{"id":6840,"date":"2018-03-26T07:00:29","date_gmt":"2018-03-26T13:00:29","guid":{"rendered":"http:\/\/www.podles.org\/dialogue\/?p=6840"},"modified":"2018-03-28T08:16:24","modified_gmt":"2018-03-28T14:16:24","slug":"mount-calvary-music-maundy-thursday-2018","status":"publish","type":"post","link":"http:\/\/www.podles.org\/dialogue\/mount-calvary-music-maundy-thursday-2018-6840.htm","title":{"rendered":"Mount Calvary Music: Maundy Thursday 2018"},"content":{"rendered":"

\"\"<\/a><\/span><\/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

Maundy Thursday<\/strong><\/span><\/p>\n

March 28, 2018<\/p>\n

7:00 PM Mass of the Lord’s Supper<\/p>\n

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

Missa Pange Lingua<\/i>, Josquin de Prez<\/p>\n

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

Deck thyself, my soul, with gladness\u00a0<\/i>(SCHM\u00daCKE DICH)<\/p>\n

And now, O Father, mindful of Thy love\u00a0<\/i>(UNDE ET MEMORES)<\/p>\n

Now, my tongue, the mystery telling<\/i><\/p>\n

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

Ubi caritas,<\/i> Maurice Durefle<\/p>\n

Ave verum corpus<\/i>, William Byrd<\/p>\n

_______________________<\/p>\n

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

Missa Pange Lingua<\/i>, Josquin de Prez<\/p>\n

Josquin’s Missa Pange lingua is composed on material derived from the melody to which, from the 13th century onwards, Thomas of Aquinas’s adaptation of a hymn by Venantius Fortunatus may have been most frequently sung. If anything is fascinating in the composer’s setting of the Ordinary text, it is certainly the way in which he has conceived from this material a melodic framework in which the declamation of the text remains crystal-clear. In those sections with much text, the opening of a phrase is sung to a minimum of notes, which strictly follows the declamation of the text. Through this approach, in imitation in all voices, these clear-cut melodies clearly affirm what has just been stated. In general, melodic continuation either follows the principle of one note to one syllable, or, within this stream, slightly emphasizes a particular word by a few extra notes, which may stress its particular meaning. Towards cadences between two or more voices in imitation, the leading voice may approach the close of its line with a short improvisation on a foregoing melodic element, or by a subtle embellishment that not infrequently functions as exclamation sign. In those Ordinary movements with little text, the structure of melodic phrases in general leaves no doubt where repetition of text has been intended, particularly in the long-winded duos in the Sanctus. In these sections it is fascinating to rediscover the composer’s step-wise presentation of text.<\/p>\n

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

Deck thyself, my soul, with gladness<\/i><\/p>\n

Deck thyself, my soul, with gladness<\/em><\/strong>. The original German text,\u00a0Schm\u00fccke dich, o liebe\u00a0<\/em>Seele, was written by the German politician and poet Johann Franck (1618\u20141677) in the aftermath of the Thirty Years\u2019 War. It expresses an intimate relationship between the individual believer and his Savior, Jesus Christ. Jesus, ascended into heaven, is still present as our food in this \u201cwondrous banquet.\u201d He is the fount, from whom our being flows as we receive Him and are filled with Him. He feeds us and transforms us into His likeness so that we become His joy and boast and glory before the heavenly court.<\/p>\n

Deck thyself, my soul, with gladness,
\nleave the gloomy haunts of sadness;
\ncome into the daylight\u2019s splendour,
\nthere with joy thy praises render
\nunto him whose grace unbounded
\nhath this wondrous banquet founded:
\nhigh o\u2019er all the heavens he reigneth,
\nyet to dwell with thee he deigneth.<\/p>\n

Sun, who all my life dost brighten,
\nlight, who dost my soul enlighten,
\njoy, the sweetest heart e\u2019er knoweth,
\nfount, whence all my being floweth,
\nat thy feet I cry, my Maker,
\nlet me be a fit partaker
\nof this blessed food from heaven,
\nfor our good, thy glory, given.<\/p>\n

