{"id":6912,"date":"2018-04-03T08:14:37","date_gmt":"2018-04-03T14:14:37","guid":{"rendered":"http:\/\/www.podles.org\/dialogue\/?p=6912"},"modified":"2018-04-03T08:21:57","modified_gmt":"2018-04-03T14:21:57","slug":"mount-calvary-music-april-8-2018","status":"publish","type":"post","link":"https:\/\/www.podles.org\/dialogue\/mount-calvary-music-april-8-2018-6912.htm","title":{"rendered":"Mount Calvary Music: April 8, 2018"},"content":{"rendered":"

<\/p>\n

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

Baltimore<\/strong><\/p>\n

A Roman Catholic Parish<\/p>\n

Personal\u00a0Ordinariate\u00a0of the Chair of St. Peter<\/p>\n

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

Thomas Sunday<\/strong><\/span><\/p>\n

Dominica in albis<\/em><\/p>\n

Divine Mercy Sunday<\/p>\n

April 8, 2018<\/p>\n

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

O sons and daughters, let us sing (<\/em>O FILII ET FILIAE)<\/p>\n

That Easter day with joy was bright\u00a0<\/i>(PUER NOBIS)<\/p>\n

How oft, O Lord, Thy face hath shone\u00a0<\/i>(DUKE STREET)<\/p>\n

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

Quia vidisti me<\/em>, Luca Marenzio (1556-1599)<\/p>\n

Quia vidisti me<\/em>, Palestrina (1525-1594)<\/p>\n

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

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

_____________________________<\/p>\n

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

O sons and daughters<\/em><\/strong>\u00a0is a translation by John Mason Neale (1818-1866) of the hymn\u00a0O filii et filiae<\/em>, attributed to\u00a0the Franciscan Jean Tisserand (died 1494). The hymn\u00a0appeared in an untitled book, published in France between 1518 and 1536, with the heading \u2018L\u2019aleluya du jour des Pasques\u2019. It was used to salute the Blessed Sacrament on the evening of Easter Day.\u00a0 It recounts the appearance of the Risen Christ to both the women on Easter and to the disciples in the upper room. We are addressed in the stanza\u00a0How blest are they who have not seen \/ And yet whose faith has constant been, \/ For they eternal life shall win<\/em>. Although we have not seen the Risen Lord with our bodily eyes, we see Him with the eyes of faith, especially in the Eucharist, and are loyal to Him.<\/p>\n

O sons and daughters, let us sing!
\nThe King of heaven, the glorious King,
\nO\u2019er death today rose triumphing.
\nThat Easter morn, at break of day,
\nThe faithful women went their way
\nTo seek the tomb where Jesus lay.<\/p>\n

An angel clad in white they see,
\nWho sat, and spake unto the three,
\n\u201cYour Lord doth go to Galilee.\u201d<\/p>\n

That night the apostles met in fear;
\nAmidst them came their Lord most dear,
\nAnd said, \u201cMy peace be on all here.\u201d<\/p>\n

When Thomas first the tidings heard,
\nHow they had seen the risen Lord,
\nHe doubted the disciples\u2019 word.<\/p>\n

\u201cMy pierced hands, O Thomas, see;
\nMy hands, my feet, I show to thee;
\nNot faithless, but believing be.\u201d<\/p>\n

No longer Thomas then denied,
\nHe saw the feet, the hands, the side;
\n\u201cThou art my Lord and God,\u201d he cried.<\/p>\n

How blest are they who have not seen,
\nAnd yet whose faith has constant been,
\nFor they eternal life shall win.<\/p>\n

On this most holy day of days,
\nTo God your hearts and voices raise,
\nIn laud, and jubilee, and praise. Alleluia!<\/p><\/blockquote>\n

