arminianism teaches that it is possible for a saved person in a state of grace to sin in such as way as to fall from grace and to be forever lost.
So the Synod of Dordt gave a definitive answer to these 5 points of Arminian theology. These 5 Reformed points are known by the acrostic TULIP:
T = Total Depravity (Total Inability of Man)
U = Unconditional Election (Not conditioned on Man)
L = Limited Atonement (Particular or Effectual)
I = Irresistible Grace (Effectual Grace)
P = Preservation of the Saints (Eternal Security)
There are many variations and explanations of the titles and terms for particular emphasis and most of the time, but not always, the core of what is being taught is the same.
Total Depravity: Mankind is in such a state when they come into the world that they are in a state of condemnation and have a sinful nature, which makes them unable do anything acceptable to God. God says they are not good, not righteous, do not understand spiritual things, and will not or cannot seek after God unless God first gives spiritual life. Man’s will is even affected because of his sin nature. Natural man may act religious, moral and sincere but the Bible says they are spiritually and judicially dead.
Unconditional Election: Before the world was created, God, in His sovereignty, purposed to set His affection on and chose a group of people, not conditioned on anything they would do good in the future, but conditioned their election solely on the merit of the LORD Jesus Christ. These are people the sovereign God purposed to save before they even sinned. Unconditional Election is Christ-centered, in that, God set fourth Christ as being the One He looks to as the only cause of acceptance and to fulfill all the conditions required in the whole of salvation.
Limited Atonement: Jesus Christ died exclusively for the ones God purposed and chose before the world began to save. There will not be anyone for whom Christ died that will end up in hell. He effectively saves His people based on the merit of the Person and work of Christ crucified,fully satisfying the demands of the Law for their Justification by establishing righteousness for them as their Representative and Substitute, once and for all time. This Atonement is the center-piece and, therefore, the gospel aspect of TULIP.
Irresistible Grace: God, using the same power it took to raise Christ from the dead, works in the heart and mind of His elect people to give them eternal life by imputing the righteousness of Jesus Christ to their account and regenerating them by the Holy Spirit, giving them, both, faith and repentance to trust Him and reject their own righteousness, thus Justifying them. It is the creation of a brand new state and standing, what the Bible calls the New Man, created in righteousness and holiness.
Preservation of the Saints: God preserves His people based solely upon the work Christ done for them, which put them in the unchanging, legal state of Justification. This means they are not only forgiven but also placed in the state where sin cannot be imputed or charged to their account. They are both forgiven of all past, present and future sin and are judged perfectly righteous based on the imputation of Christ’s righteousness. God actually dwells in the justified by His Spirit and works in them to produce good works by faith. God causes them to continue in the faith all their life, energizing them to grow in the grace and knowledge of the LORD Jesus Christ.
This is SOVEREIGN GRACE! Glory to God for raising up the Reformers to re-establish the supremacy and authority of God’s Word. The Roman Catholic church had lost the Gospel.
Here we found the 5 points of Calvinism (aka the Doctrines of Grace) expressed in a single verse of Scripture! John 6:44. Amazing!
Here are the 5 points of Calvinism as articulated by my friend Owen Holden:
T – We sinned against an infinitely holy God in Adam, we being dead not less alive in Adam have none of the righteousness which is required of us, as defined in the Decalogue, we must be someone who has never broken the law, and has only kept it, “Who among us shall dwell with the devouring fire? who among us shall dwell with everlasting burnings?”
Isaiah 33:14 KJVU – Since God must punish and will punish everyone who breaks His law(the covenant of works), there is nothing we can do to be reconciled back to communion with God, being guilty of Adam’s sin and dead(as bad as we can possibly be), God must choose us, and deliver us from the guilt of sin and dominion of sin, otherwise we must perish, but how can He have communion with people He must hate? And how can He give life to people He must punish and curse?
L – The Father, sent His only begotten Son to make His election consistent with His justice, as all men became sinners in Adam, so everyone Christ died for become righteous in Him, Christ fulfills the terms of the covenant God made with Adam, as the last Adam, born of a woman, made under the law. Christ as God incarnate can work out a perfect righteousness for the elect, by keeping the law while not in Adam, while being a perfectly righteous man. Christ makes atonement for sin by taking upon Himself the wrath of God on the cross by being made a curse for the elect, and dying for them, to deliver them from the punishment due to them for sin, by being punished as the God-man, since no mere man can expiate sin against God, only God can. So the righteousness which God demands of us in His law, is worked out for the elect, in His law keeping (since we have never kept the law) and propitiating the wrath of God for their breaking the law (since we have only broken the law).
I – Though Christ has worked out a righteousness for His people and purchased for them all spiritual blessings, by meriting them in obedience and removing the curse from them in His death, this righteousness must be applied to us. This righteousness is applied by faith, but we being dead cannot believe. So the Spirit of God first renews the elect through correct doctrine, giving the nature of sons, to love the law and hate sin, and then causes them irresistibly to believe the same doctrine by which they were made sons, and this faith as it receives Christ in the gospel, applies the righteousness of Christ to them, so that they are counted as perfect in God’s sight, as if they had perfectly kept the law.
