{"id":7607,"date":"2019-05-26T09:53:22","date_gmt":"2019-05-26T15:53:22","guid":{"rendered":"http:\/\/www.podles.org\/dialogue\/?p=7607"},"modified":"2019-05-28T08:32:23","modified_gmt":"2019-05-28T14:32:23","slug":"mount-calvary-ascension-thursday-may-30-2019","status":"publish","type":"post","link":"https:\/\/www.podles.org\/dialogue\/mount-calvary-ascension-thursday-may-30-2019-7607.htm","title":{"rendered":"Mount Calvary Ascension Thursday May 30, 2019"},"content":{"rendered":"

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

Rabbula Gospels, 6th c. Syriac<\/em><\/p>\n

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

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

Baltimore, Maryland<\/p>\n

A Roman Catholic Parish<\/p>\n

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

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

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

Dr. Allen Buskirk, Choirmaster<\/p>\n

Ascension Thursday<\/b><\/span><\/p>\n

May 30, 2019<\/p>\n

7 P. M. Sung Mass<\/p>\n

____________________________<\/p>\n

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

Missa super osculetur me,\u00a0<\/em>Orlando di Lasso (1532-1594)<\/p>\n

Tonight\u2019s service features music in the cori spezzati style pioneered in Venice in the late 16th century: two choirs in different locations pass music back and forth, with the resulting stereophonic effects creating all sorts of dramatic possibilities. Orlando di Lasso, one of the last of the line of Franco-Flemish composers that dominated music in the 16th century, traveled extensively to Italy and worked with the Gabrieli family in Venice who were proponents of the cori spezzati style at San Marco. di Lasso eventually settled in Munich and was one of the most prolific and outstanding composers of the late Renaissance, of the same caliber as Palestrina and Victoria, although his music is not as well known. His Missa super osculetur me<\/em> is what scholars call a \u201cparody mass\u201d \u2014 it is based on his earlier polyphonic motet \u201cOsculetur me\u201d on a text from the Song of Solomon. What is most striking about this mass is the inexhaustible creativity with which Lassus treats the parody technique. Not content simply to quote or extrapolate on motifs from his motet, the composer engages the listener in an elaborate guessing game, sometimes presenting fragments complete (though out of order), as we hear in the Gloria and at other times developing material into longer sections of variation, seen in the Kyrie. The Benedictus departs from the original altogether, offering entirely new material to the listener. Textual interest is sustained through the use of long phrases (with their contrapuntal possibilities) and the different characters offered by single and double choirs.<\/p>\n

________________________<\/p>\n

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

William Walton (1902-1983)<\/p>\n

O be joyful in the Lord, all ye lands: serve the Lord with gladness, and come before his presence with a song. Be ye sure that the Lord he is God; it is he that hath made us, and not we ourselves; we are his people, and the sheep of his pasture. O go your way into his gates with thanksgiving, and into his courts with praise; be thankful unto him, and speak good of his Name. For the Lord is gracious, his mercy is everlasting; and his truth endureth from generation to generation. Glory be to the Father and to the Son and to the Holy Ghost, as it was in the beginning, is now and ever shall be, world without end, Amen.<\/span><\/p>\n

William Walton\u2019s anthem \u201cJubilate Deo\u201d written in 1976 is scored for double choir and organ. It is taken from the composer\u2019s Chichester Service where it forms part of the music for morning prayer in the Anglican liturgy. Listen for the contrasts between the boisterous dotted opening section where the two choirs pass the melody back and forth and the quiet, legato middle section. Listen for how natural and supple Walton\u2019s setting of the English text is. The tenors and basses break the quiet spell with the resolute march \u201cinto his gates with thanksgiving\u201d followed by another quiet section that includes the a lovely rising arpeggio by a solo soprano singing \u201chis mercy is everlasting.\u201d The piece then concludes with a rousing doxology and amen with full organ<\/div>\n
__________<\/div>\n
<\/div>\n
Peter Philips (1560-1628)<\/div>\n
<\/div>\n
Ascendit Deus in jubilatione, et Dominus in voce tubae. Dedit dona hominibus. Alleluia. Dominus in caelo paravit sedem suam. Alleluia. <\/em><\/div>\n
God is gone up with a merry noise, and the Lord with the sound of the trumpet. He gave gifts to men. Alleluia. The Lord hath prepared his seat in heaven. Alleluia.<\/em><\/div>\n
<\/div>\n
The communion anthem, Ascendit Deus, was published by the English composer Peter Philips (1560-1628) in a collection entitled\u00a0Cantiones Sacrae\u00a0<\/i>in 1612. As a boy, Philips was a chorister at St Paul\u2019s cathedral in London, studying with the same Catholic choirmaster that had trained William Byrd. Like Byrd a devout Catholic, Philips left England for good in 1582, spending the rest of his life in Antwerp and Brussels. After the death of his wife and child, he was ordained a priest in 1601. A prolific composer, he wrote for the harpsichord, organ, and choir. His motet Ascendit Deus is full of vitality and energy as befits this text from Psalm 47, \u201cGod is gone up with a triumphant shout.\u201d Listen for the brass fanfares at \u201cin voce tubae\u201d and the rapid-fire alleluias characteristic of Sweelinck, an organist and composer in Amsterdam. The piece ends in a joyful triple meter on shouts of alleluia.<\/div>\n
_______________________<\/div>\n

