{"id":5518,"date":"2017-03-13T18:14:33","date_gmt":"2017-03-14T00:14:33","guid":{"rendered":"http:\/\/www.podles.org\/dialogue\/?p=5518"},"modified":"2017-03-19T12:22:11","modified_gmt":"2017-03-19T18:22:11","slug":"mount-calvary-music-march-19","status":"publish","type":"post","link":"http:\/\/www.podles.org\/dialogue\/mount-calvary-music-march-19-5518.htm","title":{"rendered":"Mount Calvary Music March 19"},"content":{"rendered":"

\"Image<\/a><\/p>\n

Jesus and the Samaritan Woman, Veronese<\/em><\/p>\n

Mount Calvary Church<\/strong><\/span><\/p>\n

Baltimore<\/strong><\/span><\/p>\n

Personal\u00a0Ordinariate\u00a0of the Chair of St. Peter<\/p>\n

Lent III<\/p>\n

March 19, 2017<\/strong><\/p>\n

Hymns<\/strong><\/span><\/p>\n

When I survey the wondrous cross<\/em><\/p>\n

Just as I am<\/em><\/p>\n

I bind unto myself today<\/em><\/p>\n

Anthems<\/strong><\/span><\/p>\n

I Heard the, Voice of Jesus Say<\/em>, Bonar, Vaughan\u00a0Willaims<\/p>\n

Sicut cervus,<\/em> Palestrina<\/p>\n

Common<\/strong><\/span><\/p>\n

Kyrie<\/em>, Sanctus<\/em>, Agnus Dei<\/em>, Merbecke<\/p>\n

______________________________<\/p>\n

When I survey the wondrous cross<\/em><\/strong> by Isaac Watts (1674\u20141748). 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: \u201cBut 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\u201d (Gal 6: 14). The third stanza repeats almost verbatim phrases from St. Bernard of Clairvaux\u2019s hymn \u201cSalve mundi salutare\u201d: \u00a0such sentiments would be felt by any sincere Christian who meditated upon the crucifixion.<\/p>\n

\"Monument<\/a><\/p>\n

Monument to Isaac Watts, Westminster Abbey<\/em><\/p>\n

During Watt\u2019s early life, Calvinist sentiments in England, especially among Nonconformists, barred any music in church except psalm singing, and Watts knew how dreary it could be. He commented, \u201cThe singing of God\u2019s praise is the part of worship most closely related to heaven; but its performance among us is the worst on earth.\u201d (Things have not changed much.)<\/p>\n

When I survey the wondrous cross
\nOn which the Prince of glory died,
\nMy richest gain I count but loss,
\nAnd pour contempt on all my pride.<\/p>\n

Forbid it, Lord, that I should boast,
\nSave in the death of Christ my God!
\nAll the vain things that charm me most,
\nI sacrifice them to His blood.<\/p>\n

See from His head, His hands, His feet,
\nSorrow and love flow mingled down!
\nDid e\u2019er such love and sorrow meet,
\nOr thorns compose so rich a crown?<\/p>\n

Were the whole realm of nature mine,
\nThat were a present far too small;
\nLove so amazing, so divine,
\nDemands my soul, my life, my all.<\/p><\/blockquote>\n

Salve, mundi salutare.\u00a0<\/em><\/strong>This hymn is variously attributed to Bernard of Clairvaux, Bonaventure, and Arnulph von L\u00f6wen.<\/p>\n

Salve, mundi salutare:
\nSalve, salve, Jesu chare,
\nCruci tuae me aptare
\nVellem vere, tu scis quare
\nDa mihi tui copiam.
\nAc si praesens sis accedo,
\nImmo te praesentem credo.
\nO quam nudum hic te cerno!
\nEcce tibi me prosterno:
\nSis facilis ad veniam.<\/p>\n

Clavos pedum, plagas duras
\nEt tam graves impressuras
\nCircumplector cum affectu,
\nTuo pavens in aspectu,
\nMeorum memor vulnerum.
\nGrates tantae caritati,
\nNos agamus vulnerati.
\nO amator peccatorum,
\nReparator confractorum:
\nO dulcis pater pauperum!<\/p>\n

Quidquid est in me confractum
\nDissipatum, aut distractum,
\nDulcis Jesu, totum sana,
\nTu restaura, tu complana,
\nTam pio medicamine.
\nTe in tua cruce quaero,
\nProut queo, corde mero;
\nMe sanabis hic, ut spero:
\nSana me, et salvus ero,
\nIn tuo lavans sanguine.<\/p>\n

