Mount Calvary Church

Eutaw Street and Madison Avenue

Baltimore, Maryland

A Roman Catholic Parish

The Personal Ordinariate of the Chair of St. Peter

Anglican Use

Rev. Albert Scharbach, Pastor

Dr. Allen Buskirk, Choirmaster

Thomas Sunday

April 28, 2019

8:00 A.M. Said Mass

10:00 A.M. Sung Mass

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Common

Healey Willan (1880-1968)

Missa de S. Maria Magdalena

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Anthems

Luca Marenzio (1556-1599)

Quia vidisti me, Thoma, credidisti: beati qui non viderunt, et crediderunt. Alleluia.

Because thou hast seen me, Thomas, thou hast believed: blessed are they that have not seen, and yet have believed. Alleluia.

Italian composer and singer Luca Marenzio (ca. 1553-1599) was considered by many Renaissance musicians to be the chief archetype of the expressive 16th-century Italian madrigal style. The text of this motet is from John 20: 29 – the Antiphon for the Feast of St Thomas, the great doubter. Marenzio’s madrigalian style of text painting is well served here. Note the homophonic emphasis given to the text “beati qui non viderunt” (blessed are they that have not seen).  The motet concludes with an imitative and joyful  “Alleluia.”

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Giovanni Pierluigi da Palestrina (1525-1594)

Haec dies quam fecit Dominus: exultemus et laetemur in ea, alleluia.

This is the day which the Lord hath made: let us be glad and rejoice therein. Alleluia.

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Hymns

 O sons and daughters (FILII ET FILIAE) is a translation by John Mason Neale (1818-1866) of the hymn O filii et filiae by the Franciscan Jean Tisserand (died 1494). It recounts the appearance of the Risen Christ to both the women on Easter and to the disciples in the upper room. We are addressed in the stanza How blest are they who have not seen / And yet whose faith has constant been, / For they eternal life shall win. Although we have not seen the Risen Lord with our bodily eyes, we see Him with the eyes of faith, especially in the Eucharist, and are loyal to Him.

Thou hallowed chosen morn of praise (EISENACH) is a poem by John of Damascus, translated by John Mason Neale.

That Easter day with joy was bright (PUER NOBIS) is a translation also by John Mason Neale of the Latin hymn Aurora lucis rutilat, probably by St. Ambrose (330-397). Augustine said that Ambrose set popular hymns to the meter of Roman marching songs to propagate orthodox Catholic theology, because the Arians were using hymns to propagate error.

Mount Calvary Church

Eutaw Street and Madison Avenue

Baltimore, Maryland

A Roman Catholic Parish

The Personal Ordinariate of the Chair of St. Peter

Anglican Use

Rev. Albert Scharbach, Pastor

EASTER SUNDAY

April 21, 2019

9:00 A.M Sung Mass with Festal Procession

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Organ Prelude

XVIII Elevation. Tierce en Taille, Mass for the Convents, F. Couperin

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Organ Postlude

Fanfare, Jacques-Nicholas Lemmens.

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Common

Messe pour le Samedy de Pasques, Marc-Antoine Charpentier

Marc-Antoine Charpentier (1643-1704) was born in Paris and traveled to Italy to study with Giacomo Carissimi. Upon his return to France, he became the maître de musique to the Duchess of Guise and eventually Sainte-Chapelle, one of the most important church musician positions in the country. Unlike Lully and other composers that focused on opera and the court, Charpentier wrote a great deal of very good church music; sadly, most of is unknown and unrecorded, although you can certainly find excellent recordings of his popular Messe de minuit pour Noel, Te Deum, and Litanies de la Vierge. The Messe pour le Samedi de Pâques was composed in about 1690 and is one of the few that is short and doesn’t require additional instruments. Even so, with its ornaments, uneven eighth notes (a kind of swing) and upbeat rhythms characteristic of the French Baroque, it’s just a lot of fun.

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Anthems

Healey Willan (1880-1968)

Rise up, my love, my fair one, and come away; for lo, the winter is past, the rain is over and gone; the flowers appear upon the earth; the time of the singing of birds is come. Arise my love, my fair one, and come away.

