In the Latin Rite, in general, only celibates are ordained priests. This practice has been blamed by many for a seeming shortage of priests, and led to headlines such as
But this chart about the Anglican Church in Canada suggests that other forces are at work:
Since 1961 there has been about a 90% decline in baptisms, and about a 50% increase in the number of clergy. And the Anglicans ordain women and married men.
Mount Calvary Church
A Roman Catholic Parish
The Personal Ordinariate of S. Peter
Eutaw Street and Madison Avenue
Baltimore, Maryland
Trinity XVIII
Rev. Albert Scharbach, Pastor
Dr. Allen Buskirk, Choirmaster
Midori Ataka, Organist
Sunday, October 20, 2019
8:00 A.M. Said Mass
10:00 A.M. Sung Mass, with Baptism
Brunch to follow in the undercroft
_______________
Prelude
Postlude
_______________
Common
Missa S. Maria Magdalena, Healey Willan
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Anthems
God be in my head, Henry Walford Davies (1869-1941)
God be in my head, and in my understanding; God be in mine eyes, and in my looking; God be in my mouth, and in my speaking; God be in my heart, and in my thinking; God be at mine end, and at my departing.
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Hear the voice and prayer, Thomas Tallis (1510-1585)
Hear the voice and prayer of thy servants, that they make before thee this day. That thine eyes may be open toward this house night and day, ever toward this place, of which thou hast said: “My Name shall be there.” And when thou hearest have mercy on them.
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Hymns
Christ, whose glory fills the skies was written by Charles Wesley (1707—1788). He begins the hymn with the antithesis between light and night. In stanza two, Wesley uses the first words of each line to tell the story of redemption. The first three lines begin with “Dark,” “Unaccompanied,” and “Joyless.” The plight of humanity has been set. The next two lines begin with “till” which represents hope for salvation. The repeating of “more and more” implies the idea that we can never see enough of the “Radiancy divine” which has “[pierced] the gloom of sin and grief.” Scripture references are present throughout: John 1:9,the “true light”; Isaiah 2:6 and Malachi 4:2, the “Sun of Righteousness”; Isaiah 14:12 and 2 Peter 1:19, the ”Day Star.”
When Jesus left His Father’s throne (KINGSFOLD) was written by the Moravian social reformer James Montgomery (1771-1854). Following Jesus, Montgomery had a heart for those who were regarded as insignificant by society: the poor and children. Let us rejoice that our church is blessed with so many children: “For of such is the kingdom of heaven.” KINGSFOLD is thought by some scholars to date back to the Middle Ages, KINGSFOLD is a folk tune set to a variety of texts in England and Ireland.
Joyful, joyful, we adore Thee was written ca. 1908, when Henry van Dyke (1852-1953) was a visiting preacher at Williams College, Williamstown, Massachusetts, set in the beautiful landscape of the Berkshire Hills, which is said to have inspired the hymn. Van Dyke, a Presbyterian minister, was also a professor of English literature at Princeton and a friend of President Woodrow Wilson. He also served as a naval chaplain in World War I. He composed it to be sung to the Ode to Joy in Beethoven’s Ninth Symphony.
St. John Henry Newman
Mount Calvary Church
A Roman Catholic Parish
The Personal Ordinariate of S. Peter
Eutaw Street and Madison Avenue
Baltimore, Maryland
Sunday, October 13, 2019
Trinity XVII
Rev. Albert Scharbach, Pastor
Dr. Allen Buskirk, Choirmaster
Midori Ataka, Organist
8:00 A.M. Said Mass
10:00 A.M. Sung Mass
Brunch to follow in the undercroft
___________________
Prelude
_________
Postlude
Praise to the Holiest in the Height, by R. R. Terry
_______________
Common
Missa de S. Maria Magdalena, H. Willan
________________
Anthems
Gaudeamus omnes, William Byrd (1540-1623)
Gaudeamus omnes in Domino diem festum celebrantes sub honore Sanctorum omnium: de quorum solemnitate gaudent angeli, et collaudant Filium Dei. Exsultate iusti in Domino: rectos decet collaudatio. Gloria Patri. Gaudeamus.
Let us all rejoice in the Lord celebrating the feast in honour of all the saints, in which solemnity the angels rejoice, while the Archangels praise the Son of God. Ring out your joy to the lord, O you just; for praise is fitting for loyal hearts. Glory be. Let us all rejoice.
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Beati mundo corde, William Byrd (1540-1623)
Beati mundo corde quoniam ipsi Deum videbunt, beati pacifici quoniam filii Dei vocabuntur, beati qui persecutionem patiuntur propter iustitiam quoniam ipsorum est regnum caelorum.
Blessed are the pure in heart: for they shall see God. Blessed are the peacemakers: for they shall be called the children of God. Blessed are they which are persecuted for righteousness’ sake, for theirs is the kingdom of heaven.
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Hymns
Praise to the Holiest in the height (GERONTIUS) is an 1865 hymn by John Henry Newman (1801—1890). The hymn is a profound meditation on 1 Corinthians 15: 20-47, in which God in Christ, the second Adam, restores the world which had been lost by the sin of the first Adam. He does so by his Incarnation: his becoming human is an even higher gift than grace. In human form he undergoes the ‘double agony’ (the agony in the garden, and the suffering on the cross) which will teach and inspire, and demonstrate the power of ‘generous love’. The actions of the Incarnate God are appropriately enclosed within the ‘praise’ motif of the first and last verses.
Like the hymn Firmly I believe and truly, it forms part of The Dream of Gerontius (1865) , which describes the passage of the soul through death. It is sung by the angels as the soul approaches judgment. Jesus, who is true God and true man, undergoes for the human race the “double agony,” the one in the garden and the one on the cross. In his Discourse 16, Newman placed equal emphasis on Jesus’ Agony in the Garden and on His Crucifixion as central to understanding the work of redemption. In the garden Jesus felt the full horror and degradation of all the sins and guilt and sorrows of the world. Newman also intimates that we his brethren should learn from Him to do our share in bearing the burden of the sins of the world.
