Like Wolfgang Loos, Like Salvation
346717
Alphaville has successfully (IMHO) updated to the new millenium with this adventure into dance/techno.  Wolfgang's voice is as strong as always, though the lyrics are not as interesting as Afternoons in Utopia.
825289
My all time Boll favorite. It is about building and destroying. It's almost an act of weighing in a balance - achievements of the past vs. a few years of madness and destruction. Boll is a very simple writer from a moral point of view- as a Catholic, he writes about innocence, lost or willfully destroyed. Without a grain of purity, there can be no discussion about redemption. Without it, the German recovery after the war looks suspicious. Many dislike him for his attitude during the years when the extreme left turned to terror in West Germany. And many more may dislike him for his 'reserve' concerning the healing of the German society after the war. For him, things are morally simple, almost in the extreme: there can be no forgiveness for murder, for the myriad of compromises that first led a nation cheering to the streets only to end up cowering in cellars and scrounging through the rubble. Things are not so simple to judge- anybody who lived through a dictatorship knows that. Yet Boll decides to cut the Gordian knot and take a moral stand. One has to start somewhere. But since it is based on purity, it's far from endearing in a society trying to heal its wounds - which is another definition of social and political compromise. Boll's conclusion may be startling for all admirers of German culture, civilization: that all centuries of progress and of constant and steadfast building are not worth the sacrifice of innocent lives. To some it may seem extreme. But then, that may be a sign of the turpitude called 'recovery' after the war. From a practical point of view, we have to live in worlds of a certain moral ambiguity. Even 'justice' becomes relativized as countries like Spain, or Chile or Argentina, or the former communist block can attest to. To establish a bearing for a moral compass is therefore even more pressing.
1106187
Time-Travel Mozart! I was in raptures when I found this book. Mozart is one of my favorite composers and the 18th Century my favorite time-period. I settled in for a good read and was not disappointed.
Transported to 21st century Pennsylvania on a dark winters night, our quick-witted extrovert musician soon finds himself befriended by four college students who take him in and, realizing they have someone extraordinarily gifted in music, quickly set him on his feet (in comfortable thrift store shoes) to earn his living the modern way.
Wolf, as his friends call him, has a great deal of adapting to do in this new and very different culture, but like the genius he is, is soon adept at getting used to modern life and operating electronic devices. His love of partying, musical tricks and practical jokes (all traits of the real Wolfgang) engage him to his friends, though he has a tricky moment at an open-mic when a few wisecracking comments cause his friends a little anxiety. His old-world courtesy wins him hearts, especially that of one special frulien.
There was only one anachronism I noticed. That was when he and his girlfriend began living together. In his day, no decent man would ask that of any girl, but presumably they discussed it off the page and she convinced him that it was acceptable and her friends wouldnt drop her as a result.
I did raise my eyebrows when Mozart deemed todays Catholics hypocritical. I couldn't figure how he would have thought that, when in his day, whatever one did in private, it was vital to have the appearance of a God-fearing Church-going life. I am at a loss as to how he would come to that conclusion if he came to Mass in my church.
 But I wouldnt allow that to spoil it for me. Its a great read! I enjoyed it very much and even learned a bit of German, including how to count from one to eleven.
4188578
This fits well with Reston's 'Dogs of God' about Columbus, the Inquisition, and defeat of the Moors in Spain. He calls Luther the Reformer.' The title refers to Wartburg Castle, where Luther spent nearly a year (1521-2) in protective custody after being threatened with death by Charles V after his refusal to recant at the Diet of Worms. His safe passage was worthless as the book cites fear in the memory of John Hus and Savanarolla. Later in life, Charles reproached himself for not killing Luther when he had the chance. Reston thinks that the famous statement Here I stand, I can do no other is a myth. Emphasis is placed on the great amount of writing that Luther accomplished at the fortress, especially his Bible translation, instrumental in developing the German language as well as conveying religious information to the populace. In a poignant note he gave one of the first copies to Hans von Berlepseh, his custodian at Warturg.

There is the story of a faked kidnapping under the auspices of Frederick the Wise, Duke of Saxony, who stayed a nominal Catholic, though devoted to Luther. Luther communicated only with his main supporters Melancthon, Spalatin and von Amsdorf. The book gives rather short shift to events before and after the year long focus. Interesting is the involvement of artists Cranach and Durer as well as opponents, Cardinal  Aleander and theoreticians Cajetan and von Eck. Pope Leo X, Mainz Archbishop Albrecht and Johan Tetzel continued the sale of indulgences throughout the episode. In a bit of irony book depicts the virulent opposition of Henry VIII before England became a part of the Reformation. There were rivals, like  Karlstadt and Zwilling, who attempted to preempt Luther for leadership of the Reformation, the main reason for Luther leaving the protection of Wartburg. There is nothing on on the more significant Zwingli or Calvin who came later.

