{"id":6325,"date":"2017-11-21T11:14:38","date_gmt":"2017-11-21T17:14:38","guid":{"rendered":"http:\/\/www.podles.org\/dialogue\/?p=6325"},"modified":"2017-11-22T07:39:46","modified_gmt":"2017-11-22T13:39:46","slug":"mount-calvary-music-christ-the-king-2017","status":"publish","type":"post","link":"https:\/\/www.podles.org\/dialogue\/mount-calvary-music-christ-the-king-2017-6325.htm","title":{"rendered":"Mount Calvary Music: Christ the King 2017"},"content":{"rendered":"

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

Icon by Solrunn Nes<\/em><\/p>\n

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

A Roman Catholic Parish of<\/p>\n

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

Rev. Albert Scharbach, Pastor<\/p>\n

Anglican Use<\/em><\/p>\n

Christ the King<\/span><\/strong><\/span><\/p>\n

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

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

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

Introduction-Choral<\/em> from Suite Gothique,\u00a0 <\/em>L\u00e9on Bo\u00ebllmann (1862-1897)<\/p>\n

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

Al hail the power of Jesus\u2019 name<\/em><\/p>\n

The King of love my shepherd is<\/em><\/p>\n

The King shall come when morning dawns<\/em><\/p>\n

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

Postula a me<\/em>, Erik Spangler<\/p>\n

Sedebit Dominus Rex<\/i>, Eric Spangler<\/p>\n

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

Grand jeu, from Suite du premier ton<\/em>, Pierre DuMage (1674-1751)<\/p>\n

_____________________________________________<\/p>\n

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

Introduction-Choral<\/em> from Suite Gothique,\u00a0 <\/em>L\u00e9on Bo\u00ebllmann<\/p>\n

Her it is on a German organ<\/a>; and with Marie-Claire Alain on the organ of Saint-Sulpice.<\/a><\/p>\n

L\u00e9on Bo\u00ebllmann (1862-1897)\u00a0was a French composer of Alsatian origin, known for a small number of compositions for organ. His best-known composition is Suite gothique<\/em> (1895), which is a staple of the organ repertoire, especially its concluding Toccata.<\/p>\n

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

During the sixteen years of his professional life, Bo\u00ebllmann composed about 160 pieces in all genres. Faithful to the style of Franck and an admirer of Saint-Sa\u00ebns, Bo\u00ebllmann yet exhibits a turn-of-the-century Post-romantic esthetic, which especially in his organ works, demonstrates “remarkable sonorities.” His best-known composition is Suite gothique (1895), now a staple of the organ repertoire, especially its concluding Toccata, a piece “of moderate difficulty but brilliant effect,” with a dramatic minor theme and a rhythmic emphasis that made it popular even in Bo\u00ebllmann’s own day.<\/p>\n

Bo\u00ebllmann was born in Ensisheim, Haut-Rhin, the son of a pharmacist. In 1871, at the age of nine, he entered the \u00c9cole de Musique Classique et Religieuse (L’\u00c9cole Niedermeyer) in Paris, where he studied with its director, Gustave Lef\u00e8vre, and with Eug\u00e8ne Gigout. Bo\u00ebllmann there won first prizes in piano, organ, counterpoint, fugue, plainsong, and composition. After his graduation in 1881, Bo\u00ebllmann was hired as “‘organiste de choeur'” at the Church of St. Vincent de Paul in the 10th arrondissement of Paris, and six years later he became cantor and “organiste titulaire,” a position he held until his early death, probably from tuberculosis.<\/p>\n

In 1885, Bo\u00ebllmann married Louise, the daughter of Gustave Lef\u00e8vre and the niece of Eug\u00e8ne Gigout, into whose house the couple moved. (Having no children of his own, Gigout adopted Bo\u00ebllmann.) Bo\u00ebllmann then taught in Gigout’s school of organ playing and improvisation.<\/p>\n

As a favored student of Gigout, Bo\u00ebllmann moved in the best circles of the French musical world and as a pleasing personality, he made friends of many artists and was able to give concerts both in Paris and the provinces.[3] Bo\u00ebllmann became known as “a dedicated teacher, trenchant critic, gifted composer and successful performer…who coaxed pleasing sounds out of recalcitrant instruments.” Bo\u00ebllmann also wrote musical criticism for L’art musical under the pseudonym “le R\u00e9v\u00e9rend P\u00e8re L\u00e9on” and “un Gar\u00e7on de la salle Pleyel.”<\/p>\n

