Dives and Lazarus

Mount Calvary Church

A Roman Catholic Parish

The Personal Ordinariate of S. Peter

Eutaw Street and Madison Avenue

Baltimore, Maryland

Trinity XV

Rev. Albert Scharbach, Pastor

Dr. Allen Buskirk, Choirmaster

Midori Ataka, Organist

Sunday, September 29, 2019

8:00 A.M. Said Mass

10:00 A.M. Sung Mass

Brunch to follow in the undercroft

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Prelude

Fantasia, by Johann Krieger

Postlude

Duo, by Jean-Adam Guilain

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Common

Missa S. Maria Magdalena, Healey Willan

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Anthems

Dives and Lazarus, Traditional English Carol

Draw us in the Spirit’s tether  was written by Anglican Percy Dearmer (1867—1936). Objections have been raised to its seemingly low Eucharistic theology, but it has been used at papal ceremonies, and the melody is lovely. Jesus has promised that he will be present when we gather in His name, and indeed the purpose of our receiving Him in the Eucharist is to become one body with Him, and our love and service is sign to the world of His presence. The hymn begins in the Upper Room with the disciples and comes full circle as we join them and the Christians of every age around the table and are nourished to serve others in the world.

The Unjust Steward

Mount Calvary Church

A Roman Catholic Parish

The Personal Ordinariate of S. Peter

Eutaw Street and Madison Avenue

Baltimore, Maryland

September 22, 2019

Trinity XIV

Rev. Albert Scharbach, Pastor

Dr. Allen Buskirk, Choirmaster

Midori Ataka, Organist

Sunday, September 22, 2019

8:00 A.M. Said Mass

10:00 A.M. Sung Mass

Brunch to follow in the undercroft

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Prelude

Benedicamus te by Francois Couperin

Postlude

Fugue by Johann Pachelbel

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Common

Missa S. Maria Magdalena, Healey

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Anthems

#570 O Jesus, I have promised (LLANFYLLIN) was written in 1866 by John Ernest Bode (1816-74) for the Confirmation of Bode’s three children, a daughter and two sons. The text is based on a verse in John 12 following Jesus’ triumphal entry into Jerusalem and his travel to Bethsaida of Galilee just before his impending passion when he shares with his disciples: “The hour is come etc.” The tune is a traditional Welsh melody.

#557 Onward, Christian soldiers (ST. GERTRUDE) was written by Sabine Baring-Gould (1834-1924). The image of the Christian soldier, from 2 Timothy 2: 3, is used to great effect in this hymn. In spite of 2 Timothy 2: 3, this hymn is disapproved of by those who reject militaristic imagery in worship. It became the occasion of a nation-wide controversy in the USA in 1986, fanned by television and radio networks, when the committee compiling the Methodist hymnal proposed to omit it, concerned that the language of the hymn was perceived to be contrary to the social principles of the United Methodist Church. The warfare is of course spiritual warfare, a theme which is prominent in traditionally pacifist churches. The tune ST. GERTRUDE is by Arthur Sullivan (1842-1900) of Gilbert and Sullivan fame. Sullivan, in addition to the operettas, write oratorios and numerous hymns.

The Exaltation of the Holy Cross

Patronal Feast

Mount Calvary Church

A Roman Catholic Parish

The Personal Ordinariate of S. Peter

Eutaw Street and Madison Avenue

Baltimore, Maryland

Rev. Albert Scharbach, Pastor

Dr. Allen Buskirk, Choirmaster

Sunday, September 15, 2019

8:00 A.M. Said Mass

10:00 A.M. Sung Mass with Procession

Brunch to follow in the undercroft

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Common

Mass for Four Voices, William Byrd

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Anthems

I Was Glad,  Charles Hubert Hastings Parry (1848-1918)

I was glad when they said unto me, we will go into the house of the Lord.
Our feet shall stand in thy gates, O Jerusalem.
Jerusalem is builded as a city that is at unity in itself.
O pray for the peace of Jerusalem; they shall prosper that love thee.
Peace be within thy walls and plenteousness within thy palaces.

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O Crux, Peter Philips (1560-1628)

O Crux, splendidior cunctis astris,
mundo celebris,
hominibus multum amabilis,
sanctior universis; que sola
fuisti digna portare talentum mundi:
dulce lignum, dulces clavos,
dulcia ferens pondera
salva presentem catervam,
in tuis hodie laudibus congregatam.
Alleluia, Alleluia.

O Cross, more splendid than all the stars,
honored throughout the world,
most worthy of the love of mankind,
more holy than all the universe, who alone
were worthy to bear the ransom of the world:
sweet wood, sweet nails,
that bore the sweet burden,
save your flock
assembled here to sing your praises.
Alleluia, Alleluia.

