Hymns

#345 The King of love my shepherd is (ST COLUMBA) was written by Sir Henry Williams Baker (1821–1877). It is notable for its skillful meter, and its well-managed rhyme scheme of single and double rhymes, which control and shape the emotion very beautifully. Baker gave an Anglican slant to Psalm 23, interpreting it as a psalm of love and care, but stressing these qualities as evidenced in the Eucharist. The spread table of verse 5 becomes the altar on which the elements are displayed, and the delight comes as the believer takes the ‘pure chalice’; the unction, or anointing (from 1 John 2: 27), while bestowing grace in a spiritual sense, also has suggestions of a rite. This verse spreads its meaning through the whole hymn, allowing the words of Psalm 23 to acquire an extra significance: so that the last verse suggests that the length of days of a person’s life can be spent, figuratively, ‘within thy house for ever’, in the service and under the influence of the church, and then later in heaven. The singer can reflect back, and conclude that the first verses suggest the ransomed soul, sought out in love and rescued from sin (Baker’s version of ‘he restoreth my soul’). The beautiful use of the shepherd metaphor in verse 3, as the shepherd carries the lamb gently on his shoulder, is an illustration of the tenderness of Baker’s work: these lines were the last words spoken by Baker on his deathbed.

#223 Jesus son of Mary was written by Edmund Stuart Palmer (1856–1931) in Swahili as ‘Yesu Bin Mariamu’ sometime before 1901, for the Requiem of a colleague. Palmer was a doctor and Anglican cleric who preached and practiced medicine in Zanzibar and East Africa.

Here is the tune we will use ADORO DEVOTE.

#585 Jerusalem, my happy home has a complicated history. It may have been written by a 16^th 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.

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).

The first two verses of the hymn are a description of the saints arrayed before God’s throne, asking the question: who are they? Verse three begins to answer the question. So verse four is an answer to the question of who are the saints? What is wonderful about verse four is that it describes people who do not simply submit to God’s will: “who in prayer full oft have striven with the God they glorified.” In other words, their prayer has often been an intense struggle with God. It’s a powerful description of one aspect of a devout Christian life. Like Jacob, we often wrestle with God about His seeming absence in our anguish; Jesus too cried “my God, my God, why hast Thou forsaken me?”

Here is the Wakefield Cathedral Choir.

#585 Jerusalem, my happy home has a complicated history. It may have been written by a 16^th 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.

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).

#126 For all the saints is by the Anglican bishop William Walsham How (1823—1897), who was a great friend of the poor of his diocese, and was known variously as ‘the children’s bishop’, ‘the poor man’s bishop’ and ‘the omnibus bishop’ (the last referring to his preferred means of travel about his diocese).

This hymn derives much of its power from its ability to capture the spirit of the Church Militant here on earth, using imagery from the book of Revelation. Vaughan Williams composed the tune SINE NOMINE (‘without a name’) for this hymn. It has been suggested that the name of the tune refers to the countless number of saints who are not remembered by name but who are part of the ‘glorious company’.

Here is the St. Edmundsbury Cathedral Choir.

Scandinavia is the most egalitarian area in the world when it comes to policies, but it is also the area in which men and women segregate themselves into different occupations.

This division by gender in many professions is unusually pronounced in Iceland, known as a society that values equality, with a female prime minister, a law requiring employers to certify they pay male and female workers equally and a rule that at least 40 percent of corporate board members must be women.

The male dislike of education is of long standing, but it is increasing. An article in the Post points out:

Fifty years ago, 58 percent of U.S. college students were men. Today, 56 percent are women, Education Department estimates show. This year, for the first time, the share of college-educated women in the U.S. workforce passed the share of college-educated men.