Plagas tuas rubicundas,
\nEt fixuras tam profundas,
\nCordi meo fac inscribi,
\nUt configar totus tibi,
\nTe modis amans omnibus.
\nDulcis Jesu, pie Deus,
\nAd te clamo licet reus:
\nPraebe mihi te benignum,
\nNe repellas me indignum
\nDe tuis sanctis pedibus<\/p>\n

Coram cruce procumbentem,
\nHosque pedes complectentem,
\nJesu bone, non me spernas,
\nSed de cruce sancta cernas
\nCompassionis gratia.
\nIn hac cruce stans directe,
\nVide me, o mi dilecte,
\nTotum te ad me converte:
\nEsto sanus, dic aperte,
\nDimitto tibi omnia.<\/p><\/blockquote>\n

The tune is ROCKINGHAM. Edward Miller<\/strong> (1735 \u20141807) adapted ROCKINGHAM from an earlier tune, TUNEBRIDGE, which had been published in Aaron Williams’s A Second Supplement to Psalmody in Miniature<\/em> (c. 1780). Its name refers to a friend and patron of Edward Miller, the Marquis of Rockingham, who served twice as Great Britain’s prime minister.<\/p>\n

Miller’s father had made his living laying brick roads, and the young Edward became an apprentice in the same trade. Unhappy with that profession, however, he ran away to the town of Lynn and studied music with Charles Burney, the most prominent music historian of his day. A competent flute and organ player, he was organist at the parish church in Doncaster from 1756 to 1807. Miller was active in the musical life of the Doncaster region and composed keyboard sonatas and church music. His most influential publications were The Psalms of David for the Use of Parish Churches <\/em>(1790), in which he sought to reform metrical psalmody (and which included ROCKINGHAM), and David’s Harp <\/em>(1805), an important Methodist tunebook issued by Miller with his son.<\/p>\n

Here is King’s College<\/a>.<\/p>\n

A Digression on English Hymnody<\/span><\/p>\n

J. F. Coltheart describes the development of English hymnody after the Reformation and the impedance of Watts:<\/p>\n

“In the new ritual that had to be made, Cranmer omitted all hymns. Ordinary citi\u00adzens could not read Latin and without choirs of monks who were experienced in plain-song tunes, congregational singing was impossible. Thus was discarded, at a stroke, the hymnology that the Roman Church had built up during a thousand years.<\/p>\n

Glorious hymns such as Bernard of Clairvaux’s “Jesu, the Very Thought of Thee, With Sweetness Fills My Breast,” were lost sight of in English-speaking Christendom until the middle of the nineteenth century. Medieval hymns from the time of Thomas Aquinas and St. Francis, along with hymns from the days of Charlemagne and even from the time of the barbarian invasions of the fourth and fifth centuries, were all swept out of sight for three hundred years. Treasures like Bernard of Cluny’s “Jerusa\u00adlem the Golden,” the sixth century “O Christ, Our King, Creator, Lord,” the ninth century “Creator Spirit, by Whose Aid,” the incomparably beautiful “Jesu, Thou Joy of Loving Hearts,” “Jerusalem, My Happy Home,” and many others were dis\u00adcarded in the urgent clamor to dispense with anything connected with Rome. Bai\u00adley says, “Cranmer has made a clean sweep of the hymnic treasure of the centuries.”<\/p>\n

It was during the reign of Henry’s suc\u00adcessor, the boy king Edward VI, that the singing of psalms became popular. Thomas Sternhold, a Groom of the Robes, set Psalm 23 to a Genevan tune, and the youthful monarch liked it so much that he commis\u00adsioned Sternhold to produce more. In 1549 there appeared the book by Sternhold “Certayne Psalmes, chose out of the Psalter of David and drawe into Englishe metre by Thomas Sternhold, grome of ye kynge’s Maiesties robes.<\/em>” This was the beginning of an endless procession of Metrical Psal\u00adters that dominated the Established Church and the Non-Conformists for centuries, un\u00adtil the genius of Isaac Watts “broke its stranglehold and led the way to the use of true hymns of ‘human composure.’<\/p>\n

With the coming of Isaac Watts (1674-1748) English hymnology cast aside the Psalter, and the hymns of human compo\u00adsure came into being. Our hymnals today are liberally sprinkled with Watts’s hymns \u2014”When I Survey the Wondrous Cross,” “Praise Ye the Lord,” “O God, Our Help,” “I Sing the Mighty Power,” “Joy to the World,” “Jesus Invites His Saints,” “Come, We that Love the Lord,” et cetera.<\/p>\n

