{"id":6168,"date":"2017-10-15T16:10:49","date_gmt":"2017-10-15T22:10:49","guid":{"rendered":"http:\/\/www.podles.org\/dialogue\/?p=6168"},"modified":"2017-10-15T16:10:49","modified_gmt":"2017-10-15T22:10:49","slug":"mount-calvary-music-october-22-2017","status":"publish","type":"post","link":"https:\/\/www.podles.org\/dialogue\/mount-calvary-music-october-22-2017-6168.htm","title":{"rendered":"Mount Calvary Music : October 22, 2017"},"content":{"rendered":"

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

Caesar’s Coin<\/em> (1790),\u00a0 Domingos Sequeira (1768-1837)<\/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 XIX<\/span><\/p>\n

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

Fantasia in G<\/em>, Johann Pachelbel<\/p>\n

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

When morning gilds the<\/em> skies<\/em><\/p>\n

Be thou my vision<\/em><\/p>\n

Let us, with a gladsome mind<\/em><\/p>\n

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

Cantate Domino<\/em>, Hans Leo Hassler (1564 -1612)<\/p>\n

Laetentur coeli<\/em>, William Byrd<\/p>\n

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

Postlude in G<\/strong>, op. 134, no. 6, Gustav Merkel (1827-1885)<\/p>\n

____________________<\/p>\n

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

Fantasia in G<\/em>, Johann Pachelbe<\/a>l (1653-1706)<\/p>\n

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

Johann Pachelbel (1653 \u2013 1706) was a German composer, organist, and teacher who brought the south German organ tradition to its peak.<\/p>\n

___________________<\/p>\n

When morning gilds the skies<\/em><\/strong>\u00a0was 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\u2019s\u00a0Katholisches Gesangbuch<\/em>\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:
\nMay Jesus Christ be praised!
\nAlike at work and prayer, to Jesus I repair:
\nMay Jesus Christ be praised!<\/p>\n

When you begin the day, O never fail to say,
\nMay Jesus Christ be praised!
\nAnd at your work rejoice, to sing with heart and voice,
\nMay Jesus Christ be praised!<\/p>\n

Whene\u2019er the sweet church bell peals over hill and dell,
\nMay Jesus Christ be praised!
\nO hark to what it sings, as joyously it rings,
\nMay Jesus Christ be praised!<\/p>\n

My tongue shall never tire of chanting with the choir,
\nMay Jesus Christ be praised!
\nThis song of sacred joy, it never seems to cloy,
\nMay Jesus Christ be praised!<\/p>\n

Does sadness fill my mind? A solace here I find,
\nMay Jesus Christ be praised!
\nOr fades my earthly bliss? My comfort still is this,
\nMay Jesus Christ be praised!<\/p>\n

To God, the Word, on high, the host of angels cry,
\nMay Jesus Christ be praised!
\nLet mortals, too, upraise their voice in hymns of praise,
\nMay Jesus Christ be praised!<\/p>\n

Be this at meals your grace, in every time and place;
\nMay Jesus Christ be praised!
\nBe this, when day is past, of all your thoughts the last
\nMay Jesus Christ be praised!<\/p>\n

When mirth for music longs, this is my song of songs:
\nMay Jesus Christ be praised!
\nWhen evening shadows fall, this rings my curfew call,
\nMay Jesus Christ be praised!<\/p>\n

When sleep her balm denies, my silent spirit sighs,
\nMay Jesus Christ be praised!
\nWhen evil thoughts molest, with this I shield my breast,
\nMay Jesus Christ be praised!<\/p>\n

The night becomes as day when from the heart we say:
\nMay Jesus Christ be praised!
\nThe powers of darkness fear when this sweet chant they hear:
\nMay Jesus Christ be praised!<\/p>\n

No lovelier antiphon in all high Heav\u2019n is known
\nThan, Jesus Christ be praised!
\nThere to the eternal Word the eternal psalm is heard:
\nMay Jesus Christ be praised!<\/p>\n

Let all the earth around ring joyous with the sound:
\nMay Jesus Christ be praised!
\nIn Heaven\u2019s eternal bliss the loveliest strain is this:
\nMay Jesus Christ be praised!<\/p>\n

Sing, suns and stars of space, sing, ye that see His face,
\nSing, Jesus Christ be praised!
\nGod\u2019s whole creation o\u2019er, for aye and evermore
\nShall Jesus Christ be praised!<\/p>\n