Here is the Stanford Chamber Chorale.

The text for today’s offertory anthem “Rise up my love, my fair one” is taken from that strange and beautiful book dwelling almost exclusively on romantic love, the Song of Solomon. Although the origin of this book is obscure, perhaps coming from the ancient Israelite marriage liturgy, it was read very early on as an allegory of God’s love for Israel and in the Christian era as Christ’s love for the church. “Rise up my love, my fair one,” can be heard equally plausibly as Christ offering redemption to the sinner or as the blossoming of new hope through forgiveness at a turning point in a romantic relationship. Healey Willan (1880-1968) was born in England and attended a choir school where he studied harmony, counterpoint, and organ. From an Anglo-Catholic background, he became an authority on plainchant in English translation and many of his compositions have chant-like melodies with free meter.

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John Taverner (1490-1545)

Dum transisset Sabbatum, Maria Magdalene et Maria Jacobi et Salome emerunt aromata ut venientes ungerent Jesum. Alleluia. Et valde mane una sabbatorum veniunt ad monumentum orto iam sole.

And when the sabbath was past, Mary Magdalene, and Mary the mother of James, and Salome, had bought sweet spices, that they might come and anoint him. Alleluia. And very early in the morning the first day of the week, they came unto the sepulchre at the rising of the sun.

Here is Alamire.

“Dum transisset Sabbatum” is a setting of a matins responsory for Easter. It is the best-known motet by the great John Taverner (1490-1545), one of the most important English composers of his era. Taverner was the first organist and master of the choristers at Christ Church, Oxford (founded in 1525 as Cardinal College by Wolsey). Taverner’s music has several characteristics we typically associate with late medieval music on the continent. There are flowing lines with very long melismas that can obscure the text. There is little sense of harmonic movement or direction. The music is constructed on plainchant, with the cantus firmus in the tenor. There is little imitation that is so pervasive in the music of the high Renaissance on the continent (and in the later music of Tallis and Byrd). Listen for the particularly English texture with soaring high treble lines in the top voice and very low notes in the bass. This is what the best church music sounded like in pre-Reformation England. It captures a sense of sacred space and repose from the noisy and insistent world we live in.

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Hymns

#91 The strife is o’er, the battle done (VICTORY) is from a 17th-century Latin hymn, translated by Francis Pott (1832-1909). The Latin text begins‘Alleluia, alleluia, alleluia./ Finita iam sunt proelia.’ It is found in a Jesuit book, Symphonia Sirenum Selectarum, published in Cologne in 1695. VICTORY is a free adaptation by William Henry Monk for the first edition of Hymns Ancient & Modern of the ‘Gloria’ in Palestrina’s Magnificat Tertii Toni .

#86 Hail thee, festival day (SALVA FESTA DIES) The refrain comes from the 20^th couplet of Venantius Fortunatus’ (c. 540—c. 600) long Latin poem (110 lines!) celebrating the conversion of the Saxons by Felix, Bishop of Nantes (c. 582): Salve feste dies toto venerabilis aevo. Venantius, who traveled around the Germanic kingdoms of Europe as a wandering minstrel, devoted his life to the cause of Christian literary elegance.  As poet to the Merovingian court, he became a friend of the mystic Queen Radegund, and he later became Bishop of Poitiers. The poem was translated by George Gabriel Scott Gillett (1873-1948).

#96 The day of resurrection (ELLACOMBE) is from a Greek hymn by St John Damascene (ca. 655 – ca. 745). It was translated by John Mason Neale (1818-1866).

#85 Jesus Christ is risen today (EASTER HYMN) is from Lyra Davidica (1708). It is a translation of part of an anonymous Latin hymn, ‘Surrexit Christus hodie.’

Mount Calvary Church

Eutaw Street and Madison Avenue

Baltimore, Maryland

A Roman Catholic Parish

The Personal Ordinariate of teh Chair of St. Peter

Anglican Use

Rev. Albert Scharbach, Pastor

The Solemn Vigil of Easter

Saturday

April 20, 2019

9:00 PM

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Common

Missa de S. Maria Magdalena, Healey Willan

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Anthems

 Giovanni Battista Pergolesi (1710-1736)

Surrexit Christus vere de sepulchro, alleluia.

