{"id":5692,"date":"2017-04-29T14:36:18","date_gmt":"2017-04-29T20:36:18","guid":{"rendered":"http:\/\/www.podles.org\/dialogue\/?p=5692"},"modified":"2017-04-29T18:34:45","modified_gmt":"2017-04-30T00:34:45","slug":"mount-calvary-music-april-30-2017","status":"publish","type":"post","link":"https:\/\/www.podles.org\/dialogue\/mount-calvary-music-april-30-2017-5692.htm","title":{"rendered":"Mount Calvary Music: April 30, 2017"},"content":{"rendered":"

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

The disciples recognized Jesus in the Breaking of the Bread<\/em><\/p>\n

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

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

Third Sunday of Easter<\/b><\/span><\/p>\n

Emmaus<\/em><\/p>\n

April 30, 2017<\/p>\n

Organ Prelude<\/strong>:\u00a0Angelus Domini, Vasurto<\/p>\n

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

At the Lamb’s high feast we sing<\/i><\/p>\n

Shepherd of souls, refresh and bless<\/em><\/p>\n

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

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

Venite, comedite<\/em> by William Byrd<\/p>\n

Alleluia! Cognoverunt discipuli<\/em> by William Byrd<\/p>\n

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

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

Credo<\/em>, Missa de Angelis<\/p>\n

Organ Postlude<\/strong>:\u00a0Il Alleluia per Resurrectione<\/em>, by Gottlieb Muffat (1690-1770)<\/p>\n

____________________________<\/p>\n

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

At the Lamb\u2019s high feast<\/em> we sing <\/em>is a translation by the Robert Campbell (1814-1868) of the seventh century Latin hymn, Ad regias agni dapes<\/em>, which was sung by the newly baptized at Easter when they were first admitted to communion. Our victorious King through His death and resurrection has caused the angel of death to pass over us. We are redeemed by His blood, which opens Paradise to us where we will live forever.\u00a0 The LORD brought Israel out of Egypt through the sea into the promised land by the blood of the Lamb. Jesus through His death brings us through the wilderness of this life by feeding us with Himself, the true manna that comes down from heaven.<\/p>\n

1 At the Lamb’s high feast we sing
\npraise to our victorious King,
\nwho hath washed us in the tide
\nflowing from his pierc\u00e8d side;
\npraise we him, whose love divine
\ngives his sacred blood for wine,
\ngives his body for the feast,
\nChrist the victim, Christ the priest.
\n2 Where the Paschal blood is poured,
\ndeath’s dark angel sheathes his sword;
\nIsrael’s hosts triumphant go
\nthrough the wave that drowns the foe.
\nPraise we Christ, whose blood was shed,
\nPaschal victim, Paschal bread;
\nwith sincerity and love
\neat we manna from above.
\n3 Mighty victim from the sky,
\nhell’s fierce powers beneath thee lie;
\nthou hast conquered in the fight,
\nthou hast brought us life and light.
\nNow no more can death appal,
\nnow no more the grave enthral:
\nthou hast opened paradise,
\nand in thee thy saints shall rise.
\n4 Easter triumph, Easter joy,
\nsin alone can this destroy;
\nfrom sin’s power do thou set free
\nsouls new-born, O Lord, in thee.
\nHymns of glory and of praise,
\nrisen Lord, to thee we raise;
\nholy Father, praise to thee,
\nwith the Spirit, ever be.<\/p><\/blockquote>\n

Raised a Presbyterian, the Edinburgh advocate Robert Campbell j<\/strong>oined the Episcopal Church of Scotland. While he was a Scottish Episcopalian (imagine!), he translated this hymn in 1850 and other Latin hymns for relaxation. In 1852, he joined the Roman Catholic Church. Much of his life, both as a Protestant and a Catholic was dedicated to the education of Edinburgh\u2019s poorest children. He authored a report, Past and present treatment of Roman Catholic children in Scotland<\/em>, by the Board of Supervision for Relief of the Poor<\/em> (1863).<\/p>\n

