{"id":6977,"date":"2018-04-26T16:09:41","date_gmt":"2018-04-26T22:09:41","guid":{"rendered":"http:\/\/www.podles.org\/dialogue\/?p=6977"},"modified":"2018-04-27T14:08:48","modified_gmt":"2018-04-27T20:08:48","slug":"mount-calvary-music-april-29-2018","status":"publish","type":"post","link":"http:\/\/www.podles.org\/dialogue\/mount-calvary-music-april-29-2018-6977.htm","title":{"rendered":"Mount Calvary Music: April 29, 2018"},"content":{"rendered":"

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

Christ the True Vine<\/em><\/span><\/p>\n

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

Eutaw Street and Madison Acenue<\/p>\n

Baltimore, Maryland<\/p>\n

A Roman Catholic Parish of<\/p>\n

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

Anglican Use<\/em><\/p>\n

Rev. Albert Scharbach, Pastor<\/p>\n

Easter V<\/b><\/p>\n

April 29, 2018<\/p>\n

8:00 AM Said Mass<\/span><\/p>\n

10:00 AM Sung Mass<\/span><\/p>\n

________________________<\/p>\n

Prelude<\/strong><\/p>\n

Variations from Organ Concerto op. 4 no. 1,<\/em>\u00a0G.F. Handel<\/p>\n

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

Hail, Thou once despised Jesus\u00a0<\/i>(IN BABILONE)<\/p>\n

Be joyful, Mary, heavenly Queen\u00a0<\/em>(REGINA COELI)<\/p>\n

Love’s redeeming work is done<\/em> (SAVANNAH)<\/p>\n

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

Jubilate Deo<\/em>, Orlando di Lasso<\/p>\n

I am the true vine<\/em>, Arvo P\u00e4rt<\/p>\n

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

Missa S. Maria Magdelena<\/em>, Healey Willan<\/p>\n

Postlude<\/strong><\/p>\n

Il Alleluia per Resurrectione<\/em>, Gottlieb Muffat<\/p>\n

______________________________<\/p>\n

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

Variations from Organ Concerto op. 4 no. 1,<\/em>\u00a0G.F. Handel<\/span><\/p>\n

Here is a 2010 performance<\/a>.<\/p>\n

__________________________<\/p>\n

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

Hail, Thou once despised Jesus\u00a0<\/i>(IN BABILONE)<\/span><\/p>\n

Hail, Thou once despised Jesus<\/em><\/strong>. This much-altered hymn bears strong Wesleyan traits. The first stanza praises the One who suffered for us and \u201cdidst free salvation bring.\u201d This One was a \u201cuniversal Savior\u201d through whom \u201cwe find favor\u201d and \u201clife.\u201d Charles Wesley made liberal use of the words \u201cfree\u201d and \u201cuniversal.\u201d In stanza two this theme continues. Using the early Christian term, \u201cPaschal Lamb,\u201d we find that \u201cfull atonement [has been] made.\u201d The \u201cgate of heaven\u201d is opened to all and there does not appear to be any restriction on who may enter as \u201creconciled are we with God\u201d is an open-ended claim. Stanza three places Jesus on the \u201cthrone . . . in glory\u201d where he is adored by \u201call the heavenly hosts . . . at thy Father\u2019s side.\u201d He is there as our intercessor and is preparing a place for us. The final, triumphal stanza begins with \u201cWorship, honor, power, and blessing,\u201d echoing Revelation 4:11 and 5:12-13. The themes of salvation and atonement found throughout this hymn are derived from Romans 5:8-12 and Hebrews 8:1, 7:25.<\/p>\n