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Hymns

Lift high the cross was written by George William Kitchen (1827—1912), Dean of the Cathedral for a festival service of the Society for the Propagation of the Gospel, held in Winchester Cathedral in 1887.  His version was altered by Anglican priest Michael Robert Newbolt (1874–1956), who later became Canon of Chester Cathedral. The hymn incorporates an important feature of processionals: the crucifer (cross-bearer) leads the procession, lifting the cross high. This ritual use of the cross is a sign of the victory of the resurrection and finds a biblical basis in John 12:32, “And I, when I be lifted up from the earth, will draw all men to myself”— which is written on the arch above our chancel. The hymn also alludes to the story of the Emperor Constantine’s vision as told in Eusebius’s Life of Constantine, in which he saw a cross inscribed with the words, “In hoc signo vinces” (“in this sign [of the cross] you will conquer”). Constantine recognized Christianity and provided a basis for the further spread of Christianity.

The tune CRUCIFER was written by Sir Sydney Hugo Nicholson (1875-1947), teh founder of teh School of English Church Music.

#337 When I survey the wondrous cross (ROCKINGHAM) is by Isaac Watts (1674—1748). When preparing for a communion service in 1707, when he himself was thirty-three years old, Watts wrote this personal expression of gratitude for the love that Christ revealed by His death on the cross. Watts echoes Paul: “But far be it from me to glory except in the cross of our Lord Jesus Christ, by which the world has been crucified to me, and I to the world” (Gal 6: 14). The third stanza repeats almost verbatim phrases from St. Bernard of Clairvaux’s hymn “Salve mundi salutare”:  such sentiments would be felt by any sincere Christian who meditated upon the crucifixion.

Edward Miller (1735-1807) adapted ROCKINGHAM from an earlier tune, TUNEBRIDGE, which had been published in Aaron Williams’s A Second Supplement to Psalmody in Miniature (c. 1780).  The tune title refers to a friend and patron of Edward Miller, the Marquis of Rockingham, who served twice as Great Britain’s prime minister. 

The royal banners forward go (AGINCOURT) is by Venantius Fortunatus (ca. 540-early 7th century) who wrote it to celebrate the reception of the fragment of the true cross at Poitiers. It was translated by John Mason Neale (1818-1866).

The Agincourt Carol  is an English folk song written some time in the early 15th century. It recounts the 1415 Battle of Agincourt, in which the English army led by Henry V of England defeated that of the French Charles VI. The carol is one of thirteen on the Trinity Carol Roll, probably originating in East Anglia, that has been held in the Wren Library of Trinity College, Cambridge.

The harvest is plentiful, but the workers are few

Mount Calvary Church

A Roman Catholic Parish

The Personal Ordinariate of the Chair of S. Peter

Eutaw St. and Madison Ave.

Baltimore, Maryland

Rev. Albert Scharbach, Pastor

Dr. Allen Buskirk, Choirmaster

Trinity III

July 7, 2019

Summer Schedule

One Mass at 9:00 A.M.

Breakfast following in the undercroft

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Common

Merbecke

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Anthems

George Fredrick Handel (1685-1759)

Hymns

Come, ye thankful people, come (WINDSOR), written by Henry Alford (1810—1871) echoes the gospel of today, with Christ’s call for workers for the harvest. The first stanza focuses directly on the physical harvest, an image used throughout scripture from in Genesis through Revelation. The second stanza begins Alford’s expansion of the parable. Alford applies it to how joy and sorrow grow together in life, and how God does not eliminate sorrow until after the final harvest when God “will wipe every tear from their eyes.” The third and fourth stanzas move directly to the apocalypse with “For the Lord our God shall come.”

WINDSOR, by George Job Elvey (1816—1893). is named after the chapel in Windsor, England, where Elvey was organist for forty-seven years. This serviceable Victorian tune is held together by the rhythmic motive of the opening phrase.

Father, we thank Thee (RENDEZ A DIEU) is a translation by the Rev. Francis Bland Tucker (1896—1984; UVA 1914) of a portion of the Didache (c. 110 AD) that describes the manner of celebrating the Eucharist: “concerning the broken bread. We thank thee, our Father, for the life and knowledge which thou hast made known unto us through Jesus thy Son; to thee be the glory forever. As this broken bread was once scattered on the mountains, and after it had been brought together became one, so may thy Church be gathered together from the ends of the earth unto thy kingdom.”

RENDEZ A DIEU is attributed to the Reformed composer, Loys Bourgeois (c 1510—1561). This beloved tune is one of the finest and most widely sung of the Genevan psalm tunes because of its clear melodic structure and vibrant rhythm.

