Mount Calvary Church

Eutaw Street and Madison Avenue

Baltimore, Maryland

A Roman Catholic Parish

The Personal Ordinariate of the Chair of S. Peter

Rev. Albert Scharbach, Pastor

Dr. Allen Buskirk, Choirmaster

January 20, 2019

10 A.M. Sung Mass

Epiphany II

___________________

Common

An Anglican Folk Mass, Martin Shaw

___________________

Anthems

William Byrd (1538-1623)

O sacrum convivium, in quo Christus sumitur;

recolitur memoria passionis ejus;

mens impletur gratia;

et futurae gloriae nobis pignus datur. Alleluia.

O sacred banquet, wherein Christ is received;

the memorial of his passion is renewed;

the soul is filled with grace;

and a pledge of future glory is given to us. Alleluia.

Sung by Alamire.

_________

Words, George Herbert (1593-1633); Music, Ralph Vaughan Williams (1872-1958)

Love bade me welcome; yet my soul drew back,

Guilty of dust and sin.

But quick-eyed Love, observing me grow slack

From my first entrance in,

Drew nearer to me, sweetly questioning

If I lack’d anything.

‘A guest,’ I answer’d, ‘worthy to be here:’

Love said, ‘You shall be he.’

‘I, the unkind, ungrateful? Ah, my dear,

I cannot look on Thee.’

Love took my hand and smiling did reply,

‘Who made the eyes but I?’

‘Truth, Lord; but I have marr’d them: let my shame

Go where it doth deserve.’

‘And know you not,’ says Love, ‘Who bore the blame?’

‘My dear, then I will serve.’

‘You must sit down,’ says Love, ‘and taste my meat.’

So I did sit and eat.

Sung by baritone Jamie H. Hall.

_________________

Hymns

All praise to Thee, O Lord is by the Anglican clergyman Hyde Wyndham Beadon (1812–1891). The hymn reflects upon the miracle of Cana. Jesus’ word is creative: it alone changes water into wine. This miracle is a foretaste of the wedding feast of the Lamb, which we both anticipate and participate in when we receive the Eucharist: For by Thy loving hand/   Thy people still are fed;/ Thou art the cup of blessing, Lord,/   And Thou the heavenly bread.

The tune ST. THOMAS is by William Williams (1717–1791), a Calvinist Methodist and prolific composer of Welsh hymns.

How welcome was the call is by Henry Williams Baker (1821–1877), an Anglican clergyman who also composed the paraphrase of Psalm 23, The King of love my shepherd is.

The tune ST. MICHAEL is by Loys “Louis” Bourgeois (c. 1510 – 1559), a French composer and music theorist of the Renaissance. He is most famous as one of the main compilers of Calvinist hymn tunes in the middle of the 16th century. Calvinists’ important contributions to church music, such as the exquisite three-part settings of all 150 psalms (for domestic use!) by the Huguenot Claude Goudimel, are often forgotten.

Songs of thankfulness and praise (SALZBURG) is by Christopher Wordsworth (1807—1885), Anglican bishop of Lincoln and nephew of teh poet. The hymn recapitulates  the successive manifestations of Christ presented in the preceding weeks and in the original version looks forward to the ultimate epiphany of His second coming. The hymn is typical of Wordsworth’s didactic method, in which each event is marked out (almost as if by a bullet point) by the repeated word manifest and the message is further brought home by the refrain God in man made manifest.

(see commentary below for explanation of imagery)

Mount Calvary Church

A Roman Catholic Parish

of the Personal Ordinariate of S. Peter

Rev. Albert Scharbach, Pastor

Dr. Allen Buskirk, Choirmaster

Anglican Use

Eutaw Street and Madison Avenue

Baltimore, Maryland

January 13, 2019

The Baptism of the Lord

10 A.M. Sung Mass

___________________
Common

Anglican Folk Mass, Martin Shaw

___________________

Anthems

Tomorrow shall be my dancing day, arranged David Willcocks (1919–2015)

Tomorrow shall be my dancing day:

I would my true love did so chance

 To see the legend of my play,

To call my true love to my dance:

Sing O my love,

 This have I done for my true love.

Then was I born of a virgin pure,

 Of her I took fleshly substance;

Thus was I knit to man’s nature,

To call my true love to my dance.

 Then afterwards baptized I was;

The Holy Ghost on me did glance,

My Father’s voice heard from above,

 To call my true love to my dance.

The Choir of King’s College, Cambridge

 __________

Asperges me, Domine, Tomás Luis de Victoria (1548–1611)

Asperges me Domine hyssopo et mundabor: lavabis me et super nivem dealbabor. Miserere mei Deus, secundum magnam misericordiam tuam. Gloria Patri, et Filio, et Spiritui Sancto. Sicut erat in principio, et nunc, et semper, et in saecula saeculorum. Amen.

Purge me with hyssop, and I shall be clean: wash me, and I shall be whiter than snow. Have mercy upon me, O God, according to thy lovingkindness. 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.

