{"id":7002,"date":"2018-05-03T14:55:43","date_gmt":"2018-05-03T20:55:43","guid":{"rendered":"http:\/\/www.podles.org\/dialogue\/?p=7002"},"modified":"2018-05-03T14:55:43","modified_gmt":"2018-05-03T20:55:43","slug":"mount-calvary-music-may-6-2018","status":"publish","type":"post","link":"http:\/\/www.podles.org\/dialogue\/mount-calvary-music-may-6-2018-7002.htm","title":{"rendered":"Mount Calvary Music May 6, 2018"},"content":{"rendered":"

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

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

Eutaw Street and Madison Avenue<\/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 VI<\/b><\/p>\n

May 6, 2018<\/p>\n

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

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

________________________<\/p>\n

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

Christ lag in Todesbanden<\/i>, Pachelbel<\/p>\n

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

Christ Jesus lay in death’s strong bands<\/i> (CHRIST LAG IN TODESBANDEN)<\/p>\n

Come down, o Love divine\u00a0<\/i>(DOWN AMPNEY)<\/p>\n

Alleluia! sing to Jesus\u00a0<\/i>(HYFRYDOL)<\/p>\n

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

A new commandment<\/i>, Thomas Tallis<\/p>\n

Regina coeli, laetare<\/i>, Charpentier<\/p>\n

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

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

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

Fantasy on Hyfrydol<\/i>, Henry Coleman<\/p>\n

_________________<\/p>\n

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

Christ lag in Todesbanden<\/i>, Pachelbel<\/p>\n

Here is the prelude<\/a>.<\/p>\n

________________________<\/p>\n

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

Christ Jesus lay in death’s strong bands<\/i> (CHRIST LAG IN TODESBANDEN)<\/p>\n

Martin Luther wrote this adaptation of the Easter sequence, Victimae paschali laudes<\/em>. The hymn captures the essence of the classic struggle between life and death. The resurrection represents the apex of this battle. With Christ\u2019s rising from the grave, the \u201cstrong bands\u201d of death were broken. Stanza two talks about a \u201cstrange and dreadful strife\u201d between the powers of life and death. But the victory went to life when death was \u201cstripped of power.\u201d The sting of death (I Corinthians 15:56) \u201cis lost forever.\u201d The third stanza is one of rejoicing because \u201cChrist is himself the joy of all.\u201d \u201cThe Sun\u201d both warms and lights us. \u201cThe night of sin is ended.\u201d The final stanza would have been seen in light of the Eucharist with a reference that contrasts the \u201ctrue bread of heaven\u201d with the \u201cold and wicked leaven\u201d (Mt 16:6) . The reference to the Eucharist is even stronger as the hymn closes:<\/p>\n

Christ alone our souls will feed;
\nhe is our meat and drink indeed;
\nfaith lives upon no other! Alleluia!<\/em><\/p>\n

1 Christ Jesus lay in death\u2019s strong bands,
\nfor our offenses given;
\nbut now at God\u2019s right hand He stands
\nand brings us light from heaven.
\nTherefore let us joyful be
\nand sing to God right thankfully
\nloud songs of hallelujah.
\nAlleuia!<\/p>\n

2 It was a strange and dreadful strife
\nwhen life and death contended;
\nthe victory remained with life,
\nthe reign of death was ended.
\nHoly Scripture plainly saith
\nthat death is swallowed up by death;
\nhis sting is lost forever.
\nAlleluia!<\/p>\n

3 Here the true Paschal Lamb we see,
\nwhom God so freely gave us;
\nHe died on the accursed tree –
\nso strong His love to save us.
\nSee, His blood doth mark our door;
\nfaith points to it, death passes o’er,
\nand Satan cannot harm us.
\nHallelujah!<\/p>\n

4\u00a0Then let us feast this Easter Day
\nOn Christ, the bread of heaven;
\nThe Word of grace has purged away
\nThe old and evil leaven.
\nChrist alone our souls will feed;
\nHe is our meat and drink indeed;
\nFaith lives upon no other!
\nAlleluia!<\/p><\/blockquote>\n

Here is a festival version with organ and orchestra<\/a>. Here is a dramatized version<\/a> with Luther at the organ and Katherine von Bora singing.<\/p>\n