____________________<\/p>\n

Just as I am<\/em><\/strong> by Charlotte Elliott (1789\u20131871). Elliott was an invalid most of her life and was distressed by her inability to help spread the Gospel. She confided to a clergyman her distress that she was unable to offer any service to God. The clergyman told her that \u201cyou must come as you are\u2014a sinner\u2014 to the Lamb of God who takes away the sins of the world.\u201d When we sin, we, like Adam, want to hide from the face of God. We have nothing to offer Him but He calls and commands us, \u201cCome!\u201d We come in repentance and sorrow to receive his great gift: Himself in the Eucharist.<\/p>\n

\"Charlotte<\/a><\/p>\n

Charlotte Elliott<\/em><\/p>\n

Miss Elliott was the daughter of Charles Elliott of Clapham and Brighton and grand-daughter of the Rev. H. Venn of Huddersfield. She was born March 18th. 1789. The first 32 years of her life were spent mostly at Clapham. In 1823 she removed to Brighton and died there Sept. 22nd. 1871. To her acquaintance with Dr. C. Malan of Geneva is attributed much of the deep spiritual-mindedness which is so pronounced in her hymns. Though weak and feeble in body, she possessed a strong imagination and a well cultured and intellectual mind. Her love of poetry and music was great and is reflected in her verse. Her hymns number about 150, a large proportion of which is in common use. The finest and most widely known of these are: “Just as I am” and “My God, my Father while I stray”. Her verse is characterized by tenderness of feeling, plaintive simplicity, deep devotion and perfect rhythm. For those in sickness and sorrow, she has sung as few others have done.<\/p>\n

The history of the writing of “Just as I am, without one plea”.\u2014 In the Record, Oct. 15th. 1897, Bishop H.C.G. Moule of Durham, the Principal of Ridley Hall, Cambridge, gave a most interesting account of Miss Elliott, and the origin of this hymn. Dr. Moule, who is related to the family, derived his information from family sources. In an abbreviated form, this is the beautiful story \u2014 “Ill health still beset her. Besides its general trying influence on the spirit, it often caused her the peculiar pain of a seeming uselessness in her life, while the circle round her was full of unresting serviceableness for God. Such a time of trial marked the year 1834, when she was 45 years old and was living in Westfield Lodge, Brighton … Her brother, the Rev. H.V. Elliott, had not long before conceived the plan of St. Mary’s Hall at Brighton, a school designed to give at nominal cost, a high education to the daughters of clergymen; a noble work which is to this day carried on with admirable ability and large success. In aid to St.Mary’s Hall there was to be held a bazaar… Westfield Lodge was all astir; every member of the large circle was occupied morning and night in preparation with the one exception of the ailing sister Charlotte \u2014 as full of eager interest as any of them, but physically fit for nothing. The night before the bazaar she was kept wakeful by distressing thoughts of her apparent uselessness; and these thoughts passed by a transition easy to imagine into a spiritual conflict until she questioned the reality of her whole spiritual life, and wondered whether it was anything better after all than an illusion of the emotions, an illusion ready to be sorrowfully dispelled. The next day, the busy day of the bazaar …. the troubles of the night came back upon her with such force that she felt they must be met and conquered by the grace of God. She gathered up in her soul the grand certainties, not of her emotions, but of her salvation: her Lord; His power: His promise. And taking pen and paper from the table she deliberately set down in writing for her own comfort the formulae of her faith … so in verse she restated to herself the Gospel of pardon, peace and heaven…. there, then, always, not at some past moment, but “even now” she was accepted in the Beloved, “Just as I am”. As the day wore on, her sister-in-law, Mrs. H.V. Elliott, came in to see her and bring news of the work. She read the hymn and asked (she well might) for a copy. So it first stole out from that quiet room into the world, where for sixty years it has been sowing and reaping, until a multitude which only God can number has been blessed through the message”.<\/p>\n

Just as I am \u2013 without one plea,
\nBut that Thy blood was shed for me,
\nAnd that Thou bidst me come to Thee,
\n\u2013 O Lamb of God, I come!<\/p>\n

Just as I am \u2013 and waiting not
\nTo rid my soul of one dark blot,
\nTo Thee, whose blood can cleanse each spot,
\n\u2013 O Lamb of God, I come!<\/p>\n

Just as I am \u2013 though toss\u2019d about
\nWith many a conflict, many a doubt,
\nFightings and fears within, without,
\n\u2013 O Lamb of God, I come!<\/p>\n