URegina Choirs

___________________

Hymns

“I come,” the great Redeemer cries is by Thomas Gibbons, 1720—1785, a Dissenting minister in London and a defender of Calvinism. In 1760 the College at New Jersey (now Princeton), gave him the degree of M.A. He modeled his hymns after those of Watts.

In Psalm 29:3 David sings: The voice of the Lord is upon the waters. The Fathers of the Church saw in the voice of the Father at Jesus’ baptism a fulfillment, a sealing, of this prophetic word.

The tune THIS ENDRIS NIGHT is from a 15^th century English Christmas carol.

__________

Comfort, comfort ye my people (Tröstet, tröstet meine Lieben) was written by Johann Olearius (1611–1684), a Lutheran pastor at Halle and translated by Catherine Winkworth (1827–1878). The hymn is a paraphrase of Isaiah 40:1-5, in which the prophet looks forward to the coming of Christ. More specifically, the coming of the forerunner of Christ – John the Baptist – is foretold. Though Isaiah’s voice crying in the desert is anonymous, the third stanza ties this prophecy and one from Malachi (Malachi 4:5) to a New Testament fulfillment. “For Elijah’s voice is crying In the desert far and near” brings to mind Jesus’ statement, “’But I tell you that Elijah has already come.’ Then the disciples understood that he was speaking to them of John the Baptist.”

The tune GENEVAN 42 is an adaptation by Louis Bourgeois (1510–1559) of a tune by Claude Goudimel (1501–1572), a French Calvinist who was killed in the St. Bartholomew’s Day Massacre.

Goudimel’s Psalm 42 in French

An arrangement of the tune for viols and lutes.

__________

When Jesus went to Jordan’s stream is a translation of Christ unser Herr zum Jordan kam by Martin Luther, who also wrote the tune for the hymn. It was translated by F. Bland Tucker (1895–1985), an Episcopal priest who worked on both the 1940 and 1982 Hymnals. The hymn is a straightforward baptismal catechesis of the role of baptism in salvation: we are healed and saved by the death of the Saviour, and that salvation is applied to us by water and blood, by baptism and the Eucharist.

_________________________

Commentary on the Icon of the Baptism of the Lord

Fr. Stephen Freeman

For an Orthodox priest, the services of the Church involve many “comings and goings.” Part of any service takes place within the altar area, which is usually enclosed by an iconostasis, a wall on which icons are hung. The wall does not truly separate one area of the Church from another so much as it marks one area off from another – the space of the Church is itself an icon. But within these spaces, the priest (and deacon) move back and forth. Going out from the altar and entering back in to the altar. Each exit and entrance has its own meaning within the context of the service. I often think of the Psalm verse, “May the Lord bless your going and your coming in…” With this action, for me, has come an increased awareness of doors and entrances within Scripture. For the doors of the altar bear a relationship with the various “doors” in Scripture.

I have often thought about the meditation attached to the closed doors of the altar early in the service of Vespers. The priest stands before them, head bowed, and prays. I have been told that the closed doors represent the closed doors of paradise, with the priest standing outside them, like Adam, weeping for his sins. It is always a poignant thought.

The gates of paradise always have a strange double quality to them. When they are open the world becomes heaven. When they are closed all becomes Hades. It is the gates of Hades that Christ promises will not prevail against the Church.

I have also noted over the years that most people seem to concern themselves with the “larger” gates of Hades. They want to know who goes there, who stays there and why, and how they can avoid the entire thing. Some people seem to be experts on Hades and Hell.

There is a far more intimate and immediate question concerning Hades’ gates. This is the question of its gates within the heart. For the human heart is like a microcosm of all things. There we can find both the gate of paradise and the gate of Hades. I’m convinced that if we do not first find paradise within our heart then we will never know it otherwise. Salvation may be eternal, but it is also immediate.

To stand before the closed gates of paradise within the heart and weep is to begin to pray.

Tonight I served the Vigil for the Feast of Theophany (Christ’s Baptism). The richness of the feast is beyond description. The texts that are sung are among the most theologically profound that I know. It is difficult to serve the feast and not insist that the service stop at points – that we might stand in silent wonder.

Christ at the Jordan is Christ before the gates of paradise (and Hades). In many icons of Christ’s Baptism, the gates of Hades lie beneath His feet (it almost looks like He is surfing), with snakes sticking their heads out from beneath. These snakes are the “dragons who lurked there,” mentioned in Psalm 74.

The Lord refashions broken Adam in the streams of the Jordan.
And He smashes the heads of dragons lurking there.
The Lord does this, the King of the ages;
for He has been glorified.
From the St. Cosmas’ Canon of Matins for the feast 

Mount Calvary Church

Rev. Albert Scharbach, Pastor

A Roman Catholic Parish

Anglican Use

The Personal Ordinariate of the Chair of S. Peter

Eutaw Street and Madison Avenue

Baltimore, Maryland

January 6, 2019

The Epiphany of Our Lord and Saviour Jesus Christ

10:00 AM

Sung Mass

____________________

The Proclamation of the Date of Easter and of the Moveable Feasts

In keeping with the ancient practice of the Church, at this time is announced:

Know, dear brethren, that, as we have rejoiced at the Nativity of Our Lord Jesus Christ, so by leave of God’s mercy we announce to you also the joy of his Resurrection, who is our Savior.