All Creatures of our God and King (LASST UNS ERFREUEN) is based upon the Canticle of Brother Sun by St. Francis of Assisi (1182—1226). It was written in stages during the final year of his life, while he was nearly blind. Francis wrote: “For His praise, I wish to compose a new hymn about the Lord’s creatures, of which we make daily use, without which we cannot live.”  We and all creation exist to honor and praise God. We praise God even for bodily death, because it is through the gates of death that we return home to Him and enter the New Creation. It was paraphrased by the Rev. William Henry Draper (1855—1933).

LASST UNS ERFREUEN is an arrangement by Ralph Vaughan Williams of a German tune from the Cologne Geistliche Kirchengesänge (Köln, 1623)

Christ in the Wilderness: Foxes Have Holes, Stanley Spencer 1891-1959

Mount Calvary Church

A Roman Catholic Parish

The Personal Ordinariate of the Chair of S. Peter

Eutaw St. and Madison Ave.

Baltimore, Maryland

Rev. Albert Scharbach, Pastor

Dr. Allen Buskirk, Choirmaster

Trinity II

June 30, 2019

Summer Schedule

One Mass at 9:00 A.M.

Breakfast following in the undercroft

Common

Merbecke

Instrumental Music

Offertory:  Bartolomeo Campagnoli Caprice No.2 for Solo Viola.  

Communion:  Prelude from J. S. Bach’s 4th Cello Suite

Hymns

He who would valiant be (ST. DUNSTANS) is a reworking by Percy Dearmer (1867—1936) of a poem “He who would true valour see” by John Bunyan in the Pilgrim’s Progress.

Humbly I adore Thee is a translation and adaptation of part of the Adoro te devote, which was composed by Thomas Aquinas (1225—1274) as a private prayer of devotion. Aquinas addresses Jesus in the sacrament as Truth, “Verity unseen.” For Aquinas, truth was the conforming of the mind to reality. The reality of the Eucharist is that Jesus is present beneath the outward signs of bread and wine.  We believe this because Jesus has said it: “This is my Body.” The sacrament is a memorial in the fullest sense of the word: through the Mass the One Sacrifice of Calvary becomes truly present to us. We now see Jesus veiled, but our deepest desire is to see Him face to face. In that vision of God-become-Man for love of us, we are fully conformed to that truth and blessed because we attain the purpose for which we were created.

A mighty fortress is our God is from the German translation of Psalm 46 by Martin Luther. Leading Catholic liturgical scholar and musician Edward Foley calls Martin Luther “a model pastoral musician… a proponent and composer of music from the people and for the people, as evidenced in his chorales.” Speaking specifically of Ein feste Burg—the German title for “A mighty fortress”, Fr. Foley notes that this chorale “appears to be a paradigm of liturgical ‘people music.’” Luther’s “craft is affirmed by its ageless singability” — high praise from a Catholic scholar, indicating not only the quality of Luther’s work, but also its ecumenical popularity.

Holy Trinity, St. Andrei Rublev

Mount Calvary Church

Eutaw Street and Madison Avenue

Baltimore, Maryland

A Roman Catholic Parish

The Ordinariate of the Chair of St. Peter

Rev. Albert Scharbach, Pastor

Dr. Allen Buskirk, Choirmaster

Trinity Sunday

June 16, 2019

8:00 Said Mass

10:00 Sung Mass

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Anthems

Tomás Luis de Victoria (1540-1611)

O lux beata Trinitas, Et principalis unitas, Iam sol recedat igneus, Infunde lumen cordibus. 2 Te mane laudum carmine, Te deprecemur vespere: Te nostra supplex Gloria Per cuncta laudet sæcula. 3 Deo Patri sit gloria, Ejusque soli Filio, Cum Spiritu Paraclito, Et nunc et in perpetuum. 

O Trinity of blessed light, And princely unity, The fiery sun already sets, Shed thy light within our hearts. 2 To thee in the morning with songs of praise, And in the evening we pray, Thy glory suppliant we adore, Throughout all ages for ever. 3 Glory be to God the Father, To his only Son, With the Holy Spirit Now and for ever. Amen.

St. Thomas The Apostle Motet Choir in Hyde Park, Chicago, IL Luciano Laurentiu, conductor & music director

Sung as prelude on the vigil of The Solemnity of The Most Holy Trinity

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Giovanni Pierluigi da Palestrina (1525 – 1594)

Benedicta sit sancta Trinitas atque indivisa Unitas confitebimur ei quia fecit nobiscum misericordiam suam.

Blessed be the holy Trinity, and undivided Unity: we will give glory to Him, because He hath shown His mercy to us.

At St. Michael and All Angels Church

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Hymns

Come, thou almighty King (MOSCOW) by the prolific composer Anonymous dates from before 1757, when it was published in a leaflet and bound into the 1757 edition of George Whitefield’s Collection of Hymns for Social Worship. The text appears to be patterned after the British national anthem, God Save the King.

