{"id":6866,"date":"2018-03-28T08:18:04","date_gmt":"2018-03-28T14:18:04","guid":{"rendered":"http:\/\/www.podles.org\/dialogue\/?p=6866"},"modified":"2018-03-28T08:19:41","modified_gmt":"2018-03-28T14:19:41","slug":"mount-calvary-music-easter-vigil-2018","status":"publish","type":"post","link":"https:\/\/www.podles.org\/dialogue\/mount-calvary-music-easter-vigil-2018-6866.htm","title":{"rendered":"Mount Calvary Music: Easter Vigil 2018"},"content":{"rendered":"

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

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

Eutaw Street and Madison Avenue<\/p>\n

Baltimore, Maryland<\/p>\n

A Parish of the Roman Catholic Personal Ordinariate of St. Peter<\/p>\n

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

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

The Solemn Vigil of Easter<\/strong><\/p>\n

March 31, 2018<\/p>\n

8:30 PM<\/p>\n

_______________<\/p>\n

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

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

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

At the Lamb’s high feast we sing<\/em> (SALZBURG)<\/p>\n

Come ye faithful<\/em> (GAUDEAMUS PARITER)<\/p>\n

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

Surrexit Christus<\/em>, Giovanni Battista Pergolesi (1710-1736)<\/p>\n

He is risen<\/em>, Percy Whitlock (1903-1946)<\/p>\n

_______________________________<\/p>\n

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

At the Lamb’s high feast we sing\u00a0<\/em><\/p>\n

At the Lamb\u2019s high feast<\/em>\u00a0we sing\u00a0<\/em>is a translation by the Robert Campbell (1814-1868) of the seventh century Latin hymn,\u00a0Ad regias agni dapes<\/em>, which was sung by the newly baptized at Easter when they were first admitted to communion. Our victorious King through His death and resurrection has caused the angel of death to pass over us. We are redeemed by His blood, which opens Paradise to us where we will live forever.\u00a0 The LORD brought Israel out of Egypt through the sea into the promised land by the blood of the Lamb. Jesus through His death brings us through the wilderness of this life by feeding us with Himself, the true manna that comes down from heaven.<\/p>\n

1 At the Lamb\u2019s high feast we sing
\npraise to our victorious King,
\nwho hath washed us in the tide
\nflowing from his pierc\u00e8d side;
\npraise we him, whose love divine
\ngives his sacred blood for wine,
\ngives his body for the feast,
\nChrist the victim, Christ the priest.
\n2 Where the Paschal blood is poured,
\ndeath\u2019s dark angel sheathes his sword;
\nIsrael\u2019s hosts triumphant go
\nthrough the wave that drowns the foe.
\nPraise we Christ, whose blood was shed,
\nPaschal victim, Paschal bread;
\nwith sincerity and love
\neat we manna from above.
\n3 Mighty victim from the sky,
\nhell\u2019s fierce powers beneath thee lie;
\nthou hast conquered in the fight,
\nthou hast brought us life and light.
\nNow no more can death appal,
\nnow no more the grave enthral:
\nthou hast opened paradise,
\nand in thee thy saints shall rise.
\n4 Easter triumph, Easter joy,
\nsin alone can this destroy;
\nfrom sin\u2019s power do thou set free
\nsouls new-born, O Lord, in thee.
\nHymns of glory and of praise,
\nrisen Lord, to thee we raise;
\nholy Father, praise to thee,
\nwith the Spirit, ever be.<\/p><\/blockquote>\n

Raised a Presbyterian, the Edinburgh advocate\u00a0Robert Campbell j<\/strong>oined the Episcopal Church of Scotland. While he was a Scottish Episcopalian (imagine!), he translated this hymn in 1850 and other Latin hymns for relaxation. In 1852, he joined the Roman Catholic Church. Much of his life, both as a Protestant and a Catholic was dedicated to the education of Edinburgh\u2019s poorest children. He authored a report,\u00a0Past and present treatment of Roman Catholic children in Scotland<\/em>,\u00a0by the Board of Supervision for Relief of the Poor<\/em>\u00a0(1863).<\/p>\n

