{"id":6053,"date":"2017-10-03T01:09:32","date_gmt":"2017-10-03T07:09:32","guid":{"rendered":"http:\/\/www.podles.org\/dialogue\/?p=6053"},"modified":"2017-09-30T09:47:52","modified_gmt":"2017-09-30T15:47:52","slug":"mount-calvary-music-october-8-2017","status":"publish","type":"post","link":"https:\/\/www.podles.org\/dialogue\/mount-calvary-music-october-8-2017-6053.htm","title":{"rendered":"Mount Calvary Music October 8, 2017"},"content":{"rendered":"

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

Parable of the Wicked Husbandmen<\/em><\/p>\n

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

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

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

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

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

Christ is made the sure foundation<\/em><\/p>\n

In heavenly love abiding<\/em><\/p>\n

O worship the King, all glorious above<\/em><\/p>\n

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

Vinea mea electa,<\/i> Johann Michael Haydn<\/p>\n

Jerusalem, Jerusalem,\u00a0<\/i>Giaches de Wert<\/p>\n

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

 <\/p>\n

Christ is made the sure foundation<\/em><\/strong> was translated by the great Anglican hymnologist John Mason Neale (1818-1866) from the Latin hymn Angularis fundamentum<\/em>. Christ is the cornerstone of the Church; insofar as we are aligned to Him, we are made into a unity, a temple where God is praised. We ask for His blessings that we may praise Him forever.<\/p>\n

The hymn is based on Ephesians 2:20-22: \u201chaving been built on the foundation of the apostles and prophets, Jesus Christ Himself being the chief cornerstone, in whom the whole building, being fitted together, grows into a holy temple in the Lord, in whom you also are being built together for a dwelling place of God in the Spirit.\u201d<\/p>\n

And on I Peter 2:4-7: \u201cComing to Him as to a living stone, rejected indeed by men, but chosen by God and precious, you also, as living stones, are being built up a spiritual house, a holy priesthood, to offer up spiritual sacrifices acceptable to God through Jesus Christ. Therefore it is also contained in the Scripture, \u2018Behold, I lay in Zion A chief cornerstone, elect, precious,
\nAnd he who believes on Him will by no means be put to shame.\u2019<\/p>\n

Therefore, to you who believe, He is precious; but to those who are disobedient,
\n\u2018The stone which the builders rejected
\nHas become the chief cornerstone.\u2019\u201d<\/p>\n

Christ is made the sure Foundation,
\nChrist the Head and Cornerstone,
\nChosen of the Lord and precious,
\nBinding all the Church in one;
\nHoly Zion’s help forever,
\nAnd her confidence alone.<\/p>\n

All that dedicated city,
\ndearly loved of God on high,
\nin exultant jubilation
\npours perpetual melody;
\nGod the One in Three adoring
\nin glad hymns eternally.<\/p>\n

To this temple, where we call Thee,
\nCome, O Lord of Hosts, today:
\nWith Thy wonted loving-kindness
\nHear Thy people as they pray;
\nAnd Thy fullest benediction
\nShed within its walls alway.<\/p>\n

Here vouchsafe to all Thy servants
\nWhat they ask of Thee to gain,
\nWhat they gain from Thee forever
\nWith the blessed to retain,
\nAnd hereafter in Thy glory
\nEvermore with Thee to reign.<\/p><\/blockquote>\n

Here is a parish<\/a> (RC? Anglican?) singing it.<\/p>\n

Here is the Latin hymn which Neale translated-paraphrased:<\/p>\n

Angularis fundamentum
\nlapis Christus missus est,
\nqui parietum compage
\nin utroque nectitur,
\nquem Sion sancta suscepit,
\nin quo credens permanet.<\/p>\n

Omnis illa Deo sacra
\net dilecta civitas,
\nplena modulis in laude
\net canore jubilo,
\ntrinum Deum unicumque
\ncum fervore pr\u00e6dicat.<\/p>\n

Hoc in templo, summe Deus,
\nexoratus adveni,
\net clementi bonitate
\nprecum vota suscipe;
\nlargam benedictionem
\nhic infunde jugiter.<\/p>\n