1 Hail, thou once despis\u00e8d Jesus!
\nHail, Thou Galilean king!
\nThou didst suffer to release us;
\nThou didst free salvation bring.
\nHail, Thou universal Savior,
\nbearer of our sin and shame!
\nBy Thy merit we find favor;
\nlife is given through Thy name.
\n2 Paschal Lamb, by God appointed,
\nall our sins on Thee were laid;
\nby almighty Love anointed,
\nThou hast full atonement made:
\nall Thy people are forgiven
\nthrough the virtue of Thy blood;
\nopened is the gate of heaven;
\npeace is made ‘twit man and God.
\n3 Jesus, hail, enthroned in glory,
\nthere forever to abide!
\nAll the heav’nly host adore Thee,
\nseated at Thy Father’s side.
\nThere for sinners Thou art pleading;
\nthere Thou dost our place prepare;
\never for us interceding,
\ntill in glory we appear.
\n4 Worship, honor, pow’r, and blessing
\nThou art worthy to receive;
\nhighest praises, without ceasing,
\nmeet it is for us to give.
\nHelp, ye bright angelic spirits,
\nbring your sweetest, noblest lays;
\nhelp to sing our Savior’s merits;
\nhelp to chant Immanuel’s praise!<\/p><\/blockquote>\n

Here is the\u00a0The Festival Choir and Hosanna Chorus<\/a><\/p>\n

John Bakewell (1721-1819) may be the author. This hymn appeared without an author\u2019s name in A Collection of Hymns addressed to the Holy, Holy, Holy, triune God, in the Person of Christ Jesus, our Mediator and Advocate<\/em> (1757). It had two 8-line verses. In 1760 it was enlarged to twice the original length, with the addition of an 8-line verse beginning \u2018Paschal Lamb by God appointed\u2019 and two further quatrains, one beginning<\/p>\n

There for Sinners thou art pleading
\n\u2018Spare them yet another Year\u2019<\/p>\n

the other reading:<\/p>\n

Help, ye bright angelic Spirits,
\nBring your sweetest, noblest Lays,
\nHelp to sing our Jesu\u2019s Merits,
\nHelp to chaunt Immanuel\u2019s Praise!<\/p><\/blockquote>\n

It appeared in this form in Martin Madan\u2019s A Collection of Psalms and Hymns<\/em> (1760), a selection for the Lock Hospital\u00a0 of which Madan was chaplain, and (with slight alterations) in Richard Conyers\u2019s A Collection of Psalms and Hymns<\/em> (Third Edition, 1774). It was substantially altered by Augustus Montague Toplady in Toplady’s Psalms and Hymns<\/em> (1776), to make it \u2018subservient to his stern Calvinistic views\u2019.<\/p>\n

The hymn, which is usually used at Ascensiontide, has all the marks of the evangelical fervour that swept parts of the Church of England in the middle of the 18th century. There have been many alterations to the text, but the commonest order is three or four 8-line verses:<\/p>\n

Hail, thou once despised Jesus\u2026
\nPaschal Lamb, by God appointed,\u2026
\nJesus, hail! Enthroned in glory\u2026
\nWorship, honour, power and blessing\u2026<\/p><\/blockquote>\n

The authorship of this hymn is difficult to determine. Bakewell may have written the two earliest verses (though this is not certain), and the others may have been by him or by Madan, altered by Toplady. A fifth verse, no longer used, was printed in A Collection of Hymns for the Use of those that Seek and those that Have Redemption in the Blood of Christ<\/em> (1757) edited by James Allen.<\/p>\n

IN BABILONE is a traditional Dutch melody that appeared in\u00a0Oude en Nieuwe Hollantse Boerenlities en Contradansen (Old and New Dutch Peasant Songs and Country Dances)<\/cite>, c. 1710. Ralph Vaughan Williams discovered this tune as arranged by Julius Rontgen (b. Leipzig, Germany, 1855; d. Utrecht, the Netherlands, 1932) and included it in\u00a0The English Hymnal<\/cite>\u00a0(1906).<\/p>\n

__________________________<\/p>\n

Be joyful, Mary, heavenly Queen\u00a0<\/em>(REGINA COELI)<\/span><\/p>\n

Be joyful Mary, heavenly Queen<\/strong><\/em>\u00a0is a translation of\u00a0Regina coeli, iubila<\/em>, an anonymous 17th<\/sup>\u00a0century hymn. The tune was written by Johann Leisentritt (1527-1586), and published in his\u00a0Catholicum Hymnologium Germanicum\u00a0<\/em>in 1584. Here is\u00a0Notre Dame<\/a>.<\/p>\n