The hymn Ad regias Agni dapes<\/em> has a checkered history. It was originally Ad coenam Agni providi<\/em> a sixth-century Ambrosian hymn, that is, a hymn composed in iambic tetrameter, after the model of the hymns that St. Ambrose had composed after the model of Roman marching songs. This meter is close to the meter of rythm prose and is also easily adopted to music. The hymn was composed when Latin was still a spoken language. For example, it treats stolis albis candidi <\/em>[bright with white garments] as if it were istolis albis candidi (<\/em>eight syllables): ist<\/em><\/strong>– is how they pronounced st<\/em><\/strong>– in the ‘Vulgar Latin’ period. I presume that the Spanish habit of adding a syllable before an s comes form this: Estarbucks<\/em>. The hymn also used words from Christian Latin, such as coena<\/em>, the word used for the Last Supper.<\/p>\n

    \n
  1. Ad coenam Agni providi,
    \nstolis salutis candidi,
    \npost transitum maris Rubri
    \nChristo canamus principi.<\/li>\n
  2. Cuius corpus sanctissimum
    \nin ara crucis torridum,
    \nsed et cruorem roseum
    \ngustando, Dei vivimus.<\/li>\n
  3. \u00a0Protecti paschae vespero
    \na devastante angelo,
    \nde Pharaonis aspero
    \nsumus erepti imperio.<\/li>\n
  4. \u00a0Iam pascha nostrum Christus est,
    \nagnus occisus innocens;
    \nsinceritatis azyma
    \nqui carnem suam obtulit.<\/li>\n
  5. O vera, digna hostia,
    \nper quam franguntur tartara,
    \ncaptiva plebs redimitur,
    \nredduntur vitae praemia!<\/li>\n
  6. Consurgit Christus tumulo,
    \nvictor redit de barathro,
    \ntyrannum trudens vinculo
    \net paradisum reserans.<\/li>\n
  7. Esto perenne mentibus
    \npaschale, Iesu, gaudium
    \net nos renatos gratine
    \ntuis triumphis aggrega.<\/li>\n
  8. \u00a0Iesu, tibi sit gloria,
    \nqui morte victa praenites,
    \ncum Patre et almo Spiritu,
    \nin sempiterna saecula. Amen.<\/li>\n<\/ol>\n

    Here is John Mason Neale\u2019s translation:<\/p>\n

      \n
    1. The Lamb’s high banquet we await
      \nin snow-white robes of royal state:
      \nand now, the Red Sea’s channel past,
      \nto Christ our Prince we sing at last.<\/li>\n
    2. Upon the Altar of the Cross
      \nHis Body hath redeemed our loss:
      \nand tasting of his roseate Blood,
      \nour life is hid with Him in God,<\/li>\n
    3. That Paschal Eve God’s arm was bared,
      \nthe devastating Angel spared:
      \nby strength of hand our hosts went free
      \nfrom Pharaoh’s ruthless tyranny.<\/li>\n
    4. Now Christ, our Paschal Lamb, is slain,
      \nthe Lamb of God that knows no stain,
      \nthe true Oblation offered here,
      \nour own unleavened Bread sincere.<\/li>\n
    5. O Thou, from whom hell’s monarch flies,
      \nO great, O very Sacrifice,
      \nThy captive people are set free,
      \nand endless life restored in Thee.’<\/li>\n
    6. \u00a0For Christ, arising from the dead,
      \nfrom conquered hell victorious sped,
      \nand thrust the tyrant down to chains,
      \nand Paradise for man regains.<\/li>\n
    7. We pray Thee, King with glory decked,
      \nin this our Paschal joy, protect
      \nfrom all that death would fain effect
      \nThy ransomed flock, Thine own elect.<\/li>\n
    8. To Thee who, dead, again dost live,
      \nall glory Lord, Thy people give;
      \nall glory, as is ever meet,
      \nto Father and to Paraclete. Amen.<\/li>\n<\/ol>\n

