For, brothers, you became imitators of the churches of God being in Judea in Christ Jesus, because you also suffered these things by your own fellow countrymen, as they also by the Jews, who both killed the Lord Jesus and their own prophets, also driving us out, and not pleasing God, and being contrary to all men, hindering us from speaking to the nations in order that they be saved, to fill up their sins always. But the wrath has come on them to the uttermost.
1 Thessalonians 2:14-16
The term “Judeo-Christian,” as it has come to be used, is beyond oxymoronic: it is truly an absurdism. When Judaism and Christianity are properly defined, there is no such actual worldview. The appearing of the Messiah forever determined the new downward trajectory of the former and brought forth the latter as its true fulfillment; and never the twain shall meet. “Judeo-Christian” is simply the (historically new) rhetorical cloak of the zionist-imperialists to excuse their ongoing subversion of many nations; it is a trigger-word coined to demonize all who would dare to oppose the modern-day Judaizers, who have snuck their leaven and mammon into the church for fear of the gospel.
And they have done this most effectively in the west by turning the prophetic scriptures into worldly apocalyptic fantasies, which, because they reject the life-giving Spirit of Christ, require a return to the form of the Law that Christ has already fulfilled, as well as the establishment of an earthly kingdom with earthly Jerusalem (which God destroyed) at its head. Jesus opposed these very men in His own day, saying, “If you were children of Abraham, you would do the works of Abraham. But now you seek to kill Me, a man who has spoken the truth to you, which I heard alongside of God. Abraham did not do this.”(Jn 8:39-40)
You cannot force the end of the age. And even if you could, the only biblically prescribed method of “hastening the day of the Lord” is to be a pure and spotless bride for Christ. Whoring around with worldly powers and playing into Jewish fables about the end times will not accomplish that. It may appear to succeed for certain moments, at least for as long as the narrative can be sustained; but it will ultimately fail to achieve such an end. And when the Lord sweeps His true children into a true revival of His heavenly kingdom in their hearts, you will have missed the Spirit. The earthly temple was left with not one stone left standing upon another (Lk 19:44); the heavenly Jerusalem awaits. Take no heed to the rabbis of Sodom and Egypt, where our Lord was crucified.
I have come in the name of My Father, and you do not receive Me. If another comes in his own name, you will receive that one. How are you able to believe, you who receive glory from one another, and the glory which is from the only God you do not seek? Do not think that I will accuse you to the Father; there is one accusing you, Moses, in whom you have hoped. For if you were believing Moses, you would then believe Me; for that one wrote concerning Me. But if you do not believe his writings, how will you believe My words?
A comparison of four classical composers, with observations on how their music either helps uplift the soul to God, or draws the mind down to wallow in the things below.
1 – Johann Sebastian Bach: The Harmony Of Logos
Examples of Bach:
Brandenberg Concerto No.3:
Bach’s beautiful choral arrangement of the Lutheran hymn “By The Rivers Of Babylon”(“An Wasserflüssen Babylon”):
Toccata & Fugue:
Bach’s music describes in vivid sonic detail the reality of God’s divine order and eternal truth. There is seemingly no phrase or note in his music not written to this one end; all has distinct purpose. There is no waste; and everything is addressed in a most dignified manner. In Bach’s music, the Light is spoken of with awe and reverence; and the darkness is spoken of within the context of God’s mastery over all. There is pure joy in the Lord, with nothing trite or frivolous. There is pure fear of the Lord, with no hint of despair. There is no glorying in man’s thoughts or strength; but much rather in God’s wisdom and power.
Bach is (among other things) the great exegete of the keyboard, and his extensive repertoire lays out for us, as it were, the divinely appointed boundaries of every note’s potential use in relation to another, with every measure of his many compositions effortlessly reflecting his own remark that “harmony is close to Godliness”. There is no flirtation with musical subversion or mindless dissonance; and the occasional unusual sound is employed only to serve the well-being of the hearer as far as it reflects the realities of God’s truth within the created order of the music.
“The aim and final end of all music should be none other than the glory of God and the refreshment of the soul.”
– Johann Sebastian Bach
How well indeed did his music fulfill that saying! | |
2 – George Frideric Handel: The Sound Of Majesty
Examples of Handel:
Overture, from Messiah:
Comfort Ye My People, from Messiah:
Overture, from Alexander’s Feast of the Power of Music:
A contemporary and fellow countryman of Bach (though they never met), Handel’s music is hewn from the same substance, with an ever-present consciousness of honoring God’s glory. There is always a sense of divine majesty in his compositions, by which the sensitive hearer is at times made to feel that they tread on holy ground – and this without either pretension or any sense of overbearing forcefulness on the part of the music: it simply speaks for itself when played, as truth always does when uttered.
The instrumentation alone in his famous work “Messiah” can easily take one into the very holy of holies if the soul is prepared to heed its call; and the accompaniment of prophetic scriptures borne upon its heavenly melodies carries an anointing unparalleled in most hymnody. There is often a hush of awe which falls upon even the most secular of audiences when these pieces are performed in succession. That particular work was reported to have been written by Handel in the course of approximately 30 days (in its base form, without many of the large choral parts – still an astounding feat). | |
3 – Ludwig Van Beethoven: The Self-Interest Of Man
Examples of Beethoven:
Piano Concerto No.1 – Allegro Con Brio:
Cello Sonata No.3 in A Major:
Beethoven’s music still lives within the world of reality and truth, but it often does very little to consciously acknowledge such. There is still an adherence to the orderliness and natural beauty of things; but the element of divine authority is replaced with a largely unanswered search for meaning. Vast portions of his compositions are dedicated to meander through the deep woods of a lonesomely reasoning mind; and their occasional discoveries, though useful, are usually not revelatory. There is natural light, but always the bright sun is hidden behind a blanket of cloud; and the divine is so distant that it need not be directly spoken of.