The book is a very fine introduction to Luther's philosophy, especially the limits of his reforming zeal compared to some of his rivals. He was certainly not alone in his contempt of the papal Church hierarchy. Luther a man of profound logic and acumen in his religious writings, engaged in demagoguery when dealing with the public. In spite of what he initiated, he deplored violent reaction to secular or religious oppression condoning repression while hating the nobility for their abuses.
The single map is not quite adequate to follow Luther's journey to and from the castle. This is an enjoyable and informative history in spite of it's somewhat narrow scope.
1775157
There is much to like about Flesh. Halter takes the pressure of Christians who have been taught that evangelism means counting off on your fingers how many people you have led to the Lord. He defines the concept much more broadly, inviting believers to be more actively engaged in the world by building friendships with non-believers rather than cocooning themselves in their comfy church pews.

He occasionally throws out disturbing (in a good way) ideas that cause you to rethink church norms. Take this example from page 32:[Jesus] didn't come and take on flesh so that you would someday pray a salvation prayer, go to church, and settle for a semi-religious life. He has bigger hopes and dreams for you than that. He came so that His divine life could actually take root in you and so that you could relate to Him like humans used to before sin messed everything up.

And this from p. 58: The gospel is not news that we can accept Jesus into our lives. The gospel is news that Jesus has accepted us into His life and that we can live His life now. This echoes Galatians 2:20 -  "I have been crucified with Christ; it is no longer I who live, but Christ lives in me..."

Although I was greatly encouraged and challenged by the book, I had two major quibbles with Halter's theology. Early in the book he writes, "Here's the deal. People are not looking for doctrine. They're looking for a God with skin on, a God they can know, speak with, learn from, struggle with, be honest with, get straight answers from, and connect their lives to." (p. 14) I agree heartily with this statement, but at the same time I worry about the fact that Christian dogma can so cavalierly be thrown out the window.  The gospel is both incarnational (relationships) and theological (truth).

My biggest problem with Halter's book was a strange affirmation he made regarding our humanity. He boldly asserts that Christ did not come to make us more godly, but to make us more human. But nowhere in the Bible does it say, Be human as I am human. Jesus was the perfect, sinless man who came to show us what a perfect, sinless life was like. I get the feeling from Halter that humanness means wearing our warts and weaknesses as badges of honor. This is plain silliness. Our weaknesses define us as fallen sinners, but they should not define us as Christ-followers.  As Oswald Chambers puts it, "The miracle of redemption is that God turns me, the unholy one, into the standard of Himself, the Holy One. He does this by putting into me a new nature, the nature of Jesus Christ." (My Utmost, Nov 19). Even Halter admits this when he talks about how all who follow Christ are under "spiritual renovation."

Redemption cannot be limited to salvation from hell. If it doesn't include the promise of transformation, we have only a forlorn hope.

In spite of my disagreements on these points, I really enjoyed Halter's book. His ideas are nothing new, however; they have been freshly worded for a new generation. Previous bestsellers on the subject have been Lifestyle Evangelism by Aldrich (1981) and Out of the Saltshaker by Pippert (1994).
200357
Milos Forman's 1984 film Amadeus encouraged in the public mind an image of Salieri as a bumbling also-ran to Mozart's otherworldly genius, with the corollary that his music merited no serious consideration. While this sort of a breezy judgment is surely a little simplistic in its apportioning of all-or-nothing value, the Salieri pieces I have listened to through the years did not make me take serious exception to the notion that his music can be, well, a little dull. This Requiem, however, is a fully vital work that engages its subject matter with intensity of purpose; its dramatic flourishes never feel gratuitous, but are deeply affecting. While moments of sanguine calm flicker through the movements, and dominate the brief middle section made up of the Offertorium, Sanctus, and Benedictus, the mood overall is elegiac. The whole is interlaced with a poignant melodic leitmotif whose first incarnation on the English horn pierces the sepulchral mood of the opening bars and resurfaces in several movements. Perhaps the designee of Salieri's Requiem proved especially inspiring: the piece was written to be performed at the composer's own funeral. There are no solos, and few moments when the quartet of vocalists break off from the choir; maybe an indication that this composer known primarily for his operas, writing in an age when sacred music was frequently suffused with vocal virtuosity borrowed from the stage, distanced himself entirely from worldly matters in contemplating his own death and afterlife.
2192963
Gorgoroth's key objective is emotion. On "Antichrist", their concept is based around the mysteries of medieval metaphor, through melodies and (now) lengthy opuses reflecting a romantic touch to the dark ages. This would turn into cliche by lesser artists, but Gorgoroth make it beautiful. The sound production is fuzzier and less distinct than on their previous release, percussion is ritually repetitive and vocals now and then form a clean chant, all in order for this band to broaden their horizons in sorrow-filled music. Initially seemingly aimless, this disc turns out to be a masterful, almost baroque-inspired piece of dark art.
1843395
A Christian musician friend of mine has a saying that "Salvation may be just one song away". For some that song might well be From the Third Day On by Wheeler.  Have a listen!
889873
Thomas a Kempis' "The Imitation of Christ" is a perennial spiritual classic that many have heard of but fewer have read.  Surprisingly, considering I'm a 21st century Protestant (alright, I'm an Anglican and a Reformed Catholic), it's a book that I find provides a lot of spiritual nourishment.