Just as I am \u2013 poor, wretched, blind;
\nSight, riches, healing of the mind,
\nYea, all I need, in Thee to find,
\n\u2013 O Lamb of God, I come!<\/p>\n

Just as I am \u2013 Thou wilt receive,
\nWilt welcome, pardon, cleanse, relieve;
\nBecause Thy promise I believe,
\n\u2013 O Lamb of God, I come!<\/p>\n

Just as I am \u2013 Thy love unknown
\nHas broken every barrier down;
\nNow to be Thine, yea, Thine alone,
\n\u2013 O Lamb of God, I come!<\/p>\n

Just as I am \u2013 of that free love
\nThe breadth, length, depth, and height to prove,
\nHere for a season, then above,
\n\u2013 O Lamb of God, I come!<\/p><\/blockquote>\n

The tune is ST. CRISPIN, composed by Sir George Job Elve<\/strong>y. He was born at Canterbury on 29 March 1816, was a son of John Elvey. For several generations, his family had been connected with the musical life of the cathedral city. At an early age, he was admitted as a chorister of Canterbury Cathedral, under Highmore Skeats, his brother, Stephen Elvey, being then master of the boys.<\/p>\n

In 1830, Stephen Elvey having been appointed organist of New College, Oxford, George went to reside with him, and completed his musical education under his brother’s guidance. He studied at the Royal Academy of Music under Cipriani Potter and Dr Crotch.<\/p>\n

Before he was seventeen, he had become a very expert organist and took temporary duty at Christ Church, Magdalen, and New College. In 1834, he gained the Gresham gold medal for his anthem, ‘Bow down Thine ear, Lord.’ In 1835, he succeeded Skeats as organist of St. George’s Chapel, Windsor. Among his earliest pupils were Prince George, Duke of Cambridge and Prince Edward of Saxe-Weimar, for whose confirmation he composed his well-known anthem, ‘Wherewithal shall a young man cleanse his way?’<\/p>\n

He matriculated from New College on 17 May 1838 and graduated Mus. Bac. on 2 June following, his exercise being an oratorio, ‘The Resurrection and Ascension,’ afterwards performed by the Sacred Harmonic Society at Exeter Hall (12 November 1838), and subsequently at Boston, United States of America, and at Glasgow. On 2 July 1840, by a special dispensation of the chancellor of the university, Elvey graduated Mus. Doc. two years earlier than was allowed by the statutes. His exercise on this occasion was the anthem, ‘The ways of Zion do mourn.’ Two anthems, with orchestral accompaniments, ‘The Lord is King,’ and ‘Sing, Heavens,’ were written respectively for the Gloucester festival of 1853 and the Worcester festival of 1857.<\/p>\n

Of his best-known works produced chiefly between 1856 and 1860 many were composed for special services at St. George’s Chapel. By the death of the Prince Consort in 1861, Elvey lost one of his most sympathetic patrons. The funeral anthems, ‘The Souls of the Righteous’ and ‘Blessed are the Dead,’ were both written for anniversary services in memory of the prince. For the marriage of the Prince of Wales (1863) he composed a special anthem, with organ and orchestral accompaniment, ‘Sing unto God,’ and for the marriage of Princess Louise (1871) a festal march which attained considerable popularity.<\/p>\n

He was knighted on 24 March 1871. The last important public event in which he took part was the marriage of the Duke of Albany at St. George’s Chapel on 6 May 1882. In June of that year, he resigned his post as organist. After some years spent in retirement he died at the Towers, Windlesham, on 9 September 1893.<\/p>\n

His most famous work is probably the hymn tune DIADEMATA, to which “Crown Him With Many Crowns”\u00a0is set. A memoir of him, by his widow, was published in 1894. The Hymn “Come, Ye thankful People, Come” to his tune “St. George’s Windsor” is also well-known.<\/p>\n

The Washington Cathedral <\/a>choir sings Just as I am<\/em>.<\/p>\n

____________________<\/p>\n

\"St<\/a><\/p>\n

I bind unto myself today<\/em><\/strong>. St. Patrick\u2019s Lorica<\/em> or Breastplate<\/em>. According to legend, on the way to Tara, St. Patrick and his monks was hunted by the scouts of the pagan king Loegaire mac Neill. Patrick sang this poem, which may be modeled after the incantations of the Druids, and the scouts saw Patrick as a deer and his men as fawns; therefore the poem is also called The Deer\u2019s Cry<\/em>.<\/p>\n

The themes of this hymn reflect St. Patrick’s preparation for spiritual battle as recorded in his autobiographical Confession. With the whole armor of Christ, Patrick won Ireland for teh Church, and this hymn is a powerful model for our own spiritual battles.<\/p>\n

