Tuesday, December 17, 2019

The Prelude and its Promise - Sermon on Matthew 3:1-12

Listen to the Sermon here

Matthew 3:1-12
1 In those days John the Baptist appeared in the wilderness of Judea, proclaiming, 2 "Repent, for the kingdom of heaven has come near." 3 This is the one of whom the prophet Isaiah spoke when he said, "The voice of one crying out in the wilderness: "Prepare the way of the Lord, make his paths straight.' " 4 Now John wore clothing of camel's hair with a leather belt around his waist, and his food was locusts and wild honey. 5 Then the people of Jerusalem and all Judea were going out to him, and all the region along the Jordan, 6 and they were baptized by him in the river Jordan, confessing their sins. 7 But when he saw many Pharisees and Sadducees coming for baptism, he said to them, "You brood of vipers! Who warned you to flee from the wrath to come? 8 Bear fruit worthy of repentance. 9 Do not presume to say to yourselves, "We have Abraham as our ancestor'; for I tell you, God is able from these stones to raise up children to Abraham. 10 Even now the ax is lying at the root of the trees; every tree therefore that does not bear good fruit is cut down and thrown into the fire. 11 "I baptize you with water for repentance, but one who is more powerful than I is coming after me; I am not worthy to carry his sandals. He will baptize you with the Holy Spirit and fire. 12 His winnowing fork is in his hand, and he will clear his threshing floor and will gather his wheat into the granary; but the chaff he will burn with unquenchable fire."

SERMON
When Sarah and I first met, we quickly discovered our mutual affection for all things Broadway.  We both spent some time working in our local school or community theaters growing up, and musical theater was an important part of our life.   So, when we first started dating, we started a Sunday night tradition, where Sarah would come over to the apartment to watch a Broadway musical on DVD.  And we didn’t just watch the DVD, we would belt out each tune to the top of our lungs, singing along with the musical. Sarah was always partial to Little Shop of Horrors because she played Audrey in high school.  That’s the musical about Seymour, a bumbling, geeky florist who discovers a talking venus fly trap. The plant thrives off human blood and begins to grow. Ya know what, that’s irrelevant to the point of this sermon.  If you want to discuss Broadway musicals in more detail, see me after worship.     

A few weeks into our tradition, it became a running joke for our friends from upstairs to text us and guess which musical we’re watching based on our singing.  Then they would ask us to stop singing.  

Actually, one of our first dates was to the local community theater in Columbia, SC to see Les Misérables.  So good.

Our affection for broadway musicals is deep, and so naturally we feel a responsibility to pass on the joy and beauty of musicals to Bennet.   I don’t sit down at the piano at home as often as I’d like, but when I do, I try and play a lot of show tunes. Bennet requests them. 

About three weeks ago, Sarah and I started our vacation by going to the Times Union center to see Wicked.   Anyone seen Wicked? An incredible musical written by Stephen Schwartz.  
It’s the story of Elpheba, the Wicked Witch of the West, and it’s told in parallel to the classic story the Wizard of Oz.   

So, in preparation for the musical that night, as we typically do, we were listening to the soundtrack as we cooked dinner.  Bennet and I were at the table. I was working. He was eating. And when the overture started, I found myself teaching Bennet about the musical.  “Bennet,” I said, “This is the beginning of the show. It’s sort of like a prelude, but in theater we call it an overture.”  

For most folks, it’s a signal that the show has started and soon actors will appear on stage.  It may not seem all that important, but the overture is one of the most important moments of the show.”  Bennet took another bite and nodded along.  

I explained to Bennet that the overture is significant because it establishes the themes and moods of the show.  And a really good musical overture plants a seed in your ear, so that when you hear the same tunes or riffs later in the show, the music draws a red thread through the narrative.  The overture sets the mood. It presents the themes. It essentially makes you a promise about what is to come. And, if it’s a musical by Andrew Lloyd Weber, then you’ll essentially the entire show in the overture.   