Lead, Kindly Light (LUX BENIGNA). Newman write this while sick and becalmed at sea in June 1933. Angry at the state of disunion and supineness in the Church he still loved and in which he still believed; confident that he had ‘a mission,’ ‘a work to do in England;’ passionately longing for home and the converse of friends; sick in body to prostration, and, as some around him feared, even unto death; feeling that he should not die but live, and that he must work, but knowing not what that work was to be, how it was to be done, or to what it might tend, he breathed forth the impassioned and pathetic prayer, one of the birth-pangs, it might be called, of the Oxford movement of 1833.
Firmly I believe and truly (NASHOTAH). As an Evangelical, Newman (1801—1890) rejected the doctrines of purgatory and the intercession of saints, but as part of his conversion (1845), he came to a realization of the fullness of the communion of saints: those striving on earth, those being purified by the divine fire, and those in heaven moved by love to pray for those on earth and in purgatory. The poem (Greek Geron: old man), relates the journey of a pious man’s soul from his deathbed to his judgment before God and settling into Purgatory. As the priests and assistants pray the prayers for the dying, Gerontius recites this creed and prays for mercy. Sanctus Fortis, Sanctus Deus is from the Good Friday liturgy and is alluded to in the line “him the holy, him the strong.”
We are but unworthy servants
Mount Calvary Church
A Roman Catholic Parish
The Personal Ordinariate of S. Peter
Eutaw Street and Madison Avenue
Baltimore, Maryland
Sunday, October 6, 2019
Trinity XVI
Rev. Albert Scharbach, Pastor
Dr. Allen Buskirk, Choirmaster
Midori Ataka, Organist
8:00 A.M. Said Mass
10:00 A.M. Sung Mass
Brunch to follow in the undercroft
___________________
Prelude
Allegro, from Voluntary II, John Stanley
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Postlude
Andante, from Voluntary II, John Stanley
___________________
Common
Missa de S. Maria Magdalena, H. Willan
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Anthems
O Lord, Give Thy Holy Spirit, Thomas Tallis (1510-1585)
O Lord, give thy Holy Spirit into our hearts, and lighten our understanding, that we may dwell in the fear of thy Name, all the days of our life, that we may know thee, the only true God, and Jesus Christ whom thou hast sent.
The life of Thomas Tallis is a mirror of the musical effects of the Anglican Reformation in England. He served in the Chapel Royal for some 40 years, composing under four Monarchs with widely differing religious practices. Tallis was among the first to set English words to music for the rites of the Church of England, although most of his vocal music was written in Latin. A composer of great contrapuntal skill, his works show intense expressivity and are cast in a bewildering variety of styles. During the reign of King Edward VI (1547-1553) it was mandated that the services be sung in English, and that the choral music be brief and succinct “to each syllable a plain and distinct note”. The exquisite “O Lord, give thy Holy Spirit” is a classic example of these new English four-part miniatures: mainly homophonic, but with brief moments of imitation. Like many early Anglican anthems, it is cast in ABB form, the second section repeated twice. (Notes by Ryan Turner, Emmanuel Music, Boston)
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Lord, Let Me Know Mine End, Maurice Green (1696-1755)
Lord, let me know mine end, and the number of my days; that I may be certified how long I have to live. Behold, thou hast made my days as it were a span long, and mine age is even as nothing in respect of thee; and verily every man living is altogether vanity. For man walketh in a vain shadow, and disquieteth himself in vain; he heapeth up riches, and cannot tell who shall gather them. And now, Lord, what is my hope? Truly my hope is even in thee. Hear my prayer, O LORD, and with thine ears consider my calling; hold not thy peace at my tears. O spare me a little, that I may recover my strength, before I go hence, and be no more seen.
The early eighteenth century was a rather low point in English church music, in which the fashion for Italian music, particularly opera, had diluted the native product. Thus the technical strength and expressive power of “Lord, let me know mine end”, a setting of verses from Psalm 39, are all the more remarkable. Maurice Greene (1696-1755) was the organist at St. Paul’s Cathedral and Master of the King’s Music in the mid-eighteenth century. In this his most famous work, the walking bass line that persists throughout the piece can be taken as an evocative depiction of life’s journey. Over it, Greene crafts a series of thoughtful imitative points with, at the center, a soprano duet of great beauty.
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Hymns
Love divine, all loves excelling is by Charles Wesley (1707—1788). The hymn is a prayer: through the incarnate Christ, we pray for the indwelling of the Holy Spirit, and ask that we would never be separated from the love of God in Christ, who works in us and through us until our time on earth is done. One of the most loved Welsh tunes, HYFRODOL was composed by Rowland Hugh Prichard (1811—1887) in 1830 when he was only nineteen.
Lord of all hopefulness was written by Joyce Torrens-Graham (1901 -1953) in 1929 at the request of her friend, Canon Percy Dearmer of Westminster Abbey. She carefully fitted the words to the lovely Irish melody SLANE, also used by Be thou my vision. She used the pen name Mrs . Miniver, and created the character who appeared in the 1943 film of that name.
Lord, whose love through humble service (IN BABILONE) Scripture References: st. 4 = Matt. 25:34-10 Albert F. Bayly wrote this text in response to a Hymn Society of America search for new hymns on social welfare. It was chosen as the theme hymn for the Second National Conference on the Churches and Social Welfare held in Cleveland, Ohio, 1961. The text begins with recognition of Christ’s ultimate sacrifice on the cross and then points to the continuing needs of the homeless, the hungry, the prisoners, and the mourners. Bayly’s words remind us of modern refugees, and famine victims, and drug addicts who are our doorstep or who are brought to our attention via the news media. The final two stanzas encourage us to move from Sunday worship to weekday service; such integrity in the Christian life is truly a liturgy of sacrifice, pleasing to God.