\"Liber<\/a><\/p>\n

Liber Hymnorum<\/em><\/p>\n

The prayer is part of the Liber Hymnorum<\/em>, a collection of hymns found in two manuscripts kept in Dublin and published in 1903 in the Thesaurus Paleohibernicus<\/em>.<\/p>\n

Here is a literal translation from the Old Irish:<\/p>\n

I bind to myself today
\nThe strong virtue of the Invocation of the Trinity:
\nI believe the Trinity in the Unity
\nThe Creator of the Universe.
\nI bind to myself today
\nThe virtue of the Incarnation of Christ with His Baptism,
\nThe virtue of His crucifixion with His burial,
\nThe virtue of His Resurrection with His Ascension,
\nThe virtue of His coming on the Judgement Day.
\nI bind to myself today
\nThe virtue of the love of seraphim,
\nIn the obedience of angels,
\nIn the hope of resurrection unto reward,
\nIn prayers of Patriarchs,
\nIn predictions of Prophets,
\nIn preaching of Apostles,
\nIn faith of Confessors,
\nIn purity of holy Virgins,
\nIn deeds of righteous men.
\nI bind to myself today
\nThe power of Heaven,
\nThe light of the sun,
\nThe brightness of the moon,
\nThe splendour of fire,
\nThe flashing of lightning,
\nThe swiftness of wind,
\nThe depth of sea,
\nThe stability of earth,
\nThe compactness of rocks.
\nI bind to myself today
\nGod’s Power to guide me,
\nGod’s Might to uphold me,
\nGod’s Wisdom to teach me,
\nGod’s Eye to watch over me,
\nGod’s Ear to hear me,
\nGod’s Word to give me speech,
\nGod’s Hand to guide me,
\nGod’s Way to lie before me,
\nGod’s Shield to shelter me,
\nGod’s Host to secure me,
\nAgainst the snares of demons,
\nAgainst the seductions of vices,
\nAgainst the lusts of nature,
\nAgainst everyone who meditates injury to me,
\nWhether far or near,
\nWhether few or with many.
\nI invoke today all these virtues
\nAgainst every hostile merciless power
\nWhich may assail my body and my soul,
\nAgainst the incantations of false prophets,
\nAgainst the black laws of heathenism,
\nAgainst the false laws of heresy,
\nAgainst the deceits of idolatry,
\nAgainst the spells of women, and smiths, and druids,
\nAgainst every knowledge that binds the soul of man.
\nChrist, protect me today
\nAgainst every poison, against burning,
\nAgainst drowning, against death-wound,
\nThat I may receive abundant reward.
\nChrist with me, Christ before me,
\nChrist behind me, Christ within me,
\nChrist beneath me, Christ above me,
\nChrist at my right, Christ at my left,
\nChrist in the fort,
\nChrist in the chariot seat,
\nChrist in the poop [deck],
\nChrist in the heart of everyone who thinks of me,
\nChrist in the mouth of everyone who speaks to me,
\nChrist in every eye that sees me,
\nChrist in every ear that hears me.
\nI bind to myself today
\nThe strong virtue of an invocation of the Trinity,
\nI believe the Trinity in the Unity
\nThe Creator of the Universe.<\/p><\/blockquote>\n

Each verse of the prayer begins “Atomruig indiu” “I arise today” or “I bind unto myself today” and this phrase is repeated at the beginning of most of the verses.<\/p>\n

The Liber hymnorum<\/em> also tells us why we should sing:<\/p>\n

Whoever should recite the hymnody, would be making a song of praise dear to God, for it wipes out all sins, and cleanses the powers of the body and subdues involuntarily the lusts of the flesh; it lessens melancholy, and (banishes) all madness; it breaks down anger, it expels hell\u2019s angels, and gets rid of the devils; it dispels the darkness of the understanding, and increases holiness; it preserves the health, and completes good works, and it lights up a spiritual fire in the heart, i.e., the love of God (in place of) the love of man, and it (promotes) peace between the body and the soul.<\/p><\/blockquote>\n

\"Cecil<\/a><\/p>\n

Cecil Francis Humphreys Alexander<\/em><\/p>\n

Cecil Francis Alexander<\/strong> (1818\u20131895) wrote the hymn based on this poem in 1889 at the request of Hercules Henry Dickinson, Dean of the Chapel Royal at Dublin Castle. Dickinson gives this account:<\/p>\n