On the sixth day of March will fall Ash Wednesday,

and the beginning of the fast of the most sacred Lenten season.

On the twenty-first day of April you will celebrate with joy Easter Day, the Paschal feast of our Lord Jesus Christ.

On the thirtieth day of May will be the Ascension of our Lord Jesus Christ.

On the ninth day of June, the feast of Pentecost.

On the sixteenth day of June, the feast of the Most Holy Body and Blood of Christ.

One the first day of December, the First Sunday of the Advent of our Lord Jesus Christ, to whom is honor and glory for ever and ever. Amen.

Common

Anglican Folk Mass, Martin Shaw

____________________

Anthems

 William Byrd (1540-1623)
Reges Tharsis et insulae munera offerent,
reges Arabum et Saba dona adducent.
Et adorabunt eum omnes reges terrae,
omnes gentes servient ei.

The kings of Tharsis and the isles offer their gifts,
the kings of Arabia and Sheba bring gifts.
And all the kings of the earth worship him,
all peoples bow before him.

CAPELLA THERESIANA

__________

 Christina Rossetti (1830-1894) / Harold Darke (1888-1976)

In the bleak midwinter,
frosty wind made moan.
Earth stood hard as iron,
water like a stone.
Snow had fallen,
snow on snow,
snow on snow,
in the bleak midwinter
long ago.

Our God,
heaven cannot hold Him,
nor earth sustain;
heaven and earth
shall flee away
when he comes to reign.
In the bleak midwinter,
a stable place sufficed
the Lord God Almighty,
Jesus Christ.

Enough for Him,
whom cherubim
worship night and day,
a breast full of milk
and a manger full of hay.
Enough for him,
whom angels
fall down before,
the ox and ass and camel
which adore.

What can I give Him,
poor as I am?
If I were a shepherd,
I would bring a lamb.
If I were a wise man,
I would do my part.
Yet what I can I give Him,
give my heart.

The Choir of King’s College, Cambridge

__________________

Hymns

As with gladness men of old (DIX) is by William Catterton Dix (1837–1898). The particular strength of the hymn is the way in which in each of the first three verses the narrative of the visit of the wise men is related to the present day in the final couplet, opening with the word ‘So’. The themes of travel and of light are continued in the last two verses, which deal with the journey through life towards the heavenly kingdom.

What star is this (PUER NOBIS) is a translation by John Chandler (1806–1876) of the hymn by Charles Coffin, Quae stella sole pulchrior, from the Paris Breviary (1736). The hymn is a prayer for God’s presence in our lives as we draw closer to Him. The Magi showed faith in God and eagerness, as well as sacrifice, in their journey to see the Christ-child. So may we live as though we really believe and eagerly look forward to the day when we shall one day see Him. In the third stanza, the gifts of the Magi are not even named. The Magi took the trouble to bring “gifts most rare” on a long journey. So may we “All our costliest treasures bring, Christ, to Thee, our heavenly King.” This pilgrimage is not easy, so we sing, “Holy Jesus, every day keep us in the narrow way,” remembering that Jesus said, “For the gate is narrow and the way is hard that leads to life, and those who find it are few” (Matthew 7:14).

Songs of thankfulness and praise (SALZBURG) was written by Christopher Wordsworth (1807–1885), who described it as “recapitulation of the successive manifestations of Christ…and anticipation of that future great and glorious Epiphany, at which Christ will be manifest to all, when He will appear again to judge the world.” The stanza “Sun and moon shall darkened be” is omitted in the 1940 Hymnal. In many of the hymns of Advent and Christmas, references to the Second Coming, with its wonders and terrors, are usually toned down or omitted, but we do not so much look to the past as to the future, awaiting the Final Coming of our King, the desire of all nations and the fulfillment of all wisdom.

James Janknegt

Mount Calvary

Rev. Albert Scharbach, Pastor

Dr. Allen Buskirk, Choir Director

A Roman Catholic Parish

The Personal Ordinariate of the Chair of S. Peter

Eutaw Street and Madison Avenue

Baltimore, Maryland

The Nativity of the Lord

December 24, 2018

Sung Mass and Procession

10:00 P.M. Carols

10:30 P.M. Sung Mass

__________________

Carols Before Mass

Hark the Herald Angels Sing

Hodie Christus natus est, Jan Pieterszoon Sweelinck

O Little Town of Bethlehem

Dormi Jesu, Matt Nielson

Good Christian Men Rejoice

A Rose There Is A-springing, Michael Praetorius, arr. Donald Cashmore

__________________

PROCLAMATION OF THE NATIVITY OF OUR LORD JESUS CHRIST

____________________

The Procession to the Creche

O Come All Ye Faithful

Blessing of the Creche

Silent Night

Angels We Have Heard on High

____________________

Common

Messe de Minuit, Marc-Antoine Charpentier

Organ, Violins, and Flutes

____________________

Anthems

O Magnum Mysterium, Tomás Luis de Victoria

____________________

Hymns

Of the Father’s Love Begotten

Joy to the World

The Visitation

Mount Calvary Church

Rev. Albert Scharbach, Pastor

A Roman Catholic Parish

The Personal Ordinariate of the Chair of S. Peter

Eutaw Street and Madison Avenue

Baltimore, Maryland

December 23, 2018

Advent IV

10 AM Sung Mass

____________________

Common

Merbecke

____________________

Organ Prelude

Organ Postlude

In dulce iubilo

___________________

Anthems

Sergei Rachmaninoff

Богородице Дево, радуйся,

благодатная Марие, Господь с тобою.