In Heav\u2019n\u2019s eternal bliss the loveliest strain is this,
\nMay Jesus Christ be praised!
\nLet earth, and sea and sky from depth to height reply,
\nMay Jesus Christ be praised!<\/p>\n

Be this, while life is mine, my canticle divine:
\nMay Jesus Christ be praised!
\nSing this eternal song through all the ages long:
\nMay Jesus Christ be praised!<\/p><\/blockquote>\n

Here is\u00a0Coral Ridge<\/a>. Here is\u00a0First Plymouth<\/a>\u00a0in Lincoln, Nebraska.<\/p>\n

Here is part<\/strong> <\/em>of the German original:<\/p>\n

Beim fr\u00fchen Morgenlicht
\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

Was t\u00f6nst der sch\u00f6nste Klang
\nDer lieblichste Gesang?
\nGelobt sei Jesus Christ!
\nIn Gottes heiligem Haus
\nSprech ich vor allem aus,
\nGelobt sei Jesus Christ!<\/p>\n

Ihm, meinem h\u00f6chster Gut,
\nSing ich in Liebesglut,
\nGelobt sei Jesus Christ!
\nBei jeden Anbeginn
\nRuf ich mit Herz und Sinn
\nGelobt sei Jesus Christ!<\/p>\n

Im Himmel selbst erschallt,
\nMit heiligem Gewalt!
\nGelobt sei Jesus Christ!
\nDes Vaters ewigem Wort,
\nErt\u00f6net ewig dort:
\nGelobt sei Jesus Christ!<\/p>\n

Ihr Menschenkinder all
\nSingt laut im Jubelschall:
\nGelobt sei Jesus Christ!
\nRing um den Erdenkreis
\nErt\u00f6ne Gott zum Preis
\nGelobt sei Jesus Christ!<\/p>\n

Singt Himmel, Erd und Meer,
\nUnd alle Engel Heer:
\nGelobt sei Jesus Christ!
\nEs Schalle weit und breit,
\nIn Zeit und Ewigkeit:
\nGelobt sei Jesus Christ!<\/p><\/blockquote>\n

Here is the\u00a0tune the German version<\/a>\u00a0uses.<\/p>\n

\"\"<\/a>Edward Caswell<\/em><\/p>\n

Edward Caswall<\/strong>\u00a0(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\u00a0Lyra Catholica<\/em>, containing all the breviary and missal hymns (London, 1849);\u00a0The Masque of Mary<\/em>\u00a0(1858); and\u00a0A May Pageant and other poem<\/em>s (1865).\u00a0Hymns and Poems<\/em>\u00a0(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 \u201cAlleluia! Alleluia! Let the Holy Anthem Rise\u201d; \u201cCome, Holy Ghost\u201d; \u201cJesus, the Very Thought of Thee\u201d; \u201cWhen Morning Gilds the Skies\u201d; and \u201cYe Sons and Daughters of the Lord\u201d.<\/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

\"\"<\/a><\/b>Robert Bridges<\/em><\/p>\n

Robert Bridges<\/strong>\u00a0(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\u2019 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\u2019 hymns and translations are still in use today:<\/p>\n

\u201cThee will I love, my God and King\u201d
\n\u201cHappy are they that love God\u201d
\n\u201cRejoice, O land, in God thy might\u201d
\nThe Baptist Hymn Book, University Press, Oxford 1962
\n\u201cAh, Holy Jesus\u201d (Johann Heermann, 1630)
\n\u201cAll my hope on God is founded\u201d (Joachim Neander, c. 1680)
\n\u201cJesu, Joy of Man\u2019s Desiring\u201d (Martin Jahn, 1661)
\n\u201cO Gladsome Light\u201d (Phos Hilaron)
\n\u201cO Sacred Head, sore wounded\u201d (Paulus Gerhardt, 1656)
\n\u201cO Splendour of God\u2019s Glory Bright\u201d (Ambrose, 4th century)
\n\u201cWhen morning gilds the skies\u201d (stanza 3; Katholisches Gesangbuch, 1744)<\/p>\n

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

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

Joseph Barnby<\/em><\/p>\n

Sir Joseph Barnby<\/strong>\u00a0(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<\/em>. 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<\/em> and Dvorak with his Stabat Mater<\/em>.<\/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<\/em>.<\/p>\n