Jesus, Bread of Life, I pray thee,
\nlet me gladly here obey thee;
\nnever to my hurt invited,
\nbe thy love with love requited:
\nfrom this banquet let me measure,
\nLord, how vast and deep its treasure;
\nthrough the gifts thou here dost give me,
\nas thy guest in heaven receive me.<\/p><\/blockquote>\n

Here is the\u00a0Schola Cantorum<\/a>\u00a0of St. Peters-in-the-Loop singing the hymn. Here is the Hastings Choi<\/a>r.<\/p>\n

Here is the 1674 text.<\/p>\n

1. Schm\u00fccke dich, o liebe Seele!
\nLa\u00df die dunckle S\u00fcnden H\u00f6le!
\nKomm ans helle Licht gegangen;
\nFange herrlich an zu prangen.
\nDenn der Herr voll Heyl und Gnaden,
\nWil dich itzt zu Gaste laden,
\nDer den Himmel kan verwalten,
\nWil itzt Herberg\u2019 in dir halten.<\/p>\n

2. Eile, wie Verlobten pflegen,
\nDeinem Br\u00e4utigam entgegen,
\nDer da mit dem Gnaden-Hammer
\nKlopfft an deine Hertzens-Kammer.
\nOeffn\u2019 ihm bald die Geistes-Pforten:
\nRed ihn an mit sch\u00f6nen Worten:
\nKomm, mein Liebster, la\u00df dich k\u00fcssen!
\nLa\u00df mich deiner nicht mehr missen.<\/p>\n

3. Zwar in Kauffung theurer Wahren
\nPflegt man sonst kein Geld zu sparen:
\nAber du wilt f\u00fcr die Gaben
\nDeiner Huld kein Geld nicht haben:
\nWeil in allen Bergwercks-Gr\u00fcnden
\nKein solch Kleinod ist zu finden,
\nDa\u00df die Blut-gef\u00fcllte Schaalen
\nUnd dis Manna kan bezahlen.<\/p>\n

4. Ach! wie hungert mein Gem\u00fcthe,
\nMenschen-Freund, nach deiner G\u00fcte!
\nAch! wie pfleg\u2019 ich offt, mit Thr\u00e4nen,
\nMich nach de \u00a0iner Kost zu sehnen!
\nAch! wie pfleget mich zu d\u00fcrsten,
\nNach dem Tranck des Lebens-F\u00fcrsten!
\nW\u00fcnsche stets da\u00df mein Gebeine
\nSich durch Gott mit Gott vereine.<\/p>\n

5. Beydes Lachen und auch Zittern
\nL\u00e4sset sich in mir itzt wittern:
\nDas Geheinmi\u00df dieser Speise,
\nUnd die unerforschte Weise,
\nMachet da\u00df ich fr\u00fch vermercke,
\nHerr, die Gr\u00f6sse deiner St\u00e4rcke!
\nIst auch wohl ein Mensch zu finden
\nDer dein\u2019 Allmacht solt ergr\u00fcnden?<\/p>\n

6. Nein! Vernunfft die mu\u00df hier weichen,
\nKan die\u00df Wunder nicht erreichen:
\nDa\u00df di\u00df Brodt nie wird verzehret,
\nOb es gleich viel tausend nehret;
\nUnd da\u00df mit dem Safft der Reben
\nUns wird Christi\u00a0Blut gegeben.
\nO der grossen Heimligkeiten
\nDie nur Gottes Geist kan deuten!<\/p>\n

7. Jesu, meine Lebens-Sonne!
\nJesu, meine Freud\u2019 und Wonne!
\nJesu, du mein gantz Beginnen,
\nLebens-Quell und Licht der Sinnen!
\nHier fall ich zu deinen F\u00fcssen!
\nLa\u00df mich w\u00fcrdiglich gemessen
\nDieser deiner Himmels-Speise,
\nMir zum Heyl, und dir zum Preise!<\/p>\n