Благословена ты в женах,

и благословен плод чрева твоего,

яко Спаса родила еси душ наших.

Rejoice, O virgin mother of God,

Mary full of grace, the Lord is with thee:

blessed art thou among women,

and blessed is the fruit of thy womb,

for thou hast borne the Savior of our souls.

Academic Choir of Kharkiv Philharmonic

__________

Darren Schmidt

Alma Redemptoris Mater,

quae pervia coeli porta manes, et stella maris,

succurre cadenti,

surgere qui curat, populo:

tu quae genuisti, natura mirante,

tuum sanctum Genitorem:

Virgo prius ac posterius,

Gabrielis ab ore sumens illud Ave,

peccatorum miserere.

Loving mother of the Redeemer,

gate of heaven, star of the sea,

assist your people who have fallen

yet strive to rise again;

to the wonderment of nature

you bore your Creator,

yet remained a virgin after as before;

You who received Gabriel’s joyful greeting,

have pity on us poor sinners.

____________________

Hymns 

O Come, O Come Emmanuel is a translation of the Latin hymn Veni veni Emmanuel, which in turn is based on the seven O Antiphons, which are sung in the monastic office at the Magnificat on the days preceding Christmas. These antiphons are of ancient origin, dating back to at least the ninth century. The hymn itself, though, is much more recent. Its first appeared in the 18th century. It is interesting to note that the initial words of the actual antiphons in reverse order form an acrostic: O Emmanuel, O Rex, O Oriens, O Clavis, O Radix (“virgula” in the hymn), O Adonai, O Sapientia. ERO CRAS can be loosely translated as “I will be there tomorrow”. That is a fitting message indeed since Christ’s birth falls on the following day.

__________

Creator of the stars of light is a translation by John Mason Neale (1818–1866) of the 9^th century Creator alme siderum. The translation captures the essence of the original Latin. Contrasting “everlasting light” with the “stars of night” in the first stanza is a common theological theme of Latin hymns. Stanza two refers to the great New Testament hymn found in Philippians 2:10-11.

John the Baptist Preaching

Pier Francesco Mola

Mount Calvary Church

Eutaw Street and Madison Avenue

Baltimore, Maryland

A Roman Catholic Parish

The Personal Ordinariate of the Chair of S. Peter

Rev. Albert Scharbach, Pastor

December 16, 2018

Advent III

Gaudete Sunday

Sung Mass

10 A.M.

____________________

Common

Merbecke

____________________

Organ Prelude

Organ Postlude

____________________

Anthems

Anon. (Previously attributed to Henry Purcell)

Rejoice in the Lord alway, and again I say, rejoice! Let your softness be known unto all men; the Lord is even at hand. Be careful for nothing, but in all prayer and supplication, let your petitions be manifest unto God, with giving of thanks. And the peace of God which passeth all understanding keep your hearts and minds through Christ Jesu, Amen.

The Choir of Westminster Abbey

__________

Giovanni Pierluigi da Palestrina (1525-1594)

Fuit homo missus a Deo, cui nomen erat Joannes. Hic venit in testimonium, ut testimonium perhiberet de lumine, et pararet Domino plebem perfectam.

There was a man sent from God, whose name was John. This man came as a witness, to give testimony about the light, and to prepare for the Lord a perfect people.

St. John’s College, Cambridge

____________________

Hymns

The advent of our King (ST THOMAS-WILLIAMS) is by Charles Coffin (1676-1749), translated by John Chandler (1806-1876). This Latin hymn, Instantis adventum Dei, was sung at the Nocturn in Advent. Coffin was the rector of the University of Pars and as a Jansenist opposed the papal bull Unigenitus, which was viewed as an attack of the prerogatives of the French church. Chandler was an Anglican cleric and a prolific translator of Latin hymns.

The hymn evokes the coming of Jesus at his birth, but also his coming into Jerusalem on Palm Sunday, and his coming in judgement and glory at the end of time. We are reminded to be the faithful Zion, unlike the one that turned on Jesus and crucified him. By repentance we put away the old man and put on the new man in the image of our crucified and risen Savior.

__________

Comfort, comfort ye my people (Tröstet, tröstet meine Lieben) was written by Johann Olearius (1611–1684), a Lutheran pastor at Halle and translated by Catherine Winkworth (1827–1878). The hymn is a paraphrase of Isaiah 40:1-5, in which the prophet looks forward to the coming of Christ. More specifically, the coming of the forerunner of Christ – John the Baptist – is foretold. Though Isaiah’s voice crying in the desert is anonymous, the third stanza ties this prophecy and one from Malachi (Malachi 4:5) to a New Testament fulfillment. “For Elijah’s voice is crying In the desert far and near” brings to mind Jesus’ statement, “’But I tell you that Elijah has already come.’ Then the disciples understood that he was speaking to them of John the Baptist.”