      And so the hymn was sung for a thousand years.<\/p>\n

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

      Urban VIII, by Pietro da Cortona (1627)<\/strong><\/em><\/p>\n

      And then came the Renaissance and Maffeo Barbarini was elected to the papal throne as Urban VIII (reigned 1623-1644). The new liturgical books of Pius V had just been approved, but Urban found the Latin tasteless and inelegant and barbarous. So he and his assistants \u201cimproved\u201d the ancient hymns. As one annoyed hymnologist writes: \u201cAmbrose and Prudentius took something classical and made it Christian; the revisers and their imitators took something Christian and tried to make it classical. The result may be pedantry, and sometimes perhaps poetry; but it is not piety.\u201d<\/p>\n

      So Ad cenam Agni providi<\/em> in 1632 became Ad regias Agni dapes<\/em>, the version translated by Campbell. \u00a0This hymn us used at Vespers from Easter Sunday until Ascension, Notice I say used, because the classicized hymns were not untended to be sung, but recited privately.<\/p>\n

      Ad regias Agni dapes,
      \nStolis amicti candidis,
      \nPost transitum maris Rubri,
      \nChristo canamus Principi.<\/p>\n

      2. Divina cuius caritas
      \nSacrum propinat sanguinem,
      \nAlmique membra corporis
      \nAmor sacerdos immolat.<\/p>\n

      3. Sparsum cruorem postibus
      \nVastator horret Angelus:
      \nFugitque divisum mare,
      \nMerguntur hostes fluctibus.<\/p>\n

      4. Iam Pascha nostrum Christus est,
      \nPaschalis idem victima:
      \nEt pura puris mentibus
      \nSinceritatis azyma.<\/p>\n

      5. O vera caeli v\u00edctima,
      \nSubiecta cui sunt tartara,
      \nSoluta mortis vincula,
      \nRecepta vit\u00e6 praemia.<\/p>\n

      6. Victor subactis inferis,
      \nTrophaea Christus explicat,
      \nCaeloque aperto, subditum
      \nRegem tenebrarum trahit.<\/p>\n

      7. Ut sis perenne mentibus
      \nPaschale Iesu gaudium,
      \nA morte dira criminum
      \nVit\u00e6 renatos libera.<\/p>\n

      8. Deo Patri sit gloria,
      \nEt Filio, qui a mortuis
      \nSurrexit, ac Paraclito,
      \nIn sempiterna saecula. Amen.<\/p><\/blockquote>\n

      Dapes<\/em>, a classical poetic word, is substituted for the Christian coena<\/em>, obscuring the reference to the Last Supper and to the Eucharist. The original reference to the roasted (torridum<\/em>) body of Christ , was eliminated, and Victorian commentators, although they understood the refenece to the Paschal Lamb, found the image horrifying.<\/p>\n

      The Benedictines and the Dominicans would have nothing to do with such innovations, and continued to use the original version of the hymn. Their attitude was\u00a0Quod non fecerunt barbari, fecerunt Barberini<\/em>.<\/p>\n

      Ad regias agni dapes<\/em> is mentioned in James Joyce\u2019s Finnegan\u2019s Wake. Here is the context:<\/p>\n

      Pater patruum cum filiabus familiarum.<\/em>\u00a0Or, but, now, and, ariring out of her mirgery margery watersheads and, to change that subjunct from the traumaturgid for once in a while and darting back to stuff, if so be you may identify yourself with the him in you, that fluctuous neck merchamtur, bloodfadder and milkmudder, since then our too many of her, Abha na Lif\u00e9, and getting on to dadaddy again, as them we\u2019re ne\u2019er free of, was he in tea e\u2019er he went on the bier or didn\u2019t he ontime do something seemly heavy in sugar? He sent out Christy Columb and he came back with a jailbird\u2019s unbespokables in his beak and then he sent out Le Caron Crow and the peacies are still looking for him. The seeker from the swayed, the beesabouties from the parent swarm. Speak to the right! Rotacist ca canny! He caun ne\u2019er be bothered but maun e\u2019er be waked. If there is a future in every past that is present\u00a0Quis est qui non novit quinnigan<\/em>\u00a0and\u00a0Qui quae quot at Quinnigan\u2019s Quake!<\/em>\u00a0Stump! His producers are they not his consumers? Your exagmination round his factification for incamination of a warping process. Declaim!<\/p>\n