Here is the choir of\u00a0King\u2019s College, Cambridge<\/a>.<\/p>\n

The Latin original with stanzas added to it as various times:<\/p>\n

1. O filii et filiae,
\nRex caelestis, Rex gloriae,
\nmorte surrexit hodie, alleluia.<\/p>\n

2. Et mane prima sabbati,
\nad ostium monumenti
\naccesserunt discipuli, alleluia.<\/p>\n

3. Et Maria Magdalene,
\net Jacobi, et Salome,
\nvenerunt corpus ungere, alleluia.<\/p>\n

4. In albis sedens Angelus,
\npraedixit mulieribus:
\nin Galilaea est Dominus, alleluia.<\/p>\n

5. Et Joannes Apostolus
\ncucurrit Petro citius,
\nmonumento venit prius, alleluia.<\/p>\n

6. Discipulis adstantibus,
\nin medio stetit Christus,
\ndicens: Pax vobis omnibus, alleluia.<\/p>\n

7. Ut intellexit Didymus,
\nquia surrexerat Jesus,
\nremansit fere dubius, alleluia.<\/p>\n

8. Vide, Thoma, vide latus,
\nvide pedes, vide manus,
\nnoli esse incredulus, alleluia.<\/p>\n

9. Quando Thomas Christi latus,
\npedes vidit atque manus,
\nDixit: Tu es Deus meus, alleluia.<\/p>\n

10. Beati qui non viderunt,
\nEt firmiter crediderunt,
\nvitam aeternam habebunt, alleluia.<\/p>\n

11. In hoc festo sanctissimo
\nsit laus et jubilatio,
\nbenedicamus Domino, alleluia.<\/p>\n

12.Ex quibus nos humillimas
\ndevotas atque debitas
\nDeo dicamus gratias.<\/p><\/blockquote>\n

Here the Latin is sung by the\u00a0Daughters of Mary<\/a>.<\/p>\n

The tune is hauntingly beautiful, but it is not considered a true Gregorian chant. However, the Benedictine monks of Solesme included it in the Liber Usualis<\/em>.<\/p>\n

____________________<\/p>\n

That Easter day with joy was bright<\/em><\/strong>\u00a0is a translation also by John Mason Neale of the Latin hymn\u00a0Aurora lucis rutilat<\/em>, probably by St. Ambrose (330-397). Augustine said that Ambrose set popular hymns to the meter of Roman marching songs to propagate orthodox Catholic theology, because the Arians were using hymns to propagate error. Although hymns are poems, their theological content is important, a point overlooked in some modern hymns.<\/p>\n

That Easter day with joy was bright,
\nThe sun shone out with fairer ray,
\nWhen, to their longing eyes restored,
\nThe apostles saw their risen Lord.<\/p>\n

His risen flesh with radiance glowed;
\nHis wounded hands and feet he showed:
\nThose scars their solemn witness gave
\nThat Christ was risen from the grave.<\/p>\n

O Jesus, King of gentleness,
\nDo thou thyself our hearts possess;
\nThat we may give thee all our days
\nThe willing tribute of our praise.<\/p>\n

O Lord of all, with us abide,
\nIn this our joyful Eastertide,
\nFrom every weapon death can wield
\nThine own redeemed forever shield.<\/p>\n

All praise, O risen Lord, we give
\nTo thee, who, dead, again dost live;
\nTo God the Father equal praise,
\nAnd God the Holy Ghost, we raise.<\/p><\/blockquote>\n

Here is the Mormon Tabernacle Choir; this performance emphasizes the folk, dance-like origin of the tune. Here is the version from the 1982 Hymnal at\u00a0St. Bartholomew\u2019s<\/a>.\u00a0Here is a version for\u00a0brass and organ<\/a>. It seems to be favored by\u00a0hand bell ringers<\/a>. And here is a jazz version<\/a>.<\/p>\n