And as we listened to the overture for Wicked, Bennet and I discussed the various musical themes.  The riff for “No One Mourns the Wicked.” The teaser for “Unlimited” the transition between minor and major chords and the resolutions that symbolize and preface the overarching narrative.  
Certain to say that Bennet was enamored by the conversation of overtures and preludes.

The use of preludes and overtures goes well beyond Broadway musicals, doesn’t it?  Think about some of your favorite move trilogies or sagas. The opening of Star Wars?   Indiana Jones. Jurassic Park? Home Alone. Harry Potter… Well, I guess anything by John Williams.   

In literature, we often think of the foreword and preface as a sort of prelude to the Author’s work.  They often introduce themes, moods, or motivations behind the narrative that follows. 

Certainly, one of our most common encounters with the power of preludes is in worship.  Each and every time we gather for worship, we begin with a musical offering. We commonly refer to it as a prelude.  And the final piece as a postlude. But within worship, especially here at St. Mark’s, it is so much more than that.  

We are truly blessed to have a cantor that is incredibly talented and gifted, not only with his abilities, but with musical knowledge, insight, history, and diversity as well.  Each and every time we gather for worship, we begin with an Opening Voluntary, or prelude. And I don’t mean to speak for Tony, but I’m confident to say that Tony does not pick a prelude or opening voluntary for prelude’s sake.  He doesn’t choose a piece of music haphazardly or flippantly. Each piece is selected with discernment and care because the opening voluntary, the prelude of our worship, establishes a mood. It sets a tone. It often previews musical and theological themes.  It makes a promise, and that promise becomes fulfilled throughout the course of worship. 

More often than not, Tony selects an opening voluntary that is arranged around a particular hymn we sing later in worship.  Or the text of the voluntary is rooted in the texts of the day. And to be sure, Tony takes special care to account for the melody, the tone, the tempo, the setting, the arrangement, etc, so that the opening piece is a precursor to the rest of worship.  

Even today, our St. Mark’s ringers played “Come Thou Long Expected Jesus,” and the arrangement used two different tunes for the well-known hymn.  That piece set the tone for our worship, establishing themes of longing, anticipation, movement, hope, and in the end a tension between the two settings, both conveying the same text, but with different, inter-laying melodies that ring balance to the difficult now and not yet of our Christian faith.  Celebrating the coming of the Emmanuel - God with us, while dancing with eagerness, waiting for the second coming of Christ.

Preludes are important, intentional contributions to the overall work or narrative.  In fact, by definition, a prelude serves as an introduction preceding and preparing for the principal or a more important matter.  It is essential to the overarching event and it demands our careful and reflective attention. 

Now I say all of that because I think it is the perfect lens by which we should approach the season of Advent and our text for today.  Of all the seasons of the church year, Advent is consistently one of the shortest. It’s the first season, and it comes and goes with the blink of an eye.  The world we live in and the consumerist culture does not favor a slow, intentional, and meaningful seasons of anticipation.   

Sometimes Advent feels like the opening of our favorite TV show.  We know it. We’ve heard and seen it. So, we play on our need for instant gratification, use our technology and jump ahead 10, 15, even 30 seconds to get to the good stuff.  Fast forward through the opening credits.

Advent then becomes a steppingstone to a larger, more robust and drawn out story that we breeze right past it or snooze our way through it.  And if we’re not careful or intentional, we miss the power of these texts. We’ll miss the emphasis of their proclamation. The themes they establish.  The mood and tone of their delivery. If we’re not attentive to the season of prelude and precursor then we sacrifice our experience of the whole narrative. 

Matthew’s gospel account opens with an exhaustive and complete genealogy, laying out 28 generations from Abraham, to David, the Messiah.  Then the birth of Jesus is announced, and the wise men make their journey. Joseph and his family flee to Egypt and Herod sought out and killed all of the children in and around Bethlehem.  