\u201cI wrote to her suggesting that she should fill a gap in our Irish Church Hymnal by giving us a metrical version of St. Patrick’s ‘Lorica’ and I sent her a carefully collated copy of the best prose translations of it. Within a week she sent me that exquisitely beautiful as well as faithful version which appears in the appendix to our Church Hymnal.”<\/p>\n

She was the daughter of Major John Humphreys, Miltown House, co. Tyrone, Ireland, In 1850 she married the Rt. Rev. W. Alexander, D.D., Bishop of Derry and Raphoe. She wrote 400 hymns, of which the best known are \u201cAll things bright and beautiful,\u201d \u201cOnce in royal David’s city,\u201d and \u201cThere is a green hill far away.\u201d<\/p>\n

And here is the complete hymn:<\/p>\n

I bind unto myself today
\nThe strong Name of the Trinity,
\nBy invocation of the same,
\nThe Three in One and One in Three.<\/p>\n

I bind this day to me for ever,
\nBy power of faith, Christ’s Incarnation;
\nHis baptism in Jordan river;
\nHis death on cross for my salvation;
\nHis bursting from the spic\u00e8d tomb;
\nHis riding up the heavenly way;
\nHis coming at the day of doom:
\nI bind unto myself today.<\/p>\n

I bind unto myself the power
\nOf the great love of cherubim;
\nThe sweet ‘Well done’ in judgment hour;
\nThe service of the seraphim;
\nConfessors’ faith, apostles’ word,
\nThe patriarchs’ prayers, the prophets’ scrolls;
\nAll good deeds done unto the Lord,
\nAnd purity of virgin souls.<\/p>\n

I bind unto myself today
\nThe virtues of the star-lit heaven,
\nThe glorious sun’s life-giving ray,
\nThe whiteness of the moon at even,
\nThe flashing of the lightning free,
\nThe whirling wind’s tempestuous shocks,
\nThe stable earth, the deep salt sea,
\nAround the old eternal rocks.<\/p>\n

I bind unto myself today
\nThe power of God to hold and lead,
\nHis eye to watch, his might to stay,
\nHis ear to hearken to my need;
\nThe wisdom of my God to teach,
\nHis hand to guide, his shield to ward;
\nThe word of God to give me speech,
\nHis heavenly host to be my guard.<\/p>\n

Christ be with me, Christ within me,
\nChrist behind me, Christ before me,
\nChrist beside me, Christ to win me,
\nChrist to comfort and restore me,
\nChrist beneath me, Christ above me,
\nChrist in quiet, Christ in danger,
\nChrist in hearts of all that love me,
\nChrist in mouth of friend and stranger.<\/p>\n

I bind unto myself the Name,
\nThe strong Name of the Trinity;
\nBy invocation of the same,
\nThe Three in One, and One in Three.
\nOf whom all nature hath creation;
\nEternal Father, Spirit, Word:
\nPraise to the Lord of my salvation,
\nSalvation is of Christ the Lord.<\/p><\/blockquote>\n

\"Charles<\/a>Charles Villiers Stanford<\/em><\/p>\n

The music to the hymn was originally set in 1902 by Charles Villiers Stanford for chorus and organ, using two traditional Irish tunes, ST. PATRICK and GARTAN, which Stanford took from his own edition (1895) of George Petrie’s Collection of the Ancient Music of Ireland<\/em> (originally 1855). \u00a0In many churches, it is unique among standard hymns because the variations in key, length and meter of verses mean that at least three different tunes must be used.<\/p>\n

The choir of Trinity College<\/a>, University of Melbourne sings the Lorica<\/em><\/strong>. Here is an arrangement by Melville Cook<\/a>.<\/p>\n

____________________<\/p>\n

Anthems<\/strong><\/p>\n

\"Jesus<\/a><\/p>\n

Jesus and the Woman of Samaria, Rembrandt<\/em><\/p>\n

Both of today’s anthems deal with the theme of living water that Jesus offer to the Samaritan woman at the well. The choir will sing a capella<\/em> a simple arrangement of I heard the voice of Jesus say.<\/em><\/p>\n

I Heard the Voice of Jesus Say<\/em><\/strong>, by Horatius Bonar<\/p>\n

I heard the voice of Jesus say,
\n‘Come unto me and rest;
\nlay down, thou weary one, lay down
\nthy head upon my breast’:
\nI came to Jesus as I was,
\nweary and worn and sad;
\nI found in him a resting-place,
\nand he has made me glad.
\nI heard the voice of Jesus say,
\n‘Behold, I freely give
\nthe living water, thirsty one;
\nstoop down and drink and live’:
\nI came to Jesus, and I drank
\nof that life-giving stream;
\nmy thirst was quenched, my soul revived,
\nand now I live in him.<\/p>\n