Here are the seven original stanzas:<\/p>\n

Christ lag in Todesbanden
\nF\u00fcr unsre S\u00fcnd gegeben,,
\nEr ist wieder erstanden
\nUnd hat uns bracht das Leben;
\nDes wir sollen fr\u00f6hlich sein,,
\nGott loben und ihm dankbar sein
\nUnd singen halleluja,,
\nHalleluja!<\/p>\n

Christ lay in death’s bonds
\nhanded over for our sins,
\nhe is risen again
\nand has brought us life
\nFor this we should be joyful,
\npraise God and be thankful to him
\nand sing allelluia,
\nAlleluia<\/p>\n

2<\/p>\n

Den Tod niemand zwingen kunnt
\nBei allen Menschenkindern,.
\nDas macht’ alles unsre S\u00fcnd,
\nKein Unschuld war zu finden..
\nDavon kam der Tod so bald
\nUnd nahm \u00fcber uns Gewalt,
\nHielt uns in seinem Reich gefangen..
\nHalleluja!<\/p>\n

Nobody could overcome death
\namong all the children of mankind.
\nOur sin was the cause of all this,
\nno innocence was to be found.
\nTherefore death came so quickly
\nand seized power over us,.
\nheld us captive in his kingdom.
\nAlleluia !<\/p>\n

3<\/p>\n

Jesus Christus, Gottes Sohn,,
\nAn unser Statt ist kommen
\nUnd hat die S\u00fcnde weggetan,
\nDamit dem Tod genommen
\nAll sein Recht und sein Gewalt,
\nDa bleibet nichts denn Tods Gestalt,
\nDen Stach’l hat er verloren.
\nHalleluja!<\/p>\n

Jesus Christ, God’s son,
\nhas come to our place
\nand has put aside our sins,
\nand in this way from death has taken
\nall his rights and his power,
\nhere remains nothing but death’s outward form,
\nit has lost its sting.
\nAlleluia!<\/p>\n

4<\/p>\n

Es war ein wunderlicher Krieg,
\nDa Tod und Leben rungen,
\nDas Leben behielt den Sieg,,
\nEs hat den Tod verschlungen.
\nDie Schrift hat verk\u00fcndigt das,
\nWie ein Tod den andern fra\u00df,
\nEin Spott aus dem Tod ist worden.
\nHalleluja!<\/p>\n

It was a strange battle
\nwhere death and life struggled.
\nLife won the victory,
\nit has swallowed up death
\nScripture has proclaimed
\nhow one death ate the other,
\ndeath has become a mockery.
\nAlleluia<\/p>\n

5<\/p>\n

Hier ist das rechte Osterlamm,
\nDavon Gott hat geboten,
\nDas ist hoch an des Kreuzes Stamm
\nIn hei\u00dfer Lieb gebraten,
\nDas Blut zeichnet unsre T\u00fcr,
\nDas h\u00e4lt der Glaub dem Tode f\u00fcr,
\nDer W\u00fcrger kann uns nicht mehr schaden.
\nHalleluja!<\/p>\n

Here is the true Easter lamb
\nthat God has offered
\nwhich high on the trunk of the cross
\nis roasted in burning love,
\nwhose blood marks our doors,
\nwhich faith holds in front of death,
\nthe strangler can harm us no more
\nAlleluia<\/p>\n

6<\/p>\n

So feiern wir das hohe Fest
\nMit Herzensfreud und Wonne,
\nDas uns der Herre scheinen l\u00e4\u00dft,
\nEr ist selber die Sonne,
\nDer durch seiner Gnade Glanz
\nErleuchtet unsre Herzen ganz,
\nDer S\u00fcnden Nacht ist verschwunden..
\nHalleluja!<\/p>\n

Thus we celebrate the high feast
\nwith joy in our hearts and delight
\nthat the Lord lets shine for us,
\nHe is himself the sun
\nwho through the brilliance of his grace
\nenlightens our hearts completely,
\nthe night of sin has disappeared.
\nAlleluia !<\/p>\n

7<\/p>\n

Wir essen und leben wohl
\nIn rechten Osterfladen,
\nDer alte Sauerteig nicht soll
\nSein bei dem Wort Gnaden,
\nChristus will die Koste sein
\nUnd speisen die Seel allein,,
\nDer Glaub will keins andern leben..
\nHalleluja!<\/p>\n