P – Since this life and faith was purchased, by Christ it will continue to grow, as the end for which Christ removes our guilt is to bring us back to communion with God, sanctification which is the growth of the image of God in the elect after new life is given them, is the Spirit’s work in them, which causes them to walk more and more by faith, “whatsoever is not of faith is sin.” The law then which declared what we must be and were not, now tells us what we are objectively and principally which is a keeper of God’s commandments, and prophetically in that it tells us what we will be subjectively in a future life. “Moreover whom he did predestinate, them he also called: and whom he called, them he also justified: and whom he justified, them he also glorified.”
Romans 8:30 KJVHere is a wonderful article: A Defense of Calvinism as the Gospel
by Prof. David J. EngelsmaThe term “Calvinism” is not the name by which we Calvinists prefer to have our faith called; nor do we prefer to call ourselves “Calvinists.” Calvin was the name of a man, a great servant of God, John Calvin. He was one of the Reformers by whom the Holy Spirit reformed the Church in the 16th century. To call ourselves “Calvinists” and our faith “Calvinism” leaves the impression that we follow a man and that these beliefs are the invention of a man. In fact, these terms originally were terms of derision used by our enemies, as were also the names “Christian” and “Protestant.” Therefore, from the very beginning, Calvinists called themselves “Reformed” or “Presbyterian.” Thus, they deliberately distinguished themselves from the other great branch of the Protestant Reformation, the Lutheran Church, which did call itself by the name of a man (contrary to the wishes of Luther himself).
Nevertheless, “Calvinism” and “Calvinist” are useful terms, today. They are widely known, even though that be, in part, through the attack upon, and reproach of, Calvinism by its enemies. Also, the name “Calvinist” is embraced by persons and churches who are not Reformed or Presbyterian but who confess those tenets of Calvinism which they call “the doctrines of grace.” “Calvinism” has come to stand for certain doctrines, a certain system of truth. We have no objection to calling these doctrines “Calvinism” as long as two things are clearly understood. First, it must be understood that not the man, John Calvin, but Holy Scripture is the source of them. Second, it must be understood that we who embrace these truths are not disciples of a man, Calvin, but are concerned exclusively to follow God’s eternal Son in our flesh, Jesus Christ, exactly by confessing these doctrines.
There are different ways of viewing Calvinism. Some have discovered political implications in Calvinism, e.g., strong opposition to every form of tyranny. Others have found Calvinism important for economics. Max Weber thought to trace the spirit of capitalism to Calvinism, indeed, to Calvinism’s doctrine of double predestination. We could examine Calvinism as a total world-and-life-view. It is more, much more, than a set of doctrines, and certainly much more than five points of doctrine. Like humanism or Marxism, Calvinism is a world-and-life-view with which a man takes a stand in every area of human life. Also, Calvinism involves one with the Church, the instituted Church, and is not only the personal beliefs of the individual; it is through and through ecclesiastical. With the early Church, Calvinism fervently holds that “outside the Church is no salvation.”
At its heart, however, Calvinism is theology, true religion; and this means doctrine. This is how we will be viewing Calvinism, here. We limit ourselves to a consideration of Calvinism as the Gospel.
Calvinism is the Gospel. Its outstanding doctrines are simply the truths that make up the Gospel. Departure from Calvinism, therefore, is apostasy from the Gospel of God’s grace in Christ. Our defence of Calvinism, then, will proceed as follows. First, we will show that Calvinism is the Gospel. This is necessary because of its detractors, who criticize it as a perversion of the Gospel. Second, we will defend it as the Gospel. In doing this, we carry out the calling that every believer has from God. Paul wrote that he was “set for the defence of the Gospel” (Philippians 1:17). I Peter 3:15 calls every believer to give an answer, an “apology” or defence, to everyone who asks us a reason for the hope that is in us. As the name indicates, Calvinism is a certain teaching associated with John Calvin; it refers to biblical doctrines that he propounded.
Calvin was a Frenchman, born in 1509 and died at 55 in 1564, who lived during the Reformation of the Church, a contemporary of Martin Luther. He was converted from Roman Catholicism early in his life, “by a sudden conversion,” he tells us in his preface to his commentary on the Psalms, “since I was too obstinately devoted to the superstitions of Popery to be easily extricated from so profound an abyss of mire,” and laboured on behalf of the Protestant Faith all the rest of his life. He lived and worked in Geneva, Switzerland as a pastor and theologian. His labour was prodigious. He preached almost daily; did an immense pastoral work; carried on a massive correspondence; and wrote commentaries, tracts, and other theological works. He is remembered especially for his great work on Christian theology, Institutes of the Christian Religion (which still exercises great influence, which every professing Protestant could profitably read and which every critic of Calvinism ought to have studied, if he wishes to be taken seriously), and for his commentaries on almost every book of the Bible. Calvin’s Protestant contemporaries recognized his outstanding gifts, especially in theology and exposition of Scripture. They referred to him simply as “the Theologian.”