The hymn\u00a0Ad regias Agni dapes<\/em>\u00a0has a checkered history. It was originally\u00a0Ad coenam Agni providi<\/em>\u00a0a sixth-century Ambrosian hymn, that is, a hymn composed in iambic tetrameter, after the model of the hymns that St. Ambrose had composed after the model of Roman marching songs. This meter is close to the meter of rythm prose and is also easily adopted to music. The hymn was composed when Latin was still a spoken language. For example, it treats\u00a0stolis albis candidi\u00a0<\/em>[bright with white garments] as if it were\u00a0istolis albis candidi (<\/em>eight syllables):\u00a0ist<\/em><\/strong>\u2013 is how they pronounced\u00a0st<\/em><\/strong>\u2013 in the \u2018Vulgar Latin\u2019 period. I presume that the Spanish habit of adding a syllable before an s comes form this:\u00a0Estarbucks<\/em>. The hymn also used words from Christian Latin, such as\u00a0coena<\/em>, the word used for the Last Supper.<\/p>\n

    \n
  1. Ad coenam Agni providi,
    \nstolis salutis candidi,
    \npost transitum maris Rubri
    \nChristo canamus principi.<\/li>\n
  2. Cuius corpus sanctissimum
    \nin ara crucis torridum,
    \nsed et cruorem roseum
    \ngustando, Dei vivimus.<\/li>\n
  3. \u00a0Protecti paschae vespero
    \na devastante angelo,
    \nde Pharaonis aspero
    \nsumus erepti imperio.<\/li>\n
  4. \u00a0Iam pascha nostrum Christus est,
    \nagnus occisus innocens;
    \nsinceritatis azyma
    \nqui carnem suam obtulit.<\/li>\n
  5. O vera, digna hostia,
    \nper quam franguntur tartara,
    \ncaptiva plebs redimitur,
    \nredduntur vitae praemia!<\/li>\n
  6. Consurgit Christus tumulo,
    \nvictor redit de barathro,
    \ntyrannum trudens vinculo
    \net paradisum reserans.<\/li>\n
  7. Esto perenne mentibus
    \npaschale, Iesu, gaudium
    \net nos renatos gratine
    \ntuis triumphis aggrega.<\/li>\n
  8. \u00a0Iesu, tibi sit gloria,
    \nqui morte victa praenites,
    \ncum Patre et almo Spiritu,
    \nin sempiterna saecula. Amen.<\/li>\n<\/ol>\n

    Here is John Mason Neale\u2019s translation:<\/p>\n

      \n
    1. The Lamb\u2019s high banquet we await
      \nin snow-white robes of royal state:
      \nand now, the Red Sea\u2019s channel past,
      \nto Christ our Prince we sing at last.<\/li>\n
    2. Upon the Altar of the Cross
      \nHis Body hath redeemed our loss:
      \nand tasting of his roseate Blood,
      \nour life is hid with Him in God,<\/li>\n
    3. That Paschal Eve God\u2019s arm was bared,
      \nthe devastating Angel spared:
      \nby strength of hand our hosts went free
      \nfrom Pharaoh\u2019s ruthless tyranny.<\/li>\n
    4. Now Christ, our Paschal Lamb, is slain,
      \nthe Lamb of God that knows no stain,
      \nthe true Oblation offered here,
      \nour own unleavened Bread sincere.<\/li>\n
    5. O Thou, from whom hell\u2019s monarch flies,
      \nO great, O very Sacrifice,
      \nThy captive people are set free,
      \nand endless life restored in Thee.\u2019<\/li>\n
    6. \u00a0For Christ, arising from the dead,
      \nfrom conquered hell victorious sped,
      \nand thrust the tyrant down to chains,
      \nand Paradise for man regains.<\/li>\n
    7. We pray Thee, King with glory decked,
      \nin this our Paschal joy, protect
      \nfrom all that death would fain effect
      \nThy ransomed flock, Thine own elect.<\/li>\n
    8. To Thee who, dead, again dost live,
      \nall glory Lord, Thy people give;
      \nall glory, as is ever meet,
      \nto Father and to Paraclete. Amen.<\/li>\n<\/ol>\n

      And so the hymn was sung for a thousand years.<\/p>\n

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

      Urban VIII, by Pietro da Cortona (1627)<\/strong><\/em><\/p>\n

      And then came the Renaissance and Maffeo Barbarini was elected to the papal throne as Urban VIII (reigned 1623-1644). The new liturgical books of Pius V had just been approved, but Urban found the Latin tasteless and inelegant and barbarous. So he and his assistants \u201cimproved\u201d the ancient hymns. As one annoyed hymnologist writes: \u201cAmbrose and Prudentius took something classical and made it Christian; the revisers and their imitators took something Christian and tried to make it classical. The result may be pedantry, and sometimes perhaps poetry; but it is not piety.\u201d<\/p>\n