______________________<\/p>\n

Be thou my vision.\u00a0<\/em><\/strong>The Irish monk Eohaid Forgaill (530-598) was a Latin scholar and \u201cKing of the Poets.\u201d He was said to have spent so much time studying that he went blind, and was give the name Dall\u00e1n, \u201cLittle Blind One.\u201d\u00a0\u00a0 He wrote the poem, \u201cRop t\u00fa mo Baile\u201d (Be Thou my Vision<\/em><\/strong>) asking God to be his vision. But \u201cvision\u201d here means more than physical sight. The original Irish word \u201cbaile\u201d mean \u201cvision\u201d or \u201crapture,\u201d in the sense used by the Old Testament prophets. The language of this hymn is drawn from traditional Irish culture: it uses heroic imagery to describe God. This was characteristic of medieval Irish poetry, which cast God as the \u2018chieftain\u2019 or \u2018High King\u2019 (Ard Ri) who provided protection to his people or clan.<\/p>\n

\"Be<\/a>14th C. Manuscript MG 3, National Library of Ireland<\/em><\/p>\n

containing \u201cRob tu mo bhoile\u201d<\/em><\/p>\n

The Irish monk Eohaid Forgaill (530-598) was a Latin scholar and \u201cKing of the Poets.\u201d He was said to have spent so much time studying that he went blind, and was give the name Dall\u00e1n, \u201cLittle Blind One.\u201d\u00a0\u00a0 He wrote the poem, \u201cRop t\u00fa mo Baile\u201d (\u201cBe Thou my Vision\u201d) asking God to be his vision But \u201cvision\u201d here means more than physical sight. The original Irish word \u201cbaile\u201d mean \u201cvision\u201d or \u201crapture,\u201d\u00a0in the sense used by the Old Testament prophets.<\/p>\n

This was translated into literal prose by Irish scholar Mary Byrne (1880-1931), a Dublin native, and then published in\u00a0Eri\u00fa<\/em>, the journal of the School of Irish Learning, in 1905. Eleanor Hull (1860-1935b), born in Manchester, was the founder of the Irish Text Society and president of the Irish Literary Society of London. Hull versified the text and it was published in her\u00a0Poem Book of the Gael\u00a0<\/em>(1912).<\/p>\n

Irish liturgy and ritual scholar Helen Phelan, a lecturer at the University of Limerick, points out how the language of this hymn is drawn from traditional Irish culture: \u201cOne of the essential characteristics of the text is the use of \u2018heroic\u2019 imagery to describe God. This was very typical of medieval Irish poetry, which cast God as the \u2018chieftain\u2019 or \u2018High King\u2019 (Ard Ri<\/em>) who provided protection to his people or clan. The lorica (Latin: breastplate) is one of the most popular forms of this kind of protection prayer and is very prevalent in texts of this period.\u201d St. Patrick\u2019s Breastplate (1940\u00a0The Hymnal<\/em>, #268) is in this genre.<\/p>\n

Hull\u2019s verse version was paired with the Irish tune SLANE in\u00a0The Irish Church Hymnal<\/em>\u00a0in 1919. The folk melody was taken from a non-liturgical source, Patrick Weston Joyce\u2019s\u00a0Old Irish Folk Music and Songs: A Collection of 842 Airs and Songs hitherto unpublished<\/em>\u00a0(1909).<\/p>\n

\u201cMost \u2018traditional\u2019 Irish religious songs are non-liturgical,\u201d says Dr. Phelan. \u201cThere is a longstanding practice of \u2018editorial weddings\u2019 in Irish liturgical music, where traditional tunes were wedded to more liturgically appropriate texts. This is a very good example of this practice.\u201d<\/p>\n

Back in 433 AD, on the eve of Bealtine, a Druidic Holiday that lines up directly with Easter as well as the spring equinox, it was declared by the King, Leoghaire (Leary) Mac Neill, that no fires were to be lit until the fire atop of Tara Hill was lit. Going against the kings wishes, St. Patrick went out to Slane Hill and lit a candle to celebrate the resurrection of Christ. The king was so impressed by the courage that St. Patrick had shown, Leoghaire let him continue his missionary work throughout Ireland. The tune was given the name SLANE to commemorate this event.<\/p>\n

English translation by Mary Byrne, 1905:<\/p>\n

Be thou my vision O Lord of my heart
\nNone other is aught but the King of the seven heavens.<\/p>\n