Calvin’s influence in all the world, already during his lifetime and ever afterwards, was tremendous. Luther, of course, stands alone, as the founder of the Protestant Reformation. But Calvin, benefiting from Luther, outstripped even Luther in influencing the Church of Christ in all the world.
In the history of the Church, Calvinism is the name for the faith of the Reformed and Presbyterian branch of the Protestant Reformation. These Churches were called “Reformed” in Germany, France, Switzerland and the Netherlands. In England, Scotland and the north of Ireland, they were called “Presbyterian.” This faith was early expressed in written confessions, or creeds. Among the confessions of the Reformed Churches are the Heidelberg Catechism, the Belgic Confession of Faith and the Canons of Dordt. The great Presbyterian creeds are the Westminster Confession of Faith and the Westminster Catechisms. All of these confessions are in essential agreement.
The Reformed and Presbyterian Churches insisted that the teaching embodied in these creeds, that which is now called Calvinism, was the revelation of God in Holy Scripture. Calvinism bases itself on Scripture. It holds fully the Protestant principle of sola scriptura (Scripture alone). The doctrine of Scripture is the very foundation of Calvinism. It is a mistake, therefore, to define Calvinism apart from its belief concerning Scripture.
The Bible is the only authority in and over the Church. It is this because it is the inspired Word of God, as II Timothy 3:16claims: “All Scripture is given by inspiration of God, and is profitable for doctrine, for reproof, for correction, for instruction in righteousness.” As such, Scripture is the “infallible rule” (Belgic Confession 7). It may not be ignored, questioned or subjected to criticism, but must be received, believed and obeyed. This is vital for Calvinism because Calvinism teaches many things about which man complains, “These are hard sayings, who can hear them?” For Calvinism, the question is not, “will men in the 20th century like these things?” But the question is, “Does the Word of God say so?”
Calvinism is concerned to proclaim the Scriptures. The preaching of Scripture, both within the Church and outside the Church, is the central interest of Calvinism. It is false to conceive of Calvinism as a theoretical, abstruse science carried on by heady intellectuals in ivory towers. With the entire Reformation, it wanted, and wants today, to preach the Gospel, which is the power of God unto salvation to every one who believes.
Calvinism, then, can rightly be viewed as certain basic doctrines, the so-called “five points of Calvinism.” But even here, a word of caution is in order. Historically, it is something of a misnomer to call these doctrines “Calvinism.” On these doctrines, there was no difference between Luther and Calvin. These two leading Reformers were in agreement in their teaching on the doctrines of predestination, the depravity of the fallen man and justification by faith alone. Indeed, almost without exception, all of the Reformers embraced what we now call “Calvinism.” Besides, the “five points of Calvinism,” as five particular doctrines that distinguish Calvinism, originated after Calvin’s death. They were formulated by a Synod of Reformed Churches in the Netherlands, in 1618-l619, the Synod of Dordt, in response to an attack on these five doctrines by a group within the Reformed Churches that were known as the Remonstrants or Arminians. This Synod set forth, confessed, explained and defended these five truths in the Canons of the Synod of Dordt. But it was Calvin who developed these truths, systematically and fully; and therefore, they came to be called by his name.
Total depravity is one of the five points of Calvinism. This doctrine teaches that man, every man, is by nature sinful and evil—only and completely sinful and evil. There is in man, apart from God’s grace in Christ, no good and no ability for good. By “good” is meant that which pleases God, namely, a deed that has its origin in the faith of Jesus, its standard in the Law of God and its goal in God’s glory. From conception and birth, every man is guilty before God and worthy of everlasting damnation. This is man’s plight because of the fall of the entire human race m Adam, as Romans 5:12-21 teaches: “Wherefore, as by one man sin entered into the world, and death by sin; and so death passed upon all men, for that all have sinned …” Not only is every man guilty from conception and birth, but he is also corrupt or depraved. This depravity is total. One aspect of this misery of man is the bondage, or slavery, of man’s will. The will of every man, apart from the liberating grace of the Spirit of Christ, is enslaved to the Devil and to sin. It is willingly enslaved but it is enslaved. It is unable to will, desire or choose God, Christ, salvation or the good. It is not free to choose good.
