Text: Revelation 7:9-17
First Reading, All Saints Day (Observed), Series A.
In the Name of Jesus. Amen.
Introduction
Have you ever had a dream or nightmare that felt real? Occasionally, I’ll get a nightmare like that. I’ll have a dream and wake up and have a hard time for a moment or two distinguishing between the dream and the reality. Usually, it’s a bit scary. So, I get up, go grab a drink of water, and within five minutes I’m reminded that it was not real. It was just a dream. The accident didn’t happen, so-and-so is still alive after all, and the monster attacking you was just in your imagination. The clash of dream and reality can at times be powerful. Sometimes it may be hard to tell which is which.
I wrote an article this past summer about the Reformation. It was posted on the Gospel Coalition Canada website. The original article can be found by clicking the link below:
WHOSE REFORMATION IS IT? A LUTHERAN REFLECTS ON THE 500TH ANNIVERSARY OF THE REFORMATION
On October 31st, 1517, Augustinian Friar and University Professor Dr. Martin Luther posted 95 Theses on the door of the Castle Church in Wittenberg. By posting these 95 Theses, Luther sought to voice his objection to the sale of indulgences. Far from starting a reasoned discussion, as was his hope, this was the spark which splintered western Christendom into pieces. Contrary to popular opinions, it was never Luther’s goal to overthrow the Roman Church, nor did he intend to splinter western Christendom. His objective was to reform the church. He saw an abusive practice and sought to correct it. Thus, this reformation movement is said to have begun there, at the door of the Castle Church. The objective of this reformation was to establish the truth and to do so upon the basis of Holy Scripture, with due respect given to the voices of the saints of old. It has been half a millennium since this reformation began, and the Church will never be the same.
Text: Matthew 22:1-14
Gospel reading for Series A, Proper 23.
(This sermon was revised for the one year Lectionary here.)
In the name of Jesus. Amen.
Introduction
When was the last time you were invited somewhere for dinner? Perhaps it was last weekend when you went to friends’ or relatives for Thanksgiving. What was your table like? Was there a big, carved turkey? Were mashed potatoes and stuffing on the menu? Maybe some cranberry-sauce and some wine? Pumpkin pie for dessert? Perhaps you have been recently invited to a dinner at wedding? Maybe you went to a simple dinner at a friend’s house. Maybe you did the inviting! It seems like every special occasion or any important event involves a good meal. It’s also very much part of how we socialize. We invite people over for dinner, and we get invited over for dinner. Well today’s readings involve a great feast! The greatest feast you’ll ever be invited to!
Text: Philippians 2:1-18
Epistle Lesson for Series A, Proper 21
✠ In the name of Jesus. Amen. ✠
INTRODUCTION
Dear saints, have you ever been to a play, ballet or stage performance of any kind? Each performer does their bit, and plays their part. Back in St. Catharines, a few years ago they opened up a new performing arts centre. Laurin and I love choirs and classical
music, so we have had the chance to see the Niagara Chorus and the Niagara Symphony singing and playing Bach, Handel’s Messiah, Beethoven’s Egmont Overature, and Brahms German Requiem. It is definitely something else to hear a choir perform live, instead of just in a recording. In any kind of live stage performance, all the individual performers work together in unity and the result is efficiency and beauty.
So that unity is important for a good production. All the performers know right where to be and what to do so that each move, each line, each note sung with precision. It is like watching a new or classic car engine with all its gears and pistons working together in perfect harmony. But, what if one performer is out of step or out of tune? What if one actor suddenly decides his minor character deserves a bigger role? What if the entire Bass or Soprano section decides to start singing a different tune? The beauty of the performance is ruined and chaos ensues. The beauty of the performance can only be seen when everyone involved was working together towards the same object, when they have the same focus.
Eleventh Sunday After Trinity
Here are the English versions of the chorales used by Bach for his cantatas for the eleventh Sunday after Trinity.
Chorale: Oh, whither shall I flee
Johann Heermann, 1630
Tr. Mor. H.-B., 1845, alt., but sts. 6, 8, 12, M. Carver, 2012.
