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<\/a><\/p>\nWhere two or three are gathered in My name, there am I in the midst of them<\/em><\/span><\/p>\n Mount Calvary Church<\/span><\/strong><\/span><\/p>\n A Roman Catholic Congregation of<\/p>\n The Personal Ordinariate\u00a0of the Chair of St. Peter<\/p>\n Anglican Use<\/em><\/p>\n Trinity XIII<\/span><\/p>\n Hymns<\/strong><\/p>\n When morning gilds the skies<\/em><\/p>\n Draw us in the Spirit’s tether<\/em><\/p>\n Rise up, o men of God<\/em><\/p>\n Common:\u00a0Missa de Angelis<\/em><\/p>\n When morning gilds the skies<\/em><\/strong> was translated by Edward Caswell (1814\u20141878). from an anonymous German text, \u201cBeim fr\u00fchen Morgenlicht,\u201d thought to date from around 1800 (perhaps even the mid-1700s). The German text was first published in Sebastian Portner’s\u00a0Katholisches Gesangbuch\u00a0(1828). The words were reworked by Robert Seymour Bridges (1844\u20141930), England\u2019s poet laureate (1913) and friend of Gerald Manley Hopkins, whose works he arranged to have published posthumously.<\/p>\n The images of the rising sun carry over to the second stanza as the \u201cnight becomes as day\u201d and the \u201cpowers of darkness fear.\u201d However, stanzas three and four switch from visual images of light to aural images \u201cjoyous with the sound\u201d of praising Christ.<\/p>\n The hymn, like many hymns, was originally much longer. C. S, Lewis asked for better and shorter hymns, and most hymns in modern hymnals have at most five stanzas. Perhaps modern attention spans are shorter.<\/p>\n When morning gilds the skies my heart awaking cries: When you begin the day, O never fail to say, Whene\u2019er the sweet church bell peals over hill and dell, My tongue shall never tire of chanting with the choir, Does sadness fill my mind? A solace here I find, To God, the Word, on high, the host of angels cry, Be this at meals your grace, in every time and place; When mirth for music longs, this is my song of songs: When sleep her balm denies, my silent spirit sighs, The night becomes as day when from the heart we say: No lovelier antiphon in all high Heav\u2019n is known Let all the earth around ring joyous with the sound: Sing, suns and stars of space, sing, ye that see His face, In Heav\u2019n\u2019s eternal bliss the loveliest strain is this, Be this, while life is mine, my canticle divine: Here is Coral Ridge<\/a>. Here is First Plymouth<\/a> in Lincoln, Nebraska.<\/p>\n Here is part of the Herman original:<\/p>\n Beim fr\u00fchen Morgenlicht Was t\u00f6nst der sch\u00f6nste Klang Ihm, meinem h\u00f6chster Gut, Im Himmel selbst erschallt, Ihr Menschenkinder all Singt Himmel, Erd und Meer, Here is the tune the German version<\/a>\u00a0uses.<\/p>\n Edward Caswall<\/strong>, (15 July 1814 \u2013 2 January 1878) was an Anglican clergyman and hymn writer who converted to Roman Catholicism.<\/p>\n He was born at Yateley, Hampshire on 15 July 1814, the son of Rev. R. C. Caswall, sometime Vicar of Yateley, Hampshire.<\/p>\n Caswall was educated at Marlborough Grammar School and Brasenose College, Oxford, where he graduated Bachelor of Arts in 1836 with honours and later proceeded to Master of Arts. He was curate of Stratford-sub-Castle, near Salisbury, 1840\u20131847. In 1850, his wife having died the previous year, he joined the Oratory of St. Philip Neri under future Cardinal Newman, to whose influence his conversion to Roman Catholicism was due.<\/p>\n He wrote original poems that have survived mainly in Catholic hymnals due to a clear adherence to Catholic doctrine. Caswall is best known for his translations from the Roman Breviary and other Latin sources, which are marked by faithfulness to the original and purity of rhythm. They were published in Lyra Catholica<\/em>, containing all the breviary and missal hymns (London, 1849); The Masque of Mary<\/em> (1858); and A May Pageant and other poem<\/em>s (1865). Hymns and Poems<\/em> (1873) are the three books combined, with many of the hymns rewritten or revised. Some of his translations are used in the Hymns Ancient and Modern. His widely used hymn texts and translations include “Alleluia! Alleluia! Let the Holy Anthem Rise”; “Come, Holy Ghost”; “Jesus, the Very Thought of Thee”; “When Morning Gilds the Skies”; and “Ye Sons and Daughters of the Lord”.