It is not Calvinism, that God forces men to sin or that men sin unwillingly, but that the natural man’s spiritual condition is such that he cannot think, will or do anything good. On this doctrine, Luther and Calvin were in perfect agreement. Luther, in fact, wrote a book called The Bondage of the Will in which he asserted that the fundamental issue of the Reformation, the basic difference between genuine Protestantism and Roman Catholicism, is this issue, whether the will of the natural man is bound or free. Calvinism shows itself as pure Protestantism by its confession concerning the will in the Westminster Confession of Faith:
Man, by his fall into a state of sin, hath wholly lost all ability of will to any spiritual good accompanying salvation; so as a natural man, being altogether averse from that good, and dead in sin, is not able, by his own strength, to convert himself, or to prepare himself thereunto. When God converts a sinner, and translates him into the state of grace, he freeth him from his natural bondage under sin, and by his grace alone enables him freely to will and to do that which is spiritually good … (9:3-4).
Another of the five points of Calvinism is the truth of limited atonement. There is deliverance for fallen men only in Jesus Christ, God’s eternal Son in our flesh. This deliverance occurred in the death of Christ on the cross. His death was atonement for sins, inasmuch as He satisfied the righteousness of God, suffering the penalty of God’s wrath in our stead who deserved that wrath because of our sins. Jesus’ death was efficacious; it saved! It saved everyone for whom He died. It removed, in full, the punishment of everyone in whose stead Jesus died. He atoned for some, particular men, not for all without exception His atonement was limited as regards the number of men for whom He died and whom He redeemed. They are “His people” (Matthew 1:21); His “sheep” (John 10:15: “I lay down my life for the sheep”); and “as many as (the Father) hast given (Jesus)” (John 17:2).
It is not Calvinism, that any, even one, who seeks salvation will be denied, but that the death of Jesus saved, that it was efficacious, that it was not in vain.
The Lord Jesus, by his perfect obedience and sacrifice of himself, which he through the eternal Spirit once offered up unto God, hath fully satisfied the justice of his Father; and purchased not only reconciliation, but an everlasting inheritance in the kingdom of heaven, for all those whom the Father hath given unto him. To all those for whom Christ hath purchased redemption, he doth certainly and effectually apply and communicate the same … (Westminster Confession 8:5, 8)
Irresistible grace or efficacious grace is a third of the five points of Calvinism. This doctrine refers to the actual saving of fallen men by the Holy Spirit, in applying to them the redemption accomplished on the cross. This work of salvation is wholly the work of God; it takes place by grace alone. Negatively, this means two things. First, the salvation of a man is not something that any man deserves, or makes himself worthy of, in any way. Second, salvation is not a work that man accomplishes, in whole or in part. Man does not co-operate with God in bringing about his salvation. Positively, that salvation takes place by grace alone means that salvation is freely given to men by God, merely out of His love and goodness. Also, it means that this salvation is accomplished by God’s power, the Holy Spirit. He regenerates; He calls; He gives faith; He sanctifies; He glorifies. This work of saving and the power of grace by which the Holy Spirit performs this work are efficacious. In carrying out this work, the Spirit and His grace do not make a man’s salvation possible, but effectually save him. It is not on the order of a mere attempt by God that depends, ultimately, on the man whom God tries to save and that may, therefore, be frustrated and come to naught; but it is on the order of a work of creation that sovereignly and unfailingly makes the man whom God is pleased to save a new creature in Jesus Christ.
It is not Calvinism, that God forces men, kicking and screaming, into heaven, but that God makes a man willing, who before was unwilling. In the Canons of Dordt, the Reformed believer describes the saving work of irresistible grace this way:
… it is evidently a supernatural work, most powerful, and at the same time most delightful, astonishing, mysterious, and ineffable; not inferior in efficacy to creation, or the resurrection from the dead … so that all in whose heart God works in this marvellous manner, are certainly, infallibly, and effectively regenerated, and do actually believe … (III/IV:12)
The doctrine of the perseverance of saints, or “eternal security,” as some call it, follows from the truth of irresistible grace. Not one person to whom God gives the grace of the Holy Spirit will perish, because that grace and Spirit preserve him unto the perfect salvation of the day of Christ.
It is not Calvinism, that one may do as he pleases and still be saved or that a saint can never fall into sin. Against the charge that the doctrine of perseverance implies that one may do as he pleases and still go to heaven, Calvinism replies that the Holy Spirit preserves us by sanctifying us, by strengthening our faith and by giving us the gift of endurance. As for the “melancholy falls” of Christians, the saints can, and sometimes do, fall into sin, even “great and heinous sins,” but the indwelling Spirit, never wholly withdrawn from them, brings them to repentance. Calvinism imparts to all true believers the inestimably precious comfort of the “certain persuasion, that they ever will continue true and living members of the church; and that they experience forgiveness of sins, and will at last inherit eternal life” (Canons of Dordt V:9).