Iceland is leading the way:

the shrinking number of men in higher education has, until recently, attracted scant attention, said Eyjolfur Gudmundsson, rector of the University of Akureyri, where 77 percent of 2,389 undergraduates are women.
“We are just now waking up and understanding that this is a problem,” Gudmundsson said. “The world is waking up to it.”
Yet some people still ask him why they should be concerned, Gudmundsson said.
“It is of concern for the exact reason that we had concern 30 years ago about women not being represented in higher education in a fair way, or in the United States about ethnic groups and people of different backgrounds” not going to college, he said he tells them.
______
Though there are slightly more men in Iceland than women, women earn more undergraduate and graduate degrees, including PhDs, according to the country’s Directorate of Equality. Fifty-nine percent of women in the Reykjavik region have completed college, compared with 45 percent of men; outside the capital, the ratio is 40 percent to 19 percent.
While men still predominate in engineering and computer science, they won’t go into nursing; 98 percent of nurses here are women, at a time when the need for nurses is rising.
There are also shortages of teachers in Iceland, another job for which few men apply; at the University of Iceland, 91 percent of teaching students are women.

Women will go into fields long associated with men, bt men will not go into fields long associated with women:

In fact, attitudes toward work have started changing — but more among women than men. At the University of Iceland, more women have begun to enter male-dominated disciplines such as electrical engineering.

“What isn’t happening is the other trend in the female-dominated departments,” Gestsdottir said. “We’re not seeing men going into women-dominated subjects at the same rate. This is a very slow process.”

Women will happily wear pants; men will rarely wear dresses (and no, a kilt is not a skirt).

In higher education in the United States there is some hostility to men, especially heterosexual men, especially white heterosexual men. So there are fewer and fewer men in college; women have to marry down educationally.

In Iceland, with is 3% unemployment rate, there are still many well-paying blue collar jobs in fishing and construction; less so in the United States.

The dominance of men at the very top of society conceals the downward mobility of men as a whole, and the males at the top of the pyramid show little empathy for males at the bottom of the pyramid, where men far outnumber women in prison and on the streets.

Several years ago, I attended a conference on fatherhood at McGill University in Montreal. A professor of sociology, a woman, gave a depressing presentation on the rising number of suicides of young men in Canada and elsewhere.

In the middle of her presentation an older man arose and interrupted her. “Stop!” he said. “Why are you discussing this? The real crisis is the glass ceiling that women assistant professors of theology face when they try to become full professors! Don’t waste your time on trivial issues! Concentrate on the real problems!”

I asked who the jerk was and was informed it was Gregory Baum. Ah yes, Gregory Baum, super-liberal theologian and peritus at the Second Vatican Council. And liberals wonder why men voted for Trump.

Mount Calvary Church

A Roman Catholic Parish

The Personal Ordinariate of S. Peter

Eutaw Street and Madison Avenue

Baltimore, Maryland

Trinity XIX

Rev. Albert Scharbach, Pastor

Dr. Allen Buskirk, Choirmaster

Midori Ataka, Organist

Sunday, October 27, 2019

8:00 A.M. Said Mass

10:00 A.M. Sung Mass, with Baptism

Brunch to follow in the undercroft

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Prelude

Andante, from Voluntary I, John Stanley

Postlude

Southwell, setting by Raymond Haan

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Common

Missa S. Maria Magdalena, Healey Willan

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Anthems

 Give Almes of Thy Goods, Christopher Tye (1500-1573)

Give almes of thy goods, and turn never thy face from any poor man:
then the face of the Lord shall not be turned away from thee.

This Sunday’s offertory anthem is the most tasteful stewardship anthem in the repertoire. Rather than “please turn in your pledge card,” it requests us to “give almes of thy goods.” The beauty and effectiveness this short anthem is its simplicity and imitative voice parts. One vocal line leads as all the others follow, woven together like fine fabric. Listen for the words “and then the face” as they culminate in sublime, homophonic chordal treatment of the text “shall not be turned away from thee.” Christopher Tye (c.1505-1572) has been called an “innovator” of English cathedral music; together with Tallis, he bridged the musical and liturgical styles from Roman to Anglican in the earliest days of the English Church in the mid-16th Century. He worked closely with Edward VI, the young monarch who called Tye “our musical lecturer.” Moving away from plainsong, Edward VI had decreed that choirs sing in English and with only one note to every syllable. Tye graduated with a bachelor’s degree in music from Cambridge and sang as a lay clerk in the King’s College Cambridge choir. He then became master of the choir at Ely Cathedral, and Cambridge bestowed upon him the Doctor of Music degree. Though not documented, it is assumed he held a position in the Chapel Royal in the 1550s.

