{"id":6948,"date":"2018-04-08T16:08:10","date_gmt":"2018-04-08T22:08:10","guid":{"rendered":"http:\/\/www.podles.org\/dialogue\/?p=6948"},"modified":"2018-04-08T16:08:40","modified_gmt":"2018-04-08T22:08:40","slug":"mount-calvary-music-for-april-15-2018","status":"publish","type":"post","link":"https:\/\/www.podles.org\/dialogue\/mount-calvary-music-for-april-15-2018-6948.htm","title":{"rendered":"Mount Calvary Music for April 15, 2018"},"content":{"rendered":"


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

They recognized Him in the Breaking of the Bread<\/span><\/em><\/p>\n

Blessed Sacrament Chapel, St Matthew’s Cathedral, Washington, D.C.<\/span><\/em><\/p>\n

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

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

Baltimore, Maryland<\/p>\n

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

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

Anglican Use<\/p>\n

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

Easter III<\/b><\/span><\/p>\n

April 15, 2018<\/p>\n

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

Christ lag in Todesbanden<\/em>, Johann Kaspar Ferdinand Fischer<\/p>\n

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

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

Shepherd of souls, refresh and bless<\/em> (ST AGNES)<\/p>\n

Deck thyself, my soul, with gladness<\/em> (SCHM\u00dcCKE DICH)<\/u><\/p>\n

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

Surrexit pastor bonus<\/em>,\u00a0 Tom\u00e1s Luis de Victoria<\/p>\n

Alleluia! Cognoverunt discipuli<\/em>, William Byrd<\/p>\n

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

Allein Gott in der Hoh sei Ehr<\/em>, Johann Gottfried Walther<\/p>\n

\n

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

Christ lag in Todesbanden<\/em>, Johann Kaspar Ferdinand Fischer<\/p>\n

Johann Caspar Ferdinand Fischer<\/b>\u00a0\u00a0(c.<\/abbr>1656 \u2013 August 27, 1746) was a German Baroque composer.\u00a0Much of Fischer’s music shows the influence of the French Baroque style, exemplified by Jean Baptiste Lully, and he was responsible for bringing the French influence to German music.<\/p>\n

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

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

      Urban VIII, by Pietro da Cortona (1627)<\/em><\/span><\/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

      Shepherd of souls, refresh and bless<\/em> (ST AGNES)<\/p>\n

      Shepherd of souls, refresh and bless\u00a0<\/em><\/strong>was written by the Moravian James Montgomery (1771\u20141854). As at the supper at Emmaus, Jesus feeds us. As the Good Shepherd, He lays down his life for His sheep, giving them His body and blood as their sustenance so that they may live forever. We know Jesus especially in the breaking of the bread, the action that symbolizes His death by which He sacrifices Himself for us and gives Himself to us.<\/p>\n

      The hymn is a tissue of Biblical references: we are God\u2019s \u201dchosen,\u201d\u00a0 the elect, his flock. The Eucharist is \u201cmanna in the wilderness\u201d and \u201cwater from the rock,\u201d the one that Moses struck and was a type of Christ (I Cor 10:4). The second stanza continues he metaphor of pilgrimage; on earth we are but strangers and travelers (Heb 11:13); the Eucharistic body of the Lord, like the manna in the desert, gives us strength to reach our true home, the Promised Land, where we will abide forever. Like the disciples at Emmaus, we recognize the Lord in the \u201cbreaking bread,\u201d (Lk 24:35); we pray that he will not vanish, but spread his table in our hearts and sup with us (Rev 3:20).<\/p>\n

      Shepherd of souls, refresh and bless
      \nThy chosen pilgrim flock,
      \nWith manna in the wilderness,
      \nWith water from the rock.<\/p>\n

      We would not live by bread alone,
      \nBut by that word of grace,
      \nIn strength of which we travel on
      \nTo our abiding-place.<\/p>\n

      Be known to us in breaking bread,
      \nBut do not then depart,
      \nSaviour, abide with us, and spread
      \nThy table in our heart.<\/p>\n

      There sup with us in love divine;
      \nThy body and Thy blood,
      \nThat living bread, that heavenly wine,
      \nBe our immortal food.<\/p><\/blockquote>\n