The Latin hymn is attributed to St. Ambrose, but hymns modeled after his were classified as Ambrosiani. Here is the Gregorian melody<\/a> using a slightly different text. Note the lovely \u00a0melismas at the end of the second line of each stanza.<\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n
AURORA\u00a0lucis rutilat,
\ncaelum laudibus intonat,
\nmundus exultans iubilat,
\ngemens infernus ululat,<\/td>\n		LIGHT\u2019S\u00a0glittering morn bedecks the sky,
\nheaven thunders forth its victor cry,
\nthe glad earth shouts its triumph high,
\nand groaning hell makes wild reply:<\/td>\n<\/tr>\n
Cum rex ille fortissimus,
\nmortis confractis viribus,
\npede conculcans tartara
\nsolvit catena miseros !<\/td>\n		While he, the King of glorious might,
\ntreads down death\u2019s strength in death\u2019s despite,
\nand trampling hell by victor\u2019s right,
\nbrings forth his sleeping Saints to light.<\/td>\n<\/tr>\n
Ille, qui clausus lapide
\ncustoditur sub milite,
\ntriumphans pompa nobile
\nvictor surgit de funere.<\/td>\n		Fast barred beneath the stone of late
\nin watch and ward where soldiers wait,
\nnow shining in triumphant state,
\nHe rises Victor from death\u2019s gate.<\/td>\n<\/tr>\n
Solutis iam gemitibus
\net inferni doloribus,
\n<<Quia surrexit Dominus!>>
\nresplendens clamat angelus.<\/td>\n		Hell\u2019s pains are loosed, and tears are fled;
\ncaptivity is captive led;
\nthe Angel, crowned with light, hath said,
\n\u2018The Lord is risen from the dead.\u2019<\/td>\n<\/tr>\n
TRISTES\u00a0erant apostoli
\nde nece sui Domini,
\nquem poena mortis crudeli
\nservi damnarant impii.<\/td>\n		THE APOSTLES\u2018 hearts were full of pain
\nfor their dear Lord so lately slain:
\nthat Lord his servants\u2019 wicked train
\nwith bitter scorn had dared arraign.<\/td>\n<\/tr>\n
Sermone blando angelus
\npraedixit mulieribus,
\n<<In Galilaea Dominus
\nvidendus est quantocius>><\/td>\n		With gentle voice the Angel gave
\nthe women tidings at the grave;
\n\u2018Forthwith your Master shall ye see:
\nHe goes before to Galilee.\u2019<\/td>\n<\/tr>\n
Illae dum pergunt concite
\napostolis hoc dicere,
\nvidentes eum vivere
\nosculant pedes Domini.<\/td>\n		And while with fear and joy they pressed
\nto tell these tidings to the rest,
\ntheir Lord, their living Lord, they meet,
\nand see his form, and kiss his feet.<\/td>\n<\/tr>\n
Quo agnito discipuli
\nin Galilaeam propere
\npergunt videre faciem
\ndesideratam Domini.<\/td>\n		The Eleven, when they hear, with speed
\nto Galilee forthwith proceed:
\nthat there they may behold once more
\nthe Lord\u2019s dear face, as oft before.<\/td>\n<\/tr>\n
CLARO PASCHALI\u00a0gaudio
\nsol mundo nitet radio,
\ncum Christum iam apostoli
\nvisu cernunt corporeo.<\/td>\n		IN THIS\u00a0our bright and Paschal day
\nthe sun shines out with purer ray,
\nwhen Christ, to earthly sight made plain,
\nthe glad Apostles see again.<\/td>\n<\/tr>\n
Ostensa sibi vulnera
\nin Christi carne fulgida,
\nresurrexisse Dominum
\nvoce fatentur publica.<\/td>\n		The wounds, the riven wounds he shows
\nin that his flesh with light that glows,
\nin loud accord both far and nigh
\nihe Lord\u2019s arising testify.<\/td>\n<\/tr>\n
Rex Christe clementissime,
\ntu corda nostra posside,
\nut tibi laudes debitas
\nreddamus omni tempore!<\/td>\n		O Christ, the King who lovest to bless,
\ndo thou our hearts and souls possess;
\nto thee our praise that we may pay,
\nto whom our laud is due for aye.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

The tune PUER NOBIS is a melody from a fifteenth-century manuscript from Trier. However, the tune probably dates from an earlier time and may even have folk roots. PUER NOBIS was altered in Spangenberg’s Christliches Gesangbuchlein<\/em> (1568), in Petri’s famous Piae Cantiones<\/em> (1582), and again in Praetorius’s\u00a0 Musae Sioniae<\/em> (Part VI, 1609).<\/p>\n

How oft, O Lord, Thy face hath shone<\/strong><\/em> was written by William Bright\u00a0 (1824-1901) for the feast of St. Thomas on December 21. It is of course appropriate for Thomas Sunday, the Sunday after Easter, when the gospel of Christ’s appearance to Thomas is always read. Bright\u2019s compassion for St Thomas is shown throughout this hymn, which re-tells the familiar story to bring out its full implications. The quotation in stanza 2, for example, is an example of the saint\u2019s courage (from John 11: 16).<\/p>\n

Here are the current words:<\/p>\n

1. How oft, O Lord, thy face hath shone
\non doubting souls whose wills were true!
\nThou Christ of Peter and of John,
\nthou art the Christ of Thomas too.<\/p>\n

2. He loved thee well, and calmly said,
\n“Come, let us go, and die with him”;
\nyet when thine Easter-news was spread,
\nmid all its light his eyes were dim.<\/p>\n