      So\u00a0Ad cenam Agni providi<\/em>\u00a0in 1632 became\u00a0Ad regias Agni dapes<\/em>, the version translated by Campbell. \u00a0This hymn us used at Vespers from Easter Sunday until Ascension. Notice I say used, because the classicized hymns were not untended to be sung, but recited privately.<\/p>\n

      Ad regias Agni dapes,
      \nStolis amicti candidis,
      \nPost transitum maris Rubri,
      \nChristo canamus Principi.<\/p>\n

      2. Divina cuius caritas
      \nSacrum propinat sanguinem,
      \nAlmique membra corporis
      \nAmor sacerdos immolat.<\/p>\n

      3. Sparsum cruorem postibus
      \nVastator horret Angelus:
      \nFugitque divisum mare,
      \nMerguntur hostes fluctibus.<\/p>\n

      4. Iam Pascha nostrum Christus est,
      \nPaschalis idem victima:
      \nEt pura puris mentibus
      \nSinceritatis azyma.<\/p>\n

      5. O vera caeli v\u00edctima,
      \nSubiecta cui sunt tartara,
      \nSoluta mortis vincula,
      \nRecepta vit\u00e6 praemia.<\/p>\n

      6. Victor subactis inferis,
      \nTrophaea Christus explicat,
      \nCaeloque aperto, subditum
      \nRegem tenebrarum trahit.<\/p>\n

      7. Ut sis perenne mentibus
      \nPaschale Iesu gaudium,
      \nA morte dira criminum
      \nVit\u00e6 renatos libera.<\/p>\n

      8. Deo Patri sit gloria,
      \nEt Filio, qui a mortuis
      \nSurrexit, ac Paraclito,
      \nIn sempiterna saecula. Amen.<\/p><\/blockquote>\n

      Dapes<\/em>, a classical poetic word, is substituted for the Christian\u00a0coena<\/em>, obscuring the reference to the Last Supper and to the Eucharist. The original reference to the roasted (torridum<\/em>) body of Christ , was eliminated, and Victorian commentators, although they understood the reference to the Paschal Lamb, found the image horrifying.<\/p>\n

      The Benedictines and the Dominicans would have nothing to do with such innovations, and continued to use the original version of the hymn. Their attitude was\u00a0Quod non fecerunt barbari, fecerunt Barberini<\/em>.<\/p>\n

      Ad regias agni dapes<\/em>\u00a0is mentioned in James Joyce\u2019s Finnegan\u2019s Wake. Here is the context:<\/p>\n

      Pater patruum cum filiabus familiarum.<\/em>\u00a0Or, but, now, and, ariring out of her mirgery margery watersheads and, to change that subjunct from the traumaturgid for once in a while and darting back to stuff, if so be you may identify yourself with the him in you, that fluctuous neck merchamtur, bloodfadder and milkmudder, since then our too many of her, Abha na Lif\u00e9, and getting on to dadaddy again, as them we\u2019re ne\u2019er free of, was he in tea e\u2019er he went on the bier or didn\u2019t he ontime do something seemly heavy in sugar? He sent out Christy Columb and he came back with a jailbird\u2019s unbespokables in his beak and then he sent out Le Caron Crow and the peacies are still looking for him. The seeker from the swayed, the beesabouties from the parent swarm. Speak to the right! Rotacist ca canny! He caun ne\u2019er be bothered but maun e\u2019er be waked. If there is a future in every past that is present\u00a0Quis est qui non novit quinnigan<\/em>\u00a0and\u00a0Qui quae quot at Quinnigan\u2019s Quake!<\/em>\u00a0Stump! His producers are they not his consumers? Your exagmination round his factification for incamination of a warping process. Declaim!<\/p>\n

      \u2014Arra irrara hirrara man, weren\u2019t they arriving in clansdestinies for the Imbandiment of\u00a0Ad Regias Agni Dapes<\/em>, fogabawlers and panhibernskers, after the crack and the lean years, scalpjaggers and houthhunters, like the messicals of the great god, a scarlet trainful, the Twoedged Petrard, totalling, leggats and prelaps, in their aggregate ages two and thirty plus undecimmed centries of them with insiders, extraomnes and tuttifrutties allcunct, from Rathgar, Rathanga, Rountown and Rush, from America Avenue and Asia Place and the Affrian Way and Europa Parade and besogar the wallies of Noo Soch Wilds and from Vico, Mespil Rock and Sorrento, for the lure of his weal and the fear of his oppidumic, to his salon de espera in the keel of his kraal, like lodes of ores flocking fast to Mount Maximagnetic, afeerd he was a gunner but affaird to stay away, Merrionites, Dumstdumbdrummers, Luccanicans, Ashtoumers, Batterysby Parkes and Krumlin Boyards, Phillipsburgs, Cabraists and Finglossies, Ballymunites, Raheniacs and the bettlers of Clontarf, for to contemplate in manifest and pay their firstrate duties before the both of him, twelve stone a side, with their\u00a0Thieve le Rou\u00e9!<\/em>\u00a0and their\u00a0Shvr yr Thrst!<\/em>\u00a0and their\u00a0Uisgye ad Inferos!<\/em>\u00a0and their\u00a0Usque ad Ebbraios!<\/em>\u00a0at and in the licensed boosiness primises of his delhightful bazar and reunited magazine hall, by the magazine wall.<\/p><\/blockquote>\n