We eat and live well
\non the right Easter cakes,
\nthe old sour-dough should not
\nbe with the word grace,
\nChrist will be our food
\nand alone feed the soul,
\nfaith will live in no other way.
\nAlleluiia!<\/p><\/blockquote>\n

The original version had seven stanzas and appeared first in\u00a0Enchiridion<\/em>\u00a0(1524). Richard Massie (1800-1887) provided an English translation of all seven German stanzas in Martin Luther\u2019s\u00a0Spiritual Songs<\/em>(1854). Massie, an Englishman and rector of St. Bride\u2019s Church in Chester, was self-taught in German, but became one of the leading translators of hymns from the German of his day. The shortening of the hymn to four stanzas in English took place later in the 19th century in the\u00a0Church of England Hymn Book<\/em><\/p>\n

CHRIST LAG IN TODESBANDEN is an adaptation of a medieval chant used for “Victimae Paschali laudes”. The tune’s arrangement is credited to Johann Walther (b. Kahla, Thuringia, Germany, 1496: d. Torgau, Germany, 1570), in whose 1524\u00a0Geystliche Gesangk Buchleyn<\/cite>\u00a0it was first published. But it is possible that Luther also had a hand in its arrangement. Walther was one of the great early influences in Lutheran church music. At first he\u00a0seemed destined to be primarily a court musician. A singer in the choir of the Elector of Saxony in the Torgau court in 1521, he became the court’s music director in 1525. After the court orchestra was disbanded in 1530 and reconstituted by the town, Walther became cantor at the local school in 1534 and directed the music in several churches. He served the Elector of Saxony at the Dresden court from 1548 to 1554 and then retired in Torgau. Walther met Martin Luther in 1525 and lived with him for three weeks to help in the preparation of Luther’s German Mass. In 1524 Walther published the first edition of a collection of German hymns,\u00a0Geystliche gesangk Buchleyn<\/cite>. This collection and several later hymnals compiled by Walther went through many later editions and made a permanent impact on Lutheran hymnody. One of the earliest and best-known Lutheran chorales, CHRIST LAG IN TODESBANDEN is a magnificent tune in rounded bar form (AABA).<\/span><\/p>\n

_______________________<\/p>\n

Come down, o Love divine\u00a0<\/i>(DOWN AMPNEY)<\/p>\n

Bianco of Siena (c. 1345-c. 1412) was born in Anciolina, a small hamlet in Tuscany, Italy, but moved at a young age to Siena where he labored as a wood carver. We have little information about the life of this mystic; what we do know is due to the efforts of Feo Belcari (1410-1484), a poet and playwright from Florence, who reconstructed Bianco\u2019s biography from his poetry.<\/p>\n

According to Medieval Italy: An Encyclopedia, edited by Christopher Kleinhenz, \u201cBianco joined the Gesuati, a lay order founded by Giovanni Colombini, and lived for a number of years in a monastery of the order in Citt\u00e8 di Castello. He spent the last years of his life in Venice.\u201d<\/p>\n

Bianco composed in the laude form, a vernacular sacred song used outside of the medieval Catholic liturgy. Lauda spirituale were popular well into the 19th century. Most laude were composed in a melody-only form\u2014though polyphonic, or multi-part, laude developed in Italy in the early 15th century.<\/p>\n

Bianco\u2019s more than 100 laude may be divided into two groups\u2014doctrinal and mystical. In Dr. Kleinhenz\u2019s volume, we gain insight into Bianco\u2019s poetry: \u201cInspired by intense religious zeal, his poetry has its mystical roots in that of Jacopone da Todi, particularly in regard to the theme of divine madness. The immediacy of Bianco\u2019s language and the unadorned simplicity of his statements enhanced the popular appeal of his poetry.\u201d<\/p>\n

\u201cCome Down, O Love Divine\u201d (\u201cDiscendi, amor santo\u201d) is a translation of four of the original eight stanzas from\u00a0Laudi Spirituali del Bianco de Siena<\/em>, Lucca, 1851.<\/p>\n

