Bøker av Christopher Huggett

When the original version of this composition was first written in 2009, Alexandra, my wife, commented that it sounded like music for the Elizabethan court. I have since developed it with that observation in mind. It is not intended to imitate accurately the music of that period, but rather to create an atmosphere that evokes the sixteenth-century court. Although the work is called a symphony, it does not follow strictly the symphonic structure of modern works. In the seventeenth century, the word "symphony" referred to a work in which several instruments played together and it is this interpretation which prevails here, although there are certainly some aspects of the modern perception present. In the Elizabethan period, a "symphony" designated any member of the harpsichord family - spinets, virginals and the like. It is therefore fitting that a harpsichord is included in the composition.

Arabian Rhapsody and St George and the Dragon. Orchestra and Piano. These descriptive pieces have been fun to write - the love songs and lament, the dance, the gallop, the battles and particularly Elmo, the dragon. I hope that performers and audiences will also find them great fun and good entertainment.

The language we speak moulds the way we think. In considering the name of God, Yahweh, Reverend Huggett contrasts Hebrew thinking with that of Greek and Latin. From this he reinterprets God's name from the "God who is", influenced by Greco-Roman thought, to the "God who will become whatever he will become", implied by the original Hebrew. From this insight he derives a theology which challenges the Platonic idea of the perfect, static, unchanging God, inherent in much Christian thought, and suggests instead a God who is dynamic, creative, and constantly developing. This new form of process theology is fully compatible with the biblical texts, but questions traditional assumptions where they are apparently derived from classical philosophy.

These nine duets were originally only one (Op.9. No.1.), which I wrote to explore the possibilities of using a woodwind instrument with the piano. The oboe, a favourite instrument of mine, was used because its tone fitted the theme so well. I enjoyed the composition so much that I expanded it into three, one with each of the main woodwind instruments (apologies to the bassoon!). With that completed, I decided to write some more pieces along the same lines and returned to the oboe once more. The structure of the duet is remarkably flexible, allowing me to use a wide variety of forms and moods in conversations between the two instruments. I found it very exciting and hope that performers and audiences will do likewise.

Usually commentaries and theological studies focus on the surface of the New Testament, explaining the meaning of the text and applying it to the modern world. At most, they look at the foundations of what is there, the substructure of the buildings which can be clearly seen. This book digs deeper to the bedrock beneath and uncovers traces of the buildings which are no longer there, the Christianity which predates that of the biblical writers. In doing so, it offers a new perception and understanding of the development of Christianity.

An original composition by Christopher Huggett. Christopher's music is based on traditional forms but has a distinctively modern flavour. Often exuberant, sometimes peaceful, but almost always joyful, his music is frequently contrapuntal, full of movement and overflowing with memorable melodies. A challenging and exciting experience both for performers and audience.

Christian tradition draws its understanding of the last days of Jesus by conflating and harmonising the four canonical gospels. In doing so it creates a false picture which owes much more to Christian theology than to history. Mark's narrative on which the other three accounts are based is itself heavily influenced by the competing theologies and political allegiances of its time. It combines a tripartite central narrative with other traditions and individual stories to create a continuous account.Revd Huggett analyses and comments on these separate narratives and looks behind the storyline to discover the underlying historical events. His conclusions are startling and significant, enabling the reader to understand more clearly both the Christian tradition and the events on which it is founded.

Christopher has been composing for nearly forty years, but his music is constantly developing as he explores new ideas and techniques. Inspired by such traditional composers as Mozart, Chopin and Bach, his music nevertheless has a modern flavour and his style is distinctive and unique. Often exuberant, sometimes peaceful, his works are full of movement and overflowing with memorable melodies offering a challenging and exciting experience both for performers and audience.He has published many works of theology, fiction and music, which are available through Amazon or any good bookshop. I wrote these two piano quintets and this string quartet to learn to handle composing for strings, prior to dealing with a full orchestra. The three movements of each work offer different challenges and opportunities. The sonata form of the first movement, though used freely, gives scope to develop a theme and experiment with differing patterns and key changes. The second movement offers more lyrical and melodic themes, and the third movement, customarily a rondo, allows me to create contrasting tunes, united by the repetitive primary motif.