      Here is\u00a0Trinity Church singing<\/a>\u00a0it.<\/p>\n

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

      James Montgomery<\/em><\/p>\n

      James Montgomery<\/strong>\u00a0(1771-1854) was born at Irvine in Ayrshire, on the western coast of Scotland. He was the son of John Montgomery, the only Moravian pastor in Scotland. The British Moravian church traces its roots back to the Moravian Missionary center in Hernnhut, Germany (Moravians were also known as Hernnhuters or the Bohemian Brethren).<\/p>\n

      John and his wife felt God\u2019s call to be missionaries to the island of Barbados, in the West Indies. Tearfully, they placed six-year old James in a Moravian settlement at Gracehill in Central Ireland. That was to be the last time James would see them. They died within a year of each other after reaching Barbados.<\/p>\n

      Left with nothing, James was sent to be trained for the ministry at the Moravian School at Fulneck, near Leeds, England. It was here that he first started writing verse, at the age of 10. At Fulneck, secular studies were banned, but James nevertheless found means of borrowing and reading a good deal of poetry, including Burns\u2019 \u201cLines To A Mountain Daisy.\u201d He made ambitious plans to write epics of his own.<\/p>\n

      He suffered periods of deep depression as a result of losing his parents at such an early age. The Moravians who were trying to care for the orphan found him to be a dreamer, who \u201cnever had a sense of the hour.\u201d Failing school at the age of 14, they \u201cput him out to business\u201d to a baker in Mirfield, just seven miles to the south. James left on his own and hired himself out to a storekeeper at Wath-upon-Dearne, another thirty miles to the south. Not finding much to his liking, James ran away again, wondering from place to place, trying to sell his freshly written verses. After further adventures, including an unsuccessful attempt to launch himself into a literary career in London, he moved to Sheffield in 1792 to become assistant to Joseph Gales, auctioneer, bookseller and printer of the Sheffield Register. In 1794, Gales left England to avoid political prosecution and Montgomery took the paper in hand, changing its name to the Sheffield Iris. Now owning the paper, he was able to publish his writings as he pleased.<\/p>\n

      These were times of political repression and he was twice imprisoned on charges of sedition. The first time was in 1795 for printing a poem celebrating the fall of the Bastille; the second in 1796 was for criticizing a magistrate for forcibly dispersing a political protest in Sheffield. His later account of this episode was published in 1840.\u00a0Turning the experience to some profit, in 1797 he published a pamphlet of poems written during his captivity, as\u00a0Prison Amusements<\/em>. For some time, the\u00a0Iris<\/em>\u00a0was the only newspaper in Sheffield; but beyond the ability to produce fairly creditable articles from week to week, Montgomery was devoid of the journalistic faculties which would have enabled him to take advantage of his position.\u00a0Other newspapers arose to fill the place which his might have occupied and in 1825 he sold it on to a local bookseller, John Blackwell.<\/p>\n

      In his youth, he had strayed from the church, but at his own request he was readmitted into the Moravian congregation at Fulneck when forty-three years of age. He expressed his feelings at the time in the following lines<\/p>\n

      People of the living God,
      \nI have sought the world around,
      \nPaths of sin and sorrow trod,
      \nPeace and comfort nowhere found.
      \nNow to you my spirit turns\u2013
      \nTurns a fugitive unblest;
      \nBrethren, where your altar burns,
      \nO receive me into rest.<\/p><\/blockquote>\n

      Thereafter he became an avid worker for missions and an active member of the Bible Society. He was interested in social issues and the missions. He attacked attacking the lottery (then, as now, a way of extracting money from the desperate poor) in\u00a0Thoughts on Wheels<\/em>\u00a0(1817) and taking up the cause of the chimney sweeps\u2019 apprentices in\u00a0The Climbing Boys\u2019 Soliloquies<\/em>. His next major poem was\u00a0Greenland<\/em>\u00a0(1819), a poem in five cantos of heroic couplets. This was prefaced by a description of the ancient Moravian church, its eighteenth-century revival and mission to Greenland in 1733.<\/p>\n

      In addition to\u00a0Shepherd of souls<\/em>\u00a0(1940 Hymnal<\/em>, #213), his hymns\u00a0Angels from the realms of glory<\/em>\u00a0(1940 Hymnal<\/em>, #28) and\u00a0Hail to the Lord\u2019s Anointed<\/em>\u00a0(1940\u00a0<\/em>Hymnal, #545) are still sung.<\/p>\n