In Beethoven the transcendent is lost to long rabbit trails of thought, and, at times, impulsive little adventures in melody. Not that anything is ever objectionable to the hearing – there is still a clear appreciation for beauty – yet it is limited to created beauty, and seemingly not the Creator Himself. Beethoven does eventually come to an appropriately resolved end in his compositions; but we are usually left wondering what ultimate reason there was for much of the journey. There is a distinct sense of spiritual unfulfullment despite the typical excellency of his musical form.
One always remembers the feeling of Beethoven’s music; but only a few of his pieces leave a definite impression – and even where they do, all of his music is strongly laced with the sighing melancholy of humanism’s emptiness. Even where he breaks through his troubles into a happy theme, it is always with a certain dullness of heart. Even if the light is brilliant without, it is as though the eyesight remains dim from within. Any soul not lulled to a certain numbness by much of his music is left wanting for a warmth and wholeness that was not granted; and who now shall sing to that soul of the brighter Day? | |
4 – Richard Wagner: The Madness Of Devils
Examples of Wagner:
Prelude of “Tristan und Isolde” – which has been cited by some as an early inspiration to Nietzsche’s trajectory of thought.* It is a daunting and tiresome listen:
The Ride of the Valkyries – known to often evoke in men a heightened desire for war and pointless worldly conquest:
Much of Wagner’s music (particularly as heard above) is the expression of the subversive amoral philosophy of will-to-power. There is no reality or truth there except whatever the soul desires to conquer and call its own. As an excellent example of this Satanic mindset, the starting notes of “The Ride Of The Valkyries” sound perfectly like the arousal of jealousy; and the ensuing journey is one of a constant blowing about in the swirling winds of the growing lust for power, which is the only meaning in this nihilistic worldview.
Therefore, its end is wanting of any real wholesome resolve; and throughout, the key signature changes frequently, but not often to a wholly related key. Its sense of mounting triumph has no source outside of what it has accomplished in itself by sheer will: the transcendent is drowned out completely by self-glory. At last, it crashes to an end after a swift tumble into darkness, having left the listener’s heart in great alarm. And after its echoes die off in the ears, one is left with no new thing to contemplate, no melody by which the soul is given a path toward the Logos of God. The divine is utterly cut off; the soul (if it has trusted the music) is left open to the first thought or spirit that may seek to lead it astray.
It is also worth noting that this Wagner, the composer, was a great personal influence upon Nietzsche, the philosopher; and a hefty portion of Wagner’s music certainly does seem to subvert divine order, just as the philosophy of that madman, leaving in its wake the chaotic void into which he himself no doubt gazed. | |
There hasn’t been a time since the fall of man when music was not a battleground for men’s souls. | |
Make a joyful noise to the LORD, all the earth; break forth into joyous song and sing praises!
Sing praises to the LORD with the lyre, with the lyre and the sound of melody!
With trumpets and the sound of the horn make a joyful noise before the King, the LORD!
Let the sea roar, and all that fills it; the world and those who dwell in it! Let the rivers clap their hands; let the hills sing for joy together before the LORD, for He comes to judge the earth. He will judge the world with righteousness, and the peoples with equity.
*For some additional interesting information on this subject matter, listen to this interview which I came across recently. He lays out the history of the subversion of music in the late classical era quite well, and particularly touches upon the relationship between Wagner and Nietzsche. | |
** I do not own any of the music or audio used in this post; it is herein used for reviewing purposes only. **
History indeed repeats itself; but with every repetition, it gets louder to the hearing ear, and clearer to the seeing eye.
Every tactic which man collectively employs (and re-employs) to “save” himself eventually serves only to reveal his fallenness. We are at the verge of the ugliest part of the cycle repeating itself again; and this time, the methods of the evil rulers and purveyors of wickedness have been more perfected than ever. The final chapter of history will be the culmination of all that has been building up in the darkness for millennia.
The pursuit of ultimate wealth and power has lead the whole world into bottomless debt and utter enslavement to mammon. Enforced degeneracy is currently eating its unnumerable subjects alive by the dictates of its very nature. And in modernity, the mass ethnic-melting-pot societies, falsely imposed as the grand utopian solution to mankind’s woes, will invariably lead to mass-ethnic-cleansing, as those nations with any sense of themselves left will thereby attempt to curb the inescapable consequences of all the decadence – and this was the plan all along. The Devil weakens the nations by the subversion of true authority, but then feigns innocence upon the bloody result. For amidst the ensuing chaos, he can then define with one accusation the spirit of the age, uniting the mind of the world under a single mantra: that Christ and His true flock are to blame.
You can try to intervene by playing their “game” against them, and so be drawn in to partake in the plagues of Babylon; or you can pursue the indestructable Life which is hidden with Christ in God, and He will be enough, and His kingdom will have one more inheritor.
You can compromise and become baptized in the world’s filth, and aquire a taste for the blood of the martyrs; or you can become baptized in the Holy Spirit and drink the Water of Life, and suffer for Christ’s Name.
The Lord has given us Himself to be discovered, known, and obeyed; yet the many among us keep holding on to a wicked world that hates Christ, a world that will end in bloodshed and fire.