Dives and Lazarus
Mount Calvary Church
A Roman Catholic Parish
The Personal Ordinariate of S. Peter
Eutaw Street and Madison Avenue
Baltimore, Maryland
Trinity XV
Rev. Albert Scharbach, Pastor
Dr. Allen Buskirk, Choirmaster
Midori Ataka, Organist
Sunday, September 29, 2019
8:00 A.M. Said Mass
10:00 A.M. Sung Mass
Brunch to follow in the undercroft
_______________
Prelude
Fantasia, by Johann Krieger
Postlude
Duo, by Jean-Adam Guilain
_______________
Common
Missa S. Maria Magdalena, Healey Willan
_______________
Anthems
Dives and Lazarus, Traditional English Carol
1. As it fell out upon a day, rich Diverus made a feast, and he invited all his friends, and gentry of the best. 2. Then Lazarus laid him down and down and down at Diverus’ door: some meat and drink, brother, Diverus, bestow upon the poor. 3. Thou’rt none of my brothers, Lazarus, that lies begging at my door; nor meat, nor drink will I give to thee, nor bestow upon the poor. 4. As it fell out upon a day, poor Lazarus sickened and died; there came two angels out of Heaven, his soul therein to guide. 5. Rise up! rise up! brother Lazarus, and come along with me; there’s a place in heaven prepared for thee to sit on an angel’s knee. 6. As it fell out upon a day, rich Diverus sickened and died; there came two serpents out of hell, his soul therein to guide. 7. Rise up! rise up! brother Diverus, and come along with me; there’s a place in hell prepared for thee to sit on a serpent’s knee. 8. Then Diverus looked with burning eyes and saw poor Lazarus blest; one drop of water Lazarus, to quench my flaming thirst. 9. O, had I as many years to abide as there are blades of grass, then there would be an end, but now hell’s pains will never pass.
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FESTAL SONG written in 1894 by American composer and organist, William Henry Walter (1825-1893).
Draw us in the Spirit’s tether was written by Anglican Percy Dearmer (1867—1936). Objections have been raised to its seemingly low Eucharistic theology, but it has been used at papal ceremonies, and the melody is lovely. Jesus has promised that he will be present when we gather in His name, and indeed the purpose of our receiving Him in the Eucharist is to become one body with Him, and our love and service is sign to the world of His presence. The hymn begins in the Upper Room with the disciples and comes full circle as we join them and the Christians of every age around the table and are nourished to serve others in the world.
John Roberts, in Welsh Ieuan Gwyllt (1822-1877), composed the tune ST. DENIO (also known as JOANNA, or PALESTINA). It is derived from a Welsh folk song Can Mlynned i ‘nawr’ (“A Hundred Years from Now”).
The Unjust Steward
Mount Calvary Church
A Roman Catholic Parish
The Personal Ordinariate of S. Peter
Eutaw Street and Madison Avenue
Baltimore, Maryland
September 22, 2019
Trinity XIV
Rev. Albert Scharbach, Pastor
Dr. Allen Buskirk, Choirmaster
Midori Ataka, Organist
Sunday, September 22, 2019
8:00 A.M. Said Mass
10:00 A.M. Sung Mass
Brunch to follow in the undercroft
_______________
Prelude
Benedicamus te by Francois Couperin
Postlude
Fugue by Johann Pachelbel
_______________
Common
Missa S. Maria Magdalena, Healey
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Anthems
Charles Villiers Stanford (1852-1924)
#570 O Jesus, I have promised (LLANFYLLIN) was written in 1866 by John Ernest Bode (1816-74) for the Confirmation of Bode’s three children, a daughter and two sons. The text is based on a verse in John 12 following Jesus’ triumphal entry into Jerusalem and his travel to Bethsaida of Galilee just before his impending passion when he shares with his disciples: “The hour is come etc.” The tune is a traditional Welsh melody.
#557 Onward, Christian soldiers (ST. GERTRUDE) was written by Sabine Baring-Gould (1834-1924). The image of the Christian soldier, from 2 Timothy 2: 3, is used to great effect in this hymn. In spite of 2 Timothy 2: 3, this hymn is disapproved of by those who reject militaristic imagery in worship. It became the occasion of a nation-wide controversy in the USA in 1986, fanned by television and radio networks, when the committee compiling the Methodist hymnal proposed to omit it, concerned that the language of the hymn was perceived to be contrary to the social principles of the United Methodist Church. The warfare is of course spiritual warfare, a theme which is prominent in traditionally pacifist churches. The tune ST. GERTRUDE is by Arthur Sullivan (1842-1900) of Gilbert and Sullivan fame. Sullivan, in addition to the operettas, write oratorios and numerous hymns.
Now and again the possibility of universal salvation is a subject of controversy. Hans Urs von Balthasar roiled Catholic waters with his Dare We Hope That All Men Will Be Saved? David Bentley Hart has entered the lists with his new book All Shall Be Saved.There is a strain of universalism in St. Paul, with his repeated emphases on “all.” But there are the solemn warnings of Jesus about the worm that dies not and the fire that is not quenched.
I am not a theologian, so I will not try to answer the question. I might point out that our theories do not cause salvation or damnation: God’s actions do.
But we should consider what our reaction to Jesus’ solemn warnings should be. Jesus makes these warning in his prophetic role. A passage from 1 Kings 14 can help us see how Jesus wants us to react:
“At that time Abijah the son of Jeroboam fell sick. 2 And Jeroboam said to his wife, “Arise, and disguise yourself, that it be not known that you are the wife of Jeroboam, and go to Shiloh; behold, Ahijah the prophet is there, who said of me that I should be king over this people. 3 Take with you ten loaves, some cakes, and a jar of honey, and go to him; he will tell you what shall happen to the child.”
4 Jeroboam’s wife did so; she arose, and went to Shiloh, and came to the house of Ahijah. Now Ahijah could not see, for his eyes were dim because of his age. 5 And the Lord said to Ahijah, “Behold, the wife of Jeroboam is coming to inquire of you concerning her son; for he is sick. Thus and thus shall you say to her.”