Hic promereantur omnes
\npetita acquirere
\net adepta possidere
\ncum sanctis perenniter,
\nparadisum introire
\ntranslati in requiem.<\/p><\/blockquote>\n

Here is the Gregorian chant <\/a>for this Latin hymn.<\/p>\n

 <\/p>\n

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

The son of an Anglican clergyman, James Mason Neale (1818-1866) intended to follow the same path. Hymn scholar Leon Litvack notes, \u201cNeale entered Cambridge as an Evangelical, but emerged an Anglo-Catholic.\u201d Fascinated by the tracts of the Oxford Movement, he became intensely interested in the medieval church. The result was an interest in a \u201chigh church\u201d in contrast to an \u201cevangelical\u201d perspective that influenced developments in liturgy and architecture as well as hymn singing.<\/p>\n

Neale was a student of worship in the early church and one of the first to translate ancient Greek and Latin texts into metrical English for singing. American hymnologist William Reynolds notes that \u201cHis strong attachment to the old Breviary hymns [of the medieval church] caused him to urge the omission of the Protestant hymns from the Anglican service in favor of translations of medieval hymns.\u201d<\/p>\n

Though an ordained Anglican priest, Neale was unable to serve a parish due to his health. He was appointed as a warden of a home for indigent old men, but was not permitted to serve as a priest because he had alienated the hierarchy of the Anglican Church due to his independent spirit regarding his beliefs and rigorous devotional practices. His minimal caretaker duties, however, allowed Neale time to pursue his scholarly studies.<\/p>\n

\"\"<\/a>Henry Thomas Smart<\/em><\/p>\n

Henry Thomas Smart composed REGENT SQUARE for the Horatius Bonar doxology “Glory be to God the Father.” The tune was first published in the English Presbyterian Church’s\u00a0Psalms and Hymns for Divine Worship<\/cite>\u00a0(1867), of which Smart was music editor. Because the text editor of that hymnal, James Hamilton, was minister of the Regent Square Church, the “Presbyterian cathedral” of London, the tune was given this title.<\/p>\n

Henry Thomas Smart (26 October 1813 \u2013 6 July 1879) was an English organist and composer. He\u00a0was born in London, a nephew of the conductor Sir George Smart and son of a music publisher, orchestra director and accomplished violinist (also called Henry Smart). He was educated at Highgate School and then studied for the law, but soon gave this up for music.<\/p>\n

In 1831 Smart became organist of Blackburn parish church, where he wrote his first important work, an anthem; then of St Giles-without-Cripplegate; St Luke’s, Old Street; and finally of St Pancras New Church, in 1864, which last post he held at the time of his death, less than a month after receiving a government pension of \u00a3100 per annum. Smart was also skilled as a mechanic, and designed several organs.<\/p>\n

Though highly rated as a composer by his English contemporaries, Smart is now largely forgotten, save for his hymn tune Regent Square, which retains considerable popularity, and which is commonly performed with the words “Christ is Made the Sure Foundation”, “Light’s Abode, Celestial Salem”, or “Angels from the Realms of Glory”. His many compositions for the organ (some of which have been occasionally revived in recent years) were described as “effective and melodious, if not strikingly original” by the 1911 Encyclop\u00e6dia Britannica, which also praised his part songs. A cantata by him, The Bride of Dunkerron<\/em> was written for the Birmingham Festival of 1864; another cantata was a version of the play King Ren\u00e9’s Daughter<\/em> (1871). The oratorio Jacob<\/em> was created for Glasgow in 1873; and his opera Bertha<\/em> was produced with some success at the Haymarket in 1855.<\/p>\n