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

      In 1861, a monument designed by John Bell (1811\u20131895) was erected over his grave in the Sheffield cemetery at a cost of \u00a31000, raised by public subscription on the initiative of the Sheffield Sunday School Union, of which he was among the founding members. On its granite pedestal is inscribed: \u201cHere lies interred, beloved by all who knew him, the Christian poet, patriot, and philanthropist. Wherever poetry is read, or Christian hymns sung, in the English language, \u2018he being dead, yet speaketh\u2019 by the genius, piety and taste embodied in his writings.\u201d There are also extracts from his poems \u201cPrayer\u201d and \u201cThe Grave\u201d. After it fell into disrepair the statue was moved to the precinct of Sheffield Cathedral in 1971, where there is also a memorial window.<\/p>\n

      Elsewhere in Sheffield there are various streets named after Montgomery and a Grade II-listed drinking fountain on Broad Lane. The meeting hall of the Sunday Schools Union (now known as The Montgomery), in Surrey Street, was named in his honour in 1886; it houses a 420-seat theater which also bears his name. Elsewhere, Wath-upon-Dearne, flattered by being called \u201cthe queen of villages\u201d in his work, has repaid the compliment by naming after him a community hall, a street and a square. His birthplace in Irvine was renamed \u2018Montgomery House\u2019 after he paid the town a return visit in 1841 but has since been demolished. Sic transit.<\/p>\n

      Deck thyself, my soul, with gladness<\/em> (SCHM\u00dcCKE DICH)<\/u><\/p>\n

      Deck thyself, my soul, with gladness<\/em><\/strong>. The original German text,\u00a0Schm\u00fccke dich, o liebe\u00a0<\/em>Seele, was written by the German politician and poet Johann Franck (1618\u20141677) in the aftermath of the Thirty Years\u2019 War. It expresses an intimate relationship between the individual believer and his Savior, Jesus Christ. Jesus, ascended into heaven, is still present as our food in this \u201cwondrous banquet.\u201d He is the fount, from whom our being flows as we receive Him and are filled with Him. He feeds us and transforms us into His likeness so that we become His joy and boast and glory before the heavenly court.<\/p>\n

      Deck thyself, my soul, with gladness,
      \nleave the gloomy haunts of sadness;
      \ncome into the daylight\u2019s splendour,
      \nthere with joy thy praises render
      \nunto him whose grace unbounded
      \nhath this wondrous banquet founded:
      \nhigh o\u2019er all the heavens he reigneth,
      \nyet to dwell with thee he deigneth.<\/p>\n

      Sun, who all my life dost brighten,
      \nlight, who dost my soul enlighten,
      \njoy, the sweetest heart e\u2019er knoweth,
      \nfount, whence all my being floweth,
      \nat thy feet I cry, my Maker,
      \nlet me be a fit partaker
      \nof this blessed food from heaven,
      \nfor our good, thy glory, given.<\/p>\n

      Jesus, Bread of Life, I pray thee,
      \nlet me gladly here obey thee;
      \nnever to my hurt invited,
      \nbe thy love with love requited:
      \nfrom this banquet let me measure,
      \nLord, how vast and deep its treasure;
      \nthrough the gifts thou here dost give me,
      \nas thy guest in heaven receive me.<\/p><\/blockquote>\n

      Here is the\u00a0Schola Cantorum<\/a>\u00a0of St. Peters-in-the-Loop singing the hymn. Here is the\u00a0Hastings Choi<\/a>r.<\/p>\n

      Here is the 1674 text.<\/p>\n

      1. Schm\u00fccke dich, o liebe Seele!
      \nLa\u00df die dunckle S\u00fcnden H\u00f6le!
      \nKomm ans helle Licht gegangen;
      \nFange herrlich an zu prangen.
      \nDenn der Herr voll Heyl und Gnaden,
      \nWil dich itzt zu Gaste laden,
      \nDer den Himmel kan verwalten,
      \nWil itzt Herberg\u2019 in dir halten.<\/p>\n

      2. Eile, wie Verlobten pflegen,
      \nDeinem Br\u00e4utigam entgegen,
      \nDer da mit dem Gnaden-Hammer
      \nKlopfft an deine Hertzens-Kammer.
      \nOeffn\u2019 ihm bald die Geistes-Pforten:
      \nRed ihn an mit sch\u00f6nen Worten:
      \nKomm, mein Liebster, la\u00df dich k\u00fcssen!
      \nLa\u00df mich deiner nicht mehr missen.<\/p>\n