Be thou my meditation by day and night.
\nMay it be thou that I behold even in my sleep.<\/p>\n

Be thou my speech, be thou my understanding.
\nBe thou with me, be I with thee<\/p>\n

Be thou my father, be I thy son.
\nMayst thou be mine, may I be thine.<\/p>\n

Be thou my battle-shield, be thou my sword.
\nBe thou my dignity, be thou my delight.<\/p>\n

Be thou my shelter, be thou my stronghold.
\nMayst thou raise me up to the company of the angels.<\/p>\n

Be thou every good to my body and soul.
\nBe thou my kingdom in heaven and on earth.<\/p>\n

Be thou solely chief love of my heart.
\nLet there be none other, O high King of Heaven.<\/p>\n

Till I am able to pass into thy hands,
\nMy treasure, my beloved through the greatness of thy love<\/p>\n

Be thou alone my noble and wondrous estate.
\nI seek not men nor lifeless wealth.<\/p>\n

Be thou the constant guardian of every possession and every life.
\nFor our corrupt desires are dead at the mere sight of thee.<\/p>\n

Thy love in my soul and in my heart \u2014
\nGrant this to me, O King of the seven heavens.<\/p>\n

O King of the seven heavens grant me this \u2014
\nThy love to be in my heart and in my soul.<\/p>\n

With the King of all, with him after victory won by piety,
\nMay I be in the kingdom of heaven O brightness of the son.<\/p>\n

Beloved Father, hear, hear my lamentations.
\nTimely is the cry of woe of this miserable wretch.<\/p>\n

O heart of my heart, whatever befall me,
\nO ruler of all, be thou my vision.<\/p><\/blockquote>\n

Here is the hymnal version. Verse three is usually omitted.<\/p>\n

Be Thou my Vision, O Lord of my heart;
\nNaught be all else to me, save that Thou art;
\nThou my best Thought, by day or by night,
\nWaking or sleeping, Thy presence my light.<\/p>\n

Be Thou my Wisdom, and Thou my true Word;
\nI ever with Thee and Thou with me, Lord;
\nThou my great Father, I Thy true son;
\nThou in me dwelling, and I with Thee one.<\/p>\n

Be Thou my battle Shield, Sword for the fight;
\nBe Thou my Dignity, Thou my Delight;
\nThou my soul\u2019s Shelter, Thou my high Tow\u2019r:
\nRaise Thou me heav\u2019nward, O Pow\u2019r of my pow\u2019r.<\/p>\n

Riches I heed not, nor man\u2019s empty praise,
\nThou mine Inheritance, now and always:
\nThou and Thou only, first in my heart,
\nHigh King of Heaven, my Treasure Thou art.<\/p>\n

High King of Heaven, my victory won,
\nMay I reach Heaven\u2019s joys, O bright Heav\u2019n\u2019s Sun!
\nHeart of my own heart, whate\u2019er befall,
\nStill be my Vision, O Ruler of all.<\/p><\/blockquote>\n

Although there are hundreds of versions of Be Thou my vision on the Internet, all the vocals ones are not very satisfactory.<\/p>\n

Here is the\u00a0Mormon Tabernacle Choir<\/a>. Here is\u00a0King\u2019s College, Cambridge.<\/a>Here it is arranged as an\u00a0art song<\/a>. Here sung in Modern Irish.<\/p>\n

Here is a charming version for\u00a0violin and harp<\/a>. A good arrangement for\u00a0cello and piano<\/a>. Of course for\u00a0Celtic instruments<\/a>. For\u00a0string quartet<\/a>. For\u00a0brass quintet<\/a>! For\u00a0marching band<\/a>!!<\/p>\n

Let us with a gladsome mind is a versification of Psalm 136 by John Milton, who was fifteen and a schoolboy at St. Paul’s.\\ when he wrote it.<\/p>\n

The original is long; the 1940 Hymnal<\/em> uses the stanzas in red:<\/p>\n

Let us with a gladsome mind<\/span>
\n Praise the Lord for he is kind;<\/span>
\n For his mercies aye endure,<\/span>
\n Ever faithful, ever sure.<\/span><\/p>\n

Let us blaze his Name abroad,<\/span>
\n For of gods he is the God;<\/span>
\nFor his, &c.<\/p>\n

O let us his praises tell,
\nThat doth the wrathful tyrants quell;
\nFor his, &c.<\/p>\n