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Beati mundo cordi,  William Byrd (1540-1623)

Domine, non sum dignus
ut intres sub tectum meum,
sed tantum dic verbum,
et sanabitur anima mea.

Lord, I am not worthy
that thou shouldest come under my roof:
but speak the word only,
and my soul shall be healed.

Hymns

#414 (words) O for a heart to praise my God (RICHMOND) is by Charles Wesley (1707-1788). This hymn has the Wesleyan emphasis on the religion of the heart, which is transformed by the saving blood of Jesus. The hope for perfection is deeply Wesleyan. The Beatitudes likewise point the Christian to greater and greater perfection: Blessed are the pure of heart, blessed are the meek. Perfection is found in love, because we become sharers of the divine nature, and Jesus reveals the “new, best name” of God, Love. The tune RICHMOND is by the Anglican clergyman Thomas Haweis (rhymes with pause) (1734-1820), a leading figures of the 18th century evangelical revival and a key figure in the histories of the Countess of Huntingdon’s Connexion, the Free Church of England and the London Missionary Society.It is named for the  Rev. Leigh Richmond, a friend of Haweis’s.

#781 Lord Jesus, think on me (SOUTHWELL) is a translation by the Anglican clergyman Allen William Chatfield (1808-1896) of the Greek hymn, Μνώεο Χριστέ by Synesius of Cyrene (375-430). Synesius was the Bishop of Ptolomais, one of the ancient capitals of Cyrenaica that is today part of modern-day Libya.

I’ll praise my Maker while I’ve breath (OLD 113th) is Isaac Watts’ (1674-1748) paraphrase of Psalm 146, altered by John Wesley. It was one if his favorite hymns; he sang it at the end of his last sermon. Wesley’s caretaker at his deathbed wrote that, shortly before Wesley’s death, he ” broke out ..in a manner which considering his extreme weakness astonished us all, in these blessed words: ‘ I’ll praise my Maker while I’ve breath…’ ” During that night Wesley tried to repeat the hymn, but could only say ” I’ll praise — I’ll praise”. A few hours later John Wesley has passed into the Lord’s presence. In death Christians pass into endless praise of God’s goodness and mercy.  OLD 113th was composed by Matthaus Greiter (1495-1550). He became priest and cantor at Strasbourg Cathedral. In 1524 he joined the new Reformed Church. In 1538 he accepted a position of music teacher at the Collegium Argentinense (later University of Strasbourg). In 1549 he returned to the Catholic religion and founded a Catholic school of singing.

Addendum

The attentive reader (and all readers of this blog are in that category) will no doubt have noticed the variation in the text of Byrd’s Domine non sum dignus.

In the Latin Missal, the phrase is sed tantum dic verbo, verbo being an ablative of means : Say only by the word, but Byrd’s text puts verbum in the accusative, making it the direct object of dic. Alas, I do not know the origin of this variation (the Vetus Latina?).

The Vulgate has sed dic verbo, et sanabitur puer meus.

As the blog Réponses Catholiques explains in answer to a question:

« Dans la liturgie en latin, avant la communion, nous disons : « Domine, non sum dignus ut intres sub tectum meum, sed tantum dic VERBO, et sanabitur anima mea. Instinctivement je dirais : « sed tantum dic VERBUM ». Pouvez-vous m’expliquer le sens de VERBO ? »

Sur ce blogue, toutes les questions sont bonnes, y compris les plus techniques. Mais comme mes connaissances ne sont pas universelles, j’ai consulté un confrère hautement qualifié.

Voici sa réponse, in extenso :

« J’ai longtemps cru que c’était une faute de latin (comme il y a dans le missel français des fautes de grammaire, cf. l’horrible et fautif “prends pitié”), jusqu’au jour où un moine que j’interrogeais à ce sujet m’a dit : Mais pas du tout ! Il s’agit bien d’un ablatif. Le verbe transitif “dicere” est normalement suivi d’un accusatif : “dic verbum” = “dis une parole”. Mais il existe un autre sens : commander, ordonner, avec l’ablatif : “dic verbo” = “ordonne au moyen d’une parole (par une parole)”. Il n’y a donc pas de faute, contrairement aux apparences.

Signé : Père O. »

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

______________

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.

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

__________________

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!

__________

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!

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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.

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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 18^thcentury 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 16^th 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.