Christ is truly risen from the grave, alleluia.

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Peter Philips (1561-1628)

Surgens Jesus, Dominus noster stans in medio discipulorum suorum dixit: pax vobis. Alleluia. Gavisi sunt discipuli viso Domino, Alleluia.

The risen Jesus, our Lord, standing in the midst of his disciples, said: Peace be with you. Alleluia. The disciples were glad when they saw the Lord. Alleluia.

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Hymns

At the Lamb’s high feast we sing (SALZBURG) is a translation by Robert Campbell (1814-1868) of the seventh century Latin hymn, Ad regias agni dapes, which was sung by the newly baptized at Easter when they were first admitted to communion. Our victorious King through His death and resurrection has caused the angel of death to pass over us. We are redeemed by His blood, which opens Paradise to us where we will live forever.  The LORD brought Israel out of Egypt through the sea into the promised land by the blood of the Lamb. Jesus through His death brings us through the wilderness of this life by feeding us with Himself, the true manna that comes down from heaven.

Come, ye faithful, raise the strain (GAUDEAMUS PARITER) is from a  Greek hymn attributed to St John Damascene (ca. 655- ca. 745), and was translated by John Mason Neale (1818-1866).  The hymn is notable for its beautiful linking of spring with the resurrection, and for its use of the crossing of the Red Sea as a type of the liberating work of Jesus Christ. It is based on the Song of Moses in Exodus 15.

Mount Calvary Church

Eutaw Street and Madison Avenue

Baltimore, Maryland

A Roman Catholic Parish

The Personal Ordinariate of the Chair of S. Peter

Anglican Use

Rev. Albert Scharbach, Pastor and Celebrant

Dr. Allen Buskirk, Choirmaster

Maundy Thursday

April 18, 2019

7:00 P. M.

Mass of the Lord’s Supper

The Maundy

Procession to the Altar of Repose

Stripping of the Altars

Prayer Vigil until Midnight

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Common

Missa Dixit Maria, Hans Leo Hassler (1564-1612)

Here is the Kyrie, sung by the Ensemble Vocal Européen, Philippe Herreweghe conducting.

“Missa Dixit Maria” is based on a popular motet by the German composer Hans Leo Hassler (1564-1612). Hassler studied with Giovanni and Andrea Gabrieli in Venice, two composers who were pushing the boundaries of the Late Renaissance style and developing sonorities and textures that we associate with the early Baroque. Hassler brought this Venetian style to Germany, though to some extent his influence was lessened by the fact that he was a Lutheran in a heavily Catholic area. Listen for how Hassler uses the material from this motet in different ways to create music appropriate for each section of the mass ordinary.

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Anthems

Ubi caritas et amor, Ola Gjeilo (1978-  )

Ubi caritas et amor, Deus ibi est. Congregavit nos in unum Christi amor. Exultemus, et in ipso iucundemur. Timeamus, et amemus Deum vivum. Et ex corde diligamus nos sincero.

Where charity and love are, God is there. Christ’s love has gathered us into one. Let us rejoice and be pleased in Him. Let us fear, and let us love the living God. And may we love each other with a sincere heart.

Here is the Central Washington University Chamber Choir.

“Ubi caritas” is a setting for women’s voices of an ancient hymn used as an antiphon to accompanies the washing of feet on Maundy Thursday. Ola Gjeilo (b. 1978) moved from his native Norway in 2001 to the United States to study composition at Julliard; he still makes his home in New York City. He is one of the most frequently performed living composers in the choral world. “Ubi caritas” was one of Gjeilo’s first choral pieces, influenced by the famous Duruflé motet, though unlike Duruflé, who incorporated the ancient plainchant into his polyphonic setting, Gjeilo’s motet is not based on any pre-existing musical material.

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Tomás Luis de Victoria (1548-1611)

O sacrum convivium, in quo Christus sumitur; recolitur memoria passionis ejus; mens impletur gratia; et futurae gloriae nobis pignus datur.

O sacred banquet, wherein Christ is received; the memorial of his passion is renewed; the soul is filled with grace; and a pledge of future glory is given to us.