That with his miracles doth make
\nAmaz\u00e8d Heaven and Earth to shake;
\nFor his, &c.<\/p>\n

That by his wisdom did create
\nThe painted heavens so full of state;
\nFor his, &c.<\/p>\n

That did the solid Earth ordain
\nTo rise above the watery plain;
\nFor his, &c.<\/p>\n

That by his all-commanding might,<\/span>
\n Did fill the new-made world with light;<\/span>
\nFor his, &c.<\/p>\n

And caused the golden-tress\u00e8d Sun<\/span>
\n All the day long his course to run;<\/span>
\nFor his, &c.<\/p>\n

The horn\u00e8d Moon to shine by night<\/span>
\n Amongst her spangled sisters bright;<\/span>
\nFor his, &c.<\/p>\n

He, with his thunder-clasping hand,
\nSmote the first-born of Egypt land;
\nFor his, &c.<\/p>\n

And, in despite of Pharao fell,
\nHe brought from thence his Israel;
\nFor his, &c.<\/p>\n

The ruddy waves he cleft in twain
\nOf the Erythr\u00e6an main;
\nFor his, &c.<\/p>\n

The floods stood still, like walls of glass,
\nWhile the Hebrew bands did pass;
\nFor his, &c.<\/p>\n

But full soon they did devour
\nThe tawny King with all his power;
\nFor his, &c.<\/p>\n

His chosen people he did bless
\nIn the wasteful Wilderness;
\nFor his, &c.<\/p>\n

In bloody battail he brought down
\nKings of prowess and renown;
\nFor his, &c.<\/p>\n

He foiled bold Seon and his host,
\nThat ruled the Amorrean coast;
\nFor his, &c.<\/p>\n

And large-limbed Og he did subdue,
\nWith all his over-hardy crew;
\nFor his, &c.<\/p>\n

And to his servant Israel
\nHe gave their land, therein to dwell;
\nFor his, &c.<\/p>\n

He hath, with a piteous eye,
\nBeheld us in our misery;
\nFor his, &c.<\/p>\n

And freed us from the slavery
\nOf the invading enemy;
\nFor his, &c.<\/p>\n

All living creatures he doth feed,<\/span>
\n And with full hand supplies their need;<\/span>
\nFor his, &c.<\/p>\n

Let us, therefore, warble forth
\nHis mighty majesty and worth;
\nFor his, &c.<\/p>\n

That his mansion hath on high,
\nAbove the reach of mortal eye;
\nFor his, &c.<\/p><\/blockquote>\n

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

The tune MONKLAND has a fascinating if complex history. Rooted in a tune for the text “Fahre fort” in Johann A. Freylinghausen’s famous hymnal, Geistreiches Gesangbuch<\/em> (1704), it then was significantly altered by John Antes (b. Frederick, PA, 1740; d. Bristol, England, 1811) in a Moravian manuscript, A Collection of Hymn Tunes<\/em> (c. 1800). Antes was a missionary, watchmaker, business manager, and composer. Born near the Moravian community of Bethlehem, Pennsylvania, he was trained at the Moravian boys’ school and later received religious education and further training as a watchmaker in Herrnhut, Germany. From 1770 to 1781 he served as a missionary in Egypt and from 1783 until his death was the business manager of the Moravian community in Fullneck, England. Although music was his avocation, Antes was a fine composer and musician. Among his compositions are a number of anthems, several string trios, and over fifty hymn tunes.<\/p>\n

MONKLAND received its present shape at the hands of John Lees in another Moravian hymnal, Hymn Tunes of the United Brethren<\/em> (1824). From there John Wilkes (b. England, date unknown; d. England, 1882) simplified it and introduced it to Henry W. Baker, who published it in the English Hymns Ancient and Modern<\/em> (1861) to his own harvest-theme text, “Praise, O Praise Our God and King.” Wilkes named the tune after the village where he was organist and Baker was vicar\u2013Monkland\u2013located near Leominster in Herefordshire, England. Wilkes died around 1882; he should not be confused with the better-known John Bernard Wilkes (1785-1869). (Hymnary)<\/p>\n

The 1940 Hymna<\/em>l is apparently mistaken in attributing it to John Bernard Wilkes rather than to John Wilkes.<\/p>\n