Bo\u00ebllmann died in 1897, aged only 35. After the death of his wife the following year, Gigout reared their three orphans, one of whom, Marie-Louise Bo\u00ebllmann-Gigout (1891\u20131977), became a noted organ teacher in her own right.<\/p>\n

_______________________<\/p>\n

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

All hail the power of Jesus\u2019 name <\/em><\/strong>has a complicated history and several versions. Our version was written mostly by Edward Perronet (1726\u20131792), as associate of John Wesley. The hymn alludes to the Apocalypse. In Rev 19.16 Jesus is \u201cKing of Kings and Lord of Lords\u201d on whose head \u201care many diadems\u201d (Rev 19.12). The martyrs call from the altar, \u201cI saw under the altar the souls of those who had been slain for the word of God and for the witness (martus<\/em>) they had borne (Rev 6.9). We sinners, who have tasted the \u201cwormwood and the gall\u201d (Lam 3.19) of our evil deeds, offer our repentance as a trophy to the Lord of all. John sees every kindred, every tribe, \u201ca great multitude\u2026from every nation (Rev 7.9) who cry out \u201cSalvation belongs to our God who sits upon the throne, and to the Lamb.\u201d As we sing we join them in this confession, entering even now into the hymn of praise that will resound forever.<\/p>\n

Here is the\u00a01940 Hymnal<\/em>\u00a0version:<\/p>\n

All hail the pow\u2019r of Jesus\u2019 name!
\nLet angels prostrate fall;
\nBring forth the royal diadem
\nAnd crown Him Lord of all.
\nBring forth the royal diadem
\nAnd crown Him Lord of all.<\/p>\n

Crown Him, ye martyrs of our God
\nWho from His altar call;
\nExtol the Stem of Jesse\u2019s rod
\nAnd crown Him Lord of all.
\nExtol the Stem of Jesse\u2019s rod
\nAnd crown Him Lord of all.<\/p>\n

Hail Him, the Heir of David\u2019s line,
\nWhom David Lord did call,
\nThe God incarnate, Man divine,
\nAnd crown Him Lord of all.
\nThe God incarnate, Man divine,
\nAnd crown Him Lord of all.<\/p>\n

Ye seed of Israel\u2019s chosen race,
\nYe ransomed from the Fall,
\nHail Him who saves you by His grace
\nAnd crown Him Lord of all.
\nHail Him who saves you by His grace
\nAnd crown Him Lord of all.<\/p>\n

Sinners, whose love can ne\u2019er forget
\nThe wormwood and the gall,
\nGo, spread your trophies at His feet
\nAnd crown Him Lord of all.
\nGo, spread your trophies at His feet
\nAnd crown Him Lord of all.<\/p>\n

Let every kindred, every tribe,
\nOn this terrestrial ball
\nTo Him all majesty ascribe
\nAnd crown Him Lord of all.
\nTo Him all majesty ascribe
\nAnd crown Him Lord of all.<\/p><\/blockquote>\n

Here is\u00a0Samuel Metzger\u2019s arrangement<\/a>.<\/p>\n

Here is the 1799 version:<\/p>\n

1 All hail the pow\u2019r of Jesus\u2019 name!
\nLet Angels prostrate fall:
\nBring forth the royal diadem,
\nTo crown Him Lord of All.<\/p>\n

2 Let high-born Seraphs tune the lyre,
\nAnd, as they tune it, fall
\nBefore his face who tunes their choir,
\nAnd crown Him Lord of All.<\/p>\n

3 Crown Him, ye morning stars of light,
\nHe fix\u2019d this floating ball;
\nNow hail the strength of Israel\u2019s might,
\nAnd crown Him Lord of All<\/p>\n

4 Crown Him, ye martyrs of your God,
\nWho from His altar call,
\nExtol the stem of Jesse\u2019s rod,
\nAnd crown Him Lord of All.<\/p>\n

5 Ye seed of Israel\u2019s chosen race,
\nYe ransom\u2019d of the fall,
\nHail Him who saves you by his grace,
\nAnd crown Him Lord of All.<\/p>\n

6 Hail Him, ye heirs of David\u2019s line,
\nWhom David Lord did call;
\nThe God incarnate, Man divine,
\nAnd crown Him Lord of All.<\/p>\n

7 Sinners! whose love can ne\u2019er forget,
\nThe wormwood and the gall,
\nGo\u2013spread your trophies at his feet,
\nAnd crown Him Lord of All.<\/p>\n

