MYHB - Cross - Culmination of revelation
Cross - Culmination of revelation
If the history of mankind is seen as a stage , then one view of the cross being the culmination of revelation, is that the Old Testament tells how the stage is set in order for Jesus to die on the cross. There is a mushy preparation for mankind to be ready for it. The future end times is the last chapter concerning the end of the world. In this view, nothing in the Old Testament speaks of Christ, but only of things that the author and his immediate audience would know.
History certainly does tell how the stage is set up for Jesus to die on the cross, but it tells more. There are small hints dropped concerning Christ and the cross, but it is more.
The Old Testament is more like a symphony. The literal-historical record speaks of building the stage, bringing the players together on stage, and sitting them in their assigned places.  John the baptist is the first violinist who prepares the way for the author/conductor. The first violin stands and tunes the orchestra as John proclaims "prepare the way of the lord."  The same texts that arrange the stage, are the score for the symphony to play.
As Jesus steps up, he calls the Orchestra and audience to attention. He is the incarnate Word who wrote the score before the foundations of the earth.  The introduction is short. Genesis 1 establishes the melody of the cross in six variations  followed by an intermission.
The first variation expresses the melody of the cross in the theme of Holiness and Love, law and and grace, as two competing characters in the priesthood of God.  It is played by solo soprano trumpet and bass.  The tension established on day one of creation will thread it's way through the whole performance as a dissonant duet, finally resolving in a harmony on the cross. 
The second variation introduces the instruments which will represent the tension established on the first day.  The brass will be be bold, obvious and loud, speaking to the flesh. It startles; it shouts; it demands attention like a misplaced pep band. It is the voice of the king waking the sleeping or distracted audience. When it speak loudly, and it always speaks loudly, it conceals the more subtle voices of the other sections.
The violas are quiet and peaceful; they play as one, never demanding, never seeking attention; yet are the foundational wall of sound which permit the other instruments to rise above as they each express the melody of the cross. 
At the cross, the voice of the brass will be brought down; muted, and blend with the violas as one voice. 
In the third variation, a hidden oboe is given the lead. It is a harsh voice of desolation and loneliness , it will be pervasive through the the score, like general revelation. It is the voice of the judge speaking of separation from God. It is like the swan honking amongst cooing doves.
The fourth variation of the melody is the first, but the trumpet is joined by all the brass and woodwinds ; The bass is joined by all the strings.  The tension expressed in the first is amplified in the fourth. It is as if the world has gone crazy. In the first, the tension was between two voices, and is now a raging war.
The fifth expression of the melody is an expansion of the second. but the roles are reversed. At first it sounds like a bigger version of the second with more instruments playing. During the course of variation, the instruments exchange their melodies. 
In the sixth variation, all the variations are walked together, each variation joining the main as one. There is an illusion of harmony , but something just isn't right. From time to time the oboe honks. The loneliness of the third variant is contrasted by the unity of the sixth, excepting the oboe. In the middle, there is solo oboe crying "Why hast thou forsaken me". A moment of silence.  Then the conductor is revealed to be the hidden oboist.  He plays the new song. The new song is passed from instrument to instrument. Each instrument joins the 'congregation' as it learns the new song. The new song is the old song, but now in harmony with the oboe. They all play together with the oboe in the lead. 
This is just a brief introduction. Each variation is given it's own movement.
In the first movement, the oboe moves the melody from trumpet to bass and back.
In the second, the oboe plays with each section.
The cry of the oboe is echoed by the rest of the orchestra in the third.
In the fourth, the oboe begins with one side and moves to the other.
In the fifth the oboe carries the melody from one side to the other.
The sixth is played out as stated above.
The introduction is short, and the role of the oboe is not made clear in it. In each movement, it's role becomes more clear.