      \u2014Arra irrara hirrara man, weren\u2019t they arriving in clansdestinies for the Imbandiment of\u00a0Ad Regias Agni Dapes<\/em>, fogabawlers and panhibernskers, after the crack and the lean years, scalpjaggers and houthhunters, like the messicals of the great god, a scarlet trainful, the Twoedged Petrard, totalling, leggats and prelaps, in their aggregate ages two and thirty plus undecimmed centries of them with insiders, extraomnes and tuttifrutties allcunct, from Rathgar, Rathanga, Rountown and Rush, from America Avenue and Asia Place and the Affrian Way and Europa Parade and besogar the wallies of Noo Soch Wilds and from Vico, Mespil Rock and Sorrento, for the lure of his weal and the fear of his oppidumic, to his salon de espera in the keel of his kraal, like lodes of ores flocking fast to Mount Maximagnetic, afeerd he was a gunner but affaird to stay away, Merrionites, Dumstdumbdrummers, Luccanicans, Ashtoumers, Batterysby Parkes and Krumlin Boyards, Phillipsburgs, Cabraists and Finglossies, Ballymunites, Raheniacs and the bettlers of Clontarf, for to contemplate in manifest and pay their firstrate duties before the both of him, twelve stone a side, with their\u00a0Thieve le Rou\u00e9!<\/em>\u00a0and their\u00a0Shvr yr Thrst!<\/em>\u00a0and their\u00a0Uisgye ad Inferos!<\/em>\u00a0and their\u00a0Usque ad Ebbraios!<\/em>\u00a0at and in the licensed boosiness primises of his delhightful bazar and reunited magazine hall, by the magazine wall.<\/p><\/blockquote>\n

      A helpful commentary explains:<\/p>\n

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

      The tune is SALZBURG, \u00a0by Jakob Hintze (1622-1702),who in 1666 became court musician to the Elector of Brandenburg at Berlin; but he retired to his birthplace in 1695, and died at Berlin with the reputation of being an excellent contrapuntist.<\/p>\n

      Here is At the Lamb\u2019s high feas<\/a>t sung at at the most appropriate occasion: Communion at Easter.<\/p>\n

      ___________________<\/p>\n

      Shepherd of souls, refresh and bless <\/em>was written by the Moravian James Montgomery (1771-1854). As at the supper at Emmaus, Jesus feeds us. As the Good Shepherd, He lays down his life for His sheep, giving them His body and blood as their sustenance so that they may live forever. We know Jesus especially in the breaking of the bread, the action that symbolizes His death by which He sacrifices Himself for us and gives Himself to us.<\/p>\n

        \n
      1. Shepherd of souls, refresh and bless
        \nThy chosen pilgrim flock
        \nWith manna in the wilderness,
        \nWith water from the rock.2 We would not live by bread alone,
        \nBut by thy word of grace,
        \nIn strength of which we travel on
        \nTo our abiding place.3 Be known to us in breaking bread,
        \nBut do not then depart;
        \nSaviour, abide with us, and spread
        \nThy table in our heart.4 Lord, sup with us in love divine;
        \nThy Body and thy Blood,
        \nThat living bread, that heavenly wine,
        \nBe our immortal food.to us.<\/li>\n<\/ol>\n

        The tune is St. Agnes by John Bacchus Dykes. Here it is sung at Trinity Church <\/a>on Wall Street.<\/p>\n

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

        James Montgomery<\/strong><\/em><\/p>\n

        James Montgomery<\/strong>\u00a0(1771-1854) was born at Irvine in Ayrshire, on the western coast of Scotland. He was the son of John Montgomery, the only Moravian pastor in Scotland. The British Moravian church traces its roots back to the Moravian Missionary center in Hernnhut, Germany (Moravians were also known as Hernnhuters or the Bohemian Brethren).<\/p>\n