_______________________<\/p>\n

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

Cantate Domino<\/em>, Hans Leo Hassler<\/p>\n

Cantate Domino canticum novum; cantate Domino omnis terra. Cantate Domino, et benedicite nomini ejus; annuntiate de die in diem salutare ejus. Annuntiate inter gentes gloriam ejus; in omnibus populis mirabilia ejus. <\/em><\/p>\n

O sing unto the Lord a new song: sing unto the Lord, all the whole earth. Sing unto the Lord, and praise his Name: be telling of his salvation from day to day. Declare his honour unto the heathen: and his wonders unto all people.<\/em><\/p>\n

Here it is sung by the UCLA Early Music ensemble<\/a>,<\/p>\n

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

Hans Leo Hassler<\/em><\/p>\n

Hans Leo Hassler<\/strong>\u00a0(1564- 1612) was the first German composer of the Renaissance who went to Italy to continue studies; he studied in Venive inder Andrea Gabrieli, Giovanni\u2019s uncle, He returned to Germany, where he was an expert organist as well as a composer. Hassler\u2019s influence was one of the reasons for the Italian domination over German music and for the common trend of German musicians finishing their education in Italy. Though Hassler was Protestant, he wrote many masses and directed the music for Catholic services in Augsburg.<\/p>\n

_____________________<\/p>\n

Laetentur coeli<\/em>, William Byrd<\/p>\n

Laetentur coeli, et exultet terra. Jubilate montes laudem, quia Dominus noster veniet, et pauperum suorum miserebitur. Orietur in diebus tuis justitia et abundantia pacis. Let the heavens be glad and let the earth rejoice. <\/em><\/p>\n

Let the mountains be joyful with praise, because our Lord will come, and will show mercy to his poor. In your days, justice and abundance of peace shall arise.<\/em><\/p>\n

Here it is sung by the\u00a0Roskilde Domkirkes Drengeko<\/a>r.<\/p>\n

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

William Byrd (c. 1540-1623)<\/em><\/p>\n

16th Century England, under the charge of Queen Elizabeth I, was officially Protestant; and although Byrd was famous in his day, he constantly lived in fear of losing commissions because of his Catholic faith. Because of this, many of Byrd\u2019s earlier sacred works were smaller in scope, and included phrases and musical suspensions meant to secretly signify the desire for equal protection for Catholics in England.<\/p>\n

_______________________<\/p>\n

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

Postlude in G<\/em>, op. 134, no. 6, Gustav Merkel (1827-1885)<\/p>\n

Here is Stephen Mann <\/a>at the English Martyrs’ Church.<\/p>\n

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

Gustav (Adolf) Merkel (November 12, 1827, Oberoderwitz, Kingdom of Saxony \u2013 October 30, 1885, Dresden) was a German organist and composer. Having been given some lessons by Schumann in his youth, Merkel spent most of his career in Dresden, concentrating on organ-playing from 1858. A Lutheran himself, he nevertheless held an appointment at one of Dresden’s main Catholic churches from 1864 until his death. During the same period he taught the organ at Dresden’s Conservatorium.<\/p>\n

 <\/p>\n

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Caesar’s Coin (1790),\u00a0 Domingos Sequeira (1768-1837) Mount Calvary Church A Roman Catholic Congregation of The Personal Ordinariate\u00a0of the Chair of St. Peter Anglican Use Trinity XIX Prelude Fantasia in G, Johann Pachelbel Hymns When morning gilds the skies Be thou my vision Let us, with a gladsome mind Anthems Cantate Domino, Hans Leo Hassler (1564 […]<\/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],"tags":[1503,1416],"class_list":["post-6168","post","type-post","status-publish","format-standard","hentry","category-hymns","category-mount-calvary-church","category-music","tag-anglican-ordinariate","tag-mount-calvary-baltimore","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\/6168","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=6168"}],"version-history":[{"count":12,"href":"https:\/\/www.podles.org\/dialogue\/wp-json\/wp\/v2\/posts\/6168\/revisions"}],"predecessor-version":[{"id":6183,"href":"https:\/\/www.podles.org\/dialogue\/wp-json\/wp\/v2\/posts\/6168\/revisions\/6183"}],"wp:attachment":[{"href":"https:\/\/www.podles.org\/dialogue\/wp-json\/wp\/v2\/media?parent=6168"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.podles.org\/dialogue\/wp-json\/wp\/v2\/categories?post=6168"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.podles.org\/dialogue\/wp-json\/wp\/v2\/tags?post=6168"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}