{"id":7048,"date":"2018-05-09T10:53:44","date_gmt":"2018-05-09T16:53:44","guid":{"rendered":"http:\/\/www.podles.org\/dialogue\/?p=7048"},"modified":"2018-05-09T11:03:40","modified_gmt":"2018-05-09T17:03:40","slug":"mount-calvary-music-may-13-2018","status":"publish","type":"post","link":"http:\/\/www.podles.org\/dialogue\/mount-calvary-music-may-13-2018-7048.htm","title":{"rendered":"Mount Calvary Music May 13, 2018"},"content":{"rendered":"

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

Ascension, Rabbula Gospels, 6th c.<\/span><\/em><\/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 VII<\/b><\/p>\n

May 13, 2018<\/p>\n

8 AM Said Mass<\/p>\n

10 AM Sung Mass<\/p>\n

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

Aus tiefer Not schrei ich zu dir,<\/em>\u00a0Johann Pachelbel (1653-1706)<\/p>\n

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

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

Let all mortal flesh keep silence<\/em> (PICARDY)<\/p>\n

The head that once was crowned with thorns<\/em> (ST MAGNUS)<\/p>\n

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

Non vos relinquam orphanos<\/em>, William Byrd<\/p>\n

O Rex gloriae<\/em>, William Byrd<\/p>\n

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

Christ lag in Todesbanden,\u00a0<\/em>Samuel Scheidt<\/p>\n

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

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

___________________________________<\/p>\n

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

Aus tiefer Not schrei ich zu dir,<\/em> Johann Pachelbel<\/p>\n

On the harmonium<\/a>.<\/em><\/p>\n

_____________________________________<\/p>\n

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

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

Love\u2019s redeeming work is done<\/em><\/strong>\u00a0by Charles Wesley is a cento composed of stanxas ii.-v.,x., of his hymn \u201cChrist the Lord is risen to-day.\u201d Books originating in the Church of England tradition use the tune SAVANNAH, first found in England in John Wesley\u2019s\u00a0A Collection of Tunes, Set to\u00a0Music,<\/em>\u00a0as they are commonly sung at the Foundery<\/em>\u00a0(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 from England to Savannah and was deeply impressed by their calm and faith during a storm that panicked the sailors.<\/p>\n

1 Love\u2019s redeeming work is done;
\nfought the fight, the battle won:
\nlo, our Sun\u2019s eclipse is o\u2019er,
\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\u00a0St Edmundsbury Cathedral Choir<\/a>. Here is a 1970 version from\u00a0Guilford Cathedral<\/a>.<\/p>\n

_____________________________________________<\/p>\n

Let all mortal flesh keep silence<\/em> (PICARDY)<\/span><\/p>\n

Let<\/strong><\/em>\u00a0all mortal flesh keep silence<\/em><\/strong>\u00a0is a paraphrase by James Moultrie (1829\u20141885) of the Cherubic Hymn from the Liturgy of St. James of the Eastern Church. The hymn dates to the third century. It is chanted as the bread and wine are carried to the altar. The Greek text reads: \u201cLet all mortal flesh keep silent, and stand with fear and trembling, and in itself consider nothing of earth; for the King of kings and Lord of lords cometh forth to be sacrificed, and given as food to the believers; and there go before Him the choirs of Angels, with every dominion and power, the many-eyed Cherubim and the six-winged Seraphim, covering their faces, and crying out the hymn: Alleluia, Alleluia, Alleluia.\u201d Here is the\u00a0hymn<\/a>\u00a0in the 4th Plagal. Here is the\u00a0Great Entrance.<\/a><\/p>\n

Let all mortal flesh keep silence,
\nAnd with fear and trembling stand;
\nPonder nothing earthly minded,
\nFor with blessing in His hand,
\nChrist our God to earth descendeth,
\nOur full homage to demand.<\/p>\n

King of kings, yet born of Mary,
\nAs of old on earth He stood,
\nLord of lords, in human vesture,
\nIn the body and the blood;
\nHe will give to all the faithful
\nHis own self for heavenly food.<\/p>\n

