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<\/a><\/p>\nFrom the Catacombs of Priscilla<\/strong><\/em><\/span><\/p>\n Mount Calvary Church<\/span><\/p>\n Personal\u00a0Ordinariate\u00a0of the Chair of St. Peter<\/p>\n Fourth\u00a0Sunday of Easter<\/b><\/span><\/p>\n The Good Shepherd<\/em><\/p>\n May 7, 2017<\/p>\n Hymns<\/strong><\/span><\/p>\n The King of Love my shepherd is<\/i><\/p>\n Be joyful, Mary, heavenly\u00a0Queen<\/em><\/p>\n I know that my Redeemer lives<\/em><\/p>\n Anthems<\/strong><\/span><\/p>\n Psalm 23<\/i>, Herbert Howells<\/p>\n Ego sum resurrectione<\/em>, Hans Leo Hassler<\/p>\n Common<\/strong><\/span><\/p>\n Missa de S. Maria Magdelena<\/em>, Willan<\/p>\n Credo<\/em>, Missa de Angelis<\/p>\n _____________________________<\/p>\n Henry Williams Baker (1821-1877) recast George Herbert\u2019s metrical paraphrase of Psalm 23 into this hymn, The King of love my shepherd is<\/em><\/strong>. \u00a0Baker gives Psalm 23 an explicit Christological and sacramental cast. \u201cThe streams of living water\u201d flow from Jesus\u2019 pierced side. He ransoms our soul from the captivity of sin, and feeds with food celestial, \u201cthe bread which cometh down from heaven, that a man may eat thereof, and not die\u201d On our own we never keep to the righteous paths. That is why Jesus comes in love to us, sinners as we are. In his persistent and tender mercy Jesus seeks us, when, \u201cperverse and foolish,\u201d we stray from Him. The wood of the shepherd\u2019s staff is the wood of the cross that guides the strayed soul. Delights flow from Jesus\u2019 pure chalice. The \u201cwine that gladdens the heart\u201d is the Eucharist, the blood of Christ; His is the chalice that overbrims with love. In the Old Testament, our ancestors in faith longed to dwell in the \u201chouse of the Lord,\u201d before the revelation of eternal life was clear. But now Christ fulfills that mysterious longing. He is the Good Shepherd, who \u201cgiveth his life for the sheep,\u201d the ultimate gift,\u00a0eternal life with Him. (Thanks to Tony Esolen)<\/p>\n Here is a Reformed analysis of the hymn:<\/p>\n \u201cWe note immediately that the usual way of naming God (\u201cthe Lord\u201d) has been replaced with a nonbiblical yet immediately comprehensible allegorical title, \u201cthe King of Love.\u201d \u00a0This unfamiliar opening and the inversion in the first line (\u201cmy shepherd is\u201d) prepare the singer for a text that is intentionally\u2014even self-consciously\u2014allusive and aesthetic. This perception of the text is reinforced by the archaic verb forms (\u201cleadeth,\u201d \u201cfeedeth\u201d) and the Latinate diction (\u201cverdant,\u201d \u201ccelestial\u201d) in the second stanza. The third stanza intensifies the Christological overtones of this paraphrase with allusions not only to the Good Shepherd passage noted earlier but also to Jesus\u2019 parable of the Lost Sheep (Luke 15:4-7; cf. Matthew 18:12-14). The fourth stanza follows the biblical shift from third person to second person, but adds to the images of the shepherd\u2019s rod and staff the suggestion of a processional cross familiar to many nineteen-century Anglican congregations. There is a similar churchy slant in the fifth stanza, where the psalter\u2019s \u201coil\u201d takes on sacramental tones by being called \u201cunction,\u201d and the usual English translation \u201ccup\u201d becomes a comparably Latinate and ecclesiastical \u201cchalice.\u201d As a result, the reference to God\u2019s \u201chouse\u201d in the final line of the sixth stanza does not suggest the Temple in Jerusalem so much as it does the church building in which the hymn is being sung.\u201d (ReformedWorship.org)<\/p>\n I doubt that in the last line \u201cThy house\u201d is simply the church building; heaven is clearly meant and specified by the \u201cforever.\u201d Anglocatholic services are long, but not that long.<\/p>\n 1 The King of love my shepherd is, 2 Where streams of living water flow, 3 Perverse and foolish, oft I strayed, 4 In death’s dark vale I fear no ill, 5 Thou spreadst a table in my sight; 6 And so through all the length of days, Here is the Cardiff Festival Choir <\/a>singing the hymn. Here is John Rutter\u2019s lovely arrangement <\/a>with harp accompaniment.