8 Let every tribe, and every tongue,
\nThat hear the Saviour\u2019s call
\nNow shout in universal song,
\nAnd crown Him Lord of All.<\/p><\/blockquote>\n

There is an alternative final stanza, found in many hymnals:<\/p>\n

O that with yonder sacred throng
\nWe at his feet may fall!
\nWe\u2019ll join the everlasting song,
\nAnd crown him Lord of all.<\/p><\/blockquote>\n

The eliminated stanza with \u201chigh-born Seraphs\u201d is charming but odd. \u201cHail Him,\u00a0ye<\/strong>\u00a0heirs of David\u2019s line,\u201d a vocative, addressed presumably to the Jews, was changed to \u201cHail Him, the Heir of David\u2019s line,\u201d changing\u00a0heirs<\/strong>\u00a0to\u00a0Heir<\/strong>, and putting it in apposition to\u00a0Him<\/strong>, that is, Christ.<\/p>\n

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

Edward Perronet\u00a0<\/strong>(1726-1792). The Perronets of England, grandfather, father, and son, were French Huguenot emigres. David Perronet came to England about 1680. He was son of the refugee Pasteur Perronet, who had chosen Switzerland as his adopted country, where he ministered to a Protestant congregation at Chateau D\u2019Oex. His son, Vincent Perronet, M.A., was a graduate of Queen\u2019s College, Oxford. He became, in 1728, Vicar of Shoreham, Kent. He was close to with the Evangelical Revival under the Wesleys and Whitefield.<\/p>\n

His son\u00a0Edward\u00a0<\/strong>was born in 1726. Born, baptized, and brought up in the Church of England, he had originally no other thought than to be one of her clergy. But, though strongly evangelical, he had a keen and searching eye for defects. A characteristic note to\u00a0The Mitre<\/em>, in referring to a book called\u00a0The Dissenting Gentleman\u2019s answer to the Rev. Mr. White<\/em>, thus runs:\u2014\u201dI was born, and am like to die, in the tottering communion of the Church of England; but I despise her nonsense; and thank God that I have once read a book that no fool can answer, and that no honest man will.\u201d This strangely overlooked satire is priceless as a reflection of contemporary ecclesiastical opinion and sentiment. It is pungent, salted with wit, gleams with humor, hits off vividly the well-known celebrities in Church and State, and is well wrought in picked and packed words. But it is a curious production to have come from a \u201ctrue son\u201d of the Church of England. It roused John Wesley\u2019s hottest anger. He demanded its instant suppression; and it was suppressed; and yet it was at this period the author threw himself into the Wesleys\u2019 great work. But evidences abound in the letters and journals of John Wesley that he was intermittently rebellious and vehement to even his revered leader\u2019s authority. Earlier, Edward Perronet dared all obloquy as a Methodist. In 1749 Wesley enters in his diary:<\/p>\n

\u201cFrom Rochdale went to Bolton, and soon found that the Rochdale lions were lambs in comparison with those of Bolton. Edward Perronet was thrown down and rolled in mud and mire. Stones were hurled and windows broken.\u201d<\/p>\n

In 1755 arrangements to meet the emergency created by its own success had to be made for Methodism. As one result, both Edward and Charles Perronet broke loose from John Wesley\u2019s law that none of his preachers or \u201chelpers\u201d were to dispense the Sacraments, but were still with their flocks to attend the parish churches. Edward Perronet asserted his right to administer the Sacraments as a divinely-called preacher. At that time he was resident at Canterbury, \u201cin a part of the archbishop\u2019s old palace.\u201d He became one of the Countess of Huntingdon\u2019s \u201cministers\u201d in a chapel in Watling Street, Canterbury. Throughout he was passionate, impulsive, strong-willed; but always lived near his divine Master. In the close of his life he was an Independent or Congregational pastor of a small church in Canterbury. He died Jan. 2, 1792, and was buried in the cloisters of the great cathedral.<\/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>. The true Shepherd -King is Jesus, who cares for His flock by His redemptive death which flows to us through the sacraments. \u201cThe streams of living water\u201d flow from Jesus\u2019 pierced side. He ransoms our soul from the captivity of sin, and feeds us 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. Jesus is the King who came not be to served but to serve, the one who \u201cgiveth his life for the sheep,\u201d the ultimate gift, eternal life with Him.<\/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,
\nwhose goodness faileth never.
\nI nothing lack if I am his,
\nand he is mine forever.<\/p>\n