At first, this hymn was sung to the same tune as “God Save the King.” On the American side of the Atlantic, we use the same tune for “My Country ‘Tis of Thee.”

Supposedly during the American Revolution, while British troops were occupying New York City and appeared to be winning the war, a group of English soldiers went to church one Sunday morning in Long Island. The setting was tense. The occupiers demanded the congregation sing, “God Save The King” in honor of King George III. The organist was forced to begin playing the tune – but instead of singing “God Save the King,” the congregation broke out in “Come, Thou Almighty King. ”

Samuel Metzger has a good arrangement. Here is a lively version, which you probably will never see at Mount Calvary, although it would get the attention of the children. Here are somewhat more subdued Presbyterians. Here is a Baptist megachurch version. Here are  the Corban University Chamber Orchestra, Concert Band and Concert Choirin a somewhat Hollywood take on the hymn. Let us give thanks for Mount Calvary.

The tune is MOSCOW by Felice Giardini (1716-1796), who ended his musical career in Moscow, hence the name.

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Come, risen Lord, and deign to be our guest (SURSUM CORDA) by George Wallace Briggs (1875-1959), celebrates the presence of Christ in the Lord’s Supper.  It is unusual in its opening, which begins conventionally enough, inviting Christ to be present, and then skilfully rejects that first line (with ‘Nay’) in favour of a deeper and more significant meaning. Stanzas 1 and 4 allude to the part of the Emmaus story (Luke 24:28-35) in which the two disciples invite Jesus to be their guest, but then Jesus becomes their host. Stanza 2 focuses on our partaking of the sacrament and stanzas 3 and 4 on the oneness we share with all believers in this world and in heaven.

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Holy, holy, holy, Lord God almighty (NICAEA) by Reginald Heber (1783-1826), is a paraphrase of Revelation 4:8-11 and John’s vision of the unceasing worship in heaven. Heber  avoids excessive subjectivity or cheap emotionalism, to win support for the use of hymns in worship within the Anglican Church. Beginning with the thrice repeated ‘Holy’, it proceeds to find images for the Holy Trinity that attempt to capture its elusive magnificence. Particularly notable is ‘though the darkness hide Thee’, which expresses the awareness of God in mystical terms through the via negativa.

The hymn was a particular favourite of Tennyson’s.

Mount Calvary Church

Eutaw Street and Madison Avenue

Baltimore, Maryland

A Roman Catholic Parish

The Personal Ordinariate of the Chair of St. Peter

Anglican Use

Rev. Albert Scharbach, Pastor

Dr. Allen Buskirk, Choirmaster

June 9, 2019

Pentecost

8:00 A.M. Said Mass

10:00 A.M. Sung Mass

Parish Picnic following 10:00 AM Mass

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Common

Healey Willan (1880-1968)

Missa de S. Maria Magdalena

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Anthems

Johann Sebastian Bach (1685-1750)

Mein gläubiges herz

Mein gläubiges Herze,
Frohlocke, sing, scherze,
Dein Jesus ist da!

Weg Jammer, weg Klagen,
Ich will euch nur sagen:
Mein Jesus ist nah.

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Mack Wilberg (1955-)

O light of life

O Light of Life!
O pure Light Divine!
Thou art in us;
Our ember is Thine.
Kindle our faith,
Give hope when we fear,
Deepen our love–
Thy fire appear!
Light of our souls,
Thou spark at our birth–
Grow bright in us,
Shine in all the earth!

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Hymns

Hail thee, festival day (SALVA FESTA DIES). The refrain comes from the 20^th couplet of Venantius Fortunatus’ (c. 540—c. 600) long Latin poem (110 lines!) celebrating the conversion of the Saxons by Felix, Bishop of Nantes (c. 582): Salve feste dies toto venerabilis aevo. Venantius, who traveled around the Germanic kingdoms of Europe as a wandering minstrel, devoted his life to the cause of Christian literary elegance.  As poet to the Merovingian court, he became a friend of the mystic Queen Radegund, and he later became Bishop of Poitiers. The poem was translated by George Gabriel Scott Gillett (1873-1948).

Come down , O Love divine (DOWN AMPNEY) was written by Bianco of Siena (c. 1345-c. 1412). The incipit (first line) invokes the Holy Spirit to “seek thou this soul of mine and visit it with thine own ardor glowing.” Classic images of Pentecost appear throughout the hymn, especially those that relate to fire. Stanza one mentions “ardor glowing” and “kindle . . . thy holy flame.” Stanza two continues the flame images with “freely burn,” “dust and ashes in its heat consuming.” The final stanza is a powerful statement of total commitment to love, to “create a place/wherein the Holy Spirit makes a dwelling.”