<\/p>\n Henry Williams Baker<\/strong><\/em><\/p>\n Sir Henry Williams<\/strong> Baker<\/strong> was the eldest son of Admiral Sir Henry Loraine Baker. Henry was born in London, May 27, 1821, and educated at Trinity College, Cambridge, where he graduated, B.A. 1844, M.A. 1847. Taking Holy Orders in 1844, he became, in 1851, Vicar of Monkland, Herefordshire. This benefice he held to his death, on Monday, Feb. 12, 1877. He succeeded to the Baronetcy in 1851. His hymns, including metrical litanies and translations, number in the revised edition of Hymns Ancient & Modern<\/em>, 33 in all.. The last audible words which lingered on his dying lips were the third stanza of his rendering of the 23rd Psalm, “The King of Love, my Shepherd is:”\u2014<\/p>\n Perverse and foolish, oft I strayed, This tender sadness, brightened by a soft calm peace, was an epitome of his poetical life.<\/p>\n The tune is St. Columba. Because the compilers of the 1906 English Hymnal were denied permission to use Dykes\u2019s original tune (see sidebar, below), musical editor Ralph Vaughan Williams (1872-1958) turned to a folk tune that his former teacher Charles Villiers Stanford (1852-1924) had recently edited for a collection of Irish music (A Complete Collection of Irish Music as noted by George Petri<\/em> (London, 1902-1905); ST. COLUMBA is no. 1043). The two most notable improvements Vaughan Williams made in the hymn tune known as ST. COLUMBA were the lengthening of the second and fourth lines to extend the Common Meter tune to 8787 in order to accommodate Baker\u2019s text\u2014this being their first appearance together\u2014and the use of a triplet (rather than an eighth and two sixteenths) in the sixth measure. (ReformedWorship.org).<\/p>\n The words of this hymn are often subjected ot \u201cmodernization,\u201d a process that frequently obscures the meaning the poet intended. For example, a 1994 Lutheran hymnal\u00a0 \u00a0changes<\/p>\n Thou spreadst a table in my sight; to<\/p>\n You spread a table in my sight, The clear allusion to the Eucharistic chalice has been almost completely obscures, and the deep emotion of \u201ctransports of delight\u201d toned down and transferred to oil, which might be a reference to the oil used at baptism, if Lutherans use, it, but it is very obscure.<\/p>\n On a personal note, I have used the hymn at the funeral masses I have arranged for member of my family: my mother, my nephew, my sister. I think the hymn combines the sweetness, sadness, and tender trust that we feel when a fellow Christian leaves this life to enter into the presence of the Lord.<\/p>\n We mourn, not as those who have no hope, but we do and should mourn.<\/p>\n When I was walking the Camino de Santiago in 2010, I passed through a pastoral landscape in which shepherds with their staffs were leading flocks of sheep. I sang this hymn, with especial stress on the stanza,<\/p>\n Perverse and foolish, oft I strayed, On the Camino I had the strong feeling that I was on my way Home; if I could not walk, I would be carried.<\/p>\n _____________________<\/p>\n Be joyful Mary, heavenly Queen<\/em><\/strong> is a translation of Regina coeli, iubila<\/em>, an anonymous 17th<\/sup> century hymn. The tune was written by Johann Leisentritt (1527-1586), and published in his Catholicum Hymnologium Germanicum <\/em>in 1584. Here is Notre Dame<\/a>.<\/p>\n The words in the 1901 translation (Psallite: English Catholic Hymns) closely follow the Regina coeli<\/em>. The words have been modernized in out version. I am searching for the original translation.<\/p>\n 1 Be joyful, Mary, heav’nly Queen, 2 The Son you bore by heaven’s grace, 4 Then pray to God, O Virgin fair, Here is the Notre Dame choir<\/a> singing it as a recessional.<\/p>\n The Latin original is somewhat different:<\/p>\n Regina coeli jubila, Gaude Maria<\/i>. 2. Quem digna terris gignere, Gaude Maria<\/i>. 3. Sunt fracta mortis spicula, Gaude Maria<\/i>. 4. Acerbitas solatium, Gaude Maria<\/i>. 5. Turbata sputis lumina, Gaude Maria<\/i>. 6. Manum pedumque vulnera, Gaude Maria<\/i>. 7. Transversa ligni robora, Gaude Maria<\/i>. 8. Lucet arundo purpura, Gaude Maria<\/i>. 9. Catena, clavi, lancea, Gaude Maria<\/i>. 10. Ergo, Maria, plaudito, Gaude Maria<\/i>. Here is Praetorius’s<\/a> setting.<\/p>\n ___________________\u00a0<\/em><\/p>\n I know that me redeemer lives<\/em><\/strong> is by the English Baptist Samuel Medley (1738-1799). The hymn uses a simple repetition of \u201cHe lives\u201d to celebrate the resurrected Jesus who rules our lives and gives us eternal life. Christ is risen! Truly He is risen!