      Completely clear, I hope.<\/p>\n

      A helpful commentary explains:<\/p>\n

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

      The tune is SALZBURG, \u00a0by Jakob Hintze (1622-1702),who in 1666 became court musician to the Elector of Brandenburg at Berlin; but he retired to his birthplace in 1695, and died at Berlin with the reputation of being an excellent contrapuntist.<\/p>\n

      Here is\u00a0At the Lamb\u2019s high feas<\/a>t sung at at the most appropriate occasion: Communion at Easter.<\/p>\n

      _______________________<\/p>\n

      Come ye faithful\u00a0<\/em><\/p>\n

      Come ye faithful, raise the strain<\/em> is from a\u00a0 Greek hymn attributed to St John Damascene\u00a0(ca. 655- ca. 745), and was translated by John Mason Neale (1818-1866).<\/p>\n

      This translation of the Greek \u2018\u03ac\u03c3\u03c9\u03bc\u03b5\u03bd \u03c0\u03ac\u03bd\u03c4\u03b5\u03c2 \u03bb\u03b1\u03bf\u03af\u2019 (Asomen pantes laoi\u2019) is from the \u2018Second Epoch\u2019 of Greek hymnody (726-820) in Neale\u2019s\u00a0Hymns of the Eastern Church<\/em>\u00a0(1862). It was \u2018Ode I\u2019 for St Thomas\u2019s Sunday (Neale\u2019s explanatory note in the Preface explained that \u2018A Canon consists of nine Odes \u2014 each Ode containing any number of troparia from three to beyond twenty\u2019 (p. xxix). This was Ode I of \u2018the three first of our Saint\u2019s Canon for S. Thomas\u2019s Sunday, called also Renewal Sunday: with us Low Sunday.\u2019 It had four verses. The hymn is notable for its beautiful linking of spring with the resurrection, and for its use of the crossing of the Red Sea as a type of the liberating work of Jesus Christ in verse 1. It is based on the Song of Moses in Exodus 15.<\/p>\n

      Come, ye faithful, raise the strain
      \nOf triumphant gladness;
      \nGod hath brought his Israel
      \nInto joy from sadness;
      \nLoosed from Pharaoh’s bitter yoke
      \nJacob’s sons and daughters;
      \nLed them with unmoistened foot
      \nThrough the Red Sea waters.<\/p>\n

      ‘Tis the spring of souls today;
      \nChrist hath burst his prison,
      \nAnd from three days’ sleep in death
      \nAs a sun hath risen;
      \nAll the winter of our sins,
      \nLong and dark, is flying
      \nFrom his light, to whom we give
      \nLaud and praise undying.<\/p>\n

      Now the queen of seasons, bright
      \nWith the day of splendor,
      \nWith the royal feast of feasts,
      \nComes its joy to render;
      \nComes to glad Jerusalem,
      \nWho with true affection
      \nWelcomes in unwearied strains
      \nJesus’ resurrection.<\/p>\n

      Neither might the gates of death,
      \nNor the tomb’s dark portal,
      \nNor the watchers, nor the seal,
      \nHold thee as a mortal:
      \nBut today amidst thine own
      \nThou didst stand, bestowing
      \nThat thy peace which evermore
      \nPasseth human knowing.<\/p><\/blockquote>\n

      The tune GAUDEAMUS PARITER is by Johann Horn (1490-1547).\u00a0\u00a0His original name was\u00a0Johann Roh<\/span>, but he styled himself Cornu in Latin and Horn in German. He was ordained priest in 1518 and became a senior cleric in the Moravian church. He is known for two books: his\u00a0P\u00edsn\u0115 chval bo\u017esk\u00fdch<\/em>\u00a0(Prague, 1541), and his edition of the Bohemian hymnbook\u00a0Ein Gesangbuch der Br\u00fcder in Behemen und Merherrn<\/em>\u00a0published in Nuremberg in 1544.\u00a0One medieval melody found in 15th-century Bohemian collections with the words \u2018Gaudeamus pariter, omnes et singuli\u2019 was sung across much of central Europe and later achieved considerable popularity.<\/p>\n