        John and his wife felt God\u2019s call to be missionaries to the island of Barbados, in the West Indies. Tearfully, they placed six-year old James in a Moravian settlement at Gracehill in Central Ireland. That was to be the last time James would see them. They died within a year of each other after reaching Barbados.<\/p>\n

        Left with nothing, James was sent to be trained for the ministry at the Moravian School at Fulneck, near Leeds, England. It was here that he first started writing verse, at the age of 10. At Fulneck, secular studies were banned, but James nevertheless found means of borrowing and reading a good deal of poetry, including Burns’ “Lines To A Mountain Daisy.” He made ambitious plans to write epics of his own.<\/p>\n

        He suffered periods of deep depression as a result of losing his parents at such an early age. The Moravians who were trying to care for the orphan found him to be a dreamer, who “never had a sense of the hour.” Failing school at the age of 14, they “put him out to business” to a baker in Mirfield, just seven miles to the south. James left on his own and hired himself out to a storekeeper at Wath-upon-Dearne, another thirty miles to the south. Not finding much to his liking, James ran away again, wondering from place to place, trying to sell his freshly written verses. After further adventures, including an unsuccessful attempt to launch himself into a literary career in London, he moved to Sheffield in 1792 to become assistant to Joseph Gales, auctioneer, bookseller and printer of the Sheffield Register. In 1794, Gales left England to avoid political prosecution and Montgomery took the paper in hand, changing its name to the Sheffield Iris. Now owning the paper, he was able to publish his writings as he pleased.<\/p>\n

        These were times of political repression and he was twice imprisoned on charges of sedition. The first time was in 1795 for printing a poem celebrating the fall of the Bastille; the second in 1796 was for criticizing a magistrate for forcibly dispersing a political protest in Sheffield. His later account of this episode was published in 1840.\u00a0Turning the experience to some profit, in 1797 he published a pamphlet of poems written during his captivity, as\u00a0Prison Amusements<\/em>. For some time, the\u00a0Iris<\/em>\u00a0was the only newspaper in Sheffield; but beyond the ability to produce fairly creditable articles from week to week, Montgomery was devoid of the journalistic faculties which would have enabled him to take advantage of his position.\u00a0Other newspapers arose to fill the place which his might have occupied and in 1825 he sold it on to a local bookseller, John Blackwell.<\/p>\n

        In his youth, he had strayed from the church, but at his own request he was readmitted into the Moravian congregation at Fulneck when forty-three years of age. He expressed his feelings at the time in the following lines<\/p>\n

        People of the living God,
        \nI have sought the world around,
        \nPaths of sin and sorrow trod,
        \nPeace and comfort nowhere found.
        \nNow to you my spirit turns–
        \nTurns a fugitive unblest;
        \nBrethren, where your altar burns,
        \nO receive me into rest.<\/p><\/blockquote>\n

        Thereafter he became an avid worker for missions and an active member of the Bible Society. He was interested in social issues and the missions. He attacked attacking the lottery (then, as now, a way of extracting money from the desperate poor) in\u00a0Thoughts on Wheels<\/em>\u00a0(1817) and taking up the cause of the chimney sweeps\u2019 apprentices in\u00a0The Climbing Boys’ Soliloquies<\/em>. His next major poem was\u00a0Greenland<\/em>\u00a0(1819), a poem in five cantos of heroic couplets. This was prefaced by a description of the ancient Moravian church, its eighteenth-century revival and mission to Greenland in 1733.<\/p>\n

        In addition to Shepherd of souls<\/em> (1940 Hymnal<\/em>, #213), his hymns Angels from the realms of glory<\/em> (1940 Hymnal<\/em>, #28) and Hail to the Lord\u2019s Anointed<\/em> (1940 <\/em>Hymnal, #545) are still sung.<\/p>\n