___________________________<\/p>\n

In heavenly love abiding<\/em><\/strong> was written by Anna Letitia Waring. Abide<\/em>\u00a0is key word in Scripture: \u201cAs the Father loved Me, I also have loved you; abide in My love. If you keep My commandments, you will abide in My love, just as I have kept My Father\u2019s commandments and abide in His love.\u201d Jesus Himself is obedient to His Father and keeps the Commandments that the Father has given Him, and in that way Jesus abides in His Father’s love. The Father’s will was that the Son should become man and die for us, trusting in the Father to raise Him from the dead. We likewise trust in Jesus in the storms of life. The hymn then refers to Psalm 23, The Lord is my shepherd<\/em>. Even when we walk through the valley of the shadow of death, Jesus walks with us, especially as we receive Him in the Eucharist,\u00a0 and we know that he will lead us to the green pastures of heaven.<\/p>\n

1 In heavenly love abiding,
\nno change my heart shall fear;
\nand safe is such confiding,
\nfor nothing changes here:
\nthe storm may roar without me,
\nmy heart may low be laid;
\nbut God is round about me,
\nand can I be dismayed?<\/p>\n

2 Wherever he may guide me,
\nno want shall turn me back;
\nmy Shepherd is beside me,
\nand nothing can I lack:
\nhis wisdom ever waketh,
\nhis sight is never dim,
\nhe knows the way he taketh,
\nand I will walk with him.<\/p>\n

3 Green pastures are before me,
\nwhich yet I have not seen;
\nbright skies will soon be o’er me,
\nwhere darkest clouds have been;
\nmy hope I cannot measure,
\nmy path to life is free;
\nmy Saviour has my treasure,
\nand he will walk with me.<\/p>\n

Here is the Mormon Tabernacle Choir<\/a>. Here is a boys’ choir<\/a>.<\/p>\n

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

Anna Letitia Waring (or Anna Laetitia Waring) (19 April 1823 \u2013 10 May 1910) was a Welsh poet and hymn-writer. She was born at Plas-y-Felin, Neath, third of the seven children of Elijah Waring (1787-1857) and his wife, Deborah. Her family were Quakers, but she became an Anglican and was baptized into the Church of England in 1842, at St Martin Church, Winnall, Winchester. Several members of her family had literary interests. She learned Hebrew in order to study the Old Testament in the original.<\/p>\n

In 1850, Anna published her first work, Hymns and Meditations<\/em>. This was to be reprinted and extended many times. Additional Hymns<\/em> (1858) was integrated into later editions of Hymns and Meditations<\/em>.<\/p>\n

Anna was pious, reserved, and given to “good works”. Anna became involved in philanthropic work, particularly as a supporter of the Discharged Prisoners’ Aid Society. According to her friend Mary S. Talbot, Waring “visited in the prisons of Bridewell, and at Horfield, Bristol, for many years. To one who spoke to her of the painfulness of such work she answered, ‘It is like watching by a filthy gutter to pick out a jewel here and there, as the foul stream flows by.'” Waring died unmarried at her home in Clifton, Bristol on 10 May 1910.<\/p>\n

NYLAND, named for a province in Finland, is a folk melody from Kuortane, South Ostrobothnia, Finland. In fact, the tune is also known as KUORTANE. NYLAND was first published with a hymn text in an appendix to the 1909 edition of the Finnish Suomen Evankelis Luterilaisen Kirken Koraalikirja<\/em>. It gained popularity in the English-speaking world after David Evans’s use of it in the British Church Hymnary<\/em> of 1927 as a setting for Anna 1. Waring’s text “In Heavenly Love Abiding.”<\/p>\n

David Evans was an important leader in Welsh church music. Educated at Arnold College, Swansea, and at University College, Cardiff, he received a doctorate in music from Oxford University. His longest professional post was as professor of music at University College in Cardiff (1903-1939), where he organized a large music department. He was also a well-known and respected judge at Welsh hymn-singing festivals and a composer of many orchestral and choral works, anthems, service music, and hymn tunes.<\/p>\n

NYLAND is a modified rounded bar-form tune (AA’BA’) with a wide-ranging melodic contour and a fine harmonization for part singing.<\/p>\n

____________________________<\/p>\n

O worship the King, all glorious abo<\/strong><\/em>ve<\/strong>\u00a0was written by\u00a0Sir Robert Grant (1735-1838).<\/p>\n