8. Herr, es hat dein treues Lieben
\nDich vom Himmel abgetrieben,
\nDa\u00df du willig hast dein Leben
\nIn den Tod f\u00fcr uns gegeben,
\nUnd darzu gantz unverdrossen,
\nHerr, dein Blut f\u00fcr uns vergossen,
\nDas uns itzt kan kr\u00e4fftig tr\u00e4ncken,
\nDeiner Liebe zu gedencken!<\/p>\n

9. Jesu wahres Brodt des Lebens!
\nHilff, da\u00df ich doch nicht vergebens,
\nOder mir vielleicht zum Schaden
\nSey zu deinem Tisch geladen!
\nLa\u00df mich durch di\u00df Seelen-Essen
\nDeine Liebe recht ermessen,
\nDa\u00df ich auch, wie itzt auf Erden,
\nMag dein Gast im Himmel.<\/p><\/blockquote>\n

The erotic imagery in the German was eliminated by Catherine Winkworth when she translated the hymn for her Lyra Germanica<\/em>.<\/p>\n

The original 1674 German text was written by<\/p>\n

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

Johann Franck\u00a0<\/em><\/p>\n

Johann Franck (1618-1677) a was German poet, lawyer and public official. After his father\u2019s death in 1620, Franck\u2019s uncle by marriage, the town judge, Adam Tielckau, adopted him and sent him to schools in Guben, Cottbus, Stettin, and Thorn. On June 28, 1638, he enrolled at the University of K\u00f6nigsberg to study jurisprudence. This was the only German university left undisturbed by the Thirty Years\u2019 War. Here his religious spirit, his love of nature, and his friendship with such men as the his poetic mentor,\u00a0Simon Dach and Heinrich Held, preserved him from sharing in the excesses of his fellow students.<\/p>\n

Johann Franck returned to Guben at Easter 1640, at his mother\u2019s urgent request; she wished to have him near her in those times of war when Guben frequently suffered from the presence of both Swedish and Saxon troops. After his return from Prague, in May 1645, Franck embarked on a distinguished civic career as attorney, city councillor (1648) and Burgermeister (Mayor) (1661), and in 1671 (or 1670) was appointed as county elder of Guben in the margravate (Landtag \u2013 Diet)) of Lower Lusatia.<\/p>\n

Johann Franck wrote both secular and religious poetry and published his first work,\u00a0Hundert\u00f6nige Vaterunsersharfe<\/em>, at Guben in 1646. Almost his entire output is brought together in the two-volume\u00a0Teutsche Gedichte<\/em>. The first part,\u00a0Geistliches Sion<\/em>\u00a0(Guben, 1672), contains 110 religious songs, provided with some 80 melodies.\u00a0Bach composed 14 settings of seven of his texts,\u00a0the most famous being the motet\u00a0Jesu, meine Freude BWV 227.<\/em><\/p>\n

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

Johann Cr\u00fcger<\/em><\/span><\/p>\n

The chorale melody associated with this text was composed by the German Lutheran theologian and musician,\u00a0Johann Cr\u00fcger<\/strong>\u00a0(1598-1662).\u00a0 After passing through the schools at Guben, Sorau and Breslau, the Jesuit College at Olm\u00fctz, and the Poets\u2019 school at Regensburg, he made a tour in Austria, and, in 1615, settled at Berlin. There, save for a short residence at the University of Wittenberg, in 1620, he employed himself as a private tutor till 1622. In 1622 he was appointed Cantor of St. Nicholas\u2019s Church at Berlin, and also one of the masters of the Greyfriars Gymnasium. He died at Berlin Feb. 23, 1662. Cr\u00fcger wrote no hymns, although in some American hymnals he appears as \u201cJohann Kr\u00fcger, 1610,\u201d as the author of the supposed original of C. Wesley\u2019s \u201cHearts of stone relent, relent\u201d. He was one of the most distinguished musicians of his time. Of his hymn tunes, some 20 are still in use, the best known probably being that to \u201cNun danket alle Gott\u201d, which is set to No. 379 in\u00a0Hymns Ancient & Modern.<\/em><\/p>\n