Richard Littledale (1833-1890), an Irish scholar and minister, translated four of the stanzas that appeared in the People\u2019s Hymnal (1867). The hymn\u2019s popularity increased significantly after it appeared in the English Hymnal (1906), one of the most influential hymnals of the early 20th century, with a musical setting by the eminent English composer Ralph Vaughan Williams (1872-1958).
\nStanza three of the four English-language stanzas is omitted from most hymnals:<\/p>\n

Let holy charity
\nMine outward vesture be,
\nAnd lowliness become mine inner clothing;
\nTrue lowliness of heart,
\nWhich takes the humbler part,
\nAnd o\u2019er its own shortcomings weeps with loathing.<\/p><\/blockquote>\n

While the stanza starts out strongly, the translation seems strained and lacks the directness and beauty of the remaining three stanzas. Lutheran hymn writer Gracia Grindal notes that \u201cthe entire hymn is an invocation to the Holy Spirit [to] \u2018kindle\u2019 the heart so that it burns with the ardor of the Spirit.\u201d<\/p>\n

The text is intense\u2014intensely personal and intensely passionate. The incipit (first line) invokes the Holy Spirit to \u201cseek thou this soul of mine and visit it with thine own ardor glowing.\u201d Classic images of Pentecost appear throughout the hymn, especially those that relate to fire. Stanza one mentions \u201cardor glowing\u201d and \u201ckindle . . . thy holy flame.\u201d Stanza two continues the flame images with \u201cfreely burn,\u201d \u201cdust and ashes in its heat consuming.\u201d<\/p>\n

The final stanza is a powerful statement of total commitment to love, to \u201ccreate a place\/wherein the Holy Spirit makes a dwelling.\u201d<\/p>\n

1 Come down, O Love divine,
\nseek thou this soul of mine,
\nand visit it with thine own ardor glowing;
\nO Comforter, draw near,
\nwithin my heart appear,
\nand kindle it, thy holy flame bestowing.<\/p>\n

2 O let it freely burn,
\ntill earthly passions turn
\nto dust and ashes in its heat consuming;
\nand let thy glorious light
\nshine ever on my sight,
\nand clothe me round, the while my path illuming.<\/p>\n

3 And so the yearning strong,
\nwith which the soul will long,
\nshall far outpass the power of human telling;
\nfor none can guess its grace,
\ntill he become the place
\nwherein the Holy Spirit makes His dwelling.<\/p><\/blockquote>\n

Here is the choir of King’s College, Cambridge<\/a>.<\/p>\n

The Old Vicarage in\u00a0Down Ampney<\/em>\u00a0was the birthplace of Ralph Vaughan Williams in 1872. A\u00a0tune<\/em>\u00a0he composed, used for the hymn “Come Down, O Love Divine”, is titled “Down Ampney<\/em>” in its honour.<\/p>\n

______________________________<\/p>\n

Alleluia! sing to Jesus\u00a0<\/i>(HYFRYDOL)<\/span><\/p>\n

Alleluia! sing to Jesus\u00a0<\/em><\/strong>was\u00a0written by William Chatterton Dix (1837\u20141898). Revelation 5:9 describes this eschatological scene of joy and glory: \u201cAnd they sang a new song, saying: \u2018You are worthy to take the scroll and to open its seals, because You were slain, and with Your blood You purchased for God members of every tribe and language and nation.\u2019\u201d\u00a0 Dix invites us to sing that new song of praise to our ascended Savior. This hymn is a declaration of Jesus\u2019 victory over death and His continued presence among His people. By complex and interlocking allusions to Scripture, it presents a very high view of the Eucharist presence: Jesus is both \u201cPriest and Victim\u201d in this feast. Jesus, having triumphed over sin and death, \u201crobed in flesh\u201d has ascended above all the heavens, entering \u201cwithin the veil\u201d to the very throne of God. Dix sees in the Eucharist the fulfillment of Jesus\u2019 promise to be with us evermore.<\/p>\n

We sometimes forget that Jesus ever intercedes for us. The\u00a0Mount Calvary Magazine<\/em>\u00a0in 1910 reminded us:<\/p>\n