Come, Holy Ghost  is by Rabanus Maurus (c. 780 – 856), a Frankish Benedictine monk and theologian who became archbishop of Mainz in Germany. He was the author of the encyclopaedia De rerum naturis (“On the Natures of Things”) and of treatises on education and grammar and of commentaries on the Bible. He was one of the most prominent teachers and writers of the Carolingian age, and was called “Praeceptor Germaniae,” or “the teacher of Germany.”

Mount Calvary Church

Eutaw Street and Madison Avenue

Baltimore, Maryland

A Roman Catholic Parish

The Personal Ordinariate of the Chair of St. Peter

Anglican Use

Rev. Albert Scharbach, Pastor

Dr. Allen Buskirk, Choirmaster

Easter VII

8:00 A.M. Said Mass

10:00 A.M. Sung Mass

Reception of First Communion by the Children of the parish

Breakfast following 10 A.M. Mass

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Common

Healey Willan (1880-1968)

Missa de S. Maria Magdalena

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Henry Purcell (1659-1695)

O God, the King of glory, who hast exalted thine only Son, Jesus Christ, with great triumph into heaven, we beseech thee leave us not comfortless, but send to us thine Holy Ghost to comfort us, and exalt us to the same place where our Savior Jesus Christ is gone before us, Amen.

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William Byrd (1540-1623)

Non vos relinquam orphanos. Alleluia. Vado, et venio ad vos. Alleluia. Et gaudebit, cor vestrum. Alleluia.

I will not leave you comfortless. Alleluia. I go, and I will come to you. Alleluia. And your heart shall rejoice. Alleluia.

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Hymns

Deck thyself, my soul, with gladness (SCHMÜCKE DICH). The original German text, Schmücke dich, o liebe Seele, was written by the German politician and poet Johann Franck (1618—1677) in the aftermath of the Thirty Years’ 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 “wondrous banquet.” 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.

Bread of heaven! on Thee we feed is by Josiah Condor (1789-1855), the son of an engraver and bookseller, and was largely self-educated after leaving school at thirteen. “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.”—John vi. 51-4, xv.

At the Lamb’s high feast we sing (SALZBURG) is a translation by Robert Campbell (1814-1868) of the seventh century Latin hymn, Ad regias agni dapes, 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.  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.

Rabbula Gospels, 6th c. Syriac

Mount Calvary Church

Eutaw Street and Madison Avenue

Baltimore, Maryland

A Roman Catholic Parish

The Personal Ordinariate of 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

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Common

Missa super osculetur me, Orlando di Lasso (1532-1594)

Tonight’s 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 is what scholars call a “parody mass” — it is based on his earlier polyphonic motet “Osculetur me” 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.

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Anthems

William Walton (1902-1983)

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.

Hymns

Hail the day that sees Him rise (LLANFAIR) by Charles Wesley (1707-1788) was published in 1739 in Hymns and Sacred Poems under the title “Hymn for Ascension-Day.”

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’ 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. He 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.

Bread of heaven! on Thee we feed is by Josiah Condor (1789-1855), the son of an engraver and bookseller, and was largely self-educated after leaving school at thirteen. “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.”—John vi. 51-4, xv.

See the conqueror mounts in triumph (IN BABILONE) was written Christopher Wordsworth (1807-1885), the nephew of the poet William Wordsworth. Christopher Wordsworth was an athlete, classicist, poet, and Anglican bishop of Lincoln.

The text views the ascending Lord being sung to by angels at heaven’s gates, recalls Christ’s 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’s ascension, “we by faith can see” our own. Our shared destiny is to be raised with Jesus: “Since we have the same spirit of faith according to what has been written, ‘I believed, and so I spoke,’ 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.”(2 Cor 4:13-14)

Mount Calvary Church

Eutaw Street and Madison Avenue

Baltimore, Maryland

A Roman Catholic Parish

The Personal Ordinariate of the Chair of St. Peter

Anglican Use

Rev. Albert Scharbach, Pastor

Dr. Allen Buskirk, Choirmaster

Easter IV

8:00 A.M. Said Mass

10:00 A.M. Sung Mass

Breakfast following 10 A.M. Mass

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Common

Healey Willan (1880-1968)

Missa de S. Maria Magdalena

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Anthems

Herbert Howells (1892-1983)

The Lord is my shepherd; therefore can I lack nothing. He shall feed me in a green pasture and lead me forth beside the waters of comfort. He shall convert my soul and bring me forth in the paths of righteousness, for his name’s sake. Yea, though I walk in the valley of the shadow of death, I will fear no evil, thy rod and thy staff comfort me. Thou shalt prepare a table before me against them that trouble me; thou hast anointed my head with oil, and my cup shall be full. But thy lovingkindness and mercy shall follow me all the days of my life, and I will dwell in the house of the Lord for ever.