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

        In 1861, a monument designed by John Bell (1811\u20131895) was erected over his grave in the Sheffield cemetery at a cost of \u00a31000, raised by public subscription on the initiative of the Sheffield Sunday School Union, of which he was among the founding members. On its granite pedestal is inscribed: “Here lies interred, beloved by all who knew him, the Christian poet, patriot, and philanthropist. Wherever poetry is read, or Christian hymns sung, in the English language, ‘he being dead, yet speaketh’ by the genius, piety and taste embodied in his writings.” There are also extracts from his poems “Prayer” and “The Grave”. After it fell into disrepair the statue was moved to the precinct of Sheffield Cathedral in 1971, where there is also a memorial window.<\/p>\n

        Elsewhere in Sheffield there are various streets named after Montgomery and a Grade II-listed drinking fountain on Broad Lane. The meeting hall of the Sunday Schools Union (now known as The Montgomery), in Surrey Street, was named in his honour in 1886; it houses a 420-seat theater which also bears his name. Elsewhere, Wath-upon-Dearne, flattered by being called “the queen of villages” in his work, has repaid the compliment by naming after him a community hall, a street and a square. His birthplace in Irvine was renamed ‘Montgomery House’ after he paid the town a return visit in 1841 but has since been demolished. Sic transit.<\/p>\n

        ____________________<\/p>\n

        Our closing hymn is the Eucharistic hymn, Deck thyself, my soul, with gladness<\/em>. The original German text, Schm\u00fccke dich, o liebe Seele<\/em>, was written by the German politician and poet Johann Franck (1618-1677) and expresses an intimate relationship between the individual believer and his faith in the Savior, Jesus Christ. Much devotional poetry that conveys an internalized piety was written in the period immediately following the devastation of the Thirty Years War (1618-1648). It was translated by Catherine Winkworth in her Lyra Germanic<\/em>a.<\/p>\n

        Deck thyself, my soul, with gladness,
        \nleave the gloomy haunts of sadness;
        \ncome into the daylight’s splendour,
        \nthere with joy thy praises render
        \nunto him whose grace unbounded
        \nhath this wondrous banquet founded:
        \nhigh o’er all the heavens he reigneth,
        \nyet to dwell with thee he deigneth.
        \nSun, who all my life dost brighten,
        \nlight, who dost my soul enlighten,
        \njoy, the sweetest heart e’er 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.
        \nJesus, 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 1674 text.<\/p>\n

        \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’ 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’ 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’ ich offt, mit Thr\u00e4nen,
        \nMich nach deiner 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’ 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’ 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.\"\"<\/a><\/p>\n

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

        The chorale melody associated with this text was composed by the German Lutheran theologian and musician, Johann Cr\u00fcger<\/strong> (1598-1662).\u00a0 After passing through the schools at Guben, Sorau and Breslau, the Jesuit College at Olm\u00fctz, and the Poets’ 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’s 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 “Johann Kr\u00fcger, 1610,\u201d as the author of the supposed original of C. Wesley’s “Hearts of stone relent, relent”. 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 “Nun danket alle Gott”, which is set to No. 379 in\u00a0Hymns Ancient & Modern<\/em>, ed.<\/p>\n

        Here is the Schola Cantorum<\/a> of St. Peters-in-the-Loop singing the hymn. \u00a0Here is the cantata BWV 180.<\/p>\n

        ____________________________<\/p>\n

        \u00a0Anthems<\/strong><\/span><\/p>\n

        Venite, comedite,<\/em> from Votive\u00a0Mass of the Blessed Sacrame<\/em>nt, by William\u00a0Byrd<\/p>\n

        Venite comedite panem meum, et bibite vinum quod miscui vobis.<\/em><\/p>\n

        Come, eat my bread, and drink the wine which I have prepared for you.<\/em><\/p>\n

        Alleluia! Cognoverunt discipuli, the Alleluia from\u00a0Votive Mass of the Blessed Sacrament during Paschal time, by William Byrd<\/em><\/p>\n

