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<\/a><\/p>\nJesus and Nicodemus<\/em>, Crijn Hendricksz Volmarijn (1601-1645)<\/p>\n Mount Calvary Church<\/span><\/p>\n Eutaw Street and Madison Avenue<\/p>\n Baltimore, Maryland<\/p>\n A Parish of the Roman Catholic Personal Ordinariate of St. Peter<\/p>\n Anglican Use<\/em><\/p>\n Rev. Albert Scharbach, Pastor<\/p>\n Laetare Sunday<\/strong><\/span><\/p>\n March 11, 2018<\/p>\n 8:00 AM Said Mass<\/p>\n 10:00 AM Sung Mass<\/p>\n Hymns<\/strong><\/p>\n Rejoice the Lord is king <\/em>(DARWELL)<\/p>\n The King of Love my shepherd is\u00a0<\/em>(ST COLUMBA)<\/p>\n When I survey the wondrous cross\u00a0<\/em>(ROCKINGHAM)<\/p>\n Anthems<\/strong><\/p>\n God so loved the world<\/em>, John Stainer<\/p>\n Super flumina Babylonis<\/em>,\u00a0Giovanni Pierluigi da Palestrina (1525-1594<\/p>\n ________________________________________________<\/p>\n Hymns<\/strong><\/span><\/p>\n Rejoice the Lord is king<\/em><\/p>\n Rejoice the Lord is King<\/strong>\u00a0is by Charles Wesley (1707-1788).<\/p>\n The hymn has four principal sources. First, it begins with a clear allusion to Psalm 97:1, 12. Second, the 2-line refrain, with which each verse except the last concludes, begins with a citation of part of the Third Century Eucharistic text, Sursum Corda (\u2018Lift up your hearts.\u2019). Third, the refrain continues with a reference to Philippians 4: 4. Fourth, the content of the hymn is influenced by that section of the Nicene Creed which deals with Christ\u2019s Resurrection and Ascension, the belief that he will come again as Judge, and the unending nature of his Kingdom.<\/p>\n The final stanza concludes with a modified version of the refrain, in which the words of Sursum Corda are replaced by an allusion to 1 Thessalonians 4:16. This modification may have suggested itself to Wesley because the final verse itself draws upon 1 Thessalonians 4:17.<\/p>\n 1 Rejoice, the Lord is King! 2 The Lord, our Savior, reigns, 3 His kingdom cannot fail, 4 Rejoice in glorious hope! Here is\u00a0John Rutter\u2019s arrangement<\/a>.<\/p>\n John Darwall (1731-1789) was the son of the rector of Haughton, Randle Darwal. Educated at Manchester Grammar School and Brasenose College, Oxford, he took Holy Orders (deacon 1756, priest 1757), becoming curate of Haughton, and then Bushbury, 1757, followed by Trysull, 1758. He moved to St Matthew\u2019s, Walsall, in 1761, becoming vicar in 1769, and remaining there until his death. He composed tunes for all 150 metrical psalms during the 1760s. He is remembered for the magnificent DARWALL\u2019S 148th, first published in Aaron Williams\u2019s The New Universal Psalmodist<\/em> (1770).<\/p>\n _____________________________________________<\/p>\n The King of Love my shepherd is<\/em><\/p>\n Henry Williams Baker (1821-1877) recast George Herbert\u2019s metrical paraphrase of Psalm 23 into this hymn,\u00a0The King of love my shepherd is<\/em><\/strong>. The true Shepherd -King is Jesus, who cares for His flock by His redemptive death which flows to us through the sacraments. \u201cThe streams of living water\u201d flow from Jesus\u2019 pierced side. He ransoms our soul from the captivity of sin, and feeds us with food celestial, \u201cthe bread which cometh down from heaven, that a man may eat thereof, and not die.\u201d On our own we never keep to the righteous paths. That is why Jesus comes in love to us, sinners as we are. In his persistent and tender mercy Jesus seeks us, when, \u201cperverse and foolish,\u201d we stray from Him. The wood of the shepherd\u2019s staff is the wood of the cross that guides the strayed soul. Delights flow from Jesus\u2019 pure chalice. The \u201cwine that gladdens the heart\u201d is the Eucharist, the blood of Christ; His is the chalice that overbrims with love. In the Old Testament, our ancestors in faith longed to dwell in the \u201chouse of the Lord,\u201d before the revelation of eternal life was clear. But now Christ fulfills that mysterious longing. Jesus is the King who came not be to served but to serve, the one who \u201cgiveth his life for the sheep,\u201d the ultimate gift, eternal life with Him.