Here are the Dale Warland Singers.

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William Byrd (1540-1623)

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.

Alleluia. 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.

Here is the Ensemble Plus Ultra.

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Hymns

#345 The King of love my shepherd is (ST COLUMBA) was written by Sir Henry Williams Baker (1821–1877). It is notable for its skillful meter, and its well-managed rhyme scheme of single and double rhymes, which control and shape the emotion very beautifully. Baker gave an Anglican slant to Psalm 23, interpreting it as a psalm of love and care, but stressing these qualities as evidenced in the Eucharist. The spread table of verse 5 becomes the altar on which the elements are displayed, and the delight comes as the believer takes the ‘pure chalice’; the unction, or anointing (from 1 John 2: 27), while bestowing grace in a spiritual sense, also has suggestions of a rite. This verse spreads its meaning through the whole hymn, allowing the words of Psalm 23 to acquire an extra significance: so that the last verse suggests that the length of days of a person’s life can be spent, figuratively, ‘within thy house for ever’, in the service and under the influence of the church, and then later in heaven. The singer can reflect back, and conclude that the first verses suggest the ransomed soul, sought out in love and rescued from sin (Baker’s version of ‘he restoreth my soul’). The beautiful use of the shepherd metaphor in verse 3, as the shepherd carries the lamb gently on his shoulder, is an illustration of the tenderness of Baker’s work: these lines were the last words spoken by Baker on his deathbed.

Be joyful Mary, heavenly Queen (REGINA COELI IUBILA) is a translation of Regina coeli, iubila, an anonymous 17^th century hymn. The tune was written by Johann Leisentritt (1527-1586), and published in his Catholicum Hymnologium Germanicum in 1584.

 I know that my redeemer lives (DUKE ST) is by the English Baptist Samuel Medley (1738-1799). The hymn uses a simple repetition of “He lives” to celebrate the resurrected Jesus who rules our lives and gives us eternal life. Christ is risen! Truly He is risen!

Herri met de Bles, Final Apparition of Christ to His Disciples Flemish, c. 1530-1550.

Mount Calvary Church

Eutaw Street and Madison Avenue

Baltimore, Maryland

A Roman Catholic Parish

The Personal Ordinariate of the Chair of St. Peter

Anglican Use

Rev. Albert Scharbach, Pastor

Dr. Allen Buskirk, Choirmaster

Easter III

8:00 A.M. Said Mass

10:00 A.M. Sung Mass

Breakfast following 10 A.M. Mass

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Common

Healey Willan (1880-1968)

Missa de S. Maria Magdalena

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Anthems

Healey Willan (1880-1968)

Alleluia. Worthy art thou, O Lord our God, to receive glory and honor and power; for thou hast created all things, and for thy pleasure they are, and were created. Salvation to our God, that sitteth upon the throne, and to the Lamb for ever. Alleluia, Amen.

The offertory motet, “Worthy art Thou, O Lord” is the setting of the antiphon for the Magnificat for Easter II in the Sarum rite, a text taken from Revelation 5 and read today in the second lesson. The music conveys the sense of grandeur and majesty of the text, which it declaims clearly in a homophonic, choral texture. Listen for the chromatic alterations that provide color and contrast: for example the radiant C major chord on “power” that shines out from amid the predominantly E-flat major harmony, or the quick trip to E-flat minor adding mystery to “Thou hast created all things.” Healey Willan (1880-1968) was born in England and attended a choir school where he studied harmony, counterpoint, and organ. From an Anglo-Catholic background, Willan was organist and choirmaster at St Mary Magdalene in Toronto, Canada from 1921 until his death. This parish, with its choir singing unaccompanied motets at a very high level, became a source of liturgical and musical inspiration for other Anglican choirs in North America.

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Tomás Luis de Victoria (1548-1611)

Surrexit pastor bonus qui animam suam posuit pro ovibus suis, et pro grege suo mori dignatus est, alleluia.

The good shepherd has arisen, who laid down his life for his sheep, and for his flock deigned to die, alleluia.

Here is Queen’s College, Oxford.

In the communion motet, Surrexit Pastor Bonus, Victoria plays the six voices off each other in creative ways, often in duets or trios. At the outset, the highest three voices sing a phrase and are answered by an echo of similar material in the lower three voices (the antiphonal style). Victoria is a master of subtle drama and text painting: listen for the rising intervals of an octave or a fifth as each voice enters on “surrexit.” Listen also for the contrast between the prevailing sunshine and the cloud that passes overhead on “mori dignatus est,” that is, “worthy to die.” Victoria highlights the word “mori” with longer note values, repetition, and chromatic alterations (E-flat major, D major, and G major triads in the key of F major). The piece closes as the sun returns and we hear a final, rousing chorus of alleluias.