\u201cThe Incarnation is a permanent thing, it still exists. Our Lord still has His work to do in His glorified humanity; and that work is the perpetual intercession which He ever liveth to make for us. In order that he might carry on that work, it was necessary that His humanity should ascend into Heaven; and the way in which he now carries it on, is the unceasing presentation of His living and glorified humanity to the Father.\u201d He is thereby fulfilling His promise that is in the verse painted on the sanctuary arch.<\/p>\n

1 Alleluia! sing to Jesus!
\nHis the sceptre, His the throne;
\nAlleluia! His the triumph,
\nHis the victory alone:
\nHark! the songs of peaceful Sion
\nThunder like a mighty flood;
\nJesus, out of every nation
\nHath redeemed us by His blood.<\/p>\n

2 Alleluia! not as orphans
\nAre we left in sorrow now;
\nAlleluia! He is near us,
\nFaith believes, nor questions how:
\nThough the cloud from sight received Him,
\nWhen the forty days were o\u2019er:
\nShall our hearts forget His promise,
\n\u201cI am with you evermore\u201d?<\/p>\n

3 Alleluia! Bread of Heaven,
\nThou on earth our Food, our Stay!
\nAlleluia! here the sinful
\nFlee to thee from day to day:
\nIntercessor, Friend of sinners,
\nEarth\u2019s Redeemer, plead for me,
\nWhere the songs of all the sinless
\nSweep across the crystal sea.<\/p>\n

4 Alleluia! King eternal,
\nThee the Lord of lords we own;
\nAlleluia! born or Mary,
\nEarth Thy footstool, heaven Thy throne:
\nThou within the veil hast entered,
\nRobed in flesh, our great High-Priest;
\nThou on earth both Priest and Victim
\nIn the Eucharistic feast.<\/p>\n

5 Alleluia! sing to Jesus!
\nHis the sceptre, His the throne;
\nAlleluia! His the triumph,
\nHis the victory alone;
\nHark! the songs of holy Sion
\nThunder like a mighty flood;
\nJesus, out of every nation
\nHath redeemed us by His blood.<\/p><\/blockquote>\n

Here is the hymn at St. Bartholomew\u2019s<\/a>.<\/p>\n

\"william-chatterton-dix\"<\/a><\/p>\n

William Chatterton Dix<\/em><\/span><\/p>\n

William Chatterton Dix (1837 \u2013 1898) was an English writer of hymns and carols. He was born in Bristol, the son of John Dix, a local surgeon. His father gave him his middle name in honour of Thomas Chatterton, a poet about whom he had written a biography. He was educated at the Grammar School, Bristol, for a mercantile career, and became manager of a maritime insurance company in Glasgow where he spent most of his life.<\/p>\n

At the age of 29 he was struck with a near fatal illness and consequently suffered months confined to his bed. During this time he became severely depressed. Yet it is from this period that many of his hymns date. He died at Cheddar, Somerset, England.<\/p>\n

___________________________________<\/p>\n

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

A new commandment<\/i>, Thomas Tallis<\/span><\/p>\n

A new commandment give I unto you, saith the Lord, that ye love together, as I have loved you, that even so ye love one another. By this shall every man know that ye are my disciples, if ye have love one to another.<\/em><\/p>\n

Here are\u00a0three voices<\/a>.<\/p>\n

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

Little is known about Thomas Tallis\u2019s early life, but there seems to be agreement that he was born in the early 16th century, toward the close of the reign of Henry VII. Little is also known about Tallis\u2019s childhood and his significance with music at that age. However, there are suggestions that he was a Child (boy chorister) of the Chapel Royal, St. James\u2019 Palace, the same singing establishment which he later joined as a Gentleman. His first known musical appointment was in 1532, as organist of Dover Priory (now Dover College), a Benedictine priory in Kent. His career took him to London, then (probably in the autumn of 1538) to Waltham Abbey, a large Augustinian monastery in Essex which was dissolved in 1540. Tallis was paid off and also acquired a volume and preserved it; one of the treatises in it, by Leonel Power, prohibits consecutive unisons, fifths, and octaves.<\/p>\n