_____________________________________<\/p>\n

And now, O Father, mindful of Thy love<\/i><\/p>\n

And now, O Father, mindful of the love<\/strong><\/em>\u00a0was composed by Anglican High Churchman William Bright (1824\u20141901), He was Regius Professor of Ecclesiastical History at Oxford, and then worked in Scotland, where his views on the Reformation caused him to be ejected by the Bishop of Glasgow. He then returned to Oxford.<\/span>\u00a0<\/span><\/p>\n

1 And now, O Father, mindful of the love
\nthat bought us, once for all, on Calvary\u2019s tree,
\nand having with us him that pleads above,
\nwe here present, we here spread forth to thee
\nthat only offering perfect in thine eyes,
\nthe one true, pure, immortal sacrifice.<\/p>\n

2 Look, Father, look on his anointed face,
\nand only look on us as found in him;
\nlook not on our misusings of thy grace,
\nour prayer so languid, and our faith so dim:
\nfor lo, between our sins and their reward
\nwe set the Passion of thy Son our Lord.<\/p>\n

3 And then for those, our dearest and our best,
\nby this prevailing presence we appeal:
\nO fold them closer to thy mercy\u2019s breast,
\nO do thine utmost for their souls\u2019 true weal;
\nfrom tainting mischief keep them white and clear,
\nand crown thy gifts with strength to persevere.<\/p>\n

4 And so we come: O draw us to thy feet,
\nmost patient Saviour, who canst love us still;
\nand by this food, so aweful and so sweet,
\ndeliver us from every touch of ill:
\nin thine own service make us glad and free,
\nand grant us never more to part with thee.<\/p><\/blockquote>\n

Here is the\u00a0Choir of Marlborough College<\/a>.<\/p>\n

The text was inspired by the Latin Canon that begins\u00a0Te Igitur, clementissime Pate<\/em>r:<\/span><\/p>\n