When she came, she pretended to be another woman. 6 But when Ahijah heard the sound of her feet, as she came in at the door, he said, “Come in, wife of Jeroboam; why do you pretend to be another? For I am charged with heavy tidings for you. 7 Go, tell Jeroboam, Thus says the Lord, the God of Israel: “Because I exalted you from among the people, and made you leader over my people Israel, 8 and tore the kingdom away from the house of David and gave it to you; and yet you have not been like my servant David, who kept my commandments, and followed me with all his heart, doing only that which was right in my eyes, 9 but you have done evil above all that were before you and have gone and made for yourself other gods, and molten images, provoking me to anger, and have cast me behind your back; 10 therefore behold, I will bring evil upon the house of Jeroboam, and will cut off from Jeroboam every male, both bond and free in Israel, and will utterly consume the house of Jeroboam, as a man burns up dung until it is all gone. 11 Any one belonging to Jeroboam who dies in the city the dogs shall eat; and any one who dies in the open country the birds of the air shall eat; for the Lord has spoken it.”’ 12 Arise therefore, go to your house. When your feet enter the city, the child shall die. 13 And all Israel shall mourn for him, and bury him; for he only of Jeroboam shall come to the grave, because in him there is found something pleasing to the Lord, the God of Israel, in the house of Jeroboam. 14 Moreover the Lord will raise up for himself a king over Israel, who shall cut off the house of Jeroboam today. And henceforth[a] 15 the Lord will smite Israel, as a reed is shaken in the water, and root up Israel out of this good land which he gave to their fathers, and scatter them beyond the Euphrates, because they have made their Asherim, provoking the Lord to anger. 16 And he w0ill give Israel up because of the sins of Jeroboam, which he sinned and which he made Israel to sin.”
17 Then Jeroboam’s wife arose, and departed, and came to Tirzah. And as she came to the threshold of the house, the child died. 18 And all Israel buried him and mourned for him, according to the word of the Lord, which he spoke by his servant Ahijah the prophet.”
Jeroboam’s wife does not respond to the prophet’s word. Does she disbelieve him? Or does she believe and accept the prophetic word in silent resignation?
Peter Leithart comments:
“The interesting thing about this possibility is that her silent resignation is as much an act of unbelief as a loud rejection. Faith responds to a prophecy of doom like David, who fasts, prays, and mourns for his son, in spite of Yahweh’s telling him that his son will die. So long as the child lives, there is hope.
“Faith is often confused with resignation. The prophetic word comes, cutting like a double-edged sword, and we respond with tight-lipped silence. This is not faith. Faith responds to God’s word, not with silent submission, but with confession, praise, earnest and anguished petition. Faith responds with the desperate cries of a Job, the “my God, my God” of David and Jesus, the “how long, O Lord?’ of the Psalms. God’s word is not the end of a conversation, but an invitation to renew conversation. God does not judge and condemn to send us slinking away in resigned silence. God judges and condemns so that we can give our “amen” to his judgment, humble ourselves, and be saved. Ultimately, the issues go to theology proper: the Triune God, the God whose life is an eternal conversation, does not create a world as a stage where he performs soliloquies before a respectfully hushed audience. God creates the world and humanity to enter into a dialogue.”
And what should be our response to Jesus’s solemn warnings about damnation?
Barbara Newman recounts St. Catherine of Siena’s response:
Catherine of Siena muses that she would lovingly be condemned to hell for the honor and glory of God if all sinners could thereby be saved. But God replies that this would be impossible “Love of me cannot exist in hell, for that love would wipe hell out of existence.” So much the better, Catherine replies: “If your truth and justice would permit it, I would love that hell should be wiped out, or at least that no soul should ever go there again. And if were possible that, without losing love of you, I could be set upon the mouth of hell to close it, and so prevent any further souls from entering it, that is what I would like most of all.”
Newman shows that many women mystics followed this logic: they told God that they would be willing to suffer the pains of hell that all souls might be saved. They challenged God: Could He be less merciful than they were? They did not accept the judgement of eternal salvation for sinners. They suffered and prayed and wept. They entered into the conversation within God: How could His justice and mercy be reconciled. How could His deepest desire be fulfilled, that all be saved, that through Jesus the whole cosmos would escape everlasting death and be returned to the Father? How, how, how….
The Exaltation of the Holy Cross
Patronal Feast
Mount Calvary Church
A Roman Catholic Parish
The Personal Ordinariate of S. Peter
Eutaw Street and Madison Avenue
Baltimore, Maryland
Rev. Albert Scharbach, Pastor
Dr. Allen Buskirk, Choirmaster
Sunday, September 15, 2019
8:00 A.M. Said Mass
10:00 A.M. Sung Mass with Procession
Brunch to follow in the undercroft
_________________
Common
Mass for Four Voices, William Byrd
_________________
Anthems
I Was Glad, Charles Hubert Hastings Parry (1848-1918)
I was glad when they said unto me, we will go into the house of the Lord.
Our feet shall stand in thy gates, O Jerusalem.
Jerusalem is builded as a city that is at unity in itself.
O pray for the peace of Jerusalem; they shall prosper that love thee.
Peace be within thy walls and plenteousness within thy palaces.
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O Crux, Peter Philips (1560-1628)
O Crux, splendidior cunctis astris,
mundo celebris,
hominibus multum amabilis,
sanctior universis; que sola
fuisti digna portare talentum mundi:
dulce lignum, dulces clavos,
dulcia ferens pondera
salva presentem catervam,
in tuis hodie laudibus congregatam.
Alleluia, Alleluia.
O Cross, more splendid than all the stars,
honored throughout the world,
most worthy of the love of mankind,
more holy than all the universe, who alone
were worthy to bear the ransom of the world:
sweet wood, sweet nails,
that bore the sweet burden,
save your flock
assembled here to sing your praises.
Alleluia, Alleluia.
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Hymns
Lift high the cross was written by George William Kitchen (1827—1912), Dean of the Cathedral for a festival service of the Society for the Propagation of the Gospel, held in Winchester Cathedral in 1887. His version was altered by Anglican priest Michael Robert Newbolt (1874–1956), who later became Canon of Chester Cathedral. The hymn incorporates an important feature of processionals: the crucifer (cross-bearer) leads the procession, lifting the cross high. This ritual use of the cross is a sign of the victory of the resurrection and finds a biblical basis in John 12:32, “And I, when I be lifted up from the earth, will draw all men to myself”— which is written on the arch above our chancel. The hymn also alludes to the story of the Emperor Constantine’s vision as told in Eusebius’s Life of Constantine, in which he saw a cross inscribed with the words, “In hoc signo vinces” (“in this sign [of the cross] you will conquer”). Constantine recognized Christianity and provided a basis for the further spread of Christianity.
The tune CRUCIFER was written by Sir Sydney Hugo Nicholson (1875-1947), teh founder of teh School of English Church Music.