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

The words in the 1901 translation (Psallite: English Catholic Hymns<\/em>) closely follow the\u00a0Regina coeli<\/em>. The words have been modernized in out version. I am searching for the original translation.<\/p>\n

1 Be joyful, Mary, heav\u2019nly Queen,
\nGaude, Maria!
\nYour grief is changed to joy serene,
\nAlleluia! Laetare, O Maria!<\/p>\n

2 The Son you bore by heaven\u2019s grace,
\nGaude, Maria!
\nDid by his death our guilt erase,
\nAlleluia! Laetare, O Maria!
\n3 The Lord has risen from the dead,
\nbe joyful, Mary!Gaude, Maria!
\nHe rose in glory as he said,
\nAlleluia! Laetare, O Maria!<\/p>\n

4 Then pray to God, O Virgin fair,
\nbe joyful, Mary!Gaude, Maria!
\nThat he our souls to heaven bear,
\nAlleluia!\u00a0Laetare, O Maria!<\/p><\/blockquote>\n

Here is the\u00a0Notre Dame choir<\/a>\u00a0singing it as a recessional.<\/p>\n

The Latin original is somewhat different:<\/p>\n

Regina coeli jubila,\u00a0Gaude Maria<\/i>.
\nJam pulsa cedunt nubila.
\nAlleluia. Laetare o Maria.<\/i><\/p>\n

2. Quem digna terris gignere,\u00a0Gaude Maria<\/i>.
\nVivis resurgit funere.
\nAlleluia. Laetare o Maria.<\/i><\/p>\n

3. Sunt fracta mortis spicula,\u00a0Gaude Maria<\/i>.
\nJesu jacet mors subdita.
\nAlleluia. Laetare o Maria.<\/i><\/p>\n

4. Acerbitas solatium,\u00a0Gaude Maria<\/i>.
\nLuctus redonat gaudium.
\nAlleluia. Laetare o Maria.<\/i><\/p>\n

5. Turbata sputis lumina,\u00a0Gaude Maria<\/i>.
\nPhoebea vincunt fulgura,
\nAlleluia. Laetare o Maria.<\/i><\/p>\n

6. Manum pedumque vulnera,\u00a0Gaude Maria<\/i>.
\nSunt gratiarum flumina,
\nAlleluia. Laetare o Maria.<\/i><\/p>\n

7. Transversa ligni robora,\u00a0Gaude Maria<\/i>.
\nSunt sceptra regni fulgida.
\nAlleluia. Laetare o Maria.<\/i><\/p>\n

8. Lucet arundo purpura,\u00a0Gaude Maria<\/i>.
\nUt fulva terrae viscera,
\nAlleluia. Laetare o Maria.<\/i>.<\/p>\n

9. Catena, clavi, lancea,\u00a0Gaude Maria<\/i>.
\nTriumphi sunt insignia,
\nAlleluia. Laetare o Maria.<\/i>.<\/p>\n

10. Ergo, Maria, plaudito,\u00a0Gaude Maria<\/i>.
\nClientibus succurrito,
\nAlleluia. Laetare o Maria.<\/i><\/p><\/blockquote>\n

Here is\u00a0Praetorius\u2019s<\/a>\u00a0setting.<\/p>\n

_________________________<\/p>\n

Love’s redeeming work is done<\/em> (SAVANNAH)<\/span><\/p>\n

Love\u2019s redeeming work is done<\/em><\/strong> by Charles Wesley is a cento composed of stanxas ii.-v.,x., of his hymn “Christ the Lord is risen to-day.” Books originating in the Church of England tradition use the tune SAVANNAH, first found in England in John Wesley\u2019s A Collection of Tunes, Set to <\/em>Music, as they are commonly sung at the Foundery<\/em> (1742), with the name HERNHUTH, which indicates its origins in 18th-century Moravian books, The name SAVANNAH comes from the Moravian settlement at Savannah, Georgia. Wesley accompanied the Moravians on their voyage to Savannah and was deeply impressed by their calm and faith during a storm that panicked the sailors.<\/p>\n