\n
And now, Lord, we Thy servants, \r\nand with us Thy holy people,\r\n calling to mind \r\nthe blessed Passion of the same Christ, Thy Son, our Lord,\r\n and also His Resurrection from the grave\r\n and His glorious Ascension into heaven,\r\n offer to Thy excellent majesty, \r\nof  Thy gifts and presents, \r\na pure Victim, a holy Victim, a spotless  Victim, \r\nthe holy Bread of eternal life,\r\n and the Chalice of everlasting salvation.\r\n<\/span><\/pre>\n
\"\"<\/a><\/p>\n
William Bright<\/em><\/span><\/p>\n
William Bright\u00a0<\/strong>\u00a0D.D. (1824-1901) was educated at Rugby School and University College, Oxford (BA, 1846, MA, 1849). He was elected to a Fellowship of the College in 1847, and took Holy Orders (deacon 1848, priest 1850). He became a theological tutor at Trinity College, Glenalmond, Scotland, in 1851, and was appointed Bell Lecturer in Ecclesiastical History by the Scottish bishops. In 1858 he had a serious disagreement with the Bishop of Glasgow over the historical interpretation of an episode in the Reformation concerning church settlement. He was removed from office and so returned to Oxford, where he taught church history. He was appointed Professor of Ecclesiastical History and Canon of Christ Church in 1868.<\/p>\n
\"\"<\/a><\/p>\n
William Henry Monk<\/em><\/span><\/p>\n
The tune UNDE ET MEMORES was composed by William Henry Monk (1823-1889). It marks the rhythm very beautifully with a crochet on the third and seventh syllable of lines one and three, varied on the fifth syllable in lines two and four.<\/p><\/blockquote>\n
Monk (1823\u2013 1889) was an English organist, church musician and music editor who composed popular hymn tunes, including one of the most famous, \u201cEventide\u201d, used for the hymn \u201cAbide with Me\u201d. He also wrote music for church services and anthems. In 1847, Monk became choirmaster at King\u2019s College London. There he developed an interest in incorporating plainchant into Anglican services, an idea suggested by William Dyce, a King\u2019s College professor with whom Monk had much contact.<\/p>\n
___________________________<\/p>\n<\/blockquote>\n
Now, my tongue, the mystery telling<\/i><\/p>\n
This is a translation of the Pange lingu<\/em>a, which was written by Thomas Aquinas (1224-1274) as the hymn for Vespers of the newly established feast of Corpus Christi. Aquinas\u00a0had been invited in 1264 by Pope Urban IV to produce a liturgy for this festival, and this hymn belongs to that provision.\u00a0 It is patterned on the processional hymn Pange lingua<\/em>, written by Venantius Fortunatus (530-600). The translation in the 1940 Hymnal<\/em> is made up of various translations. The melody\u00a0 is taken from the Sarum liturgy.<\/p>\n
For an analysis fo teh Pange lingua, see David Nussbaum’s Aquinas and the Aesthetics of Latin Poetry<\/a>.<\/p>\n
1 Now, my tongue, the mystery telling
\nof the glorious body sing,
\nand the blood, all price excelling,
\nwhich the Gentiles’ Lord and King,
\nin a Virgin’s womb once dwelling,
\nshed for this world’s ransoming.
\n2 Given for us, and condescending
\nto be born for us below,
\nhe, with us in converse blending,
\ndwelt the seed of truth to sow,
\ntill he closed with wondrous ending
\nhis most patient life of woe.
\n3 That last night, at supper lying,
\n‘mid the Twelve, his chosen band,
\nJesus, with the law complying,
\nkeeps the feast its rites demand;
\nthen, more precious food supplying,
\ngives himself with his own hand.
\n4 Word-made-flesh, true bread he maketh
\nby his word his flesh to be,
\nwine his blood; which whoso taketh
\nmust from carnal thoughts be free:
\nfaith alone, though sight forsaketh,
\nshows true hearts the mystery.
\n5 Therefore we, before him bending,
\nthis great sacrament revere:
\ntypes and shadows have their ending,
\nfor the newer rite is here;
\nfaith, our outward sense befriending,
\nmakes our inward vision clear.
\n6 Glory let us give and blessing
\nto the Father and the Son,
\nhonour, might, and praise addressing,
\nwhile eternal ages run;
\never too his love confessing,
\nwho, from both, with both is One. Amen.<\/p><\/blockquote>\n
Here is Pange lingua<\/a> with the Gregorian melody.<\/p>\n
Pange, lingua, glori\u00f3si
\nC\u00f3rporis myst\u00e9rium,
\nSanguin\u00edsque preti\u00f3si,
\nQuem in mundi pr\u00e9tium
\nFructus ventris gener\u00f3si
\nRex eff\u00fadit g\u00e9ntium.
\nNobis datus, nobis natus
\nEx int\u00e1cta V\u00edrgine,