#337 When I survey the wondrous cross (ROCKINGHAM) is by Isaac Watts (1674—1748). When preparing for a communion service in 1707, when he himself was thirty-three years old, Watts wrote this personal expression of gratitude for the love that Christ revealed by His death on the cross. Watts echoes Paul: “But far be it from me to glory except in the cross of our Lord Jesus Christ, by which the world has been crucified to me, and I to the world” (Gal 6: 14). The third stanza repeats almost verbatim phrases from St. Bernard of Clairvaux’s hymn “Salve mundi salutare”: such sentiments would be felt by any sincere Christian who meditated upon the crucifixion.
Edward Miller (1735-1807) adapted ROCKINGHAM from an earlier tune, TUNEBRIDGE, which had been published in Aaron Williams’s A Second Supplement to Psalmody in Miniature (c. 1780). The tune title refers to a friend and patron of Edward Miller, the Marquis of Rockingham, who served twice as Great Britain’s prime minister.
The royal banners forward go (AGINCOURT) is by Venantius Fortunatus (ca. 540-early 7th century) who wrote it to celebrate the reception of the fragment of the true cross at Poitiers. It was translated by John Mason Neale (1818-1866).
The Agincourt Carol is an English folk song written some time in the early 15th century. It recounts the 1415 Battle of Agincourt, in which the English army led by Henry V of England defeated that of the French Charles VI. The carol is one of thirteen on the Trinity Carol Roll, probably originating in East Anglia, that has been held in the Wren Library of Trinity College, Cambridge.
Take up thy cross
Mount Calvary Church
A Roman Catholic Parish
The Personal Ordinariate of the Chair of S. Peter
Eutaw St. and Madison Ave.
Baltimore, Maryland
Rev. Albert Scharbach, Pastor
Dr. Allen Buskirk, Choirmaster
Trinity XII
September 8, 2019
Summer Schedule
One Mass at 9:00 A.M.
Breakfast following in the undercroft
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O Divine Redeemer, Charles Gounod
Ah! Turn me not away,
Receive me though unworthy;
Hear Thou my cry,
Behold, Lord, my distress!
Answer me from thy throne
Haste Thee, Lord to mine aid,
Thy pity shew in my deep anguish!
Let not the sword of vengeance smite me,
Though righteous thine anger,
O Lord! Shield me in danger, O regard me!
On Thee, Lord, alone will I call.
O Divine Redeemer!
I pray Thee, grant me pardon,
and remember not, remember not my sins!
Forgive me, O Divine Redeemer!
Night gathers round my soul;
Fearful, I cry to Thee;
Come to mine aid, O Lord!
Haste Thee, Lord, haste to help me!
Hear my cry! Save me Lord in Thy mercy;
Come and save me O Lord
Save, in the day of retribution,
From Death shield Thou me, O my God!
O Divine Redeemer, have mercy!
Help me, my Savior!
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En priere, Gabriel Faure
Si la voix d’un enfant peut monter jusqu’à Vous,
Ô mon Père,
Écoutez de Jésus, devant Vous à genoux,
La prière!
Si Vous m’avez choisi pour enseigner vos lois
Sur la terre,
Je saurai Vous servir, auguste Roi des rois,
Ô Lumière!
Sur mes lèvres, Seigneur, mettez la vérité
Salutaire,
Pour que celui qui doute, avec humilité
Vous révère!
Ne m’abandonnez pas, donnez-moi la douceur
Nécessaire,
Pour apaiser les maux, soulager la douleur,
La misère!
Révélez Vous à moi, Seigneur en qui je crois
Et j’espère:
Pour Vous je veux souffrir et mourir sur la croix,
Au calvaire!
If the voice of a child could reach up to you,
O my Father,
To be heard by Jesus… kneeling before You,
A prayer!
If you have chosen me to teach your laws
On Earth,
I would know how to serve you, august King of kings,
O Light!
On my lips, Lord, place the Truth
salutary,
So that those who doubt, with humility will
revere you!
Do not abandon me, but give me the Grace
necessary
to overcome evils, and to relieve pain
and misery!
Reveal yourself to me, Lord in whom I believe
and hope!
For You I want to suffer and die on the Cross,
on Calvary!
__________________
Hymns
Immortal, Invisible, God only wise (ST DENIO) by William Chalmers Smith (1824—1908), is a proclamation of the transcendence of God: “To the King of ages, immortal, invisible, the only God, be honor and glory for ever and ever” (1 Tim 17). No man has ever seen God, who dwells in inaccessible light that is darkness to mortal eyes. God lacks nothing (“nor wanting”) and never changes (“nor wasting”), and is undying, unlike mortals, who in a striking image “blossom and flourish like leaves on the tree, then wither and perish.” The original ending of the hymn completes the thought: “And so let Thy glory, almighty, impart, / Through Christ in His story, Thy Christ to the heart.” “No one has ever seen God; the only Son, who is in the bosom of the Father, He has made Him known” (John 1:18). Only in Jesus through the proclamation of the Gospel can we know the Father.
John Roberts, in Welsh Ieuan Gwyllt (1822-1877), composed the tune ST. DENIO (also known as JOANNA, or PALESTINA). It is derived from a Welsh folk song Can Mlynned i ‘nawr’ (“A Hundred Years from Now”).
Fairest Lord Jesus (CRUSADERS HYMN) is a 17th century German, hymn. Three stanzas of this hymn are taken from the version published by Richard Storrs Willis (1819-1900), in his Church Chorals and Choir Studies (New York, 1850). The tune emerges in Franz Liszt’s oratorio Legend of Saint Elizabeth—wherein the tune forms part of the “Crusader’s March”—but no evidence of the tune exists prior to 1842, when the hymn appeared in Schlesische Volkslieder.
Joyful, joyful, we adore Thee was written ca. 1908, when Henry van Dyke (1852-1953) was a visiting preacher at Williams College, Williamstown, Massachusetts, set in the beautiful landscape of the Berkshire Hills, which is said to have inspired the hymn. Van Dyke, a Presbyterian minister, was also a professor of English literature at Princeton and a friend of President Woodrow Wilson. He also served as a naval chaplain in World War I. He composed it to be sung to the Ode to Joy in Beethoven’s Ninth Symphony.