<\/p>\n Here is a Reformed analysis of the hymn:<\/p>\n \u201cWe note immediately that the usual way of naming God (\u201cthe Lord\u201d) has been replaced with a nonbiblical yet immediately comprehensible allegorical title, \u201cthe King of Love.\u201d \u00a0This unfamiliar opening and the inversion in the first line (\u201cmy shepherd is\u201d) prepare the singer for a text that is intentionally\u2014even self-consciously\u2014allusive and aesthetic. This perception of the text is reinforced by the archaic verb forms (\u201cleadeth,\u201d \u201cfeedeth\u201d) and the Latinate diction (\u201cverdant,\u201d \u201ccelestial\u201d) in the second stanza. The third stanza intensifies the Christological overtones of this paraphrase with allusions not only to the Good Shepherd passage noted earlier but also to Jesus\u2019 parable of the Lost Sheep (Luke 15:4-7; cf. Matthew 18:12-14). The fourth stanza follows the biblical shift from third person to second person, but adds to the images of the shepherd\u2019s rod and staff the suggestion of a processional cross familiar to many nineteen-century Anglican congregations. There is a similar churchy slant in the fifth stanza, where the psalter\u2019s \u201coil\u201d takes on sacramental tones by being called \u201cunction,\u201d and the usual English translation \u201ccup\u201d becomes a comparably Latinate and ecclesiastical \u201cchalice.\u201d As a result, the reference to God\u2019s \u201chouse\u201d in the final line of the sixth stanza does not suggest the Temple in Jerusalem so much as it does the church building in which the hymn is being sung.\u201d (ReformedWorship.org)<\/p>\n I doubt that in the last line \u201cThy house\u201d is simply the church building; heaven is clearly meant and specified by the \u201cforever.\u201d Anglo-Catholic services are long, but not that long.<\/p>\n 1 The King of love my shepherd is, 2 Where streams of living water flow, 3 Perverse and foolish, oft I strayed, 4 In death\u2019s dark vale I fear no ill, 5 Thou spreadst a table in my sight; 6 And so through all the length of days, Here is the\u00a0Cardiff Festival Choir\u00a0<\/a>singing the hymn. Here is John Rutter\u2019s\u00a0lovely arrangement\u00a0<\/a>with harp accompaniment.<\/p>\n Henry Williams Baker<\/em><\/p>\n Sir\u00a0Henry Williams<\/strong>\u00a0Baker<\/strong>\u00a0was the eldest son of Admiral Sir Henry Loraine Baker. Henry was born in London, May 27, 1821, and educated at Trinity College, Cambridge, where he graduated, B.A. 1844, M.A. 1847. Taking Holy Orders in 1844, he became, in 1851, Vicar of Monkland, Herefordshire. This benefice he held to his death, on Monday, Feb. 12, 1877. He succeeded to the Baronetcy in 1851. His hymns, including metrical litanies and translations, number in the revised edition\u00a0of Hymns Ancient & Modern<\/em>, 33 in all.. The last audible words which lingered on his dying lips were the third stanza of his rendering of the 23rd Psalm, \u201cThe King of Love, my Shepherd is:\u201d\u2014<\/p>\n Perverse and foolish, oft I strayed, This tender sadness, brightened by a soft calm peace, was an epitome of his poetical life.<\/p>\n The tune is ST COLUMBA. Because the compilers of the 1906\u00a0English Hymnal<\/em>\u00a0were denied permission to use Dykes\u2019s original tune, musical editor Ralph Vaughan Williams (1872-1958) turned to a folk tune that his former teacher Charles Villiers Stanford (1852-1924) had recently edited for a collection of Irish music (A Complete Collection of Irish Music as noted by George Petri<\/em>\u00a0(London, 1902-1905); ST. COLUMBA is no. 1043). The two most notable improvements Vaughan Williams made in the hymn tune known as ST. COLUMBA were the lengthening of the second and fourth lines to extend the Common Meter tune to 8787 in order to accommodate Baker\u2019s text\u2014this being their first appearance together\u2014and the use of a triplet (rather than an eighth and two sixteenths) in the sixth measure. (ReformedWorship.org).<\/p>\n _________________________________<\/p>\n When I survey the wondrous cross<\/em><\/p>\n Isaac Watts write this hymn for\u00a0Hymns and Spiritual Songs<\/em> (1707), Book III, \u2018Prepared for the holy Ordinance of the Lord\u2019s Supper\u2019, with the title \u2018Crucifixion to the World by the Cross of Christ; Gal. 6.14.