"The Imitation of Christ" is divided into 4 Books and 114 chapters.  The Books are titled: "Admonitions Useful for a Spiritual Life," "Admonitions Leading to the Inner Life," "The Inward Speaking of Christ to a Faithful Soul," and "Which Treats Especially of the Sacrament of the Altar."

It is a cornucopia of devotional material, some of it better than others.  What a Kempis  does well is place before the believer the continual need to seek Christ above all things.  A Kempis is definitely on the ascetic side, which is not surprising since he was a monk.  He makes a constant plea for denying oneself to follow Christ, a plea that many contemporary Christians and churches need to hear.  This is not an "inspirational," "I'm OK you're OK," "God has to bless me with riches" kind of a book!

Much of what a Kempis offers is practical spiritual advice, such as advice on "the profit of adversity" or the importance of knowing God and not just studying about Him.  This advice is often very pithy and useful, and he definitely gives the soul a lot to meditate one.  Another thing a Kempis does well is to keep pointing us toward eternity and reminding us that this world is not all there is.  This, too, is a helpful antidote to our modern lives.  One of the best and most overlooked features of this book is the wonderful, deep prayers that are scattered throughout the work.  Some of these are truly moving and should be prayed more often.

However, there are a few reasons why I can't give the book 5 stars.  Sometimes the advice sounds a little like Polonius from Shakespeare's Hamlet.  Other times, it's clear that a Kempis is too world-denying in his faith.  As a pastor, I am constantly counseling people to deny themselves and take up their cross.  On the other hand, a Kempis counsels us too often to retreat from the world.

Sometimes a Kempis advice is too moralistic and even legalistic in that his advice can seem like a list of things we have to do to merit God's favor.  At times there is too much of a tone of "You must do this to find favor with God" and not enough of the grace of God.  And sometimes, coming from a medieval monastic world, his advice is not very good for people who have to live in the world.

You might think that Book IV, on "The Sacrament of the Altar," would be offensive to non- Roman Catholics.  Yet most of what he says is acceptable to most Protestants, especially those from more historic traditions, such as Anglicans and Lutherans.  I find that is spurs me on, above all, to reverence Christ and seek Him.

In summary, there is still a place for a book like "The Imitation of Christ" in the world of devotional books today, for it still has the ability to help lead us to and to imitate Christ.
4288704
Mark Joseph wrote a book with one point in mind: Christians, particularly in the music world, should be salt and light to the world, rather than insulating themselves in the church/Christian realm. He has included brief biographies of many well known musicians - U2, Alice Cooper, Lenny Kravitz, Lifehouse, Jars of Clay, Gary Cherone (of Extreme and Van Halen fame), Lauryn Hill, and more, to show us that it is possible, even desirable, for Christian musicians to infuse the popular culture with subtle messages of hope and love. I enjoyed reading all these profiles, which included many musicians' views on faith. However, I have a few objections to the book.

1) The thesis, while in part true, ignores one major consideration. Just as in the church, there needs to be preaching (witnessing/introduction of the gospel) and teaching (education for those who already believe), so too is there a need for Christian musicians in the secular realm, and others to remain in the "CCM" world. Joseph seems to be criticizing musicians for not venturing out into the world, and being satisfied with the bubble they are living in. I, however, applaud musicians who recognize the need to minister to those who already believe, and remain in the CCM (Contemporary Christian Music) scene.

2) As far as writing itself goes, Mark Joseph is average, at best. I did not want to keep on reading because of the writing style, but rather because of the musicians he featured towards the end (Dashboard Confessional and U2, to name a few). I tolerated the chapters that focused on musicians I didn't know, simply because I wanted to be more informed. I was sorely tempted to just skip them over, though.