The tune GENEVAN 42 is an adaptation by Louis Bourgeois (1510–1559) of a tune by Claude Goudimel (1501–1572), a French Calvinist who was killed in the St. Bartholomew’s Day Massacre.

__________

Hark, a thrilling voice is sounding is a translation by Edward Caswell (1814–1878) of the Latin hymn, Vox clara ecce intonat. It is based on Romans 13: 11-1. We hear that “Christ is near”; in response, we “cast away the works of darkness.” Advent is not a passive season but demands something from us. We sing of “The Lamb, so long expected, comes with pardon down from heaven. Let us haste, with tears of sorrow, one and all, to be forgiven.” Advent, like Lent, is a season of repentance, and repentance involves action. Just as Christ came 2,000 years ago, we know he can come again even tomorrow as the next stanza reminds us, “So when next He comes in glory and the world is wrapped in fear, He will shield us with His mercy and with words of love draw near.” By confession and repentance, we prepare to meet the Lord.

Prepare ye the way of the LORD

Mount Calvary Church

Eutaw Street and Madison Avenue

Baltimore, Maryland

A Roman Catholic Parish

Anglican Use

The Personal Ordinariate of the Chair of S. Peter

Rev. Albert Scharbach, Pastor

10 A.M.

December 9, 2018

Advent II

___________________

Common

Merbecke

____________________

Organ Prelude

Nun komm der Heiden Heiland, Dietrich Buxtehude BuxWV 211

Organ Postlude

Nun komm der Heiden Heiland, J.S. Bach, BWV 599

____________________

Anthems

Francisco Guerrero (1528-1599)

Veni Domine, et noli tardare. Veni ad salvandum nos, Domine Deus noster. Et ostende faciem tuam, et salvi erimus. Sicut mater consolatur filios, consolaberis nos. Veni Domine, et noli tardare. Et gaudebit cor nostrum corde perfecto.

Come, Lord, and do not delay. Come and save us, O Lord our God. And show Thy face and make us safe. As a mother consoles her children, so shall you console us. Come, Lord, and do not delay. And our heart shall rejoice in Thy perfect heart

The Apollo 5

__________

Claudio Monteverdi (1567-1643)

On Jordan’s bank the Baptist’s cry announces that the Lord is nigh. Awake and harken, for he brings glad tidings of the King of kings! Then cleansed be every heart from sin: make straight the way for God within, and let each heart prepare a home where such a mighty guest may come. All praise the Son eternally whose advent sets his people free, whom with the Father we adore, and Spirit blest for evermore.

As edited by Edward Klammer (note dissonances)

__________________

Hymns

O Come, Divine Messiah (VENEZ DIVINE MESSIE) is by M. l’abbé (Simon-Joseph) Pellegrin (1663-1745), French abbé and well-known librettist. It was translated by Sister Mary of St. Philip, the name in religion of Mary Frances Lescher (1825-1904). She was one of the first English members of the Sisters of Notre Dame de Namur when they established their training college at Mount Pleasant in Liverpool, England, in about 1850. She and at least one other SND sister wrote both translations and original hymns and songs over the course of their long professional lives.

Of the Father’s love begotten   (also here) is  by Aurelius Clemens Prudentius (ca. 348-ca. 413), translated by Sir Henry Williams Baker (1821-1877) based on John Mason Neale (1818-1866). The tune DIVINUM MYSTERIUM, was a “Sanctus trope” – an ancient plainchant melody which over the years had been musically embellished. The tune first appears in print in 1582 in the Finnish song book Piae Cantiones.

Lo, He comes with clouds descending is by Charles Wesley (1707–1788). The hymn is full of allusions to Revelation: “Behold, he cometh with clouds; and every eye shall see him, and they also which pierced him: and all kindreds of the earth shall wail because of him. Even so, Amen.”   At first glance it might seems strange to celebrate the second coming of Christ in conjunction with His first coming, however, the practice of so doing provides the balance needed to keep the Advent (and Christmas) themes of Divine love and light from devolving into mere sentimentality.  Remembering the first coming of Christ in light of the end of all things ought to remind us how desperately we need a savior—and how immense and earth-shattering is the good news that God is just and merciful.

Panagia Theotokos

The All Holy Mother of God

Mount Calvary Church

Eutaw Street and Madison Avenue

Baltimore, Maryland

A Roman Catholic Parish

Anglican Use

The Personal Ordinariate of the Chair of S. Peter

Rev. Albert Scharbach, Pastor

7:00 P.M

Friday

December 7, 2018

The Vigil Mass of the Immaculate Conception

Common

Merbecke

Organ Prelude

Nun komm der Heiden Heiland, J. S.  Bach, BWV 599

Organ Postlude

Es ist gewisslich an der Zeit, J. L. Krebs

Hymns

Virgin, full of grace is a translation of the Latin hymn O Sanctissima. The earliest known publication was London 1785, when it was described as a traditional song from Sicily; but no original source or date has been confirmed for the simple melody or the poetic text. The tune is often called “Sicilian Mariners Hymn” or similar titles, referring to the seafarers’ nightly invocation of Mary as their maternal protector, Our Lady, Star of the Sea. The tune has been notably reused for the German Christmas carol “O du fröhliche” (O, how joyful) and the first half of the American civil rights anthem “We Shall Overcome”.