All of the salvation described above has its source in God’s eternal election. The truth of election is another of the characteristic Calvinistic doctrines. God has from eternity elected or chosen in Christ, some of the fallen human race—a certain, definite number of persons—unto salvation. This choice was unconditional, gracious, and free; it was not due to anything foreseen in those who were chosen. Reprobation is implied. God did not choose all men; but He rejected some men, in the eternal decree. It makes no essential difference whether one views reprobation as God’s passing by some men with His decree of election in eternity (which is, in fact, a divine decision about their eternal destiny), or whether one views it as a positive decree that some men perish in their sin, their unbelief and disobedience. Election and reprobation make up predestination, the doctrine that God has determined the destiny of all men from eternity. This truth is regarded, not inaccurately, as the hallmark of Calvinism. The very heart of the Reformed Church is election, God’s gracious choice of us sinners, guilty and depraved, worthy only of damnation, unto salvation.
Election is the fountain of all salvation! As such, it is the ultimate, decisive, convincing proof and guarantee that salvation is gracious—that salvation does not depend upon man, but upon God; that salvation is not man’s idea, but God’s; that salvation is not man’s work, but God’s; that salvation is not due to man’s decision for God, but to God’s eternal decision for man.
This is how Calvin himself viewed predestination—as the final, conclusive, incontrovertible testimony to, and guarantee of, gracious salvation. Therefore, in his definitive edition of the Institutes (1559), Calvin treated predestination at the end of Book III, after his treatment of redemption in Christ and his treatment of the application of redemption by the Holy Spirit. Calvin wrote,
We shall never feel persuaded as we ought that our salvation flows from the free mercy of God as its fountain, until we are made acquainted with His eternal election, the grace of God being illustrated by the contrast—viz, that he does not adopt promiscuously to the hope of salvation, but gives to some what he denies to others” (3.21.1).
The Gospel proclaims man’s misery as total depravity, including the bondage of his will. Ephesians 2:1 diagnoses the spiritual condition of the sinner, prior to the quickening of the Spirit of Christ, thus: “dead in trespasses and sins.” Spiritually dead, the sinner is lacking all good, any ability for good, and both the power and the inclination to effect a change in this condition. Himself is helpless and his condition, hopeless—the helplessness and hopelessness of death. Romans 8:7-8 passes the same judgment upon fallen man: “Because the carnal mind is enmity against God; for it is not subject to the law of God, neither indeed can be. So then they that are in the flesh cannot please God.” The “carnal mind” is human nature as it is by virtue of natural birth. Its condition is such that it is incapable of being in subjection to God’s law. Those who are in the flesh are those who are not born again by the Spirit of Christ, those who are outside of Christ. Their spiritual condition is such that they are incapable of pleasing God; all that they are able to do is sin. For a sinner to will and to do of God’s good pleasure, God must work in him both the willing and the doing, by the Spirit of Jesus Christ (Philippians 2:13).
The Gospel proclaims the death of Christ as a death that effectively redeems some men, rather than as a death that merely makes salvation possible for all men. Scripture teaches limited atonement. Jesus Himself taught this about His own death inJohn 10:15: “… and I lay down my life for the sheep.” A little further in the same chapter, the Lord specifically states that some men are not included among “the sheep”: “But ye believe not, because ye are not of my sheep, as I said unto you” (v. 26). He died for some men, “the sheep,” in distinction from other men, who are not of His sheep. Jesus described His death similarly in Matthew 20:28: “Even as the Son of man came not to be ministered unto, but to minister, and to give his life a ransom for [Greek: ‘in the stead of’] many.” The important point is not so much that He spoke of those for whom He died as “many,” not as “all,” as it is that he spoke of His death as the ransom given in the stead of others. By dying, He paid the ransom-price to God on behalf of many sinners. He did this by taking their place, giving up his own life where theirs was forfeit. The effect of this death is that everyone for whom He died is freed from sin, death and hell. Not one for whom He died will perish. None may perish, for the ransom is paid. This Gospel (and there is no other) was preached already by the evangelistic prophet, Isaiah, inIsaiah 53: the suffering Christ bears away the iniquities of God’s people by being smitten of God as their substitute.
The Gospel proclaims an irresistible grace, as the power that saves elect sinners. It cannot be otherwise, if the sinner is “dead in trespasses and sins.” Having taught this in Ephesians 2:1, the apostle goes on to teach irresistible grace in verses 4-5: “But God, who is rich in mercy, for his great love wherewith he loved us, even when we were dead in sins, hath quickened us together with Christ, (by grace ye are saved).” The saving of the sinner, in every case, is God’s raising him from the dead, comparable to Jesus’ wonders of raising the physically dead. Now two things are true about resurrection: it is the act of God alone, in which the one who is raised does not cooperate; and it is effectual—God never fails to accomplish the resurrection of any whom He purposes to raise. In verse 10 of this chapter, Paul likens the work by which we were saved to the work of creation, thus making dear that this work is exclusively the work of God the Creator, and not at all the work of the creature that is created: “For we are his workmanship, created in Christ Jesus unto good works …” Jesus explained that salvation takes place by the sovereign drawing-power of Almighty God, in John 6:44: “No man can come to me, except the Father which hath sent me draw him.”