2 Where streams of living water flow,
\nmy ransomed soul he leadeth;
\nand where the verdant pastures grow,
\nwith food celestial feedeth.<\/p>\n

3 Perverse and foolish, oft I strayed,
\nbut yet in love he sought me;
\nand on his shoulder gently laid,
\nand home, rejoicing, brought me.<\/p>\n

4 In death\u2019s dark vale I fear no ill,
\nwith thee, dear Lord, beside me;
\nthy rod and staff my comfort still,
\nthy cross before to guide me.<\/p>\n

5 Thou spreadst a table in my sight;
\nthy unction grace bestoweth;
\nand oh, what transport of delight
\nfrom thy pure chalice floweth!<\/p>\n

6 And so through all the length of days,
\nthy goodness faileth never;
\nGood Shepherd, may I sing thy praise
\nwithin thy house forever.<\/p><\/blockquote>\n

Here is the\u00a0Cardiff Festival Choir\u00a0<\/a>singing the hymn. Here is John Rutter\u2019s\u00a0lovely arrangement\u00a0<\/a>with harp accompaniment.<\/p>\n

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

Henry Williams Baker<\/em><\/p>\n

Sir\u00a0Henry Williams<\/strong>\u00a0Baker<\/strong>\u00a0was 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\u00a0of 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, \u201cThe King of Love, my Shepherd is:\u201d\u2014<\/p>\n

Perverse and foolish, oft I strayed,
\nbut yet in love he sought me;
\nand on his shoulder gently laid,
\nand home, rejoicing, brought me.<\/p><\/blockquote>\n

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\u00a0English Hymnal<\/em>\u00a0were denied permission to use Dykes\u2019s original tune, 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>\u00a0(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 to \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;
\nthy unction grace bestoweth;
\nand oh, what transport of delight
\nfrom thy pure chalice floweth!<\/p><\/blockquote>\n

to<\/p>\n

You spread a table in my sight,
\nA banquet here bestowing;
\nYour oil of welcome, my delight;
\nMy cup is overflowing!<\/p><\/blockquote>\n

The clear allusion to the Eucharistic chalice has been almost completely obscured 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

_____________________________<\/p>\n

The King shall come when morning dawns <\/em><\/strong>was written by the Presbyterian minister John Brownlie (1857\u20141925), who translated many Eastern hymns. Infused with the imagery of morning light typical of early Greek hymnody, this hymn looks back to the time when the Light of the world dawned in Bethlehem, to reveal to us our sins and God\u2019s mercy. We now look forward to Christ\u2019s Second Advent, when His Lordship over all creation will be revealed. There will be no night, for sin and sorrow and death will have passed away. \u00a0We pray for that that last and first Day, \u201cMaranatha\u201d (Rev 22:20), \u201cCome quickly, King of Kings.\u201d<\/p>\n

Here are all the stanzas. The 1940 Hymnal uses stanzas 1, 2, 5, 6, and 7.<\/p>\n

1 The King shall come when morning dawns,
\nAnd light triumphant breaks;
\nWhen beauty gilds the eastern hills,
\nAnd life to beauty breaks.<\/p>\n

2 Not as of old, a little child
\nTo bear, and fight, and die,
\nBut crowned with glory like the sun,
\nThat lights the morning sky.<\/p>\n

3 O, brighter than the rising morn,
\nWhen He victorious rose,
\nAnd left the lonesome place of death,
\nDespite the rage of foes;–<\/p>\n

4 O, brighter than that glorious morn,
\nShall this fair morning be,
\nWhen Christ, our King, in beauty comes,
\nAnd we His face shall see.<\/p>\n

5 The King shall come when morning dawns,
\nAnd earth’s dark night is past;–
\nO, haste the rising of that morn,
\nThat day that aye shall last.<\/p>\n

6 And let the endless bliss begin,
\nBy weary saints foretold,
\nWhen right shall triumph over wrong,
\nAnd truth shall be extolled.<\/p>\n

7 The King shall come when morning dawns,
\nAnd light and beauty brings;–
\nHail! Christ the Lord; Thy people pray,
\n“Come quickly, King of kings.”<\/p><\/blockquote>\n