The full score of the third Piano Concerto by Christopher Huggett.Christopher has been composing for over forty years but his music is constantly developing as he explores new ideas and techniques. Inspired by such traditional composers as Mozart, Chopin and Bach, his music nevertheless has a modern flavour and his style is distinctive and unique. Often exuberant, sometimes peaceful, his works are full of movement and overflowing with memorable melodies. This new work will challenge the pianist and delight the audience with a variety of contrasting emotions and themes that will linger in the memory long after the performance has ended.

During the decade or more when I have been publishing my theological studies I have learned many new things and changed some of my opinions and assumptions. Detailed commentary on all the New Testament books has led to a new assessment of dating and authorship of some of them. The development of an early history of belief in Jesus, which contradicts some of the suppositions of traditional Christianity, has given dramatic new insights. A clearer understanding of the text has brought to light mistranslations and editorial insertions within the early manuscripts.As I read my earlier works it becomes clear that they need to be updated to bring them into line with later conclusions. I have therefore revised many of my books, but there are some studies which are included as individual chapters in larger books, especially in "Christian Beginnings", "Becoming Christian" and "Here I Stand". I have revised these and include them here together with a number of other short works not published before.IntroductionBecoming Christianity - An examination of the nature of Christianity (BC)The Resurrection as Process (RP)Did Jesus die to save us from our sins? (DJD)The Kurios Question (KQ)Evil and the Devil (ED)God: Other, Immanent, Transcendent (GOIT)Why Worship? (WW)Why Pray? (WP)Morality and Motivation (MM)The Twelve Disciples: Fact or Fiction?(12D)Was Jesus nailed to the cross? (WJN)Was Jesus a descendant of King David? (WJD)Were Peter and Paul martyred at Rome? (PPR)My God - A discussion on the existence and nature of God (MG)"A Theology of Becoming" Revisited (TOBR)The Authority of the Bible (AB)The God of the Future (GF)Heavens Above (HA)Body and Soul (BS)Are You Saved? (AYS)God's People (GP)Faith Becoming - A personal examination of faith (FB)BIBLIOGRAPHY OF THEOLOGICAL WORKS

Paul wrote not two but four letters to Corinth, which have been reconstituted into the two letters we have today, though the text has become muddled and is full of later additions. Revd Huggett offers a reconstruction of Paul's original writings and the later additions, together with explanatory notes. He concludes with a discussion of the implications of his findings for our understanding of the significance and content of the New Testament in modern Christianity.

"He is the icon of the unseen God" (Colossians 1:15)."The brilliance of the splendour of the good news of the Messiah, who is the icon of God" (2 Corinthians 4:6).Christianity teaches that Jesus Christ was completely God and completely human, but it is hard to understand what this means, especially since the creeds use descriptions, such as, "of one substance with the Father", which are based on an understanding of physics, established centuries before Jesus and rejected by science four centuries ago! In this work, Revd Huggett traces, both for the scholar and the ordinary Christian, the development of the doctrine of the Incarnation in the New Testament and the early church, examining it alongside the modern distinction between the Jesus of history and the Christ of faith. These are shown to be an alternative way of looking at Jesus, one describing him as completely human and the other as completely divine. The two approaches are brought together in the illustration of an icon, which is based on the historical Jesus but portrays him as the Christ of faith. The latter, the revelation of the word and image of God, is created and interpreted only through faith. In this process, which is the true expression of the Incarnation, Jesus Christ is recognised as the icon of God himself, showing us God in the form of a man.This work is a development of the ideas, first discussed by Revd Huggett in "Stereoscopic Theology" (2017). The ancient theological problem of the incarnation and the modern dichotomy between the Jesus of history and the Christ of faith are shown to be differing ways of approaching the same puzzle. Both are illuminated by recognising the Christ of faith, the divine aspect of Jesus, as the icon of God himself, superimposed on the human Jesus of history.

In Luke's infancy narratives he extends the story of Jesus back from his baptism by John the baptist to the births of both of these figures. In doing so, he explores the relationship of the roles of John and Jesus, establishing a key issue in early Christianity. Christianity arose, at least partly, from the Essene context of John the baptist and the disciples of John continued to exist alongside the new Christian religion. Indeed, they competed against Christianity, especially within Judaism. Luke shows in the stories surrounding the birth of John and Jesus that the two are interrelated, but that John is merely the prophet who proclaims the coming of the Messiah, Jesus. In doing so, he turns history into theology and lays a foundation for later Christian belief.