The Gospel proclaims the perseverance of the saints. Jesus said, “My sheep hear my voice and I know them, and they follow me: And I give unto them eternal life; and they shall never perish, neither shall any man pluck them out of my hand. My Father, which gave them me, is greater than all; and no man is able to pluck them out of my Father’s hand. I and my Father are one” (John 10:27-30). Jesus gives eternal life to every one of His sheep; and not one of those saints shall ever perish. It is impossible that anyone could pluck a saint out of God’s hand, that is, cause a regenerated child to fall away to perdition. The reason is not the strength of the saints, but the power of the grace of God (“my Father … is greater than all”). These words of Jesus make plain that the comforting truth of perseverance depends upon election and irresistible grace. The saints persevere, because the Father gave them to Jesus and because Jesus gives (not: tries to give, but: gives) them eternal life.
As the source and foundation of salvation, the Gospel proclaims divine election. This truth is on the very face of the entire Old Testament Bible: God chose Israel unto salvation, rejecting the other nations. The mediator of the old covenant tells Israel, “the LORD thy God hath chosen thee to be a special people unto himself, above all people that are upon the face of the earth. The LORD did not set his love upon you, nor choose you, because ye were more in number than any people; for ye were the fewest of all people: But because the LORD loved you …” (Deuteronomy 7:6-8).
In perfect harmony with this obvious truth of the old covenant, the mediator of the new covenant traces every aspect of His salvation back to divine election. His life-giving death stems from election: “that he should give eternal life to as many as thou hast given him” (John 17:2). His priestly pity and intercessory prayer are regulated by election: “I pray for them: I pray not for the world, but for them which thou hast given me; for they are thine” (John 17:9). His saving revelation of the truth to men depends upon election: “I have manifested thy name unto the men which thou gavest me out of the world …” (John 17:6). The coming of men to Him in true faith is effected by election: “All that the Father giveth me shall come to me …” (John 6:37). His preservation of men in faith and His resurrection of these men in glory are due to election: “… that of all which he bath given me I should lose nothing, but should raise it up again at the last day” (John 6:39).
Election has a prominent place in the Gospel preached by the apostles. It is the cause of the salvation of every one who is saved, and the source of every blessing of salvation: “… the God and Father of our Lord Jesus Christ … hath blessed us with all spiritual blessings … according as he hath chosen us in him before the foundation of the world” (Ephesians 1:3-4). Upon eternal predestination was forged the golden (and unbreakable) chain of salvation: “Moreover whom he did predestinate, them he also called: and whom he called, them he also justified: and whom he justified, them he also glorified” (Romans 8:30). The entire river of the mercy of God in Jesus flows out of His will of election; and the sovereign graciousness of this will is illustrated by this, that God hardens some men according to His eternal decree of reprobation: “Therefore hath he mercy on whom he will have mercy, and whom he will he hardeneth” (Romans 9:18).
There can be no ignoring of these doctrines, called “Calvinism”; if they are not preached and confessed, they are denied. Every preacher, every Church, every member of every Church must take a stand regarding them, and does take a stand. It is impossible not to. For they are writ large on the pages of Scripture, as essential elements of the gospel. Whoever rejects Calvinism embraces the only alternative to Calvinism—a system of doctrine that is opposed to Calvinism in every point.
Does a man reject total depravity? Then he believes that fallen, natural man yet retains some good and some ability for good, specifically a will that is able to make a decision for Christ; that man outside of Christ is not dead in sins, but merely sick, that is, not dead, but alive.
Does a man reject limited atonement? Then he believes that Jesus died for each and every human being without exception. Because both Scripture and the hard facts of life teach that some men do perish in hell, this advocate of universal atonement believes that the death of Jesus did not actually atone for sins at all, but merely made atonement possible; that the cross was not the payment of the ransom in the stead of every one for whom Christ died, but merely an example of love; that the suffering of the Son of God did not effectually satisfy the justice of God by bearing sins away, but merely …? Did what? Anything at all? And if not, was He really the eternal Son of God in the flesh?
Does a man reject irresistible grace? Then he believes that God’s call to salvation and the grace of the Holy Spirit depend upon the acceptance of the sinner by the exercise of his “free will,” so that God’s grace can be defeated and fail. Further, he believes that, whenever a sinner does come to Jesus in true faith and receives salvation, this is not due to the grace of God, but to the good will of the sinner.
Does a man reject the perseverance of saints? Then he believes that every believer can fall away and perish at any time, including himself.
Does a man reject predestination? Then he believes that the ultimate source and foundation of salvation is man’s choice, decision and will.
In the end, there are two, and only two, possible faiths. The one maintains that all mankind lies in death; that God in free and sovereign grace eternally chose some; that God gave Christ to die for those whom He chose; that the Holy Spirit regenerates them and calls them efficaciously to faith; and that the Spirit preserves these elect, redeemed and reborn sinners unto everlasting glory. This is Calvinism.