3. His brethren’s word he would not take,
\nbut craved to touch those hands of thine:
\nwhen thou didst thine appearance make,
\nhe saw, and hailed his Lord Divine.<\/p>\n

4. He saw thee risen; at once he rose
\nto full belief’s unclouded height;
\nand still through his confession flows
\nto Christian souls thy life and light.<\/p>\n

5. O Savior, make thy presence known
\nto all who doubt thy Word and thee;
\nand teach us in that Word alone
\nto find the truth that sets us free.<\/p><\/blockquote>\n

Here is the tune DUKE STREET<\/a> that we will be using.<\/p>\n

They are altered slightly form Bright’s words:<\/p>\n

How oft, O Lord, Thy Face hath shone
\nOn doubting souls whose wills were true;
\nThou Christ of Cephas and of John,
\nThou art the Christ of Thomas too.<\/p>\n

He loved Thee well, and calmly said,
\n\u2018Come, let us go, and die with Him\u2019;
\nYet when Thine Easter news was spread,
\n\u2019Mid all its light his eyes were dim.<\/p>\n

His brethren\u2019s words he would not take,
\nBut craved to touch those hands of Thine:
\nThe bruis\u00e8d reed he did not break,
\nHe saw, and hailed his Lord Divine.<\/p>\n

He saw Thee ris\u2019n; at once he rose,
\nTo full belief\u2019s unclouded height;
\nAnd still through his confession flows
\nTo Christian souls Thy Life and Light.<\/p>\n

O Saviour, make Thy presence known
\nTo all who doubt Thy word and Thee;
\nAnd teach them in that word alone
\nTo find the truth that sets them free.<\/p>\n

And we who know how true Thou art,
\nAnd Thee as God and Lord adore,
\nGive us, we pray, a loyal heart
\nTo trust and love Thee more and more.<\/p><\/blockquote>\n

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

William Bright<\/strong> (1824-\u00a01901) was educated at Rugby School and University College, Oxford (BA, 1846, MA, 1849). He was elected to a Fellowship of the College in 1847, and took Holy Orders (deacon 1848, priest 1850). He became a theological tutor at Trinity College, Glenalmond, Scotland, in 1851, and was appointed Bell Lecturer in Ecclesiastical History by the Scottish bishops. In 1858 he had a serious disagreement with the Bishop of Glasgow over the historical interpretation of an episode in the Reformation concerning church settlement. He was removed from office and so returned to Oxford, where he taught church history. He was appointed Professor of Ecclesiastical History and Canon of Christ Church in 1868. Among his historical publications were\u00a0A History of the Church, A.D. 313-451<\/em>\u00a0(Oxford, 1860),\u00a0Chapters of Early English Church History<\/em>\u00a0(Oxford, 1878), and\u00a0The Roman See in the Early Church<\/em>\u00a0(1896). He published sermons (The Incarnation as a Motive Power<\/em>, 1889) and poems (Athanasius and other Poems<\/em>, 1858,\u00a0Iona and other Verses<\/em>, 1886). His\u00a0Hymns and Other Poems<\/em>\u00a0appeared in 1866, with an enlarged Second Edition in 1874.<\/p>\n

DUKE STREET seems to have been written by John Hatton (?-1793). Little is known of his life. He may have been born at Warrington: he was known at St Helens, where he later lived, as \u2018John of Warrington\u2019. His address in St Helens was\u00a0Duke St<\/span>reet.<\/p>\n

He is believed to have been the composer of the tune\u00a0DUKE ST<\/span>REET. Its first recorded appearance is in\u00a0A Select Collection of Psalm & Hymn Tunes<\/em>\u00a0(Glasgow and Edinburgh, 1793), compiled by \u2018the late Henry Boyd\u2019.<\/p>\n

Millar Patrick wrote of DUKE STREET: \u2018What vigour you have in it! \u2014 what magnificent movement, what superb curves, every line soaring, subsiding, like the flight of a bird!\u2019<\/p>\n

______________________________<\/p>\n

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

Quia vidisti me<\/em>, Luca Marenzio (1556-1599)<\/p>\n

Quia vidisti me, Thoma, credidisti: beati qui non viderunt, et crediderunt. Alleluia. <\/em><\/p>\n

Because thou hast seen me, Thomas, thou hast believed: blessed are they that have not seen, and yet have believed. Alleluia.<\/em><\/p>\n