Here is Chanticleer.

“O Sacrum Convivium” is a eucharistic prayer that liturgically functions as an antiphon for the Magnificat for vespers on the feast of Corpus Christi. The word ‘convivium’ translated as ‘banquet’ also has the sense of ‘shared living’ that we find in the English word ‘communion.’ Along with the gifts of grace to the soul and a foretaste of heaven, one of the blessings of the eucharist is a renewal of the community as the Body of Christ. This motet by Victoria for four equal voices conveys this sense of unity. Perhaps this is because the higher three voices occupy the same space musically–the same pitch range–moving in close harmony, each with its own role and yet inseparably connected.

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Hymns

Deck thyself, my soul, with gladness (SCHMÜCKE DICH). The original German text, Schmücke dich, o liebe Seele, was written by the German politician and poet Johann Franck (1618—1677) in the aftermath of the Thirty Years’ War. It expresses an intimate relationship between the individual believer and his Savior, Jesus Christ. Jesus, ascended into heaven, is still present as our food in this “wondrous banquet.” He is the fount, from whom our being flows as we receive Him and are filled with Him. He feeds us and transforms us into His likeness so that we become His joy and boast and glory before the heavenly court.

And now, O Father, mindful of Thy love (UNDE ET MEMORES) was composed by Anglican High Churchman William Bright (1824—1901), He was Regius Professor of Ecclesiastical History at Oxford, and then worked in Scotland, where his views on the Reformation caused him to be ejected by the Bishop of Glasgow. He then returned to Oxford.  It is based on the Roman Canon. The hymn remembers the love of Christ in dying for us (verse 1); relates it to our confession of sin (verse 2); prays for others (verse 3); and culminates in the moment of receiving the bread and wine (verse 4).

Now, my tongue, the mystery telling (PANGE LINGUA)  is a translation of the Pange lingua, which was written by Thomas Aquinas (1224-1274) as the hymn for Vespers of the newly established Feast of Corpus Christi. Aquinas had been invited in 1264 by Pope Urban IV to produce a liturgy for this festival, and this hymn belongs to that provision.  It is patterned on the processional hymn Pange lingua, written by Venantius Fortunatus (530-600).

From the Benedictional of St. Aethelwold

Mount Calvary Church

A Roman Catholic Parish

The Personal Ordinariate of the Chair of S. Peter

Eutaw Street and Madison Avenue

Baltimore, Maryland

Rev. Albert Scharbach, Pastor

Dr. Allen Buskirk, Choirmaster

Palm Sunday

April 14, 2019

8 A.M Said Mass

10:00 A. M.  Sung Mass

Breakfast in the undercroft following the 10:00 A.M. Mass

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From the Sarum Ritual

“I exorcise thee, O creature of flowers and leaves, in the name of God the Father almighty, and in the name of Jesus Christ His Son our Lord, and in the power of the Holy Ghost. Henceforth all power of the adversary, all the host of the devil, all the strength of the enemy, all assaults of demons, be uprooted and transplanted from this creature of flowers and leaves, that thou pursue not by subtlety the footsteps of those who hasten to the grace of God. Through Him who shall come to judge the quick and dead, and the world by fire. R. Amen.”

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Common

Mass of the Quiet Hour, George Oldroyd (1887–1951)

To enhance the drama of Holy Week, the organ returns today after a long hiatus during Lent, accompanying the hymns and the mass ordinary, a setting by English composer George Oldroyd (1887-1956) entitled “Mass of the Quiet Hour.” Composed in 1928 and dedicated to the Archbishop of Canterbury, this mass setting is his best-remembered work and is one of the more popular Anglican communion services. It features lush, Romantic harmonies rarely heard at Mount Calvary as well as some more ancient elements. Listen for the entrance of the choir at the opening of the Sanctus; the first two phrases seem to swirl and swoop like incense. The harmony of these phrases (parallel first inversion triads) invokes a centuries-old English tradition of improvised three-part harmony known as “faburden.”_

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Anthems

Erbarme dich, J. S. Bach

Erbarme dich, mein Gott, um meiner Zähren willen! Schaue hier, Herz und Auge weint vor dir bitterlich.Erbarme dich, mein Gott.