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Hymns

Deck thyself, my soul, with gladness (SCHMÜCKE DICH). The original German text, Schmücke dich, o liebe Seele, was written by the German politician and poet Johann Franck (1618—1677) in the aftermath of the Thirty Years’ 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 “wondrous banquet.” 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.

Christ the lord is risen today (VICTIMAE PASCHALI) is a translation by Jane Elizabeth Leeson (1807-1881) of the Easter sequence, Victimae paschali laudes, attributed to St. Wipo of Burgundy (c. 1000). The Council of Trent eliminated scores of sequences in the Roman liturgy. This was one of the four that survived. Leeson first joined the charismatic Catholic Apostolic Church (Irvingites) and later became a Roman Catholic.

At the Lamb’s high feast we sing (SALZBURG) is a translation by Robert Campbell (1814-1868) of the seventh century Latin hymn, Ad regias agni dapes, 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.  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.

Mount Calvary Church

Eutaw Street and Madison Avenue

Baltimore, Maryland

A Roman Catholic Parish

The Personal Ordinariate of the Chair of St. Peter

Anglican Use

Rev. Albert Scharbach, Pastor

Dr. Allen Buskirk, Choirmaster

Thomas Sunday

April 28, 2019

8:00 A.M. Said Mass

10:00 A.M. Sung Mass

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Common

Healey Willan (1880-1968)

Missa de S. Maria Magdalena

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Anthems

Luca Marenzio (1556-1599)

Quia vidisti me, Thoma, credidisti: beati qui non viderunt, et crediderunt. Alleluia.

Because thou hast seen me, Thomas, thou hast believed: blessed are they that have not seen, and yet have believed. Alleluia.

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’s madrigalian style of text painting is well served here. Note the homophonic emphasis given to the text “beati qui non viderunt” (blessed are they that have not seen).  The motet concludes with an imitative and joyful  “Alleluia.”

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Giovanni Pierluigi da Palestrina (1525-1594)

Haec dies quam fecit Dominus: exultemus et laetemur in ea, alleluia.

This is the day which the Lord hath made: let us be glad and rejoice therein. Alleluia.

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Hymns

 O sons and daughters (FILII ET FILIAE) is a translation by John Mason Neale (1818-1866) of the hymn O filii et filiae by the Franciscan Jean Tisserand (died 1494). 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 How blest are they who have not seen / And yet whose faith has constant been, / For they eternal life shall win. 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.

Thou hallowed chosen morn of praise (EISENACH) is a poem by John of Damascus, translated by John Mason Neale.

That Easter day with joy was bright (PUER NOBIS) is a translation also by John Mason Neale of the Latin hymn Aurora lucis rutilat, 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.

Mount Calvary Church

Eutaw Street and Madison Avenue

Baltimore, Maryland

A Roman Catholic Parish

The Personal Ordinariate of the Chair of St. Peter

Anglican Use

Rev. Albert Scharbach, Pastor

EASTER SUNDAY

April 21, 2019

9:00 A.M Sung Mass with Festal Procession

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Organ Prelude

XVIII Elevation. Tierce en Taille, Mass for the Convents, F. Couperin

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Organ Postlude

Fanfare, Jacques-Nicholas Lemmens.

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Common

Messe pour le Samedy de Pasques, Marc-Antoine Charpentier

Marc-Antoine Charpentier (1643-1704) was born in Paris and traveled to Italy to study with Giacomo Carissimi. Upon his return to France, he became the maître de musique to the Duchess of Guise and eventually Sainte-Chapelle, one of the most important church musician positions in the country. Unlike Lully and other composers that focused on opera and the court, Charpentier wrote a great deal of very good church music; sadly, most of is unknown and unrecorded, although you can certainly find excellent recordings of his popular Messe de minuit pour Noel, Te Deum, and Litanies de la Vierge. The Messe pour le Samedi de Pâques was composed in about 1690 and is one of the few that is short and doesn’t require additional instruments. Even so, with its ornaments, uneven eighth notes (a kind of swing) and upbeat rhythms characteristic of the French Baroque, it’s just a lot of fun.

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Anthems

Healey Willan (1880-1968)

Rise up, my love, my fair one, and come away; for lo, the winter is past, the rain is over and gone; the flowers appear upon the earth; the time of the singing of birds is come. Arise my love, my fair one, and come away.

Here is the Stanford Chamber Chorale.