The other faith maintains that fallen man retains some spiritual ability for good, some life; that God’s choice of men depends upon their exercise of the ability for good that is in them; that Christ’s death depends upon that good in man; and that the attainment of final glory depends upon that good in man. This is the enemy of Calvinism. This is the enemy of the Gospel! For Calvinism proclaims salvation by grace; the other faith preaches salvation by man’s will and works and worth.
Calvinism is the Gospel! God’s Gospel is the message of wholly gracious salvation. This does not mean that Calvinism is inoffensive. On the contrary! Calvin himself took note, long ago, of the offensiveness of the truth that he taught, with reference specifically to total depravity:
I am not unaware how much more plausible the view is, which invites us rather to ponder on our good qualities than to contemplate what must overwhelm us with shame—our miserable destitution and ignominy. There is nothing more acceptable to the human mind than flattery … if a discourse is pronounced which flatters the pride spontaneously springing up in man’s inmost heart, nothing seems more delightful. Accordingly, in every age, he who is most forward in extolling the excellence of human nature, is received with the loudest applause (Institutes 2.1.2).
But the offensiveness of Calvinism to men is nothing other than the offence of the cross of Christ. In Galatians 5:11, Paul speaks of “the offence of the cross,” an offence that ceases only in the preaching of a cross-denying heresy. The cross of Christ, which is the very heart of the Gospel, is not pleasing to man, or acceptable to him. “But we preach Christ crucified, unto the Jews a stumblingblock, and unto the Greeks foolishness” (I Corinthians 1:23). The cross, as the cross of the eternal Son of God in our flesh, shows the extent of fallen man’s misery: he can be saved only by the death of the Son of God. Words finally fail to do justice to the greatness of the misery of the sinner, brought out by the cross: utterly lost, completely ruined, totally depraved. The cross shows that salvation is of the Lord, wholly of divine grace, and not at all of man. As the cross of the Prince of life, the cross is powerful to save. Nothing and no one can nullify or defeat the blood and Spirit of Christ crucified. The Gospel of the cross is this message: “So then it is not of him that willeth, nor of him that runneth, but of God that sheweth mercy” (Romans 9:16).
Just because this is the message of Calvinism, Calvinism is offensive to men. It is offensive to proud man to hear that he is spiritually dead, totally devoid of anything pleasing to God, unable at all to save himself, nothing more than a child of wrath. But this is the judgment passed upon him in Calvinism—and in the Gospel. It is offensive to proud man to hear that salvation is exclusively God’s free gift and sovereign, gracious work. But this is what Calvinism—and the Gospel—proclaim.
Just because of this, Calvinism is good news! It is Gospel, glad tidings! As the message of grace, it comforts us and all those who, by the grace of the Spirit, believe in Christ. Only this message provides hope for lost, sinful, and otherwise hopeless men. There is salvation, only because salvation is gracious.
Defending Calvinism is simply a matter of defending the Gospel. Therefore, we do not defend it apologetically, or defensively, or even as if its fortunes were doubtful, dependent on our defence. As the truth of God, Calvinism stands, and will stand—victorious, invincible. God Himself maintains it; and God Himself sends it forth on an irresistible course of conquest throughout the world.
Calvinism is the Gospel for every age. It is the truth for which and by which the Reformation of the Church of Jesus Christ took place in the 16th century. The Gospel has not changed since that time; Jesus Christ in His truth is the same yesterday and today and for ever. But the truth of the Gospel is largely lost and buried in the Protestant Churches in our day, including many who pride themselves on being “fundamental” and “evangelical.” The Gospel is perverted by a message that is essentially the same as that message against which the Reformation fought and which on its part bitterly opposed the Reformation. In those days, Rome preached a salvation that had to be earned by man’s own works, as indeed it still preaches today; Rome taught that men were righteous before God, in part, by their own works, as indeed it still teaches today. In our day, the Protestant Churches teach and preach that salvation depends upon man’s own will; they proclaim that the sinner must achieve his own salvation by willing. This “gospel” of much of Protestantism and the “gospel” of Rome are one and the same. Essentially, there is no difference between them. This is the reason why many Protestant Churches, preachers, evangelists and people find it possible to co-operate closely with the Roman Catholic Church, especially in the work of evangelism; and this is the reason why a great reunion with Rome on the part of many Protestants is in the offing. Rome says, “Salvation depends upon man working;” modern Protestantism says, “Salvation depends upon man willing.” Both are saying the same thing: “Salvation depends upon man.” The apostle lumps both of these variations of the same basic doctrine together in Romans 9:16, and condemns them: “So then it is not of him that willeth, nor of him that runneth, but of God that sheweth mercy.”
