And so David was a man of a public spirit, for "after David had served his generation according to the will of God, he died and was buried," Acts 13:36. The Spirit of the Lord has put this upon record for David's honour and our imitation. David's soul did not live in a narrow bowling-alley. He was not a man of so poor, low, and narrow a spirit as to make himself the centre of his designs and actions. David was a man of a generous, noble spirit. The public good lay nearest his heart, and to serve his generation he was willing to spend and be spent.
Often in John's Gospel we find Jesus and the Jews talking at cross purposes and misunderstanding each other. Jesus has spoken to them about being free. They have responded that they have always been free – though what was going on in Egypt on this basis is hard to see. Part of their claim to freedom is tied to their being descendants of Abraham. It is a nationalistic argument. What Jesus is talking about is spiritual freedom – freedom not to sin. He is quite happy to acknowledge that they are Abraham's descendants but they are also children of the devil as sure as he is the Son of God. Of course, they do not follow his argument and reassert that they are Abraham's children. But Jesus counters that if they were truly Abraham's children in the fullest sense then they would not be planning to kill Jesus but would embrace him and his teaching. Paul later takes up this point that the true children of Abraham are those with the same faith not those with a mere biological connection to him. An adopted son who truly loves his father can be much more of a son to him than one who is biologically linked yet opposes all that his father holds dear. What matters is not being a direct descendant of Abraham, Jewish or whatever, but doing the thngs that Abraham did, which sprang from faith in God.
Therefore you can say to a greater predstavlja miracle scenario in which Skopje master revealed the end of his career, and that it was not recorded significant piece of blues - than this, in which he plays an hour and twelve minutes, with triom in an entirely new set, nor pojačanoj even less than - Janom Akkermanom.
Focus cult guitarist and one of the largest gitarskih star of the sixties and seventies with the izrasao time in almost legendarnu figure as classic, and fusion; for Stefanovskoga even showed sudbinskim choice, considering that the two musicians met by chance on jazz-festival in Kumanovo.
Although the disc during a somewhat more difficult to conclude where the Akkerman, and begins Stefanovski, and vice versa, there is no doubt that cooperation from the jovial sky (whether hence the name of the album?) was in good measure affected - it shows, but also extremely intro "Amazing Grace" , in which recognizable, very subtle guitar Stefanovskog bezgrešno fall into the well cosmic Akkermanovog arrangements.
This super-miniature eklektična represents, however, only eksces in 'pravovjernom' rest of the album, which he (re) aranžerski fully signed Stefanovski - but how will it sound, much more clearly suggests šestominutni "Stormy Monday Blues," Blues sporokotrljajući epitaph T-Bone Walker.
All those who had hopes Guitar duel Akkerman-Stefanovski, can forever stop visiting Betting: both musicians during the 72 minute only cooperate on the same task, without a twinge of competition.
The movements will even okorjelije fans surely not find the quality of English in which Stefanovski without pardon sing all the texts. Brave maneuver, which has no: although he surely knew that no way will not be able to reach the relaxation (and related žovijalnost) crnačkih old masters, decided to catch the ukoštac with blues-vocal and largely succeeded - places where you accents and pronunciation zastružu by ear, you can enumerate fingers on a hand (eg "Need Your Love So Bad"), and his vocals holds water, although the range with years became something flat - each honor.
These words are the closing ones of a public prayer that good king Jehoshaphat made at a time when Judah was under threat from the Moabites and other enemies. It is a prayer that received a definite and positive response from God when first of all a prophet called Jahaziel assured Jehoshaphat and the people that the battle was the Lord's and then when victory in battle followed. In this particular verse there are four parts. First, a request – for judgement on their enemies whose cause was most unjust. Then there is confession – both of weakness and of ignorance as to what to do. Finally, there is that desperate yet hopeful but our eyes are upon you. Here is a model for prayer. Make your request, one that is shaped by the teaching of God's Word as this one was. Then confess your utter helplessness and your ignorance about what to do. Finally - look to the Lord. This should always be our attitude, whatever the crisis. If we fail to look to the Lord, for whatever reason, then we will suffer for it.
Here is a great verse that is full of comfort for believers. One's eye immediately leaps to the statement that God will wipe away every tear from their eyes. Although as we grow older we generally cry less often, we conversely tend to see more reasons for tears. The idea of God's acting like a loving parent and using his hand to gently dry our eyes is a powerful and striking one. The shepherd figure that precedes the parental one is also striking, even more so when we consider that the shepherd is the Lamb, the Lord Jesus who was slain. Though at the centre of the throne of the universe, he also leads his grateful sheep to refreshing springs. The prospect for the believer then is not only the negative one of relief but just as much the more positive one of refreshment too. God is our Father and Christ our Shepherd here on earth – and even more so in the world to come. And so we press on.
Wordsworth Literary Lives makes available once more (they say) classic Biographies and Autobiographies of some of the most famous names in Literature. They give readers of Classic fiction a fascinating insight into the character and personality of these literary giants.
Each book has specially commissioned Notes & Introductions which put the books in their historical context, and in many cases include some interesting facts on the authors themselves, some of whom - Chesterton on Dickens for example - are famous in their own right.