Have mercy, my God, for the sake of my tears! See here, before you heart and eyes weep bitterly. Have mercy, my God.

Here is Julia Hamari.

The aria Erbarme dich comes from Bach’s majestic St. Matthew Passion (BWV 244); it reflects the solitary heartache Peter feels upon recognition that he has betrayed Christ three times as prophesied. The melody aches with the remorse of betrayal. The music is set in 12/8 time, suggesting the Baroque dance rhythm of the siciliano. The voice is accompanied by the violin in what violinist Yehudi Menuhin called “the most beautiful piece of music ever written for the violin.” This aria is one of the most moving songs in what Bach considered his best work.

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Tomás Luis de Victoria (1548-1611)

Pueri Hebraeorum vestimenta prosternebant in via et clamabant dicentes: Hosanna Filio David, benedictus qui venit in nomine Domini.

The Hebrew children spread their garments in the road, and cried out, saying: Hosanna to the Son of David: blessed is He that cometh in the Name of the Lord.

Here is La Columbina.

Pueri Hebraeorum by Tomas Luis de Victoria, a setting of the antiphon that accompanies the distribution of palms, captures the energy and excitement of the throng of people welcoming Christ in his triumphal entry into Jerusalem. The voices enter one at a time—a common strategy in Renaissance polyphony, used here to convey the size of the crowd. Listen for the wonderful musical gesture at “vestimenta prosternebant in via” in which the crowds lay their garments on the road as a royal welcome; the music slows and drops in pitch, depicting their bowing down to lay down their garments and perhaps bow to Christ as King. The climax of the piece is the shout of Hosanna that comes from the whole choir in a homophonic texture (all at the same time).

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Hymns

#62 All glory, laud and honor (ST. THEODOLPH) was written by St. Theodulph of Orleans in 820 while he was imprisoned in Angers, France, for conspiring against the King, with whom he had fallen out of favor. It was translated by John Mason Neale. The text is a retelling of the triumphal entry of Jesus into Jerusalem. The medieval church re-enacted this story on Palm Sunday. The priests and inhabitants of a city would process from the fields to the gate of the city, following a living representation of Jesus seated on a donkey. When they reached the city gates, a choir of children would sing this hymn, Gloria, laus et honor, and the refrain was taken up by the crowd. At this point the gates were opened and the crowd made its way through the streets to the cathedral. Today we praise the “Redeemer, King” because we know just what kind of King He was and is – an everlasting King who reigns not just in Jerusalem, but over the entire earth. What else can we do but praise Him with glory, laud, and honor.

#71 Ah, Holy Jesus (HERZLIEBSTER JESU) is a German hymn for Passiontide, written in 1630 by Johann Heermann.

#64 Ride on, ride on in majesty!  (WINCHESTER NEW) was written by the Anglican clergyman and Oxford Professor of Poetry Henry Hart Milman (1791–1868). The text unites meekness and majesty, sacrifice and conquest, suffering and glory – all central to the gospel for Palm Sunday. Each stanza begins with “Ride on, Ride on in majesty.” Majesty is the text’s theme as the writer helps us to experience the combination of victory and tragedy that characterizes the Triumphal Entry. Jesus is hailed with “Hosanna” as he rides forth to be crucified. That death spells victory: it is His triumph “o’er captive death and conquered sin.” The angelic powers look down in awe at the coming sacrifice and God the Father awaits His Son’s victory with expectation. Finally, Jesus rides forth to take his “power … and reign!” On the Cross He has defeated death and when He comes in glory to reign He will destroy it forever.