And today, John the Baptist appears in the wilderness, fulfilling the words of the prophet Isaiah, proclaiming the arrival of the kingdom of God.  John the Baptist is our prelude to the Messiah. The voice of the one crying out in the wilderness. JTB is our overture to the coming of the Kingdom of God.  John the Baptist sets the tone. Establishes the mood. Presents the themes of the overarching narrative, and there is a reason for his place in the story. There’s a purpose for his overture.  
I think we would do very well to lend a careful and attentive ear in preparation for the whole of the gospel narrative. 
"Repent, for the kingdom of heaven has come near…Prepare the way of the Lord, make his paths straight.'  John’s appearance and proclamation establishes some very important themes.  

First, the kingdom of God has come near.  God’s reign is ever present. God’s love for God’s people becomes incarnated in the Emmanuel - the Christ child.  God has come down, to live among God’s people, vulnerable to the depths and fears of human emotion. God loves the people so much that God chooses to be among them and accompany them through the extremes of life, even death.  The kingdom has come near, and we do well to keep watch. To see the presence of God at hand.

Second, John proclaims that God’s kingdom will be far reaching, diverse, and more inclusive than they imagined.  Do not presume to say to yourselves, "We have Abraham as our ancestor'; for I tell you, God is able from these stones to raise up children to Abraham.” 

God’s good kingdom is not and will not be exclusive to the descendants of Abraham, but rather there is a place for all people all nations.  The Kingdom of heaven is expansive and diverse. We do well to keep watch for the breadth and depth of God’s kingdom.

Third, repentance is central to the coming of God’s kingdom and the reign of the Emmanuel.  John cries out, “repent for the kingdom of heaven has come near.”   

This prelude is immediately realized a chapter later when Jesus begins his earthly ministry with the exact same phrase, “Repent for the kingdom of heaven is at hand.”   
John presents an important and powerful theme that will play out again and again as Jesus encounters people throughout his ministry.  Repentance is more than an apology or an admission of wrongdoing. It’s not about dwelling our mistakes and confession of sin.  Repentance is a complete turning around.  

Repentance means to turn away from poor values, unjust practices, and sinful behavior.  To deny false idols and self-righteousness. Repentance is a turn towards. A returning to God and the values of God’s good kingdom at hand.   

Repentance is an intentional first step in a new direction. A new and different path.  It’s to charter a new course, veer in a new way, set forth a new destination. We would do well to keep watch for the power of repentance and forgiveness as we go forward.   

This is the power and conviction of John the Baptist’s proclamation.  It is the power of Advent as a prelude to the rest of the liturgical year and the gospel narrative.  In Advent we set a new path, re-recognize the themes of our identity. We set the tone and establish the mood.  Advent is the gift and opportunity to reclaim the gift of repentance and turn towards God. 

Looks friends, Advent is such an important season in the year of the church.  It presents a valuable and essential foundation to the truths of faith we share.  In this season, we wait for the Lord. Not only for the Emmanuel born at Christmas, but we remember again our desperate longing to the coming again of God’s only son to reconcile all people, all nations, all times.
And we do well this brief but powerful Advent season to relish in the motifs of our faith.  To embrace the salvific themes of God’s goodness. To be attentive, intentional, and careful as we embark on the narrative of our faith and the fulfillment of God’s promise to the world once again.

The season of Advent...season of anticipation and longing...of waiting and eagerness, plays out like the brilliant overture.  This season makes us a promise...a promise of God that the kingdom is at hand. It is expansive, diverse, and inclusive. A promise the God’s kingdom will be like none-other and will not be ruled as the world expects.  The promise of Advent is God’s abiding and grace-filled presence in the Christ-child, Emmanuel. 

Let the overture play.  Let our hearts be attuned.  Let our souls be filled. Let our Spirit yearn for the story to be told.  Be present in this moment, for God’s promise will be fulfilled.

Amen.

© Pastor Daniel Locke, preached by Sunday Dec. 8, 2019 @ St. Mark's Lutheran JAX, FL