Immaculate Mary, or the Lourdes Hymn. The earliest version of the hymn was written in 1873 by French priest and seminary director Jean Gaignet, for pilgrims to the site of the apparitions of Our Lady of Lourdes. It was set to a traditional French tune.

Sing of Mary is by Roland F. Palmer (1892–1985, an Anglo-Catholic priest, who entered the Society of St. John the Evangelist (“Cowley Fathers”) at Cambridge, Massachusetts. The tune PLEADING SAVIOR was composed by American Congregational minister Joshua Leavitt (1794–1873).

Tree of Jesse, Lambeth Psalter, Canterbury c. 1150

Mount Calvary Church

A Roman Catholic Parish

Anglican Use

The Ordinariate of the Chair of S. Peter

Eutaw Street and Madison Avenue

Baltimore, Maryland

Rev. Albert Scharbach, Pastor

December 2, 2018

Advent I

10 A.M. Sung Mass

____________________

Common

Merbecke

___________________

Anthems

William Byrd (1540–1623)

Rorate caeli desuper, et nubes pluant justum: aperiatur terra, et germinet salvatorem. Benedixisti, Domine, terram tuam: avertisti captivitatem Jacob. Gloria Patri, et Filio, et Spiritui Sancto. Sicut erat in principio, et nunc, et semper, et in saecula saeculorum, amen.

Drop down ye heavens, from above, and let the skies pour down righteousness: Let the earth open and bring forth a Saviour. Lord, thou hast blessed thy land: Thou hast turned away the captivity of Jacob. 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.

Here is the Hereford Cathedral Choir.

__________

William Byrd (1540–1623)

Laetentur coeli, et exultet terra. Jubilate montes laudem, quia Dominus noster veniet, et pauperum suorum miserebitur. Orietur in diebus tuis justitia et abundantia pacis.

Let the heavens be glad and let the earth rejoice. Let the mountains be joyful with praise, because our Lord will come, and will show mercy to his poor. In your days, justice and abundance of peace shall arise.

Here is the choir of Canterbury Cathedral.

____________________

Hymns

Wake, awake, for night is flying (WACHET AUF) is by Philipp Nicolai (1556-1608), translated by Catherine Winkworth (1827-1878). It is partly based on Matthew 25: 1-13, the parable of the wise and foolish virgins. Nicolai was a pastor in Westphalia during a terrible pestilence, which claimed some thirteen hundred lives in his parish alone. Nicolai turned from the constant tragedies and frequent funerals (at times he buried thirty people in one day) to meditate on “the noble, sublime doctrine of eternal life obtained through the blood of Christ.” We look forward to the glorious coming of Jesus when He will deliver us from death and bring us into the kingdom of His Father. Christ’s light shining in the darkness of death to deliver us is a profound theme of Advent.

Hetre is, a capella, the Congregational Church of Batavia. Here, with organ, is St. John’s, Detroit. Here is Wachet auf, the children’s choir of Fulda.

Come, Lord, and tarry not (ST. BRIDE) is by Horatius Bonar (1808–1889).  He came from a long line of ministers who served a total of 364 years in the Church of Scotland. the hymn conveys our longing for the coming of Jesus, quoting the last verses of Revelation. It reminds us that Jesus will restore the whole creation, making all things new, abolishing death forever.

Here is the tune.

O Saviour, rend the heaven’s wide (O HEILAND REIß) is Friedrich Spee von Langenfeld (1591-1635). He was a German Jesuit priest, professor, and poet, most noted as an opponent of trials for witchcraft. Spee was the first person in his time to present strong written and spoken arguments against torture, especially with regards to its unreliability in obtaining “truth” from someone undergoing painful questioning. His hymn is based on Isaiah 64: 1 (‘Oh that thou wouldest rend the heavens, that thou wouldest come down’) and the ‘Rorate coeli desuper’ of Isaiah 45: 8 (‘Drop down, ye heavens, from above, and let the skies pour down righteousness’). It is one of the best known and most loved of German Advent hymns: it uses the traditional images of bringing light out of darkness and bringing new life. It conveys the overwhelming power of the Advent of Christ at the end of time, when He will break down the doors of the grave and abolish sin and death forever.

Here is O Heiland, reiss, in Nürnberg at the Friedenskirche. Here is a haunting rendition by the Knabenchor in Dortmund.

Here it is on hammered dulcimer.

Christ the King, Nigeria

Mount Calvary Church

A Roman Catholic Parish

The Ordinariate of the Chair of S. Peter

Anglican Use

Madison Avenue and Eutaw Street

Baltimore, Maryland

The Feast of Christ the King

November 25, 2018

10 A.M. Sung Mass

___________________

Common

Missa de S. Maria Magdalena, H. Willan

____________________

Anthems

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.