      3. Zwar in Kauffung theurer Wahren
      \nPflegt man sonst kein Geld zu sparen:
      \nAber du wilt f\u00fcr die Gaben
      \nDeiner Huld kein Geld nicht haben:
      \nWeil in allen Bergwercks-Gr\u00fcnden
      \nKein solch Kleinod ist zu finden,
      \nDa\u00df die Blut-gef\u00fcllte Schaalen
      \nUnd dis Manna kan bezahlen.<\/p>\n

      4. Ach! wie hungert mein Gem\u00fcthe,
      \nMenschen-Freund, nach deiner G\u00fcte!
      \nAch! wie pfleg\u2019 ich offt, mit Thr\u00e4nen,
      \nMich nach de \u00a0iner Kost zu sehnen!
      \nAch! wie pfleget mich zu d\u00fcrsten,
      \nNach dem Tranck des Lebens-F\u00fcrsten!
      \nW\u00fcnsche stets da\u00df mein Gebeine
      \nSich durch Gott mit Gott vereine.<\/p>\n

      5. Beydes Lachen und auch Zittern
      \nL\u00e4sset sich in mir itzt wittern:
      \nDas Geheinmi\u00df dieser Speise,
      \nUnd die unerforschte Weise,
      \nMachet da\u00df ich fr\u00fch vermercke,
      \nHerr, die Gr\u00f6sse deiner St\u00e4rcke!
      \nIst auch wohl ein Mensch zu finden
      \nDer dein\u2019 Allmacht solt ergr\u00fcnden?<\/p>\n

      6. Nein! Vernunfft die mu\u00df hier weichen,
      \nKan die\u00df Wunder nicht erreichen:
      \nDa\u00df di\u00df Brodt nie wird verzehret,
      \nOb es gleich viel tausend nehret;
      \nUnd da\u00df mit dem Safft der Reben
      \nUns wird Christi\u00a0Blut gegeben.
      \nO der grossen Heimligkeiten
      \nDie nur Gottes Geist kan deuten!<\/p>\n

      7. Jesu, meine Lebens-Sonne!
      \nJesu, meine Freud\u2019 und Wonne!
      \nJesu, du mein gantz Beginnen,
      \nLebens-Quell und Licht der Sinnen!
      \nHier fall ich zu deinen F\u00fcssen!
      \nLa\u00df mich w\u00fcrdiglich gemessen
      \nDieser deiner Himmels-Speise,
      \nMir zum Heyl, und dir zum Preise!<\/p>\n

      8. Herr, es hat dein treues Lieben
      \nDich vom Himmel abgetrieben,
      \nDa\u00df du willig hast dein Leben
      \nIn den Tod f\u00fcr uns gegeben,
      \nUnd darzu gantz unverdrossen,
      \nHerr, dein Blut f\u00fcr uns vergossen,
      \nDas uns itzt kan kr\u00e4fftig tr\u00e4ncken,
      \nDeiner Liebe zu gedencken!<\/p>\n

      9. Jesu wahres Brodt des Lebens!
      \nHilff, da\u00df ich doch nicht vergebens,
      \nOder mir vielleicht zum Schaden
      \nSey zu deinem Tisch geladen!
      \nLa\u00df mich durch di\u00df Seelen-Essen
      \nDeine Liebe recht ermessen,
      \nDa\u00df ich auch, wie itzt auf Erden,
      \nMag dein Gast im Himmel.<\/p><\/blockquote>\n

      The erotic imagery in the German was eliminated by Catherine Winkworth when she translated the hymn for her\u00a0Lyra Germanica<\/em>.<\/p>\n

      The original 1674 German text was written by<\/p>\n

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

      Johann Franck\u00a0<\/em><\/p>\n

      Johann Franck (1618-1677. He was German poet, lawyer and public official. After his father\u2019s death in 1620, Franck\u2019s uncle by marriage, the town judge, Adam Tielckau, adopted him and sent him to schools in Guben, Cottbus, Stettin, and Thorn. On June 28, 1638, he enrolled at the University of K\u00f6nigsberg to study jurisprudence. This was the only German university left undisturbed by the Thirty Years\u2019 War. Here his religious spirit, his love of nature, and his friendship with such men as the his poetic mentor,\u00a0Simon Dach and Heinrich Held, preserved him from sharing in the excesses of his fellow students.<\/p>\n