Editions so far:
Austen-Leigh, J. Memoir of Jane Austen 256 9781840225600
Blind, M. George Eliot 9781840225693
Carswell, C. D.H.Lawrence (The Savage Pilgrimage) 256 9781840225686
Conrad, J. A Personal Record - Mirror of the Sea 304 9781840225723
Chesterton, G.K. Charles Dickens 176 9781840225624
Doyle, A.C. Memories & Adventures 368 9781840225709
Gaskell, E. The Life of Charlotte Brontë 448 9781840225648
Hardy,F. The Life of Thomas Hardy 528 9781840225594
Harris, F. George Bernard Shaw 9781840225662
Harris, F. The Man Shakespeare, His Tragic Life Story 9781840225631
Harris, F. Oscar Wilde: His Life & Confessions 400 9781840225549
Kipling, R. Something of Myself 144 9781840225679
Maude, A. The Life of Tolstoy 9781840225617
I bought the Dickens. The material is, of course, out of copyright and can be accessed here.
REMEDY 4 Seriously to consider, That even those very sins that Satan paints, and puts new names and colours upon, cost the best blood, the noblest blood, the life-blood, the heart-blood of the Lord Jesus.
That Christ should come from the eternal bosom of his Father to a region of sorrow and death; that God should be manifested in the flesh, the Creator made a creature; that he who was clothed with glory should be wrapped with rags of flesh; he who filled heaven and earth with his glory should be cradled in a manger; that the almighty God should flee from weak man — the God of Israel into Egypt; that the God of the law should be subject to the law, the God of the circumcision circumcised, the God who made the heavens working at Joseph's homely trade; that he who binds the devils in chains should be tempted; that he, whose is the world, and the fullness thereof, should hunger and thirst; that the God of strength should be weary, the Judge of all flesh condemned, the God of life put to death; that he who is one with his Father should cry out of misery, "My God, my God, why have you forsaken me?" (Matt. 27:46); that he who had the keys of hell and death at his belt should lie imprisoned in the sepulchre of another, having in his lifetime nowhere to lay his head, nor after death to lay his body; that that HEAD, before which the angels do cast down their crowns, should be crowned with thorns, and those EYES, purer than the sun, put out by the darkness of death; those EARS, which hear nothing but hallelujahs of saints and angels, to hear the blasphemies of the multitude; that FACE, which was fairer than the sons of men, to be spit on by those beastly wretched Jews; that MOUTH and TONGUE, which spoke as never man spoke, accused for blasphemy; those HANDS, which freely swayed the scepter of heaven, nailed to the cross; those FEET, "like unto fine brass," nailed to the cross for man's sins; each sense pained with a spear and nails; his SMELL, with stinking odor, being crucified on Golgotha, the place of skulls; his TASTE, with vinegar and gall; his HEARING, with reproaches, and SIGHT of his mother and disciples bemoaning him; his SOUL, comfortless and forsaken; and all this for those very sins that Satan paints and puts fine colors upon! Oh! how should the consideration of this stir up the soul against sin, and work the soul to fly from it, and to use all holy means whereby sin may be subdued and destroyed!
To judge by the shock-wave that can still be felt … he struck the whole region like a planet … To a degree, he changed the very landscape. His heavenly fire, straight out of Blake’s Prophetic Books, shattered the terrain into biblical landmarks; quarries burst open like craters, and chapels – the bedrock transfigured – materialised, standing in them.
One of the delights of the season is getting out my Christmas CDs especially these 4 Thijs Van Leer offerings from 1976, 1982, 1996 and 2000. Each of the albums is slightly different in its approach and they include a variety of musicians accompanying Thijs's flute. Some 54 tracks are presented altogether, mostly Christmas carols. Several tracks are repeated - Ave Maria, Away in a manger (on 3 of the 4), Gloria in excelsis Deo, Hark the herald, Joy to the world, Mary had a baby, O Jesulein Suss, Silent Night.
Also there are the Adeste Fideles, Coventry Carol, Ding Dong Merrily on High, Er is een Kindeke geboren op aard´, Es ist ein Ros´ entsprungen, For unto us a Child is born, God rest ye merry Gentlemen, Hoe leit dit Kindeke, Ich steh´ an deiner Krippen hier, In the bleak midwinter, Maria die zoude naar Bethlehem gaan, Mary's Boychild, Mary Sing Alleluia, Schlummert Ein, Süsser Trost Mein Jesus Kommt, The First Noel, The Royal Line, Tous Les Bourgeois de Chatre, Vom Himmel hoch and What child is this (Greensleeves).
There are more secular Christmas songs on the two later albums - Deck the halls, I'll be home for Christmas, When a child is born and White Christmas - and some tracks that have no obvious Christmas connection (Rondo 1, Fin de Siecle, House of the King, I have a dream, Tango, pieces by Corelli and Vinci).
Things can get a little muzacky at times but all in all these are great albums mainly highlighting the solo flute skills of a great musician.
In the December Grace Magazine I notice that, among other good things, Mike Perrin has an article chiefly on the composer Michael Praetorius (1571-1621). Praetorius is well covered on the net. See here (wikipedia) and here (Cyberhymnal) and here and here, etc. I knew In dulci jubilo, of course and Ein Ros ist Entsprungen but not much more I confess. The above is just an audio track featuring two nice dances from his terpsichore.
2. Next up is Sir Festus Burke a jolly Carolan tune. It's joined with the festive Planxty Tom Judge known as Carolan's Frolic.
3. The Snow that Melts the Soonest was picked up from a Newcastle street singer in 1821 and reminds us of fiddle player Charles O'Connor's North Eastern roots. it must be him singing.
5. Playford's "Dancing Master" 1651 is the official source for Drive the Cold Winter Away and was contributed by keyboard player and flautist Jim Lockhart. Some nice banjo work here. It was this tune's use in the recent BBC Tess that reminded me of the album. They resist singing until the very last line.
8/9. Crabs in the Skillet is a jig played with Denis O'Connor, another Carolan tune first played on Christmas day 1723.
13. When a Man's in Love is another O'Connor suggestion. Presumably he sings.