Here is a German group, Corona Vocalis<\/a>.<\/p>\n

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

Rev. John Brownlie D.D. (3 August 1857 – 18 November 1925) was a Scottish hymnist best known for his translations of early Greek and Latin hymns into English. He was born in Glasgow, Scotland. He received his higher education at the University of Glasgow and the Free Church College. He was licensed by the Presbytery of Glasgow in 1884. In 1885 became assistant minister of Trinity Free Church in Portpatrick, Wigtonshire, Scotland and succeeded the senior pastor there upon his death in 1890. He became a governor of Stranraer High School in 1897, and chairman of the governors in 1901. Glasgow University awarded him an honorary D.D. degree in 1908 for his work in hymnology. He died in Crieff, Perthshire, Scotland and was buried in Portpatrick.<\/p>\n

________________________________<\/p>\n

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

Postula a me<\/em>, Eric Spangler<\/p>\n

Postula a me, et dabo tibi gentes hereditatem tuam,<\/em>
\n et possessionem tuam terminos terrae.<\/em>
\nAsk of me and I will give thee the nations for thine inheritance,
\nand the ends of the earth for thy possession.<\/p>\n

________________<\/p>\n

Sedebit Dominus Rex<\/em>, Erik Spangler<\/p>\n

Sedebit Dominus Rex in aeternum. Dominus virtutem populo suo dabit.<\/em>
\n Dominus benedicet populo suo in pace.<\/em>
\nThe Lord shall sit King for ever. The Lord will give strength to his people.
\nThe Lord will bless his people with peace.<\/p>\n

___________________________<\/p>\n

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

Grand jeu, from Suite du premier ton<\/em>, Pierre DuMage<\/p>\n

Here is Lionel Rogg.<\/a><\/p>\n

Pierre Dumage (du Mage) (1674 \u2013 1751) was a French Baroque organist and composer. His first music teacher was most likely his father, organist of the Beauvais Cathedral. At some point during his youth Dumage moved to Paris and studied under Louis Marchand. He also befriended Nicolas Leb\u00e8gue, who in 1703 procured for Dumage a position of organist of the Saint-Quentin collegiate church. In 1710 Dumage was appointed titular organist of the Laon Cathedral. Due to strained relations with his superiors in the cathedral chapter, Dumage left on 30 March 1719, at the age of 45, and became a civil servant.[2] He apparently neither played nor composed music professionally until his death.<\/p>\n

Dumage’s only surviving work is Premier livre d’orgue<\/em>, published in 1708. This collection is dedicated to the chapter of Saint Quentin. It contains a single Suite du premier ton: eight pieces in the traditional French forms: Plein jeu, Fugue, Trio, Tierce en taille, Basse de Trompette, R\u00e9cit, Duo and Grand jeu. In the brief preface Dumage explains that these are his first works, and that he modelled them after the music of his former teacher Marchand. Dumage’s music is, however, of very high quality, and entirely representative of French organ music of the period. Musicologists F\u00e9lix Raugel and Willi Apel both singled out Dumage’s R\u00e9cit for its “delicate and gentle lyricism”, and Apel also praised the Tierce en taille and the Grand jeu as particularly striking. Dumage’s second livre d’orgue was presented in 1712 to the chapter of Laon Cathedral, but has never been found.<\/p>\n

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Icon by Solrunn Nes Mount Calvary Church A Roman Catholic Parish of The Personal Ordinariate\u00a0of the Chair of St. Peter Rev. Albert Scharbach, Pastor Anglican Use Christ the King Common Missa de S. Maria Magdalena, Willan Prelude Introduction-Choral from Suite Gothique,\u00a0 L\u00e9on Bo\u00ebllmann (1862-1897) Hymns Al hail the power of Jesus\u2019 name The King of […]<\/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":[1416,1494],"class_list":["post-6325","post","type-post","status-publish","format-standard","hentry","category-hymns","category-mount-calvary-church","category-music","tag-mount-calvary-baltimore","tag-ordinariate","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\/6325","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=6325"}],"version-history":[{"count":8,"href":"https:\/\/www.podles.org\/dialogue\/wp-json\/wp\/v2\/posts\/6325\/revisions"}],"predecessor-version":[{"id":6336,"href":"https:\/\/www.podles.org\/dialogue\/wp-json\/wp\/v2\/posts\/6325\/revisions\/6336"}],"wp:attachment":[{"href":"https:\/\/www.podles.org\/dialogue\/wp-json\/wp\/v2\/media?parent=6325"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.podles.org\/dialogue\/wp-json\/wp\/v2\/categories?post=6325"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.podles.org\/dialogue\/wp-json\/wp\/v2\/tags?post=6325"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}