1 Love’s redeeming work is done;
\nfought the fight, the battle won:
\nlo, our Sun’s eclipse is o’er,
\nlo, he sets in blood no more.
\n2 Vain the stone, the watch, the seal;
\nChrist has burst the gates of hell;
\ndeath in vain forbids his rise;
\nChrist has opened paradise.
\n3 Lives again our glorious King;
\nwhere, O death, is now thy sting?
\ndying once, he all doth save;
\nwhere thy victory, O grave?
\n4 Soar we now where Christ has led,
\nfollowing our exalted Head;
\nmade like him, like him we rise;
\nours the cross, the grave, the skies.
\n5 Hail the Lord of earth and heaven!
\nPraise to thee by both be given:
\nthee we greet triumphant now;
\nhail, the Resurrection Thou!<\/p><\/blockquote>\n

Here is the St Edmundsbury Cathedral Choir<\/a>. Here is a 1970 version from Guilford Cathedral<\/a>.<\/p>\n

__________________________________<\/p>\n

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

Jubilate Deo<\/em>, Orlando di Lasso<\/span><\/p>\n

Jubilate Deo, omnis terra; servite Domino in l\u00e6titia. Intrate in conspectu eius in exsultatione, quia Dominus ipse est Deus.<\/em><\/p>\n

O be joyful in the Lord, all ye lands: serve the Lord with gladness, and come before his presence with a song. For the Lord, he is God.<\/em><\/p>\n

Here is the Slovak Choir<\/a>.<\/p>\n

Orlando di Lasso was born in Mons in the province of Hainaut, in what is today Belgium. Information about his early years is scanty, although some uncorroborated stories have survived, the most famous of which is that he was kidnapped three times because of the singular beauty of his singing voice. At the age of 12 he left the Low Countries with Ferrante Gonzaga and went to Mantua, Sicily, and later Milan (from 1547 to 1549). While in Milan he made the acquaintance of the madrigalist Hoste da Reggio, an influence which was formative on his early musical style.<\/p>\n

He then worked as a singer and a composer for Constantino Castrioto in Naples in the early 1550s, and his first works are presumed to date from this time. Next he moved to Rome, where he worked for the Archduke of Florence, who maintained a household there; and in 1553, he became maestro di cappella (chorus leader) of the Basilica di San Giovanni in Laterano in Rome, a spectacularly prestigious post for a man only 21 years old, but he stayed there only for a year (Palestrina took this post a year later, in 1555).<\/p>\n

No solid evidence survives for his whereabouts in 1554, but there are contemporary claims that he traveled in France and England. In 1555 he returned to the Low Countries and had his early works published in Antwerp (1555-1556). In 1556 he joined the court of duke Albrecht V of Bavaria, who was consciously attempting to create a musical establishment on par with the major centers in Italy; Orlando di Lasso was one of several Netherlanders to work there, but by far the most famous. He evidently was happy in Munich and decided to settle there. In 1558 he married Regina Wackinger, the daughter of a maid of honor of the Duchess; they were to have two sons, both of whom became composers. By 1563 Orlando di Lasso had been appointed maestro di cappella, succeeding Ludwig Daser in the post. Orlando di Lasso was to remain in the service of Albrecht V and his heir, Wilhelm V, for the rest of his life.<\/p>\n

By the 1560’s Orlando di Lasso had become quite famous, and composers began to go to Munich to study with him. Andrea Gabrieli went there in 1562, and possibly remained in the chapel for a year; Giovanni Gabrieli also possibly studied with him in the 1570s. His renown had spread outside of strictly musical circles, for in 1570 Emperor Maximilian II conferred nobility upon him, a rare circumstance for a composer; Pope Gregory XIII knighted him; and in 1571, and again in 1573, the king of France, Charles IX, invited him to visit. Some of these kings and aristocrats attempted to woo him away from Munich with more attractive offers, but Orlando di Lasso was evidently more interested in the stability of his position, and the splendid performance opportunities of Albrecht’s court, than in financial gain. “I do not want to leave my house, my garden, and the other good things in Munich,” he wrote to the Duke of Saxony in 1580, upon receiving an offer for a position in Dresden.<\/p>\n