The Heavenly Jerusalem
Mount Calvary Church
A Roman Catholic Parish
The Personal Ordinariate of the Chair of S. Peter
Eutaw St. and Madison Ave.
Baltimore, Maryland
Rev. Albert Scharbach, Pastor
Dr. Allen Buskirk, Choirmaster
Trinity XI
September 1, 2019
Summer Schedule
One Mass at 9:00 A.M.
Breakfast following in the undercroft
___________
Anthems
Laudate Dominum, W. A. Mozart
Laudate Dominum omnes gentes
Laudate eum, omnes populi
Quoniam confirmata est
Super nos misericordia eius,
Et veritas Domini manet in aeternum.
Gloria Patri et Filio
et Spiritui Sancto.
Sicut erat in principio, et nunc, et semper.
Et in saecula saeculorum. Amen.
Praise the Lord, all nations;
Praise Him, all people.
For He has bestowed
His mercy upon us,
And the truth of the Lord endures forever.
Glory to the Father and to the Son
and to the Holy Spirit,
as it was in the beginning, is now, and forever,
and for generations of generations. Amen.
_____
Ave verum corpus, W. A. Mozart
Ave verum corpus natum
ex Maria virgine,
vere passum immolatum
in cruce pro homine,
cuius latus perforatum
unda fluxit sanguine,
esto nobis praegustatum
mortis in examine.
Hail, true Body, born
of the Virgin Mary,
who having truly suffered, was sacrificed
on the cross for mankind,
whose pierced side
flowed with water and blood:
May it be for us a foretaste [of the Heavenly banquet]
in the trial of death.
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Hymns
Glorious things of thee are spoken was written by John Newton (1725—1807), sometime slave trader and author of Amazing Grace, with the help of William Cowper (1731—1800). The opening line quotes Psalm 87:3 “Glorious things of you are spoken, O city of God.” The theme is the universal church. The text begins with a vision of the new city of God (Heb 12:22), founded on the rock of ages (2 Sam 22), from which flow streams of living waters (Rev 22), alluding to the rock that Moses truck in the desert, to the Gihon spring on Mount Zion, and to the living water that Jesus promised the women at the well. The third stanza names the cloud and fire — the enduring presence God in the church —, and the manna (Ex 13:21, 16:31), a symbol of the Eucharist. We are washed in the Blood of the Lamb, making us Kings and priests to our God, to Whom we offer in Jesus the sacrifice of our lives in praise and thanksgiving for the salvation He has wrought.
The tune, AUSTRIA, by Haydn, created problems for England during World War II and was replaced by a newly composed tune, but we are using the 18thcentury melody, which also appears in the Emperor quartet, opus 70, no. 5.
Jerusalem, my happy home has a complicated history. It may have been written by a 16th century Catholic priest “F. B. P” (¿Francis Baker Porter?) imprisoned in the Tower and it may be based on The Meditations of St. Augustine. It exists in several versions; the one we use was said to be the favorite hymn of Elizabeth Ann Seton.
As adults, we know we live in a vale of tears: the disappointments of life, the sickness and death of friends and family, the destruction that evil works in God’s creation. This world as it now exists is not our home, which we will find in the transfigured world of the New Creation. The disharmony of the present age will be replaced by the harmony of heaven, symbolized by music, the new song, canticum novum, that we will forever sing. As the Navajos say, Hózhó Nahasdlii: It is finished in beauty.
LAND OF REST is an American folk tune with roots in the ballads of northern England and Scotland. It was known throughout the Appalachians; a shape-note version of the tune was published in The Sacred Harp (1844).
Love divine, all loves excelling is by Charles Wesley (1707—1788). The hymn is a prayer: through the incarnate Christ, we pray for the indwelling of the Holy Spirit, and ask that we would never be separated from the love of God in Christ, who works in us and through us until our time on earth is done.
One of the most loved Welsh tunes, HYFRODOL was composed by Rowland Hugh Prichard (1811—1887) in 1830 when he was only nineteen.
Strive to enter through the narrow door
Mount Calvary Church
A Roman Catholic Parish
The Personal Ordinariate of the Chair of S. Peter
Eutaw St. and Madison Ave.
Baltimore, Maryland
Rev. Albert Scharbach, Pastor
Dr. Allen Buskirk, Choirmaster
Trinity X
August 25, 2019
Summer Schedule
One Mass at 9:00 A.M.
Breakfast following in the undercroft
____________________
Common
Merbecke
___________________
Hymns
There’s a wideness in God’s mercy (IN BABILONE) was written by Frederick Faber (1814—1863). He was born an Anglican and reared a strict Calvinist. After attending Oxford, he took orders as an Anglican priest and began his ministry as a rector. Influenced by his friend John Henry Newman (1801—1890), who converted from Anglicanism to Roman Catholicism in 1845, Faber also converted to Catholicism that same year.
IN BABILONE is a traditional Dutch melody that appeared in Oude en Nieuwe Hollantse Boerenlities en Contradansen (Old and New Dutch Peasant Songs and Country Dances), c. 1710. Ralph Vaughan Williams discovered this tune as arranged by Julius Rontgen (b. Leipzig, Germany, 1855; d. Utrecht, the Netherlands, 1932) and included it in The English Hymnal (1906), from which it gained widespread use
In Christ, there is no east or west (MCKEE) is by John Oxenham (1852—1941). Oxenham opposes Rudyard Kipling’s sentiment: “Oh, East is East, and West is West, and never the twain shall meet” from Barrack-Room Ballads, and Other Verses (1892). Paul in Galatians 3:28 proclaimed: ‘There is no longer Jew or Greek, there is no longer slave or free, there is no longer male and female; for all of you are one in Christ.’”
MCKEE is a tune adapted from a spiritual by the famous African-American composer and songwriter, Harry T. Burleigh (1866–1949). It was named for the rector of St. George’s Episcopal Church in New York City, Elmer M. McKee, where Burleigh was the baritone soloist for over 50 years.