<\/p>\n This is the earliest version I could find (1816):<\/p>\n 1 I know that my Redeemer lives, 2 He lives, triumphant from the grace, 3 He lives to bless me with his love, 4 He lives and grants me rich supply, 5 He lives to crush the pow’rs of hell, 6 He lives to silence all my fears; 7 He lives my kind, my heavenly friend, 8 He lives and grants me daily breath, 9 He lives all glory to his name, Samuel Medley<\/strong><\/em><\/p>\n Samuel Medley<\/strong> came from a devout family but led a dissolute life as a youth and joined the Royal Navy. In 1759 Medley\u2019s ship engaged in a naval battle with a French ship, during which Medley\u2019s leg was severely injured. After the battle, Medley\u2019s leg continued to grow worse, even to the point of having to amputate the leg to save Medley\u2019s life. One evening, the physician aboard the ship told Medley that if his leg did not improve by morning, they would have to amputate or he could face death. During the night, Medley remembered what his grandfather had taught him when he was younger, and he began to pray vigorously that his leg might be spared. The next morning, to the surprise of all on the ship, the physician examined the leg and determined that it had healed so well that amputation was no longer needed. Immediately afterwards, Medley returned to his room, found the bible his grandfather had given him, and began reading. When Medley\u2019s ship returned to England, he was sent to his grandfather\u2019s house to recover. There Medley\u2019s grandfather read a sermon written by Isaac Watts, which moved Medley greatly; he immediately converted and became a Christian. After his conversion, Medley began attending the Baptist Church in Eagle Street, London,\u00a0then under the care of Dr. Gifford, and shortly afterwards opened a school, which for several years he conducted with great success. Having begun to preach, he received, in 1767, a call to become pastor of the Baptist church at Watford. Thence, in 1772, he removed to Byrom Street, Liverpool, where he gathered a large congregation, and for 27 years was remarkably popular and useful. After a long and painful illness he died July 17, 1799.<\/p>\n First published anonymously in Henry Boyd’s Select Collection of Psalm and Hymn Tunes<\/cite> (1793), DUKE STREET<\/strong> was credited to John Hatton (b. Warrington, England, c. 1710; d, St. Helen’s, Lancaster, England, 1793) in William Dixon’s Euphonia<\/cite> (1805). Virtually nothing is known about Hatton, its composer, other than that he lived on Duke Street in St. Helen’s and that his funeral was conducted at the Presbyterian chapel there.<\/p>\n Here is King of Glory Lutheran Church<\/a> singing it.<\/p>\n DUKE STREET was also used in Charles Ives’ Thanksgiving and Forefathers’ Day <\/em><\/a>(around 4:00)<\/p>\n ____________________________<\/p>\n Anthems<\/strong><\/span><\/p>\n Psalm 23<\/em>, The Lord is my shepherd<\/em>, Herbert Howells<\/p>\n Herbert Howells<\/strong> (1892\u20141983) was best known as a composer of Anglican church music. Psalm 23 is from his Requiem<\/em>.<\/p>\n In September 1935 Howells’ placid existence was abruptly shattered when his nine-year-old son Michael contracted polio during a family holiday and died in London three days later. Howells was deeply affected and continued to commemorate the event until the end of his life. \u00a0Much of Howells’ subsequent music shows the influence of this loss. He began the Requiem <\/em>in 1932, but more and more associated his work on it with Michael\u2019s death.<\/p>\n Michael’s grave at Twigworth<\/strong><\/em><\/p>\n Howells\u2019 music is much more complex than other choral music of the period, most of which still followed in the Austro-German tradition that had dominated English music for two centuries. Long, unfolding melodies are seamlessly woven into the overall textures; the harmonic language is modal, chromatic, often dissonant and deliberately ambiguous. The overall style is free-flowing, impassioned and impressionistic, all of which gives Howells\u2019 music a distinctive visionary quality.<\/p>\n Here is the Imperial College Chamber Choir<\/a> singing Psalm 23.<\/p>\n ____________________<\/p>\n Ego sum resurrectio<\/em>, Hans Leo Hassler<\/p>\n Ego sum resurrectio et vita. Qui credit in me I am the resurrection and the life: he that believeth in me, This motet is No. 11 in Hassler’s Cantiones sacrae de festis praecipuis totius anni. . . <\/i>, published at Augsburg in 1591.<\/p>\n
\nwhose goodness faileth never.