Here is the Choir of New College, Oxford.

__________

Eric Spengler

Sedebit Dominus Rex in aeternum.

Dominus virtutem populo suo dabit. Dominus benedicet populo suo in pace.

The Lord shall sit King for ever. The Lord will give strength to his people. The Lord will bless his people with peace.

____________________

Hymns

All hail the power of Jesus’ name (DIADEM) is by Edward Perronet (172?–1792), a member of a Swiss Huguenot family who emigrated to England. He was an associate of the Wesleys. The hymn is one of the most popular in all Christian churches. It begins with a reference to Philippians 2:10: “at the name of Jesus every knee should bow.” In our version the hymn addresses Israel, the chosen people, and then the Gentiles, every nation and tribe, and calls them to join in celebrating the Kingship of Jesus. The song of celebration is “everlasting”: as we sing this hymn we join in the song of the angels and saints, a song that will go on forever.

Here is St. Paul’s Chamber Choir. Here is a version with brass and timpani, the First Plymouth Church of Lincoln, Nebraska.

Prepare the royal highway (MESSIAH) was written by the Swedish bishop Franz Michael Franzén (1772–1847). Its beginning is based on Isaiah 40:4 “Every valley shall be exalted, and every mountain and hill shall be made low: and the crooked shall be made straight, and the rough places plain,” which for English-speakers forever echoes the aria from Handel’s Messiah. But the hymn conflates all the comings of God: Jesus’ birth, His entry into the repentant soul, His triumphal entry into Jerusalem, His coming into the world to establish his kingdom of peace and love, and His final coming at the end of time.

Here is a home school choir. Here it is on the hammered dulcimer. And the piano. Here is Swedish soprano Sissel Kyrkjebø singing a modernized version of the original Swedish Bereden väg för Herran

The king shall come when morning dawns (MORNING SONG) is by the Scottish Free Church minister John Brownlie (1857–1925). He translated many Eastern hymns, and this hymn bears the impress of Eastern theology. Infused with the imagery of morning light typical of early Greek hymnody, hymn stirs hope in the hearts of all who look forward to the return of Christ. It is a confession of faith in the sure return of our Lord; his coming again will occur in a blaze of glory, which will far surpass his earthly death and resurrection. The text concludes with a paraphrase of the ancient prayer of the church-“Maranatha,” or “Lord, come quickly” (Rev. 22:20). We should not fear, but yearn for the coming of the One we love.

Here is a concert in the Gymnasial Kirche, Osnabrück.

Mount Calvary Church

A Roman Catholic Parish

The Ordinariate of the Chair of S. Peter

Eutaw Street and Madison Avenue

Baltimore, Maryland

November 11, 2018

10 A.M.

The Anniversary of the Consecration of the Church

________________________

Organ Prelude

Ich Ruf zu dir, Herr Jesu Christ BWV 639, J.S. Bach

Here is  Leo van Doeselaar in the St. Catherine’s Church, Hamburg, Germany.

Organ Postlude

Praeludium in G, BWV 568, J.S. Bach

Here is J. van Oortmerssen

___________________

Anthems

Thomas Tallis (1510-1585)

Hear the voice and prayer of thy servants, that they make before thee this day. That thine eyes may be open toward this house night and day, ever toward this place, of which thou hast said: “My Name shall be there.” And when thou hearest have mercy on them.

Here are Pro Cantione Antiqua & Mark Brown

__________

Tomás Luis de Victoria (1548-1611)

O quam metuendus est locus iste! Vere non est hic aliud nisi domus Dei et porta coeli.

Oh, how awe-inspiring is this place! Surely this can be nothing else but the house of God and the gate of heaven.

_____________________

Hymns

Christ is made the sure foundation is a translation by John Mason Neale (1818-1866) of a seventh-century Latin hymn, Angularus fundamentum, which was used for the dedication of a church. The parallel with Ephesians 2:20-22 is striking: “having been built on the foundation of the apostles and prophets, Jesus Christ Himself being the chief cornerstone, in whom the whole building, being fitted together, grows into a holy temple in the Lord, in whom you also are being built together for a dwelling place of God in the Spirit”. Neale became an Ago-Catholic at Cambridge and was of the first to translate Latin hymns for the English hymnal.

Here is a parish singing it.

How lovely is Thy dwelling place. This metrical psalm was the version of Psalm 84 in the first Scottish psalm book after the Reformation. The tune BROTHER JAMES’S AIR is by James Leith Macbeth Bain (1840-1925), a healer, mystic, and poet known simply as Brother James.

Here is the Mormon Tabernacle Choir using the tune for Psalm 23.

Glorious things of thee are spoken is by John Newton (1725-1807), whose most famous hymn was Amazing grace. This hymn uses the image of the city of Zion, an image based on visionary passages such as Isaiah 26: 1 and 4: 5-6, Psalm 87: 3, Psalm 132: 14, Psalm 46: 4 and Revelation 1: 6. The tune AUSTRIA, composed by Franz Joseph Haydn from a Croatian folk hymn, was later used by Haydn in his string quartet in C, Op. 70, No. 5, “The Emperor.”