<\/p>\n He died at the Oratory, Edgbaston, near Birmingham on 2 January 1878 and was buried at Rednal, near Bromsgrove, Worcestershire. (Wiki)<\/p>\n Robert Bridges<\/strong> (1844-1930) was poet laureate of England from 1913 until his death. At Oxford he was a friend of Gerald Manley Hopkins and arranged for the publication of Hopkins’ poetry posthumously.<\/p>\n Bridges wrote and also translated historic hymns, and many of these were included in Songs of Syon (1904) and the later English Hymnal (1906). Several of Bridges’ hymns and translations are still in use today:<\/p>\n “Thee will I love, my God and King” The tune LAUDES DOMINI was composed for this text by Joseph Barnby (1839\u20141896), English organist and composer. The rising melodic motif complements the rising sun that \u201cgilds the skies\u201d of the early morning. Within two phrases we soar an octave above our starting pitch\u2014indeed our voices ascend with the rising sun about which we are singing. The melody ends on an unusually high note for hymns, proclaiming the text, \u201cMay Jesus Christ be praised!\u201d These five words form a brief refrain that encapsulates the intent of the entire hymn.<\/p>\n Joseph Barnby<\/em><\/p>\n Sir Joseph Barnby<\/strong> (1838-1896) was a prominent English musician and composer in the second half of the nineteenth century. Although his output of published works was prolific, he is more highly regarded today for his influence on the Victorian musical scene.<\/p>\n He was born in York in 1838, the youngest of a family of fifteen children. His father, as well as running a boot and shoe making shop on Swinegate, played the church organ and passed on his musical skills to his family. Joseph became a chorister at York Minster at the age of seven, following in the footsteps of six of his brothers, and at the tender age of twelve was appointed assistant organist and choirmaster, also at the Minster.<\/p>\n When he was sixteen, he moved down to London to study at the Royal Academy of Music. Two years later, he entered a competition for the first Mendelssohn Scholarship, but was beaten into second place by the young Arthur Sullivan.<\/p>\n He was organist at several London churches including St Andrew\u2019s on Wells Street and St Anne\u2019s in Soho, and during this time composed an enormous number of church services, anthems and hymn tunes. In 1869 he formed his own choir (the first Barnby Choir!) which gave the London premiere of Bach\u2019s St John Passion. Three years later, his choir amalgamated with Charles Gounod\u2019s choir to form the Royal Albert Hall Choral Society, now the Royal Choral Society. As well as introducing London audiences to old masters such as Bach, he also invited contemporary composers to give the British premieres of their works, including Verdi with his Requiem and Dvorak with his Stabat Mater.<\/p>\n In 1875 he was appointed Precentor at Eton College, and stayed there 17 years. He left in 1892 to take up the post of Principal of the Guildhall School of Music, and was knighted in the same year. He died in 1896, and his funeral was held at St Paul\u2019s Cathedral.<\/p>\n From a long list of his works, only a handful have stood the test of time \u2013 his part song setting of Longfellow\u2019s poem Sweet and Low, the hymn tune O Perfect Love set to the hymn of the same title, and another hymn tune Laudes Domini set to When Morning Gilds the Skies.<\/p>\n ______________________<\/p>\n Draw us in the Spirit’s tether\u00a0<\/strong><\/em> was written by Anglican Percy Dearmer (1867\u20141936). Objections have been raised to its seemingly low Eucharistic theology, but it has been used at papal ceremonies, and the melody is lovely. Jesus has promised that he will be present when we gather in His name, and indeed the purpose of our receiving Him in the Eucharist is to become one body with Him, and our love and service is sign to the world of His presence. The hymn begins in the Upper Room with the disciples and comes full circle as we join them and the Christians of every age around the table and are nourished to serve others in the world.<\/p>\n Draw us in the Spirit’s tether;For when humbly, in thy name, Here is a lovely rendition<\/a> of the anthem.<\/p>\n It would make an excellent wedding anthem, as her<\/a>e, with harp accompaniment.