I heard the voice of Jesus say,
\n‘I am this dark world’s light;
\nlook unto me, thy morn shall rise,
\nand all thy day be bright’:
\nI looked to Jesus, and I found
\nin him my star, my sun;
\nand in that light of life I’ll walk
\ntill travelling days are done.<\/p><\/blockquote>\n

 <\/p>\n

\"Horatius<\/a><\/p>\n

Horatius Bonar<\/em><\/p>\n

The text is by Horatius Bonar (1808-1889). To say that Horatius Bonar had a family history of serving in the Church of Scotland would be an understatement. With Nearly 364 years of service in the church, it was no question what would become of Horatius at some point in his life. Horatius was born December 19th, 1808 to James Bonar who was at the time the Solicitor of Excise in Scotland. Born in Edinburgh, Scotland, Horatius stayed in his hometown and studied at the local High School and the University where, in 1837, he was ordained in the church, and became an assistant to Rev. John Lewis, Minister of St. James’s, Leith, Scotland. In November of that same year, Bonar left St. James and became Minister of North Perish, Kelso, Scotland. In 1843, because of a “great disruption,” in the church, Bonar left the his position at North Perish and joined the Free Church of Scotland. In 1853, the University of Aberdeen conferred upon Bonar the Doctorate of Divinity, which eventually would lead him back to Edinburgh in 1866, when he was placed at Chalmers Memorial Church, The Grange, Edinburgh. This was Bonar’s last call, but in 1883, he was chosen to be the Moderator of the General Assembly of the Free Church of Scotland. He was well known for being a poet.<\/p>\n

Bonar\u00a0preached the Substitutionary Sacrifice:<\/p>\n

“If Christ is not the substitute, he is nothing to the sinner. If he did not die as the sin-bearer, he has died in vain. Let us not be deceived on this point nor misled by those who, when they announce Christ as the deliverer, think they have preached the gospel. If I throw a rope to a drowning man, I am a deliverer. But is Christ no more than that? If I cast myself into the sea and risk myself to save another, I am a deliverer. But is Christ no more? Did He risk His life? The very essence of Christ’s deliverance is the substitution of himself for us–his life for ours! He did not come to risk his life; he came to die! He did not redeem us by a little loss, a little sacrifice, a little labor, a little suffering: ‘He redeemed us to God by His blood’ (I Peter 1:18,19). He gave all he had, even his life, for us. This is the kind of deliverance that awakens the happy song, ‘To Him that loved us, and washed us from our sins in His own blood’ (Revelation 1:5).”<\/p>\n

His poems and his life were marked by sadness: Five of his children died young. But later, his widowed daughter and her five children had to move in with him. Many grandparents would groan at the added burden, but Bonar rejoiced. To him it was as if God had given him five children to replace those he had lost.<\/p>\n

____________________<\/p>\n

\"Ralph<\/a><\/p>\n

Ralph Vaughn Williams\u00a0<\/em><\/p>\n

The tune KINGSFOLD is an old English folk song. The tune is written in e minor, but also can be considered a modal tune. The tune was published in English Country Songs (1893), an anthology compiled by Lucy E. Broadwood and J. A. Fuller Maitland. It wasn’t until Ralph Vaughn Williams (1872-1958) heard this folk song in Kingsfold, Sussex, England, that the tune was actually named. After Vaughn Williams had heard the tune, he decided \u00a0to arrange the tune for the text of “I Heard the Voice of Jesus Say” for the \u00a0English Hymnal<\/em>\u00a0(1906).<\/p>\n

Its unusual use of the minor key ads poignancy to this haunting hymn tune. In teh thrid verse, the penitent soul responds to Jesus’ invitation and drinks “of that life-giving stream,” so that “my thirst was quenched, my soul revived, and now I live in Him.”<\/p>\n

Here I heard the voice of Jesus say<\/strong><\/em> is sung at\u00a0service of thanksgiving at Westminster Abbey <\/a>on Sunday to mark the 70th anniversary of the end of World War Two in Europe, 10th Mary 2015. Here it is sung by a youthful choir<\/a> faster tempo.<\/p>\n

_____________________<\/p>\n

Sicut cervus<\/strong>,\u00a0<\/em>by\u00a0Giovanni Pierluigi da Palestrina (1525-1594)<\/p>\n