Here is St. John’s, Detroit.

HEAR O ISRAEL

Mount Calvary Church

A Roman Catholic Parish

The Ordinariate of the Chair of S. Peter

Eutaw Street and Madison Avenue

Baltimore, Maryland

Rev. Albert Scharbach, Pastor

10 A. M. Mass

November 4, 2018

Trinity XXIII

___________________

Common

Missa S. Maria Magdalena, H. Willan

___________________

Organ

Postlude in D minor, Johann C.H. Rinck

Here is the Geneva Presbyterian Church of Laguna Hills

___________________

Anthems

Thomas Tallis (1510-1585)

A new commandment give I unto you, saith the Lord, that ye love together, as I have loved you, that even so ye love one another. By this shall every man know that ye are my disciples, if ye have love one to another.

Here is the Schola Basilicae of St. Patrick’s Basilica. Ottawa, Ontario

_________

Thomas Tallis (1510-1585)

Te lucis ante terminum, Rerum Creator poscimus, Ut solita clementia Sis praesul ad custodiam. Procul recedant somnia, Et noctium phantasmata: Hostemque nostrum comprime, Ne polluantur corpora. Praesta pater omnipotens, Per Jesum Christum Dominum, Qui tecum in perpetuum, Regnat cum Sancto Spiritu.

Here is the Concordia Chamber Choir

____________________

Hymns

All people that on earth do dwell is from the Genevan Psalter. This was compiled over a number of years in the Swiss city of Geneva, a center of Protestant activity during the Reformation, in response to the teaching of John Calvin that communal singing of psalms in the vernacular language is a foundational aspect of church life. This contrasted with the prevailing Catholic practice at the time in which sacred texts were chanted in Latin by the clergy only. Calvinist musicians including Bourgeois supplied many new melodies and adapted others from sources both sacred and secular. The final version of the psalter was completed in 1562. Calvin intended the melodies to be sung in plainsong during church services, but harmonized versions were provided for singing at home. The tune OLD HUNDREDTH, partially by Louis Bourgeoise, is perhaps the most familiar hymn tune in the English-speaking world.

Here is King’s College, Cambridge.

Jesus, Thou joy of loving hearts  is a translation by the Congregationalist minister Ray Palmer (1808-1887) of ‘Iesu dulcedo cordium’, part of ‘Iesu dulcis memoria,” which is sometimes attributed to St. Bernard, but was probably by a twelfth-century English monk or nun. The hymn celebrates the joy that we have in Jesus — the peace that his love imparts — the filling of our souls through the Bread and Wine of the Eucharist.

Her is the tune ABENDS.

Praise to the living God is the work of three translators, a rabbi and two Unitarian ministers, of the Yigdal by the fourteenth century Daniel ben Judah. The Yigdal is a metrical paraphrase of the thirteen articles of Jewish faith drawn up by Maimonides (Moses ben Maimon, 1130-1205). The tune LEONI is named after the celebrated cantor Meyer Lyon (1751-1797), whom Thomas Olivers heard singing this tune at the Great Synagogue in London.

Here is a great organ accompaniment.

Mount Calvary Church

A Roman Catholic Parish

The Ordinariate of the Chair of St. Peter

Eutaw Street and Madison Avenue

Baltimore, Maryland

All Saints’ Day

November 1, 2018

7:00 P.M.

_____________________

Common

Missa Aeterna Christi Munera, Palestrina

______________________

Anthems

Tomas Luis de Victoria (1548-1611)

The first two verses of the hymn are a description of the saints arrayed before God’s throne, asking the question: who are they? Verse three begins to answer the question. So verse four is an answer to the question of who are the saints? What is wonderful about verse four is that it describes people who do not simply submit to God’s will: “who in prayer full oft have striven with the God they glorified.” In other words, their prayer has often been an intense struggle with God. It’s a powerful description of one aspect of a devout Christian life. Like Jacob, we often wrestle with God about His seeming absence in our anguish; Jesus too cried “my God, my God, why hast Thou forsaken me?”

Here is the Wakefield Cathedral Choir.

There is a land of pure delight. This hymn, by Isaac Watts (1674—1758), reminds of why All Saints’ Day and All Souls’ Day are adjacent: only through death can we come to the realms of eternal life. For a Christian, death is painful, but we are consoled by the hope that once we cross Jordan’s stream we shall be forever with our Father in the true Canaan, the Promised Land.

Here is the tune CAPEL by Ralph Vaughn Williams

For all the saints is by the Anglican bishop William Walsham How (1823—1897), who was a great friend of the poor of his diocese, and was known variously as ‘the children’s bishop’, ‘the poor man’s bishop’ and ‘the omnibus bishop’ (the last referring to his preferred means of travel about his diocese).

This hymn derives much of its power from its ability to capture the spirit of the Church Militant here on earth, using imagery from the book of Revelation. Vaughan Williams composed the tune SINE NOMINE (‘without a name’) for this hymn. It has been suggested that the name of the tune refers to the countless number of saints who are not remembered by name but who are part of the ‘glorious company’.

Here is the St. Edmundsbury Cathedral Choir.