<\/p>\n Percy Dearmer<\/em><\/p>\n Percival “Percy” Dearmer<\/strong> (27 February 1867 \u2013 29 May 1936) was an English priest and liturgist best known as the author of The Parson’s Handboo<\/em>k, a liturgical manual for Anglican clergy. Dearmer also had a strong influence on the music of the church and, with Ralph Vaughan Williams and Martin Shaw, is credited with the revival and spread of traditional and medieval English musical forms. <\/p>\n Harold Friedell<\/em><\/p>\n The hymn is an adaptation of an anthem.\u00a0The anthem,\u00a0Draw Us in the Spirit’s Tether,<\/em>\u00a0was written in 1945 by one of America’s more influential church musicians of the 20th century, Harold Friedell<\/strong> (1905-1958). Born in Queens, New York on May 11, 1905, the young Harold began his church music career as the organist at the Methodist Church of Jamaica, Long Island before eventually serving on the faculties at the Julliard School of Music, the Guilmant Organ School, and later teaching composition and improvisation at the School of Sacred Music of Union Theological Seminary in New York. He served as organist-choirmaster at St. John’s Episcopal Church in Jersey City Heights, New Jersey and later at New York’s Calvary Episcopal Church, where the dynamic The\u00a0Rev. Samuel Moor Shoemaker served as rector. During his tenure at Calvary, Friedell founded a series of oratorio concerts and recitals that firmly established Calvary’s name in Church music history. It was also during this time that his famous anthem\u00a0Draw Us in the Spirit’s Tether<\/em>\u00a0was written as a communion hymn for Pentecost Sunday 1945. By 1946, his work at Calvary had drawn critical acclaim and he was asked to succeed his mentor and teacher, David McK. Williams, as organist-choirmaster at Park Avenue’s esteemed St. Bartholomew’s Church. From 1946 until his death in 1958, throngs of people flocked to St. Bartholomew’s to hear the superb professional choir of 70 voices sing weekly Sunday afternoon services (Evensong) where the great choral repertoire of oratorios, passions, requiems, and recently composed works were performed in their entirety following the sung propers of the daily office.<\/p>\n ______________________<\/p>\n Rise up, o men of God<\/em><\/strong> was written in 1911 by the Presbyterian pastor William P. Merrill (1867\u20141954) to support the men\u2019s movement in the church. Churches were aware of the lack of men in their congregations. The Men and Religion Forward Movement called men to discipleship so that they could help implement Christian principles in public life. It challenged men to take up the work of transforming the world in Christ.<\/p>\n 1 Rise up, O men of God! 2 Rise up, O men of God! 3 Rise up, O men of God! 4 Lift high the cross of Christ! Here is the Mormon Tabernacle Choir<\/a>. Here is the Wheaton College Glee Clu<\/a>b.<\/p>\n
\nMay Jesus Christ be praised!
\nAlike at work and prayer, to Jesus I repair:
\nMay Jesus Christ be praised!<\/p>\n
\nMay Jesus Christ be praised!
\nAnd at your work rejoice, to sing with heart and voice,
\nMay Jesus Christ be praised!<\/p>\n
\nMay Jesus Christ be praised!
\nO hark to what it sings, as joyously it rings,
\nMay Jesus Christ be praised!<\/p>\n
\nMay Jesus Christ be praised!
\nThis song of sacred joy, it never seems to cloy,
\nMay Jesus Christ be praised!<\/p>\n
\nMay Jesus Christ be praised!
\nOr fades my earthly bliss? My comfort still is this,
\nMay Jesus Christ be praised!<\/p>\n
\nMay Jesus Christ be praised!
\nLet mortals, too, upraise their voice in hymns of praise,
\nMay Jesus Christ be praised!<\/p>\n
\nMay Jesus Christ be praised!
\nBe this, when day is past, of all your thoughts the last
\nMay Jesus Christ be praised!<\/p>\n
\nMay Jesus Christ be praised!
\nWhen evening shadows fall, this rings my curfew call,
\nMay Jesus Christ be praised!<\/p>\n
\nMay Jesus Christ be praised!
\nWhen evil thoughts molest, with this I shield my breast,
\nMay Jesus Christ be praised!<\/p>\n
\nMay Jesus Christ be praised!
\nThe powers of darkness fear when this sweet chant they hear:
\nMay Jesus Christ be praised!<\/p>\n
\nThan, Jesus Christ be praised!
\nThere to the eternal Word the eternal psalm is heard:
\nMay Jesus Christ be praised!<\/p>\n
\nMay Jesus Christ be praised!
\nIn Heaven\u2019s eternal bliss the loveliest strain is this:
\nMay Jesus Christ be praised!<\/p>\n
\nSing, Jesus Christ be praised!
\nGod\u2019s whole creation o\u2019er, for aye and evermore
\nShall Jesus Christ be praised!<\/p>\n
\nMay Jesus Christ be praised!
\nLet earth, and sea and sky from depth to height reply,
\nMay Jesus Christ be praised!<\/p>\n
\nMay Jesus Christ be praised!