      Here is a version for brass<\/a>. Here is a toccata for orga<\/a>n. An arrangement for handbells<\/a>. I like the jaunty variation. Here is Flor Peeters’\u00a0arrangement for organ<\/a>. A little slow for my taste.<\/p>\n

      ____________________________<\/p>\n

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

      Surrexit Christus<\/em>, Giovanni Battista Pergolesi<\/p>\n

      Surrexit Christus vere de sepulchro, alleluia.<\/em><\/p>\n

      Christ is truly risen from the grave, alleluia.<\/em><\/p>\n

      ___________________________<\/p>\n

      He is risen<\/em>, Percy Whitlock<\/p>\n

      He is risen! He is risen! Tell it with joyful voice. He has burst his three days’ prison; Let the whole wide earth rejoice. Death is conquered; man is free. Christ has won the victory. 2. Come, ye sad and fearful-hearted, with glad smile and radiant brow; Lent\u2019s long shadows have departed, all his woes are over now; and the passion that He bore: sin and pain can vex no more. 3 Come with high and holy hymning; Chant our Lord’s triumphant lay. Not one darksome cloud is dimming yonder glorious morning ray, breaking o’er the purple east, brighter far our Easter feast.<\/p>\n

      Percy William Whitlock (1903-1946) was an English organist and composer best remembered for his post-romantic styled organ, choir, and orchestral works. Whitlock was born in Chatham, Kent. From 1920-1924, he held a Kent Scholarship and studied music at the Royal College of Music in London; among his teachers were Ralph Vaughan Williams, Charles Villiers Stanford, and Henry Ley. Whitlock was the assistant organist at Rochester Cathedral in Kent from 1921 to 1930. He was appointed the Director of Music and organist for St. Stephen\u2019s Anglican Church in Bournemouth, serving in that capacity from 1930 to 1935. From 1932 until his death, he was the civic organist for Bournemouth where he regularly performed concerts at the Pavilion Theatre, collaborated with the Bournemouth Municipal Orchestra, and performed for the BBC live broadcasts.<\/p>\n

      Throughout his adult life, Whitlock endured health problems that ultimately ended his life early. In his twenties, he was diagnosed with tuberculosis and suffered from hypertension. Toward the end of his life, he completely lost his eyesight.<\/p>\n

      Whitlock\u2019s compositional style is characterized by his use of lush harmonies, which were popular among composers of his generation. He was influenced by his teachers, Vaughan Williams and Stanford, and combined various elements of their output with other composers of the era: Edward Elgar, Roger Quilter, and Sergei Rachmaninov. Following Whitlock\u2019s death, music aesthetics were quickly changing; romanticism was supplanted by modern and experimental styles of composition. As a consequence, much of Whitlock\u2019s music was neglected, rarely performed, and largely forgotten. A recent renewal of interest in the works of composers of Whitlock\u2019s era has generated a revival of his works and his oeuvre is now appreciated.<\/p>\n

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

      Mount Calvary Church Eutaw Street and Madison Avenue Baltimore, Maryland A Parish of the Roman Catholic Personal Ordinariate of St. Peter Anglican Use Rev. Albert Scharbach, Pastor The Solemn Vigil of Easter March 31, 2018 8:30 PM _______________ Common Missa de S. Maria Magdalena, Willan Hymns At the Lamb’s high feast we sing (SALZBURG) Come […]<\/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":[],"class_list":["post-6866","post","type-post","status-publish","format-standard","hentry","category-hymns","category-mount-calvary-church","category-music","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\/6866","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=6866"}],"version-history":[{"count":11,"href":"https:\/\/www.podles.org\/dialogue\/wp-json\/wp\/v2\/posts\/6866\/revisions"}],"predecessor-version":[{"id":6893,"href":"https:\/\/www.podles.org\/dialogue\/wp-json\/wp\/v2\/posts\/6866\/revisions\/6893"}],"wp:attachment":[{"href":"https:\/\/www.podles.org\/dialogue\/wp-json\/wp\/v2\/media?parent=6866"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.podles.org\/dialogue\/wp-json\/wp\/v2\/categories?post=6866"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.podles.org\/dialogue\/wp-json\/wp\/v2\/tags?post=6866"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}