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

Hail the day that sees Him rise<\/strong><\/em>\u00a0<\/strong><\/a>(LLANFAIR)\u00a0by Charles Wesley (1707-1788) was published in 1739 in\u00a0Hymns and Sacred Poems<\/em>\u00a0under the title \u201cHymn for Ascension-Day.\u201d<\/p>\n

The first and second stanzas employ apostrophe, a rhetorical device in which the poet addresses an absent or inanimate object. The first addresses the day of Jesus\u2019 ascension, the second the gates of heaven which accept Christ in glory. The third emphasizes the true humanity of Jesus and his continued investment in the lives of those on earth, in comparison to his heavenly inheritance described in the previous lines.\u00a0He is the continuous intercessor for mankind, imploring his assistance in the efforts of all to follow him in the ascent to the presence of God, leading finally to the beatific vision and eternal union with God.<\/p>\n

Bread of heaven! on Thee we feed<\/em><\/strong> <\/a>is by Josiah Condor (1789-1855),\u00a0the son of an engraver and bookseller, and was largely self-educated after leaving school at thirteen.\u00a0“I am the living bread which came down from heaven . . . Whoso eateth my flesh, and drinketh my blood, hath eternal life. … I am the true vine.”\u2014John vi. 51-4, xv.<\/p>\n

See the conqueror mounts in triumph <\/em><\/a><\/strong> (IN BABILONE)\u00a0was written\u00a0Christopher Wordsworth (1807-1885), the nephew of the poet William Wordsworth. Christopher Wordsworth was an athlete, classicist, poet, and Anglican bishop of Lincoln.<\/p>\n

The text views the ascending Lord being sung to by angels at heaven\u2019s gates, recalls Christ\u2019s suffering, death, resurrection, and ascension, and looks forward to our reign with Christ in glory. The text emphasizes not only the event of the Ascension but also its meaning for us: in Christ\u2019s ascension, \u201cwe by faith can see\u201d our own. Our shared destiny is to be raised with Jesus: \u201cSince we have the same spirit of faith according to what has been written, \u2018I believed, and so I spoke,\u2019 we also believe, and so we also speak, knowing that he who raised the Lord Jesus will raise us also with Jesus and bring us with you into his presence.\u201d(2 Cor 4:13-14)<\/p>\n

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Rabbula Gospels, 6th c. Syriac Mount Calvary Church Eutaw Street and Madison Avenue Baltimore, Maryland A Roman Catholic Parish The Personal\u00a0Ordinariate\u00a0of the Chair of St. Peter Anglican Use Rev. Albert Scharbach, Pastor Dr. Allen Buskirk, Choirmaster Ascension Thursday May 30, 2019 7 P. M. Sung Mass ____________________________ Common Missa super osculetur me,\u00a0Orlando di Lasso (1532-1594) […]<\/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-7607","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\/7607","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=7607"}],"version-history":[{"count":4,"href":"https:\/\/www.podles.org\/dialogue\/wp-json\/wp\/v2\/posts\/7607\/revisions"}],"predecessor-version":[{"id":7612,"href":"https:\/\/www.podles.org\/dialogue\/wp-json\/wp\/v2\/posts\/7607\/revisions\/7612"}],"wp:attachment":[{"href":"https:\/\/www.podles.org\/dialogue\/wp-json\/wp\/v2\/media?parent=7607"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.podles.org\/dialogue\/wp-json\/wp\/v2\/categories?post=7607"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.podles.org\/dialogue\/wp-json\/wp\/v2\/tags?post=7607"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}