The text for today’s offertory anthem “Rise up my love, my fair one” is taken from that strange and beautiful book dwelling almost exclusively on romantic love, the Song of Solomon. Although the origin of this book is obscure, perhaps coming from the ancient Israelite marriage liturgy, it was read very early on as an allegory of God’s love for Israel and in the Christian era as Christ’s love for the church. “Rise up my love, my fair one,” can be heard equally plausibly as Christ offering redemption to the sinner or as the blossoming of new hope through forgiveness at a turning point in a romantic relationship. Healey Willan (1880-1968) was born in England and attended a choir school where he studied harmony, counterpoint, and organ. From an Anglo-Catholic background, he became an authority on plainchant in English translation and many of his compositions have chant-like melodies with free meter.

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John Taverner (1490-1545)

Dum transisset Sabbatum, Maria Magdalene et Maria Jacobi et Salome emerunt aromata ut venientes ungerent Jesum. Alleluia. Et valde mane una sabbatorum veniunt ad monumentum orto iam sole.

And when the sabbath was past, Mary Magdalene, and Mary the mother of James, and Salome, had bought sweet spices, that they might come and anoint him. Alleluia. And very early in the morning the first day of the week, they came unto the sepulchre at the rising of the sun.

Here is Alamire.

“Dum transisset Sabbatum” is a setting of a matins responsory for Easter. It is the best-known motet by the great John Taverner (1490-1545), one of the most important English composers of his era. Taverner was the first organist and master of the choristers at Christ Church, Oxford (founded in 1525 as Cardinal College by Wolsey). Taverner’s music has several characteristics we typically associate with late medieval music on the continent. There are flowing lines with very long melismas that can obscure the text. There is little sense of harmonic movement or direction. The music is constructed on plainchant, with the cantus firmus in the tenor. There is little imitation that is so pervasive in the music of the high Renaissance on the continent (and in the later music of Tallis and Byrd). Listen for the particularly English texture with soaring high treble lines in the top voice and very low notes in the bass. This is what the best church music sounded like in pre-Reformation England. It captures a sense of sacred space and repose from the noisy and insistent world we live in.

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Hymns

#91 The strife is o’er, the battle done (VICTORY) is from a 17th-century Latin hymn, translated by Francis Pott (1832-1909). The Latin text begins‘Alleluia, alleluia, alleluia./ Finita iam sunt proelia.’ It is found in a Jesuit book, Symphonia Sirenum Selectarum, published in Cologne in 1695. VICTORY is a free adaptation by William Henry Monk for the first edition of Hymns Ancient & Modern of the ‘Gloria’ in Palestrina’s Magnificat Tertii Toni .

#86 Hail thee, festival day (SALVA FESTA DIES) The refrain comes from the 20^th couplet of Venantius Fortunatus’ (c. 540—c. 600) long Latin poem (110 lines!) celebrating the conversion of the Saxons by Felix, Bishop of Nantes (c. 582): Salve feste dies toto venerabilis aevo. Venantius, who traveled around the Germanic kingdoms of Europe as a wandering minstrel, devoted his life to the cause of Christian literary elegance.  As poet to the Merovingian court, he became a friend of the mystic Queen Radegund, and he later became Bishop of Poitiers. The poem was translated by George Gabriel Scott Gillett (1873-1948).

#96 The day of resurrection (ELLACOMBE) is from a Greek hymn by St John Damascene (ca. 655 – ca. 745). It was translated by John Mason Neale (1818-1866).

#85 Jesus Christ is risen today (EASTER HYMN) is from Lyra Davidica (1708). It is a translation of part of an anonymous Latin hymn, ‘Surrexit Christus hodie.’

Mount Calvary Church

Eutaw Street and Madison Avenue

Baltimore, Maryland

A Roman Catholic Parish

The Personal Ordinariate of teh Chair of St. Peter

Anglican Use

Rev. Albert Scharbach, Pastor

The Solemn Vigil of Easter

Saturday

April 20, 2019

9:00 PM

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Common

Missa de S. Maria Magdalena, Healey Willan

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Anthems

 Giovanni Battista Pergolesi (1710-1736)

Surrexit Christus vere de sepulchro, alleluia.

Christ is truly risen from the grave, alleluia.

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Peter Philips (1561-1628)

Surgens Jesus, Dominus noster stans in medio discipulorum suorum dixit: pax vobis. Alleluia. Gavisi sunt discipuli viso Domino, Alleluia.

The risen Jesus, our Lord, standing in the midst of his disciples, said: Peace be with you. Alleluia. The disciples were glad when they saw the Lord. Alleluia.

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Hymns

At the Lamb’s high feast we sing (SALZBURG) is a translation by Robert Campbell (1814-1868) of the seventh century Latin hymn, Ad regias agni dapes, 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.  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.

Come, ye faithful, raise the strain (GAUDEAMUS PARITER) is from a  Greek hymn attributed to St John Damascene (ca. 655- ca. 745), and was translated by John Mason Neale (1818-1866).  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. It is based on the Song of Moses in Exodus 15.