        Alleluia. Cognoverunt discipuli Dominum Jesum in fractione panis. Alleluia. Caro mea vere est cibus, et sanguis meus vere est potus: qui manducat carnem, et bibit meum sanguinem, in me manet, et ego in eo. Alleluia. \u00a0<\/em><\/p>\n

        Alleluia. The disciples knew the Lord Jesus in the breaking of bread. Alleluia. My flesh is meat indeed: and my blood is drink indeed. He that eateth my flesh and drinketh my blood abideth in me: and I in him. Alleluia.<\/em><\/p>\n

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

        William Byrd<\/strong><\/em><\/p>\n

        William Byrd<\/strong>\u2019s (1540-1623) Venite, comedite<\/em> and Alleluia! Cognoverunt discipuli <\/em>are both from his 1607 Gradualia<\/em>.<\/p>\n

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

        As a Catholic in Elizabethan England, Byrd was frequently fined under the recusancy laws, but his talents earned him a place in the Chapel Royal. In the persecutions of Catholics that followed the 1605 Gunpowder Plot, Catholics were increasingly in danger. Nevertheless, \u00a0in 1607, although there was serious danger in calling attention to his Catholicism,\u00a0 Byrd published this cycle of polyphonic Latin propers from the Catholic mass cycle, and prefaced them by saying: \u201cMoreover, in the words themselves (as I have learned from experience) there is such hidden and mysterious power that to a person thinking over divine things, diligently and earnestly turning them over in his mind, the most appropriate measures come, I do not know how, and offer themselves freely to the mind that is neither idle nor inert.\u201d\u00a0 Both motets contain an emphasis on the Real Presence of Jesus in the Eucharist \u2014 the disciples recognized Him in the Breaking of the Bread.<\/p>\n

        Here is the Ensemble Plus Ultra singing Venite, comedite <\/a>\u00a0and\u00a0Alleluia! cognoverunt discipuli<\/a>.<\/p>\n

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

        The disciples recognized Jesus in the Breaking of the Bread Mount Calvary Church Personal\u00a0Ordinariate\u00a0of the Chair of St. Peter Third Sunday of Easter Emmaus April 30, 2017 Organ Prelude:\u00a0Angelus Domini, Vasurto Hymns At the Lamb’s high feast we sing Shepherd of souls, refresh and bless Deck thyself, my soul, with gladness Anthems Venite, comedite by […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_mi_skip_tracking":false,"footnotes":""},"categories":[1229,1318,12,1],"tags":[1468,1470,1471,1416,1469],"class_list":["post-5692","post","type-post","status-publish","format-standard","hentry","category-hymns","category-mount-calvary-church","category-music","category-uncategorized","tag-at-the-lambs-high-feast","tag-desk-thyself-my-soul-with-gladness","tag-eucharistic-music","tag-mount-calvary-baltimore","tag-shepherd-of-souls","has-post-title","has-post-date","has-post-category","has-post-tag","has-post-comment","has-post-author"],"aioseo_notices":[],"_links":{"self":[{"href":"https:\/\/www.podles.org\/dialogue\/wp-json\/wp\/v2\/posts\/5692","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.podles.org\/dialogue\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.podles.org\/dialogue\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.podles.org\/dialogue\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.podles.org\/dialogue\/wp-json\/wp\/v2\/comments?post=5692"}],"version-history":[{"count":15,"href":"https:\/\/www.podles.org\/dialogue\/wp-json\/wp\/v2\/posts\/5692\/revisions"}],"predecessor-version":[{"id":5716,"href":"https:\/\/www.podles.org\/dialogue\/wp-json\/wp\/v2\/posts\/5692\/revisions\/5716"}],"wp:attachment":[{"href":"https:\/\/www.podles.org\/dialogue\/wp-json\/wp\/v2\/media?parent=5692"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.podles.org\/dialogue\/wp-json\/wp\/v2\/categories?post=5692"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.podles.org\/dialogue\/wp-json\/wp\/v2\/tags?post=5692"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}