Studies and Essays relating to "A Theology of Becoming" Cross and Resurrection The Resurrection as Process The Kurios Question Eucharist and Passover Righteousness and Justice Evil and the Devil God: Other, Immanent, Transcendent Why Worship? Why Pray? Morality and Motivation Becoming Christian "A Theology of Becoming" introduced a new form of process theology, based on biblical study rather than philosophy or science. These essays modify and develop the ideas given there, as well as extending the theology into spirituality and ethics. The studies provide exciting new insights into the...

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. In fact, Mark's narrative, the earliest one, 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...

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...

The sonata has had numerous changes over the years and some movements have been completely rewritten for this version. It will challenge the performer and impress the audience. Suites are usually a variety of dance forms in a single key. Here I have used different forms, though few of them are dances. Each key is different, but they form a progression from one to five flats. I have omitted dynamics and accentuation for these works to allow the performer to interpret them according to his own wishes.