In 1835 Robert Grant wrote a text that helps us see the creation story in a new light. His meditation on the creation theme of Psalm 104 consists of six verses that parallel the six days of creation. Grant focuses on how creation is a testimony to God\u2019s \u201cmeasureless might.\u201d The fourth and fifth verse we celebrate God\u2019s saving grace to his creation. When God took that seventh day of rest, he was not signaling an end. He continued to bless His creation, even those as feeble and frail as us. In the last verse, Grant points to Christ as the ultimate reconciler of a broken, but still beautiful creation. The last rhyme end\/Friend<\/em>, emphasizes that the purpose (telos-end) of our creation was that we should in the end (forever) forever enjoy the friendship of God in Christ.<\/p>\n

O worship the King all glorious above,
\nO gratefully sing His power and His love;
\nOur Shield and Defender, the Ancient of Days,
\nPavilioned in splendor, and girded with praise.<\/p>\n

O tell of His might, O sing of His grace,
\nWhose robe is the light, whose canopy space.
\nHis chariots of wrath the deep thunderclouds form,
\nAnd dark is His path on the wings of the storm.<\/p>\n

The earth with its store of wonders untold,
\nAlmighty, Thy power hath founded of old;
\nHath stablished it fast by a changeless decree,
\nAnd round it hath cast, like a mantle, the sea.<\/p>\n

Thy bountiful care what tongue can recite?
\nIt breathes in the air, it shines in the light;
\nIt streams from the hills, it descends to the plain,
\nAnd sweetly distills in the dew and the rain.<\/p>\n

Frail children of dust, and feeble as frail,
\nIn Thee do we trust, nor find Thee to fail;
\nThy mercies how tender, how firm to the end,
\nOur Maker, Defender, Redeemer, and Friend!<\/p><\/blockquote>\n

Here is the tune for the\u00a0organ<\/a>, for the\u00a0piano and women\u2019s choi<\/a>r, for hand bell<\/a>s, for\u00a0two violins<\/a>, for women\u2019s choir and\u00a0drums<\/a>\u00a0and stuff, for\u00a0praise band<\/a>, for\u00a0acoustic guitar<\/a>, for\u00a0piano and cello,<\/a>\u00a0for\u00a0euphonium and piano<\/a>, with handbells AND\u00a0ballerina<\/a>, for\u00a0trombone and drums<\/a>, on the\u00a0harmonium<\/a>.<\/p>\n

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

Robert Grant<\/em><\/p>\n

Sir Robert Grant was the second son of Mr. Charles Grant, sometime Member of Parliament for Inverness, and a Director of the East India Company, was born in 1785, and educated at Cambridge, where he graduated in 1806. The Grants were members of the Clapham set, an Evangelical group in the Church of England. Called to the English Bar in 1807, he became Member of Parliament for Inverness in 1826; in that position, through his persistent efforts a bill was eventually passed which emancipated England\u2019s Jews.<\/p>\n

He became a Privy Councillor in 1831; and Governor of Bombay, 1834, \u00a0where he had opportunity to put his social concerns into practice, for the poverty and spiritual condition of the common people were appalling. He died at Dapoorie, in Western India, July 9, 1838. As a hymn writer of great merit he is well and favorably known. His hymns, \u201cO worship the King\u201d; \u201cSaviour, when in dust to Thee\u201d; and \u201cWhen gathering clouds around I view,\u201d are widely used in all English-speaking countries. Some of those which are less known are marked by the same graceful versification and deep and tender feeling. The best of his hymns were contributed to the Christian Observer<\/em>, 1806-1815, under the signature of \u201cE\u2014y, D. R.\u201d; and to Elliott\u2019s Psalms & Hymns,<\/em> Brighton, 1835. In the Psalms & Hymns<\/em> those which were taken from the Christian Observer<\/em> were rewritten by the author. The year following his death his brother, Lord Glenelg, gathered 12 of his hymns and poems together, and published them.<\/p>\n

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

Joseph Martin Kraus<\/em><\/p>\n

The tune is LYONS, composed by Joseph Martin Kraus (20 June 1756 \u2013 15 December 1792), a composer in the classical era who was born in Miltenberg am Main, Germany. He moved to Sweden at age 21, and died at the age of 36 in Stockholm. He is sometimes referred to as \u201cthe Swedish Mozart\u201d, and had a life span which was very similar to that of Mozart\u2019s.<\/p>\n