\nSing this eternal song through all the ages long:
\nMay Jesus Christ be praised!<\/p><\/blockquote>\n
\nErwacht mein Herz und spricht,
\nGelobt sei Jesus Christ!
\nSo sing ich fr\u00fch und sp\u00e4t,
\nBei Arbeit und Gebet,
\nGelobt sei Jesus Christ!<\/p>\n
\nDer lieblichste Gesang?
\nGelobt sei Jesus Christ!
\nIn Gottes heiligem Haus
\nSprech ich vor allem aus,
\nGelobt sei Jesus Christ!<\/p>\n
\nSing ich in Liebesglut,
\nGelobt sei Jesus Christ!
\nBei jeden Anbeginn
\nRuf ich mit Herz und Sinn
\nGelobt sei Jesus Christ!<\/p>\n
\nMit heiligem Gewalt!
\nGelobt sei Jesus Christ!
\nDes Vaters ewigem Wort,
\nErt\u00f6net ewig dort:
\nGelobt sei Jesus Christ!<\/p>\n
\nSingt laut im Jubelschall:
\nGelobt sei Jesus Christ!
\nRing um den Erdenkreis
\nErt\u00f6ne Gott zum Preis
\nGelobt sei Jesus Christ!<\/p>\n
\nUnd alle Engel Heer:
\nGelobt sei Jesus Christ!
\nEs Schalle weit und breit,
\nIn Zeit und Ewigkeit:
\nGelobt sei Jesus Christ!<\/p><\/blockquote>\n<\/a>Edward Caswell<\/em><\/p>\n<\/a><\/b>Robert Bridges<\/em><\/p>\n
\n“Happy are they that love God”
\n“Rejoice, O land, in God thy might”
\nThe Baptist Hymn Book, University Press, Oxford 1962
\n“Ah, Holy Jesus” (Johann Heermann, 1630)
\n“All my hope on God is founded” (Joachim Neander, c. 1680)
\n“Jesu, Joy of Man’s Desiring” (Martin Jahn, 1661)
\n“O Gladsome Light” (Phos Hilaron)
\n“O Sacred Head, sore wounded” (Paulus Gerhardt, 1656)
\n“O Splendour of God’s Glory Bright” (Ambrose, 4th century)
\n“When morning gilds the skies” (stanza 3; Katholisches Gesangbuch, 1744)<\/p>\n<\/a><\/p>\n
\nTwo or three are met together, Thou art in the midst of them:
\nAlleluya! Alleluya! Touch we now thy garment’s hem.
\nAs the brethren used to gather In the name of Christ to sup,
\nThen with thanks to God the Father Break the bread and bless the cup,
\nAlleluya! Alleluya! So knit thou our friendship up.
\nAll our meals and all our living Make us sacraments of thee,
\nThat by caring, helping, giving, We may true disciples be.
\nAlleluya! Alleluya! We will serve thee faithfully.<\/p><\/blockquote>\n<\/a><\/p>\n<\/a><\/p><\/blockquote>\n
\nWorking with renowned composer Ralph Vaughan Williams and as musical editor, Dearmer published The English Hymna<\/em>l in 1906. He again worked with Vaughan Williams and Martin Shaw to produce Songs of Praise<\/em> (1926) and the Oxford Book of Carols<\/em> (1928). These hymnals have been credited with reintroducing many elements of traditional and medieval English music into the Church of England, as well as carrying that influence well beyond the church.
\nIn 1931 an enlarged edition of Songs of Praise<\/em> was published. It is notable for the first appearance of the song “Morning Has Broken”, commissioned from noted children’s author Eleanor Farjeon. The song, later popularised by Cat Stevens, was written by Farjeon to be sung with the traditional Gaelic tune Bunessan. Songs of Praise also contained Dearmer’s version of “A Great and Mighty Wonder” which mixed John Mason Neale’s Greek translation and a translation of the German Es ist ein Ros entsprungen<\/em> from which the music to the hymn had come in 1906.<\/p>\n<\/a><\/p>\n
\nHave done with lesser things;
\nGive heart and mind and soul and strength
\nTo serve the King of kings.<\/p>\n
\nHis kingdom tarries long;
\nBring in the day of brotherhood
\nAnd end the night of wrong.<\/p>\n
\nThe Church for you doth wait,
\nHer strength unequal to her task,
\nRise up, and make her great!<\/p>\n
\nTread where His feet have trod;
\nAs foll’wers of the Son of Man,
\nRise up, O men of God!<\/p><\/blockquote>\n