Having condemned these heresies, Paul declares that the source of our salvation is God showing mercy—only God showing mercy; he proclaims that salvation depends upon God showing mercy—only upon God showing mercy. This is the message of Calvinism; and because it is, our defence of Calvinism is a bold, uncompromisingly, unashamed defence. We say of Calvinism what B. B. Warfield once said of it: “the future of Christianity—as its past has done—lies in its hands.”
We repudiate the false accusations made against Calvinism, and the caricatures made of it. Men say of Calvinism that it is destructive of good works and of the law of God, that it produces careless Christians. Men say that it is destructive of zeal for preaching and missions. Men say that it is terrifying to poor consciences, that it is cold and hard, and that Calvinists are all head and no heart. These are old charges, hoary with age. You will find them, almost word-for-word, lodged against the apostle, Paul, and the Gospel that he preached (cf. Romans 3:8, 31; 6:1f.; 9:19ff.).
Would that men were not so ready to accept the caricature of Calvinism contrived by its enemies, but rather let Calvinism speak for itself, in its confessions. Read the Heidelberg Catechism or the Westminster Catechisms and see for yourself whether Calvinism is hard and cold and cruel or whether it is warm and comforting. Read the Belgic Confession or theWestminster Confession of Faith and see whether Calvinism goes lightly over the law of God and over the good works of the Christian man or whether it trembles before the law, stresses sanctification and insists on the necessity of good works. Read the Canons of Dordt, the Reformed creed that is unsurpassed in its statement of predestination and in its defence of salvation by grace alone, and see whether Calvinism cuts the nerve of a lively preaching of the Gospel, including the serious call of the Gospel to all who come under the preaching. See also the tenderness of the Reformed Faith towards penitent sinners and its deep pastoral concern for afflicted consciences.
At the same time, we Reformed people and churches must refute the caricatures of Calvinism by our life and deeds. This also belongs to an “apology for Calvinism.” We do well to take heed to ourselves, as well as to our doctrine. Are we zealous for good works? Are we ready to preach the Gospel to every creature and to give an answer to every man that asks us a reason for the hope that is in us? Do we manifest ourselves as joyful, hopeful, confident saints? This we will do, by God’s grace, if we live out of the truth of Calvinism, that is, the Gospel.
We have a powerful motive for defending Calvinism. For one thing, as the Gospel it is the only hope for sinful men—the only power of God unto salvation, the only means of the gathering and preserving of the Church.
Even more compelling, Calvinism glorifies God. The glory of God is the heartbeat of Calvinism, and the heart of hearts of every Calvinist. Calvin’s enemies have always seen this and have sneered at him as “that God-intoxicated man.” Calvinism gives the magnificent answer to the question, “What is the chief end of man? Man’s chief end is to glorify God, and to enjoy him for ever” (Westminster Shorter Catechism, Q. & A. 1). But the glory of God is the goal of the Gospel, that is, the goal of God Himself through the Gospel: “… to the praise of the glory of his grace” (Ephesians 1:6). His glory He will not give to another (Isaiah 42:8). “Of him, and through him, and to him are all things;” to Him, therefore, be glory for ever (Romans 11:36).
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Beautiful song
This song is so beautiful!!! I was crying like a baby! Towards the end of the video, we see Israel’s ashes released into the ocean in his beloved Hawaii! Amazing. He was a born-again Christian so I look forward to seeing him in Heaven someday!
Please pray for his family mourning his loss, including his wife Marlene Ku`upua Ah Lo, who was his childhood sweetheart, and their daughter, Ceslianne Wehekealake`alekupuna Ah Lo.
By the way, in 1988, Israel Kamakawiwo’ole called the sound studio at 3am, and asked if he could come record, because he had an idea. He was so polite the studio owner said yes even though it was too late. 15 minutes later he showed up, sang and played his ukulele and recorded “Over The Rainbow” in just one take, with no editing or manipulation! That is the song you hear here!
Something about this song is just magical. It’s such a hopeful song, and the warm timber of Israel’s voice matches the song perfectly! And I love the simple melody played out by the ukulele! He sings with such feeling. Truly Iz, as he was known to his friends, family, and fans, was a master musician.
Here is a wonderful documentary on Iz’s life and music.
I did some research and found out that Israel dedicated his life to Christ and was baptized only 1 year before his passing!! Praise the Lord for His perfect timing and provision!!!
The Rev. Ethel Amina of Waianae Pentecostal Faith Church and her family were among dozens of relatives of Kamakawiwo’ole at the event. Amina and her daughter, Joy Kaio, said they were joyful because Israel chose to be baptized a Christian a year ago. “The last time I saw him, he told me: ‘When I get out (of the hospital), I want to walk into my grandpa’s church again.’
This gentle giant is now worshiping the Lord in His presence! He died on June 26th, 1997 at the age of 38 from respiratory complications as a result of obesity. Israel weighed 700 pounds at the time of his death. His YouTube video of “Over The Rainbow” has over 1 billion views! Please enjoy!