Anyways, this book is not anyone's attempt at Pulitzer Prize-winning literature. Joseph is writing this because of his love of rock music, and as a gift to others who love it like he does. Definitely an enjoyable read, though it does not necessary merit a second perusing.
1127272
Hugo Wolf died in an insane asylum, and the anguished voice in his head might have sounded like Birgitte Fassbaender's--haunted, plaintive, wounded. This notable German mezzo was a lieder specialist, but some composers (Schubert, Schumann) withered under her salt and vinegar voice and aggressive attacks. Wolf was made to suffer, so the voice works extremely well here in this 1992 colleciton of Morike lieder.

Composer and singer are both on the edge of outbrust, but this phase of Wolf's astonishingly rapid output was lyrical, too.  Fassbaender accommodates the often simple tunes, which float over restless, condensed accompaniments. Fortunately, she also has the best pianist she's ever enjoyed on records, the refined Jean-Yves Thibaudet. His soft-grained approach helps to offset the angular singing.

All told, an invigorating Wolf recital, one of the best I've heard since Schwarzkopf (and from a totally different planet).
2319490
R. Kelly's "Happy People/U Saved Me" is pretty straightforward in concept: one disc is filled with upbeat positive messages, and the other is inspirational, with themes of salvation, redemption, and faith.  We'll start with the first disc, since that's the better of the two.  On "Happy People," Kelly takes on the role of a DJ in the fictitious LOVE radio station. Here, we get songs like "Ladies Night," "If," and "Love Street," which all have hooks strong enough to sink Jaws.  Easily, every other jam could be released as a single and has "hit" written all over it. On "U Saved Me," Kelly gets his praise on, serving up a platter of gospel-themed tunes that hold up, even when the disc occasionally has lyrics that resort to inspirational cliches we've all heard on Sunday mornings.  Kelly Price, Kim Burrell, and Maurice Mahon join the big R on "3-Way Phone Call," one of the better songs on "You Saved Me," while Kelly also holds up on "I Surrender" and another favorite of mine, "Prayer Changes."  Unfortunately, he does resort to melodrama on "Leap of faith," the disc's one true misfire.  Still, the virtues outweigh the flaws, and "Happy People/U Saved Me" comes out a winner.  His current troubles may make it difficult for some (myself included) to justify buying his records, but his latest double disc reminds us how talented R. Kelly really is.
2513158
Prime Cuts:  The Burning Edge of Dawn, The Power of a Great Affection, Be Kind to Yourself

Like a tantalizing meal that lingers with its rich aromatic flavours long after you have finished your last bite, the songs of Peterson lingers.  They haunt.  They disturb.  They comfort.  Some of the lines such as "Now my heart is a catacomb/I'm praying we can find a way to raise these bones" are so acerbic that they will get us ruminating for days without end.  Further, Anderson has such a way of spinning out attention grabbing narratives that he will get us hook, line and sinker.  With narrative cues such as "I remember Mr. Greene and I/Were walking down a busy street in Louisville," we can't help but beg for more of the story to come.  Maybe it's because Peterson is also a novel writer (Peterson has just completed writing The Warden and the Wolf King, the final book in the award-winning Wingfeather Saga series), he has honed his pen in such a way that he's the connoisseur of language that excites and engages. These 10 cuts, in short, piques, excites and entices our hearts and minds.

"The Burning Edge of Dawn" is Peterson's eleventh studio album and the follow-up to 2012's "Light for the Lost Boy."  Written by Peterson between February and May 2015, with his friend cum producer Gabe Scott (Crowder), most of these songs were written in the studio as they were recording the tracks.  Nevertheless, despite its ad hoc genesis, the songs don't appear haphazard or enervated.  Rather, this album thrives with great theological depth.  "The Power of a Great Affection," which borrows vocabulary from Jonathan Edwards and C. S. Lewis, is a gorgeous ballad that speaks of how God woos us from our love for sinful idols to Himself.  This is an exquisite piece that clothes the Reformed Doctrine of the Unconditional Election of God in sonic garb that is both palatable and so affecting.

Certainly Peterson is one that can never be faulted for recycling platitudes.  "Be Kind to Yourself" is an acoustic-sounding ballad that speaks of how we often we beat yourself up because we don't believe God's forgiveness.  This is therapeutic for those of us who have embittered by hurts.  Again anyone who has had wrestled with disappointments and unanswered prayers will have their heart strings pulled with the stunning "The Rain Keeps Falling."  Words such as "I sat in that cave and I prayed for a spark/To light up all the pain that remained in my heart/And the rain kept falling" are extremely soul piercing.