Here is the Progetto Musica<\/a>.<\/p>\n

This motet, written for the Feast of St. Thomas (but also appropriate for the Octave of Easter), is found in the composer’s collection Motectorum pro festis totius anni<\/em> (first edition printed at Rome by A. Gardano in 1585, second edition printed at Venice by A. Vincenti in 1588).<\/p>\n

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

Italian composer and singer Luca Marenzio (ca. 1553-1599) was considered by many Renaissance musicians to be the chief archetype of the expressive 16th-century Italian madrigal style. The text of this motet is from John 20: 29 – the Antiphon for the Feast of St Thomas, the great doubter. Marenzio\u2019s madrigalian style of text painting is well served here. Note the homophonic emphasis given to the text \u201cbeati qui non viderunt\u201d (blessed are they that have\u00a0not<\/em>\u00a0seen).\u00a0 The motet concludes with an imitative and joyful\u00a0 \u201cAlleluia.\u201d<\/p>\n

_______________________________<\/p>\n

Regina coeli<\/em>, Palestrina (1525-1594)<\/p>\n

Regina caeli laetare, Alleluia. Quia quem meruisti portare, Alleluia. Resurrexit sicut dixit, Alleluia. Ora pro nobis Deum. Alleluia. <\/em><\/p>\n

Queen of Heaven, rejoice, alleluia. For He whom you were worthy to bear, alleluia, has risen, as He said, alleluia. Pray for us to God, alleluia.<\/em><\/p>\n

Here are the King’s Singers<\/a>.<\/p>\n

_____________________________<\/p>\n

A Note on Nomenclature<\/span><\/p>\n

This Sunday has several names, including Low Sunday<\/strong>. From the Catholic Encyclopedia<\/em>:<\/p>\n

\n

The origin of the name is uncertain, but it is apparently intended to indicate the contrast between it and the great Easter festival immediately preceding, and also, perhaps, to signify that, being the Octave Day of Easter, it was considered part of that feast, though in a lower degree.<\/p>\n

Its liturgical name is Dominica in albis depositis<\/em><\/strong>, derived from the fact that on it the neophytes, who had been baptized on Easter Eve, then for the first time laid aside their white baptismal robes. St. Augustine mentions this custom in a sermon for the day, and it is also alluded to in the Eastertide Vesper hymn, “Ad regias Agni dapes” (or, in its older form, “Ad c\u0153nam Agni providi”), written by an ancient imitator of St. Ambrose. Low Sunday is also called by some liturgical writers Pascha clausum<\/strong>, signifying the close of the Easter Octave, and Quasimodo Sunday<\/strong>, from the Introit at Mass \u2014 “Quasi modo geniti infantes, rationabile, sine dolo lac concupiscite”, \u2014 which words are used by the Church with special reference to the newly baptized neophytes, as well as in general allusion to man’s renovation through the Resurrection. The latter name is still common in parts of France and Germany.<\/p><\/blockquote>\n

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

The name of this Feast is the origin of the name of the hunchback, Quasimodo, in Victor Hugo’s The Hunchback of Notre Dame<\/em>. Poor Quasimodo was a foundling who was discovered at the cathedral on Low Sunday and so was named for the Feast. He is introduced in Hugo’s book like this:<\/p>\n

Sixteen years previous to the epoch when this story takes place, one fine morning, on Quasimodo Sunday, a living creature had been deposited, after Mass, in the church of Notre- Dame, on the wooden bed securely fixed in the vestibule on the left, opposite that great image of Saint Christopher, which the figure of Messire Antoine des Essarts, chevalier, carved in stone, had been gazing at on his knees since 1413, when they took it into their heads to overthrow the saint and the faithful follower. Upon this bed of wood it was customary to expose foundlings for public charity. Whoever cared to take them did so. In front of the wooden bed was a copper basin for alms.<\/p>\n

The sort of living being which lay upon that plank on the morning of Quasimodo, in the year of the Lord, 1467, appeared to excite to a high degree, the curiosity of the numerous group which had congregated about the wooden bed. The group was formed for the most part of the fair sex. Hardly any one was there except old women.<\/p>\n

In the first row, and among those who were most bent over the bed, four were noticeable, who, from their gray cagoule, a sort of cassock, were recognizable as attached to some devout sisterhood. I do not see why history has not transmitted to posterity the names of these four discreet and venerable damsels. They were Agnes la Herme, Jehanne de la Tarme, Henriette la Gaulti\u00e8re, Gauch\u00e8re la Violette, all four widows, all four dames of the Chapel Etienne Haudry, who had quitted their house with the permission of their mistress, and in conformity with the statutes of Pierre d’Ailly, in order to come and hear the sermon.<\/p>\n