Mount Calvary was the leading Episcopal church in Baltimore in its mission to African-American, It welcomed all as members, and sponsored two missions in Baltimore, St. Mary the Virgin and St. Katherine. St Mary the Virgin was the most prominent African-American Episcopal church in the United States, and had more communicants than Mount Calvary. Mount Calvary sponsored the first African- American seminarian at the General Theological Seminary. The Catholic vision of Mount Calvary has always included all races.
All people that on earth do dwell is by William Kethe (–1594), who helped translate the Geneva Bible in 1560 and contributed twenty-five psalms to the 1561 Anglo-Genevan Psalter. Only ten of these were retained in the 1562 English Psalter, while the 1564 Scottish Psalter retained all 25. His version of Psalm 100, The Old Hundredth, is universally known by its first line.
OLD HUNDRETH is a hymn tune in Long Metre from Pseaumes Octante Trois de David (1551) (the second edition of the Genevan Psalter) and is one of the best-known melodies in all Christian musical traditions. The tune is usually attributed to the French composer Louis Bourgeois (c. 1510 – c.1560).
The harvest is plentiful, but the workers are few
Mount Calvary Church
A Roman Catholic Parish
The Personal Ordinariate of the Chair of S. Peter
Eutaw St. and Madison Ave.
Baltimore, Maryland
Rev. Albert Scharbach, Pastor
Dr. Allen Buskirk, Choirmaster
Trinity III
July 7, 2019
Summer Schedule
One Mass at 9:00 A.M.
Breakfast following in the undercroft
____________________
Common
Merbecke
___________________
Anthems
George Fredrick Handel (1685-1759)
Haec est regina virginum que genuit regem veiut rosa decora. Virgo Dei genitrix per quam reperimus Deus et homine alma virgo intercede pro nobis.
Behold the queen of virgins who, like a beautiful rose, brought forth the King! Virgin mother of God, through whom we perceive God and man, Blessed Virgin, pray for us.
Here is Anne-Sofie von Otter.
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Hymns
Come, ye thankful people, come (WINDSOR), written by Henry Alford (1810—1871) echoes the gospel of today, with Christ’s call for workers for the harvest. The first stanza focuses directly on the physical harvest, an image used throughout scripture from in Genesis through Revelation. The second stanza begins Alford’s expansion of the parable. Alford applies it to how joy and sorrow grow together in life, and how God does not eliminate sorrow until after the final harvest when God “will wipe every tear from their eyes.” The third and fourth stanzas move directly to the apocalypse with “For the Lord our God shall come.”
WINDSOR, by George Job Elvey (1816—1893). is named after the chapel in Windsor, England, where Elvey was organist for forty-seven years. This serviceable Victorian tune is held together by the rhythmic motive of the opening phrase.
Father, we thank Thee (RENDEZ A DIEU) is a translation by the Rev. Francis Bland Tucker (1896—1984; UVA 1914) of a portion of the Didache (c. 110 AD) that describes the manner of celebrating the Eucharist: “concerning the broken bread. We thank thee, our Father, for the life and knowledge which thou hast made known unto us through Jesus thy Son; to thee be the glory forever. As this broken bread was once scattered on the mountains, and after it had been brought together became one, so may thy Church be gathered together from the ends of the earth unto thy kingdom.”
RENDEZ A DIEU is attributed to the Reformed composer, Loys Bourgeois (c 1510—1561). This beloved tune is one of the finest and most widely sung of the Genevan psalm tunes because of its clear melodic structure and vibrant rhythm.
All Creatures of our God and King (LASST UNS ERFREUEN) is based upon the Canticle of Brother Sun by St. Francis of Assisi (1182—1226). It was written in stages during the final year of his life, while he was nearly blind. Francis wrote: “For His praise, I wish to compose a new hymn about the Lord’s creatures, of which we make daily use, without which we cannot live.” We and all creation exist to honor and praise God. We praise God even for bodily death, because it is through the gates of death that we return home to Him and enter the New Creation. It was paraphrased by the Rev. William Henry Draper (1855—1933).
LASST UNS ERFREUEN is an arrangement by Ralph Vaughan Williams of a German tune from the Cologne Geistliche Kirchengesänge (Köln, 1623)
Christ in the Wilderness: Foxes Have Holes, Stanley Spencer 1891-1959
Mount Calvary Church
A Roman Catholic Parish
The Personal Ordinariate of the Chair of S. Peter
Eutaw St. and Madison Ave.
Baltimore, Maryland
Rev. Albert Scharbach, Pastor
Dr. Allen Buskirk, Choirmaster
Trinity II
June 30, 2019
Summer Schedule
One Mass at 9:00 A.M.
Breakfast following in the undercroft
Common
Merbecke
Instrumental Music
Offertory: Bartolomeo Campagnoli Caprice No.2 for Solo Viola.
Communion: Prelude from J. S. Bach’s 4th Cello Suite
Hymns
He who would valiant be (ST. DUNSTANS) is a reworking by Percy Dearmer (1867—1936) of a poem “He who would true valour see” by John Bunyan in the Pilgrim’s Progress.
Humbly I adore Thee is a translation and adaptation of part of the Adoro te devote, which was composed by Thomas Aquinas (1225—1274) as a private prayer of devotion. Aquinas addresses Jesus in the sacrament as Truth, “Verity unseen.” For Aquinas, truth was the conforming of the mind to reality. The reality of the Eucharist is that Jesus is present beneath the outward signs of bread and wine. We believe this because Jesus has said it: “This is my Body.” The sacrament is a memorial in the fullest sense of the word: through the Mass the One Sacrifice of Calvary becomes truly present to us. We now see Jesus veiled, but our deepest desire is to see Him face to face. In that vision of God-become-Man for love of us, we are fully conformed to that truth and blessed because we attain the purpose for which we were created.
A mighty fortress is our God is from the German translation of Psalm 46 by Martin Luther. Leading Catholic liturgical scholar and musician Edward Foley calls Martin Luther “a model pastoral musician… a proponent and composer of music from the people and for the people, as evidenced in his chorales.” Speaking specifically of Ein feste Burg—the German title for “A mighty fortress”, Fr. Foley notes that this chorale “appears to be a paradigm of liturgical ‘people music.’” Luther’s “craft is affirmed by its ageless singability” — high praise from a Catholic scholar, indicating not only the quality of Luther’s work, but also its ecumenical popularity.