\"Palestrina\"<\/a><\/p>\n

Palestrina<\/em><\/p>\n

Psalm 42: 1-3<\/p>\n

Sicut cervus desiderat ad fontes aquarum:
\nita desiderat anima mea ad te, Deus.
\nSitivit anima mea ad Deum fortem vivum:
\nquando veniam et apparebo ante faciem Dei?
\nFuerunt mihi lacrimae meae panes die ac nocte,
\ndum dicitur mihi quotidie: Ubi est Deus tuus?<\/p>\n

As a hart longs<\/span><\/span>\u00a0<\/span>for flowing streams,<\/span><\/span>
\nso longs my soul<\/span>\u00a0<\/span>for thee, O God.<\/span><\/span>
\nMy soul thirsts for God,<\/span>\u00a0<\/span>for the living God.<\/span><\/span>
\nWhen shall I come and behold<\/span>\u00a0<\/span>the face of God?<\/span><\/span>
\nMy tears have been my food<\/span>\u00a0<\/span>day and night,<\/span><\/span>
\nwhile men say to me continually,<\/span>\u00a0<\/span>\u201cWhere is your God?\u201d<\/span><\/span><\/p><\/blockquote>\n

Sicut cervus<\/em> is likely the best known of Palestrina’s motets.It has the beauty and dignity for which Palestrina’s music is known and judged to be the\u00a0ideal of\u00a0Renaissance counterpoint.\u00a0The motet’s polyphonic flow and gentle melodic arches contain a quiet drama.\u00a0While the motet’s word-painting is not overt, neither is it hidden. There is a deep feel for the words’ meaning as the \u00a0voices begin quietly in imitation for the words Sicut cervus<\/em> (As the hart). At the word\u00a0desiderat<\/em> (longs), rhythm quickens and the line rises to its peak at the word: fontes<\/em> (streams); as the words seek their object, so the melodic lines seek their goal. \u00a0As the text’s thought turns toward the self with the words\u00a0ita desiderat anima mea ad te, Deus<\/em> (Thus longs my soul for Thee, God), shorter motives in closer imitation and intensifying dissonance patterns express the human soul’s fervent desire and bring the motet to its conclusion.<\/p>\n

Here it is sung by the Westminster Cathedral Choir<\/a>. And here at Somerville College<\/a>, Oxford.<\/p>\n

 <\/p>\n

\r\n\t<\/div>\r\n","protected":false},"excerpt":{"rendered":"

Jesus and the Samaritan Woman, Veronese Mount Calvary Church Baltimore Personal\u00a0Ordinariate\u00a0of the Chair of St. Peter Lent III March 19, 2017 Hymns When I survey the wondrous cross Just as I am I bind unto myself today Anthems I Heard the, Voice of Jesus Say, Bonar, Vaughan\u00a0Willaims Sicut cervus, Palestrina Common Kyrie, Sanctus, Agnus Dei, […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_exactmetrics_skip_tracking":false,"footnotes":""},"categories":[1229,1318,12],"tags":[1232,1440,1439,1443,1416,1441,1442,1438],"class_list":["post-5518","post","type-post","status-publish","format-standard","hentry","category-hymns","category-mount-calvary-church","category-music","tag-hymns","tag-i-bind-unto-myself-today","tag-just-as-i-am","tag-liber-hymnorum","tag-mount-calvary-baltimore","tag-st-patricks-breastplate","tag-the-deers-cry","tag-when-i-survey-the-wondrous-cross","has-post-title","has-post-date","has-post-category","has-post-tag","has-post-comment","has-post-author"],"aioseo_notices":[],"_links":{"self":[{"href":"http:\/\/www.podles.org\/dialogue\/wp-json\/wp\/v2\/posts\/5518","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/www.podles.org\/dialogue\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/www.podles.org\/dialogue\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/www.podles.org\/dialogue\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/www.podles.org\/dialogue\/wp-json\/wp\/v2\/comments?post=5518"}],"version-history":[{"count":19,"href":"http:\/\/www.podles.org\/dialogue\/wp-json\/wp\/v2\/posts\/5518\/revisions"}],"predecessor-version":[{"id":5569,"href":"http:\/\/www.podles.org\/dialogue\/wp-json\/wp\/v2\/posts\/5518\/revisions\/5569"}],"wp:attachment":[{"href":"http:\/\/www.podles.org\/dialogue\/wp-json\/wp\/v2\/media?parent=5518"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/www.podles.org\/dialogue\/wp-json\/wp\/v2\/categories?post=5518"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/www.podles.org\/dialogue\/wp-json\/wp\/v2\/tags?post=5518"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}