\nI nothing lack if I am his,
\nand he is mine forever.<\/p>\n
\nmy ransomed soul he leadeth;
\nand where the verdant pastures grow,
\nwith food celestial feedeth.<\/p>\n
\nbut yet in love he sought me;
\nand on his shoulder gently laid,
\nand home, rejoicing, brought me.<\/p>\n
\nwith thee, dear Lord, beside me;
\nthy rod and staff my comfort still,
\nthy cross before to guide me.<\/p>\n
\nthy unction grace bestoweth;
\nand oh, what transport of delight
\nfrom thy pure chalice floweth!<\/p>\n
\nthy goodness faileth never;
\nGood Shepherd, may I sing thy praise
\nwithin thy house forever.<\/p>\n<\/a><\/p>\n
\nbut yet in love he sought me;
\nand on his shoulder gently laid,
\nand home, rejoicing, brought me.<\/p>\n
\nthy unction grace bestoweth;
\nand oh, what transport of delight
\nfrom thy pure chalice floweth!<\/p>\n
\nA banquet here bestowing;
\nYour oil of welcome, my delight;
\nMy cup is overflowing!<\/p>\n<\/a><\/p>\n
\nbut yet in love he sought me;
\nand on his shoulder gently laid,
\nand home, rejoicing, brought me.<\/p>\n<\/a><\/p>\n
\nGaude, Maria!
\nYour grief is changed to joy serene,
\nAlleluia! Laetare, O Maria!<\/p>\n
\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
\nbe joyful, Mary!Gaude, Maria!
\nThat he our souls to heaven bear,
\nAlleluia!\u00a0Laetare, O Maria!<\/p><\/blockquote>\n
\nJam pulsa cedunt nubila.
\nAlleluia. Laetare o Maria.<\/i><\/p>\n
\nVivis resurgit funere.
\nAlleluia. Laetare o Maria.<\/i><\/p>\n
\nJesu jacet mors subdita.
\nAlleluia. Laetare o Maria.<\/i><\/p>\n
\nLuctus redonat gaudium.
\nAlleluia. Laetare o Maria.<\/i><\/p>\n
\nPhoebea vincunt fulgura,
\nAlleluia. Laetare o Maria.<\/i><\/p>\n
\nSunt gratiarum flumina,
\nAlleluia. Laetare o Maria.<\/i><\/p>\n
\nSunt sceptra regni fulgida.
\nAlleluia. Laetare o Maria.<\/i><\/p>\n
\nUt fulva terrae viscera,
\nAlleluia. Laetare o Maria.<\/i>.<\/p>\n
\nTriumphi sunt insignia,
\nAlleluia. Laetare o Maria.<\/i>.<\/p>\n
\nClientibus succurrito,
\nAlleluia. Laetare o Maria.<\/i><\/p><\/blockquote>\n
\nWhat comfort this sweet sentence gives!
\nHe lives, he lives, who once was dead,
\nHe lives, my everlasting Head.<\/p>\n
\nHe lives, eternally to save;
\nHe lives, all-glorious in the sky,
\nHe lives, exulted there on high.<\/p>\n
\nHe lives to plead for me above,
\nHe lives my hungry soul to feed,
\nHe lives to help in time of need.<\/p>\n
\nHe lives to guide me with his eye,
\nHe lives to comfort me when faint,
\nHe lives to hear my soul’s complaint.<\/p>\n
\nHe lives that he may in me dwell,
\nHe lives to heal and make me whole
\nHe lives to guard my feeble soul.<\/p>\n
\nHe lives to stop and wipe my tears,
\nHe lives to calm my troubled heart,
\nhe lives all blessings to impart.<\/p>\n
\nHe lives and loves me to the end;
\nHe lives, and while he lives I’ll sing,
\nHe lives my Prophet, Priest and King.<\/p>\n
\nHe lives, and I shall conquer death,
\nHe lives my mansion to prepare,
\nHe lives to bring me safely there.<\/p>\n
\nHe lives, my Jesus still the same;
\nO the sweet joy this sentence gives,
\nI know that my Redeemer lives.<\/p><\/blockquote>\n<\/a><\/p>\n<\/a>Herbert Howells<\/strong><\/em><\/p>\n<\/a><\/p>\n
\netiam si mortuus fuerit, vivet.
\nEt omnis qui vivit et credit in me, non morietur in aeternum.<\/p>\n
\nalthough he be dead, shall live:
\nAnd every one that liveth and believeth in me shall not die for ever.<\/p>\n