Parts of Bishop Robert Barron’s Letter to a Suffering Church: A Bishop Speaks on the Sexual Abuse Crisis are excellent. It is an odd mixture of forthrightness and reticence. He acknowledges the current and past corruptions in the Church but argues that disillusioned members should stay because it is still the Mystical Body of Christ, that nowhere else can people receiving the deifying Eucharistic Lord, the source of holiness.
To begin with the last point: The Orthodox Churches have a Eucharist as valid and deifying as the Roman Catholic Church, and they manifest it better in their liturgy. Christians of all denominations can make a spiritual communion, which the Council of Trent taught had all the benefits of a sacramental communion.
But Barron’s emphasis on the Eucharist only makes the difficulty greater: how can men who confect and receive the Eucharist daily for decades commit such horrible crimes. Priests are closer to the sacraments than any member of the laity is, but they have clearly fallen short of common human decency, much less deification.
It is a question I ask myself, and ask Jesus, when I receive Him in communion: Why am I not immediately transformed by the presence of the ascended and glorified Lord, with whom I commune under the forms of bread and wine? I don’t know the answer, but the fact that I, and more importantly priests, are not transformed indicates that something in addition to the Eucharist is needed. And what is it?
The Christian is simul justus et peccator, at once just and sinful; the Church is a casta meretrix, a chaste whore. We all, some more than others, lead double lives, and integrating and centering our life complexly on the self-gift of God in Jesus Christ is the work of more than a lifetime, and a work that can hardly be accomplished on our own power. And simply receiving the sacraments is not enough and may not even be the most important thing.
There is also a big omission in Barron’s account of the failures of priests and bishops: the failures of the recent, not just ancient, occupants of the chair of Peter. Why was Pope John Paul so willfully blind to abuse, even when people informed him and pleaded with him to act? Given that gross failure, should he have been given the honor (and honor is all it is) of canonization?
Benedict did far more than John Paul, but even he failed to act with vigor against abusers such as McCarrick. Francis has fallen short of Benedict; the lay members of his commission resigned in disgust, he failed to carry out announced reforms, he rehabilitated abusers whom Benedict had disciplined, he had to eat his words when he traduced the victims of Chilean abusers. I have no great hopes that Francis will drain the sewage from the clergy; he is inconsistent, and everything seems to rely upon personal loyalty rather than principle.
The United States may have made some progress in curbing abuse, but I know that bishops are still playing games and hiding abusive priests. Nor are they willing to engage in fraternal correction of other bishops. Has Barron ever commented on Mahoney, who should probably be in jail, not lecturing to Catholics? Third world countries, where most Catholics live and which send many priests to the United States, have abysmal standards.
Nor do I have any confidence that the bishops of the United States really want to reform any more than they have to to keep the lawyers out of the pocketbooks. I am a board member of BishopAccountability, which has amassed millions of pages of documents on sexual abuse on the Church. It is no doubt the largest such archive in the world, the library from hell, as my wife calls it. We have never received a request from the hierarchy for information. The bishops do not want to know what happened. Why?
Mount Calvary Church
Eutaw Street and Madison Avenue
Baltimore, Maryland
The Roman Catholic Ordinariate of the Chair of Saint Peter
Rev. Albert Scharbach, Pastor
Corpus Christi
8:00 AM Said Mass
10:00 AM Sung Mass
Eucharistic Procession to Mother Anne Seton House
Parish Picnic
Anthems
The text of the Corpus Christi Carol (music by Benjamin Britten) was discovered in 1504. One theory about the meaning of the carol is that it is concerned with the legend of the Holy Grail. In Arthurian traditions of the Grail story, the Fisher King is the knight who is the Grail’s protector, and whose legs are perpetually wounded.[1]When he is wounded his kingdom suffers and becomes a wasteland. This would explain the reference to “an orchard brown”.
The text may be an allegory in which the crucified is described as a wounded knight. The bleeding knight could be Christ who bleeds for the sins of humanity endlessly. Christ is most probably represented as a knight as he is battling sin and evil by his continual pain. The “orchard brown” to which the knight was conveyed becomes, in this reading, the “orchard” of wooden crosses that covered the hill of Golgotha/Calvary where Christ – along with many others – was Crucified, while the “hall… hanged with purpill and pall” could be a representation of the tomb in which Christ was placed after Crucifixion. The maiden who is by the knight’s side could be Mary. The colours in the carol are also significant. The purple and gold are signs of wealth, although these were also colours that referred to the Church due to its wealth. The pall (black velvet) probably refers to death.
Panis angelicus, set by Cesar Franck, (Latin for “Bread of Angels” or “Angelic Bread”) is the penultimate strophe of the hymn “Sacris solemniis” written by Saint Thomas Aquinas for the feast of Corpus Christi.
Hymns
Lord, enthroned in heavenly splendor (BRYN CALFARIA) is a communion hymn by the Rev. George Hugh Bourne (1840-1925). The tune is by the Welsh musician William Owen (1813-1893).
O food to pilgrims given (O WEWLT ICH MUSS DICH LASSEN) is a translation of O esca viatorum, an anonymous Latin hymn first published in 1647. In the first verse, we express the desire to unite with Christ by means of His body, the manna from heaven; in the second, by means of His blood, the fountain of living water that gives us eternal life. In the third verse, we desire the vision of Christ’s face unveiled, whose hidden presence we adore in the eucharistic species.
O saving victim (MARTYR DEI) is a translation of O salutaris hostia by Thomas Aquinas.
Thee Father, we thank thee (RENDEZ A DIEU) is a translation by the Rev. Francis Bland Tucker (1896—1984; UVA 1914) of a portion of the Didache (c. 110 AD) that describes the manner of celebrating the Eucharist: “concerning the broken bread. We thank thee, our Father, for the life and knowledge which thou hast made known unto us through Jesus thy Son; to thee be the glory forever. As this broken bread was once scattered on the mountains, and after it had been brought together became one, so may thy Church be gathered together from the ends of the earth unto thy kingdom.”
Hymns in procession
Now, my tongue, the mystery telling is a translation of the Pange lingua by Thomas Aquinas.
Holy God we praise Thy name is a translation of a German paraphrase of the Te Deum.