      Johann Franck returned to Guben at Easter 1640, at his mother\u2019s urgent request; she wished to have him near her in those times of war when Guben frequently suffered from the presence of both Swedish and Saxon troops. After his return from Prague, in May 1645, Franck embarked on a distinguished civic career as attorney, city councillor (1648) and Burgermeister (Mayor) (1661), and in 1671 (or 1670) was appointed as county elder of Guben in the margravate (Landtag \u2013 Diet)) of Lower Lusatia.<\/p>\n

      Johann Franck wrote both secular and religious poetry and published his first work,\u00a0Hundert\u00f6nige Vaterunsersharfe<\/em>, at Guben in 1646. Almost his entire output is brought together in the two-volume\u00a0Teutsche Gedichte<\/em>. The first part,\u00a0Geistliches Sion<\/em>\u00a0(Guben, 1672), contains 110 religious songs, provided with some 80 melodies.\u00a0Bach composed 14 settings of seven of his texts,\u00a0the most famous being the motet\u00a0Jesu, meine Freude BWV 227.<\/em><\/p>\n

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

      Johann Cr\u00fcger<\/em><\/p>\n

      The chorale melody associated with this text was composed by the German Lutheran theologian and musician,\u00a0Johann Cr\u00fcger<\/strong>\u00a0(1598-1662).\u00a0 After passing through the schools at Guben, Sorau and Breslau, the Jesuit College at Olm\u00fctz, and the Poets\u2019 school at Regensburg, he made a tour in Austria, and, in 1615, settled at Berlin. There, save for a short residence at the University of Wittenberg, in 1620, he employed himself as a private tutor till 1622. In 1622 he was appointed Cantor of St. Nicholas\u2019s Church at Berlin, and also one of the masters of the Greyfriars Gymnasium. He died at Berlin Feb. 23, 1662. Cr\u00fcger wrote no hymns, although in some American hymnals he appears as \u201cJohann Kr\u00fcger, 1610,\u201d as the author of the supposed original of C. Wesley\u2019s \u201cHearts of stone relent, relent\u201d. He was one of the most distinguished musicians of his time. Of his hymn tunes, some 20 are still in use, the best known probably being that to \u201cNun danket alle Gott\u201d, which is set to No. 379 in\u00a0Hymns Ancient & Modern.<\/em><\/p>\n

      \n

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

      Surrexit pastor bonus<\/em>,\u00a0 Tom\u00e1s Luis de Victoria<\/p>\n

      Surrexit pastor bonus qui animam suam posuit pro ovibus suis, et pro grege suo mori dignatus est, alleluia.<\/em><\/p>\n

      The good shepherd has arisen, who laid down his life for his sheep, and for his flock deigned to die, alleluia.<\/em><\/p>\n

      At La Grande Chapelle<\/a>.<\/p>\n

      ____________________________________<\/p>\n

      Alleluia! Cognoverunt discipuli<\/em>, William Byrd<\/p>\n

      \n
      \n
      \n
      \n
      \n
      \n
      \n
      \n

      Alleluia. Cognoverunt discipuli Dominum Jesum in fractione panis. Alleluia. Caro mea vere est cibus, et sanguis meus vere est potus: qui manducat carnem, et bibit meum sanguinem, in me manet, et ego in eo. Alleluia. Translation: Alleluia.<\/em><\/p>\n

      The disciples knew the Lord Jesus in the breaking of bread. Alleluia. My flesh is meat indeed: and my blood is drink indeed. He that eateth my flesh and drinketh my blood abideth in me: and I in him. Alleluia.<\/em><\/p>\n

      Here is the Ensemble Plus Ultra<\/a>.<\/p>\n

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

      Along with the Cantiones Sacrae of the late sixteenth century, William Byrd\u2019s two sets of Gradualia are a towering achievement of renaissance polyphony and epitomise the English style. Dedicated to Byrd\u2019s patron Sir John Petre and the Catholic recusant community of which Byrd was a prominent member, the motets of the Gradualia are concise settings of the Proprium Missae for the major feasts of the church calendar.<\/p>\n