Walther’s Hymnal, #230
Tune: Auf meinen lieben Gott
Tenth Sunday After Trinity
Here are the English versions of the chorales used by Bach for his cantatas for the tenth Sunday after Trinity.
Chorale: Great God of mighty pow’r
Chorale: Remove from us, O faithful God
Martin Moller, 1584, after Aufer immensam
Tr. J. C. Jacobi, 1750, alt.
Walther’s Hymnal, #225
Tune: Vater unser im Himmelreich.
BWV 102
Chorale: Yea, as I live, thy Maker saith
J. Heermann, 1630
Tr, J. C. Jacobi, 1732, alt.
Walther’s Hymnal, #229
Tune: Vater unser im Himmelreich.
Ninth Sunday After Trinity
Here are the English versions of the chorales used by Bach for his cantatas for the ninth Sunday after Trinity.
Readings:
Old Test: 2 Sam. 22:26-34
Epistle: 1 Cor. 10:6-13
Gospel: Luke 16:1-9
BWV 94
Chorale: What is the World to Me?
Georg Michael Pfefferkorn, 1645– 1732;
Tr. August Crull, 1845– 1923, alt.
Lutheran Service Book, # 730; The Lutheran Hymnal # 430.
Tune: Was frag ich nach der Welt
BWV 105
Chorale: Jesus, who in sorrow dying
Johann von Rist, 1641
Tr. sts. 1a, 2b, 12, A. T. Russell, 1851, alt.; sts. 6, 8 Mor. H.-B., 1808, alt; sts. rest, M. Carver, 2012.
Walther’s Hymnal, #221
Tune: Meinen Jesum laß ich nicht.
BWV 168
Chorale: Lord Jesus Christ, Thou highest Good
Bartholomäus Ringwaldt, 1588
Tr., C. Winkworth, 1869, alt., but st. 2, F. W. Young, 1877, alt.; st. 5, M. Carver, 2012.
Walther’s Hymnal, #216
Tune: Herr Jesu Christ, du höchstes Gut
Eighth Sunday After Trinity
Here are the English versions of the chorales used by Bach for his cantatas for the eighth Sunday after Trinity.
Readings:
Old Test: Jer. 23:16-29
Epistle: Rom. 8:12-17
Gospel: Matt. 7:15-23
BWV 45
Chorale: O God, thou faithful God
Johann Heermann, 1630
Tr. Catherine Winkworth, 1858, alt.
Lutheran Service Book, #696; The Lutheran Hymnal, # 395.
Tune: O Gott, du frommer Gott
BWV 178
Chorale: If God were not upon our side
Justus Jonas, 1524
Tr. Catherine Winkworth, 1869, alt.
Walther’s Hymnal, #438
Tune: Wo Gott der Herr nicht bei uns hält
BWV 136
Chorale: Oh, whither shall I flee
Johann Heermann, 1630
Tr. Mor. H.-B., 1845, alt., but sts. 6, 8, 12, M. Carver, 2012.
Walther’s Hymnal, #230
Tune: Auf meinen lieben Gott
Seventh Sunday After Trinity
Here are the English versions of the chorales used by Bach for his cantatas for the seventh Sunday after Trinity.
Readings:
Old Test: Gen. 2:7-17
Epistle: Rom. 6:19-23
Gospel: Mark 8:1-9
BWV 186
Chorale: Salvation unto us has come
Paul Speratus, 1484-1551
Tr. The Lutheran Hymnal, 1941.
Lutheran Service Book, #555; The Lutheran Hymnal, # 377.
Tune: Es ist das Heil
BWV 187
Chorale: Sing we now with all our heart
Hans Vogel, 1563
Tr. Matthew Carver, 2011.
Hymnoglypt
Tune: In Natali Domini
BWV 107
Chorale: My soul, why such affliction?
Johann Heermann, 1630,
Tr. Matthew Carver, 2012.
Walther’s Hymnal, #378
Tune: Von Gott will ich nicht lassen.