Tallis\u2019s next post was at Canterbury Cathedral. He was next sent to Court as Gentleman of the Chapel Royal in 1543 (which later became a Protestant establishment), where he composed and performed for Henry VIII,[9] Edward VI (1547\u20131553), Queen Mary (1553\u20131558), and Queen Elizabeth I (1558 until Tallis died in 1585). Throughout his service to successive monarchs as organist and composer, Tallis avoided the religious controversies that raged around him, though, like William Byrd, he stayed an \u201cunreformed Roman Catholic.\u201d Tallis was capable of switching the style of his compositions to suit the different monarchs\u2019 vastly different demands. Among other important composers of the time, including Christopher Tye and Robert White, Tallis stood out. Walker observes, \u201cHe had more versatility of style than either, and his general handling of his material was more consistently easy and certain.\u201d Tallis was also a teacher, not only of William Byrd, but also of Elway Bevin, an organist of Bristol Cathedral, and Gentleman of the Chapel Royal.<\/p>\n

Tallis married around 1552; his wife, Joan, outlived him by four years. They apparently had no children. Late in his life he lived in Greenwich, possibly close to the royal palace: a local tradition holds that he lived on Stockwell Street.<\/p>\n

Queen Mary granted Tallis a lease on a manor in Kent that provided a comfortable annual income. In 1575, Queen Elizabeth granted to him and William Byrd a 21-year monopoly for polyphonic music and a patent to print and publish music, which was one of the first arrangements of that type in the country. Tallis\u2019s monopoly covered \u2018set songe or songes in parts\u2019, and he composed in English, Latin, French, Italian, or other tongues as long as they served for music in the Church or chamber. Tallis had exclusive rights to print any music, in any language. He and William Byrd were the only ones allowed to use the paper that was used in printing music. Tallis and Byrd used their monopoly to produce\u00a0Cantiones quae ab argumento sacrae vocantur<\/em>\u00a0in 1575, but the collection did not sell well and they appealed to Queen Elizabeth for her support. People were naturally wary of their new publications, and it certainly did not help their case that they were both avowed Roman Catholics. Not only that, they were strictly forbidden to sell any imported music. \u201cWe straightly by the same forbid\u2026to be brought out of any forren Realmes\u2026any songe or songes made and printed in any foreen countrie.\u201d Also, Byrd and Tallis were not given \u201cthe rights to music type fonts, printing patents were not under their command, and they didn\u2019t actually own a printing press.\u201d<\/p>\n

Tallis retained respect during a succession of opposing religious movements and deflected the violence that claimed Catholics and Protestants alike. He\u00a0died peacefully in his house in Greenwich in November 1585.<\/p>\n

Regina coeli, laetare<\/i>, Charpentier<\/span><\/p>\n

Here is the motet<\/a>.<\/p>\n

_____________________________________________________________<\/p>\n

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

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

_________________________________________<\/p>\n

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

Fantasy on Hyfrydol<\/i>, Henry Coleman<\/p>\n

Richard Henry Pinwill Coleman was born on 3 April 1888 in Dartmouth. He was a chorister in St George’s Church, Ramsgate before going to Denstone College.<\/p>\n

He studied organ under Sydney Nicholson at Carlisle Cathedral and Manchester Cathedral.<\/p>\n

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

Mount Calvary Church Eutaw Street and Madison Avenue Baltimore, Maryland A Roman Catholic Parish of The Personal\u00a0Ordinariate\u00a0of the Chair of St. Peter Anglican Use Rev. Albert Scharbach, Pastor Easter VI May 6, 2018 8:00 AM Said Mass 10:00 AM Sung Mass ________________________ Prelude Christ lag in Todesbanden, Pachelbel Hymns Christ Jesus lay in death’s strong […]<\/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-7002","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\/7002","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=7002"}],"version-history":[{"count":9,"href":"http:\/\/www.podles.org\/dialogue\/wp-json\/wp\/v2\/posts\/7002\/revisions"}],"predecessor-version":[{"id":7012,"href":"http:\/\/www.podles.org\/dialogue\/wp-json\/wp\/v2\/posts\/7002\/revisions\/7012"}],"wp:attachment":[{"href":"http:\/\/www.podles.org\/dialogue\/wp-json\/wp\/v2\/media?parent=7002"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/www.podles.org\/dialogue\/wp-json\/wp\/v2\/categories?post=7002"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/www.podles.org\/dialogue\/wp-json\/wp\/v2\/tags?post=7002"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}