Peterson definitely puts his Wingfeather Saga skills to work on the title cut "The Dawning Edge of Dawn."  Filled with lots of apocalyptic images, "Dawning" is a graphic depiction of our present evil age sitting on the precipice of the eschaton.  Yet, not all works.  Precisely because acoustic-sounding ballad is the melodic rhetoric of the record, a couple of the songs when played back to back sound quite similar, a perennial blind spot for many singer-songwriters. One would have wished Peterson had included a couple of songs from other writers or at least mix up the tempo a tad more.  Nevertheless, as far as theological depth and the beauty of heartfelt language go, this album deserves an A+.
2692629
This brilliant little piece of literature takes only an hour or two to read, but will foster a lifetime of contemplation and thought concerning heaven and hell. What if God gave people in hell (which, in the novel, is a gray, drab, lonely place) a second chance at heaven? Would they take it, or would they desperately hang on to their miserable lives, which is a hell in itself? Lewis, in his "dream", sees a procession of people who are given that chance and, sadly, hardly any take it. That illustrates what I've always believed about hell: God doesn't send you there, you basically send yourself by rejecting His free gift of salvation. To those "ghosts" in hell, heaven is actually a scary place, at least at first. Most don't want to go any further past the "hard part" to the glories that reside up the "mountain". Some may get a little tripped up by the rather unorthodox theological implications, but don't let that hinder you. Just enjoy the ride, and let it speak deeply to your spirit.
348021
This, the second book in McLaren's "New Kind of Christian" trilogy is the most satisfying on some levels.  It works better than volumes I and III as story, as fiction.  But, too, it is very stirring theologically, a brave attempt at rethinking the gospel in light of current scientific knowledge.  What stays with me most, now that I've lain the book down, is its vision of heaven.  A provocative yet comforting book.  Not for everyone, yet God bless Brian McLaren from one who needed it.
761676
I like Sproul. He manages to take the complex and render it palatable. Assurance of salvation is a necessity. I remember my own struggle. I had searched for truth, was one of those who thought that Christianity was inane, and yet, when I read scripture (reluctantly, to keep my brother off my back...) it unrelentingly touched my soul. Eventually I accepted Christ. I knew that I was saved because God's Word spoke so personally to me and yet, because I had been wrong before (the epistmological question), I was burdened with doubt that tormented me for five years. In the end I found that it was not... Well, I'll let R.C. Sproul tell you. This short read does it well. It's an urgent buy signal from me.
1647039
It is quite incredible that the genre of the Symphonie lives on after Mahler. Mahler's Ninth Symphonie was a farewell to beauty,the Master Signifier and the images of childhood, the fragmented yet challenging experience of the metropolis. The transgression of beauty was to cloud over Europe in ways Mahler's imagination could hardly fathom. With Hartmann the Symphonie lives in a exiled world, it is not one free to speak, it is one where the voice, (as Agamben says someplace) carries Being, yet in what form? It is a voice smashed from the SS jackboots, a voice of the dispossessed and the homeless.
It is only the Sixth, Seventh and Eighth Symphonies of Hartmann which bear any fruit or reveal great timbral vigours. The others are to my ears like stepping stones to these massive timbral canvasses.
Timbre itself in Hartmann is allowed freedom only within well-prescribed, well-disciplined forms as canons and fugal discourse. Musical development is watched,guarded like Bentham's Panoptikon. Usually the darkest colours are allowed to commence the fugue as a bassoon or viola, never a bright trumpet as in Mahler. The string body is stretched in uncomfortable positions within the highest registers yet at loud and louder dynamic levels. Mahler as well took the strings upwards to render an ugly strident timbre, one devoid of love sometimes hope and beauty. Hartmann now has seen the full vagaries of modernity and has sniffed the sulphur of war of the twentieth century. So there are no escapist movements to render here as the beautiful Adagio from Mahler's Fifth Symphonie. He Hartmann has lived as a recluse hiding from the Nazi propaganda machines where his music inhabits only a hidden place in a wooden trunk or chest of drawers, bound with rope.
Both these Symphonies display virtuosic elements the Symphonie has hardly seen before, with an ample body of the percussive world to ring great resonances from the tortured orchestral body. The brass as well are not so declamatory but function as increasing the energy levels,like the heat from a blast furnace, with melodic lines forever reaching for the sky like the smokestakes of Krupp Works. The anxiety levels the power of the Symphonie is given a voice, but one with a renewed view of the world, a detestable one.
Conductor Metzmacher fully understands this philosophy, his career has been magnitized toward preserving the remainders of modernity, of the progressive with devoted performance work to the late Luigi Nono. Here he summons the power of these late Hartmann Symphonies fully aware of their classical proportions.