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

Christus factus est pro nobis obediens usque ad mortem, mortem autem crucis. Propter quod et Deus exaltavit illum et dedit illi nomen, quod est super omne nomen.<\/p>\n

Christ became obedient for us unto death, even death on the cross. Therefore God exalted Him and gave Him a name which is above all names.<\/p>\n

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

Johann Michael Haydn (1707-1806)\u00a0was an Austrian composer, the younger brother of Joseph Haydn. Michael Haydn, like his brother, was a chorister at St Stephen’s in Vienna. Shortly after leaving the choir-school, he was appointed Kapellmeister at Gro\u00dfwardein and later, in 1762, at Salzburg. The latter office he held for forty-three years, during which time he wrote over 360 compositions for the church and much instrumental music. He was an intimate friend of Mozart, who had a high opinion of his work, and the teacher of Carl Maria von Weber.<\/p>\n

Haydn’s sacred choral works are generally regarded as his most important; his musical taste and skill showed themselves best in his church compositions and were already in his lifetime old-fashioned.\u00a0Michael remained close to Joseph all of his life. Joseph regarded his brother’s music highly, to the point of feeling Michael’s religious works were superior to his own (possibly for their devotional intimacy, as opposed to Joseph’s monumental and majestic more secularized symphonic style<\/p>\n

Here is a Hungarian performance<\/a>.<\/p>\n

____________________<\/p>\n

Jerusalem, qu\u00e6 occidis prophetas, et lapidas eos qui mittuntur ad te, quoties volui congregare filios tuos, quem admodum avis nidum suum sub pennis, et noluisti?<\/p>\n

O Jerusalem, Jerusalem, thou that killest the prophets, and stonest them which are sent unto thee, how often would I have gathered thy children together, even as a hen gathereth her chickens under her wings, and ye would not!<\/p>\n

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

Giaches de Wert (also Jacques\/Jaches de Wert, Giaches de Vuert; 1535 \u2013 6 May 1596) was a Franco-Flemish composer of the late Renaissance, active in Italy. Intimately connected with the progressive musical center of Ferrara, he was one of the leaders in developing the style of the late Renaissance madrigal.<\/p>\n

The style of his sacred music varies from simple homophony, designed for absolute clarity of textual expression in conformance with the dictates of the Council of Trent, to motet settings similar in expressive intensity to his madrigals including passages of surprising chromaticism not unlike that of Gesualdo. This is particularly true in the 1581 collections: Ascendente Jesu, for example, contains colorful examples of text-painting such as he used in the works he was composing for the Ferrarese court at the time.<\/p>\n

Here is his Egressus Jesus<\/a>.<\/p>\n

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

Parable of the Wicked Husbandmen Mount Calvary Church A Roman Catholic Congregation of The Personal Ordinariate\u00a0of the Chair of St. Peter Anglican Use Trinity XVII Common Missa de S. Maria Magdalena, Willan Prelude Hymns Christ is made the sure foundation In heavenly love abiding O worship the King, all glorious above Anthems Vinea mea electa, […]<\/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":[1],"tags":[],"class_list":["post-6053","post","type-post","status-publish","format-standard","hentry","category-uncategorized","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\/6053","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=6053"}],"version-history":[{"count":25,"href":"https:\/\/www.podles.org\/dialogue\/wp-json\/wp\/v2\/posts\/6053\/revisions"}],"predecessor-version":[{"id":6115,"href":"https:\/\/www.podles.org\/dialogue\/wp-json\/wp\/v2\/posts\/6053\/revisions\/6115"}],"wp:attachment":[{"href":"https:\/\/www.podles.org\/dialogue\/wp-json\/wp\/v2\/media?parent=6053"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.podles.org\/dialogue\/wp-json\/wp\/v2\/categories?post=6053"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.podles.org\/dialogue\/wp-json\/wp\/v2\/tags?post=6053"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}