\u2019<\/p>\n 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 This is one of the greatest hymns on the Passion of Christ, almost certainly the greatest hymn in English on that subject. The singing \u2018I\u2019 surveys the crucifixion of Christ, as though from a distance; though reference is made to the blood which is shed, what flows down from \u2018his head, his hands, his feet\u2019 is \u2018sorrow and love.\u2019 Perhaps in no other English hymn is the use of \u2018I\u2019 and \u2018me\u2019 less egotistical. The self here is totally centred on the crucified Christ, in whose dying presence gain is loss and pride is contemptible. At the last line, the singer leaves the scene knowing that this \u2018amazing\u2019 love demands nothing less than \u2018my soul, my life, my all\u2019. That last line should surely be sung, not with confident gusto, but almost silently, with profoundest and almost incredulous reverence.<\/p>\n 1 When I survey the wondrous cross Here is King’s College<\/a>.<\/p>\n The tune is ROCKINGHAM. Edward Miller (1735 \u20141807) adapted ROCKINGHAM from an earlier tune, TUNEBRIDGE, which had been published in Aaron Williams\u2019s A Second Supplement to Psalmody in Miniature (c. 1780). Its name refers to a friend and patron of Edward Miller, the Marquis of Rockingham, who served twice as Great Britain\u2019s prime minister. In his version the tune has a fine symmetrical contour, and it can inspire a glowing sense of well-being as it twice sweeps the singers up to the highest tonic.<\/p>\n Miller\u2019s 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 (1790), in which he sought to reform metrical psalmody (and which included ROCKINGHAM), and David\u2019s Harp (1805), an important Methodist tunebook issued by Miller with his son.<\/p>\n __________________________________<\/p>\n Anthems<\/strong><\/span><\/p>\n God so loved the world<\/em>, John Stainer<\/p>\n God so loved the world that he gave his only begotten Son, that whoso believeth in him should not perish, but have everlasting life. For God sent not his Son into the world to condemn the world, but that the world through him might be saved.<\/em><\/p>\n It is from the oratorio The Crucifixion: A Meditation on the Sacred Passion of the Holy Redeemer,\u00a0<\/em>composed by\u00a0John Stainer<\/a>\u00a0in 1887.<\/p>\n Here is St Paul’s Cathedral<\/a>.<\/p>\n
\nYour Lord and King adore!
\nRejoice, give thanks, and sing,
\nAnd triumph evermore:
\nLift up your heart,
\nlift up your voice!
\nRejoice, again I say, rejoice!<\/p>\n
\nThe God of truth and love;
\nWhen He has purged our stains,
\nHe took His seat above:
\nLift up your heart,
\nlift up your voice!
\nRejoice, again I say, rejoice!<\/p>\n
\nHe rules o\u2019er earth and heav\u2019n;
\nThe keys of death and hell
\nAre to our Jesus giv\u2019n:
\nLift up your heart,
\nlift up your voice!
\nRejoice, again I say, rejoice!<\/p>\n
\nOur Lord the Judge shall come
\nAnd take His servants up
\nTo their eternal home:
\nLift up your heart,
\nlift up your voice!
\nRejoice, again I say, rejoice!<\/p><\/blockquote>\n
\nwhose goodness faileth never.
\nI nothing lack if I am his,
\nand he is mine forever.<\/p>\n
\nmy ransomed soul he leadeth;
\nand where the verdant pastures grow,
\nwith food celestial feedeth.<\/p>\n
\nbut yet in love he sought me;
\nand on his shoulder gently laid,
\nand home, rejoicing, brought me.<\/p>\n
\nwith thee, dear Lord, beside me;
\nthy rod and staff my comfort still,
\nthy cross before to guide me.<\/p>\n
\nthy unction grace bestoweth;
\nand oh, what transport of delight
\nfrom thy pure chalice floweth!<\/p>\n
\nthy goodness faileth never;
\nGood Shepherd, may I sing thy praise
\nwithin thy house forever.<\/p><\/blockquote>\n<\/a><\/p>\n
\nbut yet in love he sought me;
\nand on his shoulder gently laid,
\nand home, rejoicing, brought me.<\/p><\/blockquote>\n
\non which the Prince of glory died,
\nmy richest gain I count but loss,
\nand pour contempt on all my pride.
\n2 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 through his blood.
\n3 See, from his head, his hands, his feet,
\nsorrow and love flow mingled down.
\nDid e’er such love and sorrow meet,
\nor thorns compose so rich a crown?
\n4 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>\n