\nEt in mundo convers\u00e1tus,
\nSparso verbi s\u00e9mine,
\nSui moras incol\u00e1tus
\nMiro clausit \u00f3rdine.
\nIn supr\u00e9m\u00e6 nocte coen\u00e6
\nRec\u00fambens cum fr\u00e1tribus
\nObserv\u00e1ta lege plene
\nCibis in leg\u00e1libus,
\nCibum turb\u00e6 duod\u00e9n\u00e6
\nSe dat suis m\u00e1nibus.
\nVerbum caro, panem verum
\nVerbo carnem \u00e9fficit:
\nFitque sanguis Christi merum,
\nEt si sensus d\u00e9ficit,
\nAd firm\u00e1ndum cor sinc\u00e9rum
\nSola fides s\u00fafficit.
\nTANTUM ERGO SACRAM\u00c9NTUM
\nVener\u00e9mur c\u00e9rnui:
\nEt ant\u00edquum docum\u00e9ntum
\nNovo cedat r\u00edtui:
\nPr\u00e6stet fides supplem\u00e9ntum
\nS\u00e9nsuum def\u00e9ctui.
\nGenit\u00f3ri, Genit\u00f3que
\nLaus et jubil\u00e1tio,
\nSalus, honor, virtus quoque
\nSit et bened\u00edctio:
\nProced\u00e9nti ab utr\u00f3que
\nCompar sit laud\u00e1tio.
\nAmen. Alleluja.<\/p><\/blockquote>\n
_____________________________<\/p>\n
Anthems<\/strong><\/span><\/p>\n
Ubi caritas,<\/i> Maurice Durefle<\/p>\n
Ubi caritas et amor, Deus ibi est.<\/em>
\nCongregavit nos in unum Christi amor.<\/em>
\nExultemus, et in ipso iucundemur.<\/em>
\nTimeamus, et amemus Deum vivum.<\/em>
\nEt ex corde diligamus nos sincero. Amen.<\/em><\/p>\n
Where charity and love are, God is there.<\/em>
\nChrist’s love has gathered us into one.<\/em>
\nLet us rejoice and be pleased in Him.<\/em>
\nLet us fear, and let us love the living God.<\/em>
\nAnd may we love each other <\/em>
\nwith a sincere heart. Amen.<\/em><\/p>\n
Here is the King’s College Choir<\/a>.<\/p>\n
\"\"<\/a><\/p>\n
Maurice Durufl\u00e9 (1902-1986) was an introspective and highly self-critical musician. As a result, he only published fourteen works in his lifetime. Ubi caritas, composed in 1960, is based on the Gregorian chant of the same name. The meditative text is set so that the freely flowing motion of the chant, first heard in the altos, is always at the forefront. It is primarily homophonic, with each voice moving together in hymn-like fashion.<\/p>\n
_____________________<\/p>\n
Ave verum corpus<\/i>, William Byrd<\/p>\n
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. O dulcis, o pie, o Jesu, fili Mariae, miserere mei.<\/em><\/p>\n
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. O sweet, O gentle, O Jesu, son of Mary, have mercy on me.<\/em><\/p>\n
\"\"<\/a><\/p>\n
William Byrd (c. 1540-1623)<\/em><\/span><\/p>\n
16th Century England, under the charge of Queen Elizabeth I, was officially Protestant; and although Byrd was famous in his day, he constantly lived in fear of losing commissions because of his Catholic faith. Because of this, many of Byrd\u2019s earlier sacred works were smaller in scope, and included phrases and musical suspensions meant to secretly signify the desire for equal protection for Catholics in England. By 1605, under the rule of King James I, Byrd felt comfortable enough to compose his most overtly Catholic book,\u00a0Gradualia<\/em>. From this collection comes this \u201cAve Verum Corpus.\u201d<\/p>\n
Here are the\u00a0Tallis Scholars<\/a><\/p>\n
\r\n\t<\/div>\r\n","protected":false},"excerpt":{"rendered":"
Mount Calvary Church Eutaw Street and Madison Avenue Baltimore, Maryland A Parish of the Roman Catholic Personal Ordinariate of St. Peter Anglican Use Rev. Albert Scharbach, Pastor Maundy Thursday March 28, 2018 7:00 PM Mass of the Lord’s Supper Common Missa Pange Lingua, Josquin de Prez Hymns Deck thyself, my soul, with gladness\u00a0(SCHM\u00daCKE DICH) And […]<\/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":[],"class_list":["post-6840","post","type-post","status-publish","format-standard","hentry","category-hymns","category-mount-calvary-church","category-music","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\/6840","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=6840"}],"version-history":[{"count":13,"href":"http:\/\/www.podles.org\/dialogue\/wp-json\/wp\/v2\/posts\/6840\/revisions"}],"predecessor-version":[{"id":6855,"href":"http:\/\/www.podles.org\/dialogue\/wp-json\/wp\/v2\/posts\/6840\/revisions\/6855"}],"wp:attachment":[{"href":"http:\/\/www.podles.org\/dialogue\/wp-json\/wp\/v2\/media?parent=6840"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/www.podles.org\/dialogue\/wp-json\/wp\/v2\/categories?post=6840"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/www.podles.org\/dialogue\/wp-json\/wp\/v2\/tags?post=6840"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}