In the late 1570’s and 1580’s Orlando di Lasso made several visits to Italy, where he encountered the most modern styles and trends. In Ferrara, the center of avant-garde activity, he doubtless heard the madrigals being composed for the d’Este court; however his own style remained conservative, indeed becoming more simple and more refined as he aged. In the 1590s his health began to decline, and he was treated for hypochondria; however he still was able to compose as well as travel occasionally. His final work was the exquisite set of 21 madrigale spirituale, the Lagrime di San Pietro (Tears of St. Peter), which he dedicated to Pope Clement VIII, and published posthumously in 1595. Orlando di Lasso died in Munich, on June 14, 1594, the same day that his employer decided to dismiss him for economic reasons; he never saw the letter.<\/p>\n

____________________________<\/p>\n

I am the true vine<\/em>, Arvo P\u00e4rt<\/span><\/p>\n

Here is the Ars Nova of Copenhagen<\/a>.<\/p>\n

This composition for a cappella-choir was written by Arvo P\u00e4rt for the 900th anniversary of the foundation of Norwich Cathedral in 1996 and is based on the opening seconds of Bogoroditse Djevo<\/em> (‘Rejoice, O Mother of God’) – a King’s College Choir Commission from 1990. The tempo is fast, the mood exultant and the tonal colouring decidedly folk-like. What follows is hardly less unexpected, an English setting\u00a0 of John chapter 15 verses 1-14, wherein Jesus likens himself to ‘the true vine’, and commands his followers to love one another. Here the writing, although subscribing to the tintinnabulation of Part’s familiar mature style, covers an especially wide vocal range, and the word-painting is masterly. Where Jesus says ‘If you abide in me, and my words abide in you … ‘ Part sets up a bass pedal, then, with ‘ … ye shall ask what ye will, and it shall be done unto you’ he cues an exquisite blending of lines, sailing his sopranos above his basses.<\/p>\n

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

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

Il Alleluia per Resurrectione<\/em>, Gottlieb Muffat<\/span><\/p>\n

Here played by\u00a0Franz Lehrndorfer<\/a> on the Dreifaltigkeits-Orgel in Ottobeuren.<\/p>\n

Gottlieb Muffat (1690 \u2013 1770), son of Georg Muffat, served as Hofscholar under Johann Fux in Vienna from 1711 and was appointed to the position of third court organist at the Hofkapelle in 1717. He acquired additional duties over time including the instruction of members of the Imperial family, among them the future Empress Maria Theresa. He was promoted to second organist in 1729 and first organist upon the accession of Maria Theresa to the throne in 1741.<\/p>\n

It is well established that Handel borrowed copiously from his contemporaries, including Muffat. While it would be easy to cast aspersions at Handel for this seemingly dishonest practice, it hardly diminishes his stature as a composer and probably would not have created much consternation for either party.<\/p>\n

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

Christ the True Vine Mount Calvary Church Eutaw Street and Madison Acenue Baltimore, Maryland A Roman Catholic Parish of The Personal\u00a0Ordinariate\u00a0of the Chair of St. Peter Anglican Use Rev. Albert Scharbach, Pastor Easter V April 29, 2018 8:00 AM Said Mass 10:00 AM Sung Mass ________________________ Prelude Variations from Organ Concerto op. 4 no. 1,\u00a0G.F. […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"audio","meta":{"_exactmetrics_skip_tracking":false,"footnotes":""},"categories":[1229,1318,12],"tags":[],"class_list":["post-6977","post","type-post","status-publish","format-audio","hentry","category-hymns","category-mount-calvary-church","category-music","post_format-post-format-audio","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\/6977","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=6977"}],"version-history":[{"count":16,"href":"http:\/\/www.podles.org\/dialogue\/wp-json\/wp\/v2\/posts\/6977\/revisions"}],"predecessor-version":[{"id":7001,"href":"http:\/\/www.podles.org\/dialogue\/wp-json\/wp\/v2\/posts\/6977\/revisions\/7001"}],"wp:attachment":[{"href":"http:\/\/www.podles.org\/dialogue\/wp-json\/wp\/v2\/media?parent=6977"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/www.podles.org\/dialogue\/wp-json\/wp\/v2\/categories?post=6977"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/www.podles.org\/dialogue\/wp-json\/wp\/v2\/tags?post=6977"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}