However, if these good Haudriettes were, for the moment, complying with the statutes of Pierre d’Ailly, they certainly violated with joy those of Michel de Brache, and the Cardinal of Pisa, which so inhumanly enjoined silence upon them.<\/p>\n

“What is this, sister?” said Agnes to Gauch\u00e8re, gazing at the little creature exposed, which was screaming and writhing on the wooden bed, terrified by so many glances.<\/p>\n

“What is to become of us,” said Jehanne, “if that is the way children are made now?”<\/p>\n

“I’m not learned in the matter of children,” resumed Agnes, “but it must be a sin to look at this one.”<\/p><\/blockquote>\n

In England, at one time anyway, on the Monday after Low Sunday, between the hours of 9 and noon, there was the strange custom by which men “captured” women (often by lifting them up in chairs) for a ransom which was given to the Church. On Tuesday the women reciprocate by capturing the men. These two days became known as “Hocktide.” This custom has never been explained.<\/p>\n

More recently, this Sunday has been called Divine Mercy Sunday<\/strong>.<\/p>\n

During the course of Jesus’ revelations to Saint Faustina on the Divine Mercy He asked on numerous occasions that a feast day be dedicated to the Divine Mercy and that this feast be celebrated on the Sunday after Easter. The liturgical texts of that day, the 2nd Sunday of Easter, concern the institution of the Sacrament of Penance, the Tribunal of the Divine Mercy, and are thus already suited to the request of Our Lord. This Feast, which had already been granted to the nation of Poland and been celebrated within Vatican City, was granted to the Universal Church by Pope John Paul II on the occasion of the canonization of Sr. Faustina on 30 April 2000. In a decree dated 23 May 2000, the Congregation for Divine Worship and the Discipline of the Sacraments stated that “throughout the world the Second Sunday of Easter will receive the name Divine Mercy Sunday, a perennial invitation to the Christian world to face, with confidence in divine benevolence, the difficulties and trials that mankind will experience in the years to come.”<\/p>\n

Thomas Sunday<\/strong> is the name of this Sunday in the Eastern Churches. The Sunday after Easter is the Sunday of St. Thomas, also known as Second Sunday or Antipascha (“opposite” Pascha, i.e., at the other end of Bright Week). Historically, this day in the early Church was the day that the newly-baptized Christians removed their robes and entered once again into the life of this world.<\/p>\n

This day is also known as Antipascha.<\/strong> This does not mean “opposed to Pascha,” but “in place of Pascha.” Beginning with this first Sunday after Pascha, the Church dedicates every Sunday of the year to the Lord’s Resurrection. Sunday is called “Resurrection” in Russian, and “the Lord’s Day” in Greek. The Orthodox Church dedicates every Sunday of the year to the Lord’s Resurrection starting on this Sunday, the eighth day of the paschal celebration, the last day of Bright Week.<\/p>\n

Happy Quasimodo Sunday!<\/span><\/strong><\/p>\n

\n

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Mount Calvary Church Baltimore A Roman Catholic Parish Personal\u00a0Ordinariate\u00a0of the Chair of St. Peter Rev. Albert Scharbach, Pastor Thomas Sunday Dominica in albis Divine Mercy Sunday April 8, 2018 Hymns O sons and daughters, let us sing (O FILII ET FILIAE) That Easter day with joy was bright\u00a0(PUER NOBIS) How oft, O Lord, Thy face […]<\/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-6912","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\/6912","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=6912"}],"version-history":[{"count":17,"href":"https:\/\/www.podles.org\/dialogue\/wp-json\/wp\/v2\/posts\/6912\/revisions"}],"predecessor-version":[{"id":6940,"href":"https:\/\/www.podles.org\/dialogue\/wp-json\/wp\/v2\/posts\/6912\/revisions\/6940"}],"wp:attachment":[{"href":"https:\/\/www.podles.org\/dialogue\/wp-json\/wp\/v2\/media?parent=6912"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.podles.org\/dialogue\/wp-json\/wp\/v2\/categories?post=6912"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.podles.org\/dialogue\/wp-json\/wp\/v2\/tags?post=6912"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}