Rank on rank the host of heaven
\nSpreads its vanguard on the way,
\nAs the Light of light descendeth
\nFrom the realms of endless day,
\nThat the powers of hell may vanish
\nAs the darkness clears away.<\/p>\n

At His feet the six wing\u00e8d seraph,
\nCherubim with sleepless eye,
\nVeil their faces to the presence,
\nAs with ceaseless voice they cry:
\nAlleluia, Alleluia
\nAlleluia, Lord Most High<\/p><\/blockquote>\n

Her is the\u00a0King\u2019s College, Cambridg<\/a>e, choir.<\/p>\n

Gerald Moultrie was a Victorian public schoolmaster and Anglican hymnographer born on September 16, 1829, at Rugby Rectory, Warwickshire, England. He died on April 25, 1885, Southleigh, England.<\/p>\n

PICARDY\u00a0is a hymn tune, based on a French carol; it is in a minor key and its meter is 8.7.8.7.8.7. Its name comes from the province of France from where it is thought to originate. The tune dates back at least to the 17th century, and was originally used for the folk song “J\u00e9sus-Christ s’habille en pauvre”. First published in the 1848 collection Chansons populaires des provinces de France<\/em>, “Picardy” was most famously arranged by Ralph Vaughan Williams in 1906 for the hymn Let All Mortal Flesh Keep Silence.<\/em><\/p>\n

_________________________________________<\/p>\n

The head that once was crowned with thorns<\/em> (ST MAGNUS)<\/span><\/p>\n

The Head that once was crowned with thorns<\/strong>\u00a0<\/em>was written by\u00a0 Thomas Kelly (1769-1854), who based this hymn on Hebrews 2: 9-10 which speaks of Christ\u2019s glory and the universal message of grace that is available because of Christ\u2019s suffering: \u201cBut we see Jesus, who was made a little lower than the angels for the suffering of death, crowned with glory and honor; that he by the grace of God should taste death for every man. For it became him, for whom are all things, and by whom are all things, in bringing many sons unto glory, to make the captain of their salvation perfect through sufferings.\u201d<\/p>\n

Kelly employs the poetic device of hypotyposis \u2013 a vivid description of a scene or events in words \u2013 that provides the singer with a glimpse of the splendor of heaven, which is contrasted with the suffering of the cross and the suffering of all who follow Christ on earth.<\/p>\n

1 The head that once was crowned with thorns
\nis crowned with glory now:
\na royal diadem adorns
\nthe mighty Victor\u2019s brow.<\/p>\n

2 The highest place that heaven affords
\nis his, is his by right,
\nthe King of kings, and Lord of lords,
\nand heaven\u2019s eternal Light;<\/p>\n

3 The joy of all who dwell above,
\nthe joy of all below,
\nto whom he manifests his love,
\nand grants his name to know.<\/p>\n

4 To them the cross, with all its shame,
\nwith all its grace, is given:
\ntheir name, an everlasting name,
\ntheir joy, the joy of heaven.<\/p>\n

5 They suffer with their Lord below,
\nthey reign with him above;
\ntheir profit and their joy to know
\nthe mystery of his love.<\/p>\n

6 The cross he bore is life and health,
\nthough shame and death to him;
\nhis people\u2019s hope, his people\u2019s wealth,
\ntheir everlasting theme.<\/p><\/blockquote>\n

Here is the\u00a0Choir of the King\u2019s School<\/a>.<\/p>\n

 <\/p>\n

\"thomas-kelly\"<\/a><\/p>\n

Thomas Kelly<\/em><\/span><\/p>\n

Son of a judge, Kelly attended Trinity College (BA 1789) and planned to be a lawyer. After converting to Christ, though, his career plans changed to the ministry. He became an Anglican priest in 1792, but eventually became one of the famous dissenting ministers. He wrote over 760 hymns. Miller\u2019s Singers of the Church (1869) says of him:<\/p>\n