      This late work of 1607 was written for the feast of Corpus Christi, and the text follows the story of the last supper, focusing on the disciples\u2019 acceptance of Christ as the Son of God: Alleluia, the disciples knew the Lord Jesus in the breaking of bread. The music is concise and textual intelligibility is paramount, while the rather sprightly dance-like style reflects the optimistic and joyful nature of the text.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

      \u00a0Postlude<\/strong><\/span><\/div>\n<\/div>\n<\/div>\n<\/div>\n

      Allein Gott in der Hoh sei Ehr<\/em>, Johann Gottfried Walther<\/p>\n

      Ronald IJmker (yes, that is how it is spelled)\u00a0plays in the Hervormde Kerk in Coevorden<\/a>.<\/p>\n

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

      Johann Gottfried Walther<\/em><\/span><\/p>\n

      Johann Gottfried Walther (18 September 1684 \u2013 23 March 1748) was a German music theorist, organist, composer, and lexicographer of the Baroque era.<\/p>\n

      Walther was born at Erfurt. Not only was his life almost exactly contemporaneous to that of Johann Sebastian Bach, he was the famous composer’s cousin.<\/p>\n

      Walther was most well known as the compiler of the Musicalisches Lexicon (Leipzig, 1732), an enormous dictionary of music and musicians. Not only was it the first dictionary of musical terms written in the German language, it was the first to contain both terms and biographical information about composers and performers up to the early 18th century. In all, the Musicalisches Lexicon defines more than 3,000 musical terms; Walther evidently drew on more than 250 separate sources in compiling it, including theoretical treatises of the early Baroque and Renaissance. The single most important source for the work was the writings of Johann Mattheson, who is referenced more than 200 times.<\/p>\n

      Some further information on Walther can be found in the book Musica Poetica<\/em> by Dietrich Bartel.\u00a0 Bartel quotes Walther’s definition of musica poetica, or musical rhetoric, as:<\/p>\n

      “Musica Poetica or musical composition is a mathematical science through which an agreeable and correct harmony of the notes is brought to paper in order that it might later be sung or played, thereby appropriately moving the listeners to Godly devotion as well as to please and delight both mind and soul\u2026. It is so called because the composer must not only understand language as does the poet in order not to violate the meter of the text but because he also writes poetry, namely a melody, thus deserving the title Melopoeta or Melopoeus.”<\/p>\n

      Walther was the music teacher of Prince Johann Ernst von Sachsen-Weimar. He wrote a handbook for the young prince with the title Praecepta der musicalischen Composition, 1708. It remained handwritten until Peter Benary’s edition (Leipzig, 1955). As an organ composer, Walther became famous for his organ transcriptions of orchestral concertos by contemporary Italian and German masters. He made 14 transcriptions of concertos by Albinoni, Gentili, Taglietti, Giuseppe Torelli, Vivaldi and Telemann. These works were the models for Bach to write his famous transcriptions of concertos by Vivaldi and others. On the other hand, Walther as a city organist of Weimar wrote exactly 132 organ preludes based on Lutheran chorale melodies. Some free keyboard music also belongs to his legacy.<\/p>\n

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

      They recognized Him in the Breaking of the Bread Blessed Sacrament Chapel, St Matthew’s Cathedral, Washington, D.C. Mount Calvary Church Eutaw Street and Madison Acenue Baltimore, Maryland A Roman Catholic Parish of The Personal\u00a0Ordinariate\u00a0of the Chair of St. Peter Anglican Use Rev. Albert Scharbach, Pastor Easter III April 15, 2018 Prelude Christ lag in Todesbanden, […]<\/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-6948","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\/6948","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=6948"}],"version-history":[{"count":10,"href":"https:\/\/www.podles.org\/dialogue\/wp-json\/wp\/v2\/posts\/6948\/revisions"}],"predecessor-version":[{"id":6961,"href":"https:\/\/www.podles.org\/dialogue\/wp-json\/wp\/v2\/posts\/6948\/revisions\/6961"}],"wp:attachment":[{"href":"https:\/\/www.podles.org\/dialogue\/wp-json\/wp\/v2\/media?parent=6948"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.podles.org\/dialogue\/wp-json\/wp\/v2\/categories?post=6948"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.podles.org\/dialogue\/wp-json\/wp\/v2\/tags?post=6948"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}