Christ and the Woman Taken in Adultery, Pieter Brueghel II

Mount Calvary Church

A Roman Catholic Parish

The Personal Ordinariate of the Chair of S. Peter

Eutaw Street and Madison Avenue

Baltimore, Maryland

Rev. Albert Scharbach, Pastor

Dr. Allen Buskirk, Choirmaster

Lent V

April 7, 2019

8 A.M Said Mass

10:00 A. M.  Sung Mass

Breakfast in the undercroft following the 10:00 A.M. Mass

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Common

Missa de Angelis

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The Great Litany

The Great Litany was the first service written in English. It was composed by Thomas Cranmer in 1544 from older litanies: the Sarum rite litany, a Latin litany composed by Martin Luther, and the Divine Liturgy of St. John Chrysostom. The word litany comes from the Latin litania, from the Greek litê, meaning “prayer” or “supplication.” Litanies are penitential exercises. They are the urgent supplications of the people of God suffering under or dreading divine judgements and asking to be spared or delivered from calamities which at the same time they confess that they deserve. After invoking the Trinity, we ask to be delivered from the evils that come upon us because of sin: heresy, schism, natural disasters, political disasters, war, violence, murder, and sudden and unprovided death.

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Anthems 

William Byrd (1540-1623) 

Miserere mei Deus, secundum magnam misericordiam tuam, et secundum multitudinem miserationum tuarum, delle iniquitatem meam.

 Have mercy on me, O God, according to thy great mercy. According to the multitude of thy commiserations, take away mine iniquity.

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Orlando Gibbons (1583-1625)

O Lord, in thy wrath rebuke me not: neither chasten me in thy displeasure. Have mercy upon me, O Lord, for I am weak: O Lord, heal me, for my bones are vexed. My soul is also sore troubled: but, Lord, how long wilt thou punish me? O save me, for thy mercy’s sake.

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 Hymns 

What wondrous love (WONDROUS LOVE) is, as its repetitions evidence, an American folk hymn, from the Second Great Awakening. This hymn articulates the question that Christians ask every day: what did I do to deserve such a wonderful love from God and from Christ? The hymn is an offering of thanks to the Son for laying aside his crown as King and humbling himself even unto death. Jesus took on the sin and shame of man and thereby became the Lamb who was slain to save us from our sins. Jesus is not only the Lamb, but he is I AM, Lord and God. Our response is endless praise, and forever we shall marvel and ask, “What wondrous Love?”

O sacred head sore wounded (PASSION CHORALE) was composed by Paul Gerhardt (1607—1676), who closely modeled it after a stanza of a poem, Salve mundi salutare, possibly by St. Bernard of Clairvaux (1091-1153) or Arnulf of Leuwen, which contains seven stanzas meditating on how the different parts of Jesus’ body suffered during the Passion. The head is the seat of honor, “face,” and was insulted by a mocking crown of thorns, by spit, and blows from fists. Yet it is the vision of that face that will be our happiness and joy forever, for He has born all our guilt and shame, and given us His life.

The parable of the fig tree

Mount Calvary Church

A Roman Catholic Parish

The Personal Ordinariate of the Chair of S. Peter

Eutaw Street and Madison Avenue

Baltimore, Maryland

Rev. Albert Scharbach, Pastor

Dr. Allen Buskirk, Choirmaster

Lent III

March 24, 2019

8 A.M Said Mass

10:00 A. M.  Sung Mass

Breakfast in the undercroft following the 10:00 A.M. Mass

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Common

Missa de Angelis

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Anthems

Richard Farrant (1530-1580)

Hide not thou thy face from us, O Lord, and cast not off thy servants in thy displeasure; for we confess our sins unto thee, and hide not our unrighteousness. For thy mercy’s sake, deliver us from all our sins.

Here is the choir of Westminster Abbey.

William Byrd (1540-1623)

Ne irascaris Domine satis, et ne ultra memineris iniquitatis nostrae. Ecce respice populus tuus omnes nos. Be not angry, O Lord, and remember our iniquity no more. Behold, we are all your people.

Here is the choir of Ely Cathedral.

Hymns

The Great Litany was the first service written in English. It was composed by Thomas Cranmer in 1544 from older litanies: the Sarum rite litany, a Latin litany composed by Martin Luther, and the Divine Liturgy of St. John Chrysostom. The word litany comes from the Latin litania, from the Greek litê, meaning “prayer” or “supplication.” Litanies are penitential exercises. They are the urgent supplications of the people of God suffering under or dreading divine judgements and asking to be spared or delivered from calamities which at the same time they confess that they deserve. After invoking the Trinity, we ask to be delivered from the evils that come upon us because of sin: heresy, schism, natural disasters, political disasters, war, violence, murder, and sudden and unprovided death.