Mr. Kelly was a man of great and varied learning, skilled in the Oriental tongues, and an excellent Bible critic. He was possessed also of musical talent, and composed and published a work that was received with favour, consisting of music adapted to every form of metre in his hymn-book. Naturally of an amiable disposition and thorough in his Christian piety, Mr. Kelly became the friend of good men, and the advocate of every worthy, benevolent, and religious cause. He was admired alike for his zeal and his humility; and his liberality found ample scope in Ireland, especially during the year of famine.<\/p><\/blockquote>\n

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

Jeremiah Clarke<\/em><\/p>\n

The tune ST MAGNUS\u00a0 first appeared in Henry Playford\u2019s\u00a0Divine Companion<\/em>(1707 ed.) as an anonymous tune with soprano and bass parts. The tune was later credited to Jeremiah Clark (b. London, England, c. 1670; d. London, 1707), who was a chorister in the Chapel Royal and sang at the coronation of James II in 1685. Later he served as organist in Winchester College, St. Paul\u2019s Cathedral, and the Chapel Royal. He shot himself to death in a fit of depression, apparently because of an unhappy romance. Supported by Queen Anne, Clark was a prominent composer in his day, writing songs for the stage as well as anthems, psalm tunes, and harpsichord works.
\nAlthough ST. MAGNUS was originally used as a setting for Psalm 117, it has been associated with this text since they were combined in the 1868 Appendix to Hymns Ancient and Modern<\/em>. The tune is named for the Church of St. Magnus the Martyr, built by Christopher Wren in 1676 on Lower Thames Street near the old London Bridge, England.<\/p>\n

ST. MAGNUS consists of two long lines, each of which has its own sense of climax. The octave leap in the final phrase has a stunning effect, like a vault in a Gothic cathedral.<\/p>\n

____________________________________________<\/p>\n

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

Non vos relinquam orphanos<\/em>, William Byrd (1540-1623)<\/span><\/p>\n

Non vos relinquam orphanos. Alleluia. Vado, et venio ad vos. Alleluia. Et gaudebit, cor vestrum. Alleluia. <\/em><\/p>\n

I will not leave you comfortless. Alleluia. I go, and I will come to you. Alleluia. And your heart shall rejoice. Alleluia.<\/em><\/p>\n

Here are the Cambridge Singers<\/a>.<\/p>\n

_____________________________________________<\/p>\n

O Rex gloriae<\/em>, William Byrd (1540-1623)<\/span><\/p>\n

O Rex gloriae, Domine virtutum, qui triumphator hodie super omnes coelos ascendisti; ne derelinquas nos orphanos, sed mitte promissum Patris in nos, spiritum veritatis. Alleluia.<\/em><\/p>\n

O King of glory, Lord of all power, who ascended to heaven on this day triumphant over all; do not leave us as orphans, but send us the Father\u2019s promise, the spirit of truth. Alleluia.<\/em><\/p>\n

Here are the New Cambridge Singers<\/a>.<\/p>\n

_____________________________________________<\/p>\n

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

Christ lag in Todesbanden<\/em>,\u00a0 Samuel Scheidt (1587-1634)<\/span><\/p>\n

Here on the organ<\/a>.<\/p>\n

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

Ascension, Rabbula Gospels, 6th c. 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 VII May 13, 2018 8 AM Said Mass 10 AM Sung Mass Prelude Aus tiefer Not schrei ich zu dir,\u00a0Johann Pachelbel […]<\/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-7048","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\/7048","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=7048"}],"version-history":[{"count":4,"href":"http:\/\/www.podles.org\/dialogue\/wp-json\/wp\/v2\/posts\/7048\/revisions"}],"predecessor-version":[{"id":7053,"href":"http:\/\/www.podles.org\/dialogue\/wp-json\/wp\/v2\/posts\/7048\/revisions\/7053"}],"wp:attachment":[{"href":"http:\/\/www.podles.org\/dialogue\/wp-json\/wp\/v2\/media?parent=7048"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/www.podles.org\/dialogue\/wp-json\/wp\/v2\/categories?post=7048"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/www.podles.org\/dialogue\/wp-json\/wp\/v2\/tags?post=7048"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}