Rock of ages (TOPLADY) has been a stay and comfort in days of peril, and in the hour of death. No other English hymn can be named which has laid so broad and firm a grasp upon the English-speaking world. It was written by the Rev. Augustus Toplady (1740–1778), an Evangelical priest of the Church of England, who was first a friend of John Wesley but who quarreled with him over predestination.

Take up thy cross (BRESLAU) was composed by the American Episcopal clergyman Charles William Everest (1814—1877) when he was still a teenager. It is based upon the Scripture: “Then Jesus told his disciples, “If any man would come after me, let him deny himself and take up his cross and follow me.’” We must die to self to be reborn in Jesus. If we accept the sufferings of this life in union with His sufferings, we like Him will rise from the dead to a new life. The cross is not only painful, but shameful, in the eyes of this world, which thinks it folly to deny oneself the pleasures of life in order to follow the perfect Law of the Lord. We train ourselves in small ways so that we can bear the greater crosses. We spend Sunday morning in church rather than in bed, so that we can patiently endure the death of a loved one. But we do not bear these crosses in our own power, but He in us bears them.

Mount Calvary church

A Roman Catholic Parish

The Personal Ordinariate of the Chair of S. Peter

Eutaw Street and Madison Avenue

Baltimore, Maryland

Rev. Albert Scharbach, Pastor

Dr. Allen Buskirk, Choirmaster

Lent II

March 17, 2019

8 A.M Said Mass

10:00 A. M.  Sung Mass

Breakfast in the undercroft following the 10:00 A.M. Mass

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Common

Missa de Angelis

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Anthems

Richard Farrant (1530-1580)

Call to remembrance, O Lord, thy tender mercies and thy loving kindness, which hath been ever of old. O remember not the sins and offences of my youth, but according to thy mercy, think thou on me, O Lord, for thy goodness.

Here is the Tewkesbury Abbey School Choir.

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William Byrd (1540-1623)

Lord in thy rage rebuke me not for my most grievous sin, nor in thine anger chasten me, but let me favour win. Have mercy Lord on me, because my state is weak to see, heal me, O Lord, for that my bones are troubled sore in me.

Here is Sara Stowe and a consort of viols.

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Hymns

#119 O wondrous type! O vision fair (WAREHAM) is a translation of Cælestis formamgloriæ partly by John Mason Neale (1818-1866)Moses and Elijah are key persons in Jesus’ mission. Gospel writers mention Moses thirty-seven times and Elijah twenty-seven times. In the parable of the Rich Man and Lazarus, Abraham tells the Rich Man, “If they do not hear Moses and the Prophets, neither will they be convinced if someone should rise from the dead.” (Luke 16:31). Before his Passion, Jesus went to the top of a mountain to converse with Moses and Elijah. There Jesus “was transfigured before them, and his face shone like the sun, and his clothes became white as light.” (Matthew 17:2), with Peter, James, and John as witnesses. Shortly after this event, Jesus “set his face to go to Jerusalem.” (Luke 9:51) to battle Satan and death.

Be Thou my vision (SLANE) Be thou my vision. The Irish monk Eohaid Forgaill (530-598) was a Latin scholar and “King of the Poets.” He was said to have spent so much time studying that he went blind, and was give the name Dallán, “Little Blind One.”   He wrote this poem asking God to be his vision. But “vision” here means more than physical sight. The original Irish word means “vision” or “rapture,” in the sense used by the Old Testament prophets. The language of this hymn is drawn from traditional Irish culture: it uses heroic imagery to describe God as the ‘chieftain’ or ‘High King’ who provided protection to his people or clan.

‘Tis good, Lord, to be here (SWABIA) was written by Joseph Armitage Robinson (1858-1933), D.D., Dean of Westminster. Jesus, with Peter, James and John, had to come down from the mountain.  The next story in Matthew 17 is of Jesus meeting the crowd and healing an epileptic boy; He predicts His death.  In the Liturgy, we catch of glimpse of the Uncreated Light that shone through the humanity of Jesus. It is given to strengthen us in the realities and difficulties of everyday life, where God is to be found.