Worship at St. Mary’sThis statement by Fr. Wilcox, fourth rector of St. Mary’s (1986-2006), articulates both a general philosophy of Anglo-Catholicism and the particular Catholic-leaning interpretation that predates the Vatican’s 2009 announcement of the Ordinariate and St. Mary’s recent efforts to become Anglican rite Catholics.
St. Mary’s is a parish church with her roots set firmly in the Catholic tradition of Anglicanism. Our worship is centered around the Holy Eucharist (the Mass), continuing in the Tradition we have received from the Apostles, to whom the Lord JESU was “known in the Breaking of the Bread.” Our worship is that of traditional Western Catholicism, with a uniquely Anglican flavor. The ancient chant, the medieval vestments and the Elizabeth language may make our worship seems a bit strange to those unfamiliar with it, but these things are not irrelevant or old-fashioned. For 2000 years the solemn ceremonial of the Mass, the veil of incense which fills the church during the liturgy, and the stately cadences of the Book of Common Prayer speak to us (as they have spoken to many generations of our ancestors in the Faith) of the glory and majesty of God. It is to God the Holy Trinity, the Father and the Son and the Holy Ghost, that our worship is directed. The purpose of worship is not to entertain or inform us, but to turn “ourselves our souls and bodies” to God. So if the Mass seems a bit strange to you, relax. Sit through it if you’re curious. You may catch a glimpse, even if just for a moment, of heaven.
-- Fr. Gregory Wilcox, rector
A discussion of Anglican hymnody, chants and other service music in the broader context of liturgical Christian music. Also includes a broader consideration of Anglo-Catholic liturgy and the associated church (re)organization of the American Continuing Anglican movement.
Sunday, April 29, 2012
Principles of Anglo-Catholic worship
From page 2 of the 66-page booklet “The Order for Low Mass and Solemn High Mass,” St. Mary of the Angels:
Sunday, April 22, 2012
A favorite hymn day, but not a favorite hymnal
At the ACNA parish I attended on Palm Sunday, we had a great collection of hymns. The opening hymn was the obligatory processional — “All glory, laud and honor” — that combines a 9th century text and a 17th century Lutheran tune (H40: #62; H82: 154). Since this time we started outside the building, I ended up acting as de facto cantor: all those years as a High Church (PECUSA) choir boy came rushing back.
The second hymn was the other obligatory Palm Sunday hymn “Ride on, Ride on in Majesty.” The Hymnal 1940 Companion says it was written in the 1820s by Henry Hart Milman, an Oxford poetry professor. As it turns out, on Holy Monday the Issues Etc. (unofficial) LCMS radio show reposted their earlier interview with Pastor Will Weedon on this Passiontide favorite.
On Palm Sunday, we used the tune King’s Majesty — composed for Hymnal 1940 — which is the only tune given in Hymnal 1982 (H82: #156). While it is a wonderful stately tune — suitable for a Cathedral choir — I had forgotten how hard that was to sing: it’s out of my range, the voice leading is difficult, and this year the rest of the congregation clearly didn’t know it well.
Hymnal 1940 (H40: 64) gives an alternate choice, the familiar (and much easier) Winchester New, a 17th century German tune also used for the Advent hymn “On Jordan’s bank.” This is also the tune used with this text in my 1876 edition of Hymns Ancient & Modern. Oremus implies that this is the only tune that Church of England worshipers would know.
H40 also has a third option, St. Drostane, but I’ve never heard that sung. However, it was the first tune for the US Hymnal 1916 (#125), with Winchester New listed as second tune. The Hymnal 1940 Companion says “St. Drostane was composed by John B. Dykes for this hymn in Chope’s Congregational Hymn and Tune Book, 1862,” which implies it is a familiar American but not Anglican tune. (Unfortunately, I don’t have music in any of my 19th century PECUSA hymnals.)
So Hymnal 1982 made life difficult for our small parish by omitting the easier (and more Anglican) of the two melodies. But that’s not the only problem with H82. While singing the hymn, I also noticed their trademarked bowdlerization of the text. Even Oremus (written by a hymnal modernist) lists the original text for the second verse:
The second hymn was the other obligatory Palm Sunday hymn “Ride on, Ride on in Majesty.” The Hymnal 1940 Companion says it was written in the 1820s by Henry Hart Milman, an Oxford poetry professor. As it turns out, on Holy Monday the Issues Etc. (unofficial) LCMS radio show reposted their earlier interview with Pastor Will Weedon on this Passiontide favorite.
On Palm Sunday, we used the tune King’s Majesty — composed for Hymnal 1940 — which is the only tune given in Hymnal 1982 (H82: #156). While it is a wonderful stately tune — suitable for a Cathedral choir — I had forgotten how hard that was to sing: it’s out of my range, the voice leading is difficult, and this year the rest of the congregation clearly didn’t know it well.
Hymnal 1940 (H40: 64) gives an alternate choice, the familiar (and much easier) Winchester New, a 17th century German tune also used for the Advent hymn “On Jordan’s bank.” This is also the tune used with this text in my 1876 edition of Hymns Ancient & Modern. Oremus implies that this is the only tune that Church of England worshipers would know.
H40 also has a third option, St. Drostane, but I’ve never heard that sung. However, it was the first tune for the US Hymnal 1916 (#125), with Winchester New listed as second tune. The Hymnal 1940 Companion says “St. Drostane was composed by John B. Dykes for this hymn in Chope’s Congregational Hymn and Tune Book, 1862,” which implies it is a familiar American but not Anglican tune. (Unfortunately, I don’t have music in any of my 19th century PECUSA hymnals.)
So Hymnal 1982 made life difficult for our small parish by omitting the easier (and more Anglican) of the two melodies. But that’s not the only problem with H82. While singing the hymn, I also noticed their trademarked bowdlerization of the text. Even Oremus (written by a hymnal modernist) lists the original text for the second verse:
The company of angelsThis is also the text in Hymns Ancient & Modern. However, that’s not good enough for the PC authors of Hymnal 1982:
are praising thee on high;
and mortal men and all things
created make reply.
The company of angelsI guess they’re proud of themselves for only changing two phrases, but it’s neither a subtle change nor faithful to the original text:
is praising thee on high;
and we with all creation
in chorus make reply.
Coetus in excelcis te laudat caelicus omnisEven with my complete lack of formal Latin training, I know that “Et mortalis homo” does not mean “we.”
Et mortalis homo, cuncta creat simul.
Sunday, April 15, 2012
No doubt that Thomas is missed
In the RCL, today’s Gospel (John 20:19-31) is the Doubting Thomas passage. From the Authorized Version (verses 24-29):
For a few minutes, I thought this passage about Thomas had been lobotomized by the editors of Hymnal 1982, since the text is no longer in Hymn #203. However, the editors (quite sensibly I think) split the nine verses into two hymns, with #203 using the Easter text and #206 including the Easter 2 verses about Thomas and the Apostles.
Three cheers for Hymnal 1982! (Regular readers know that such praise won’t happen again any time soon.)
But Thomas, one of the twelve, called Didymus, was not with them when Jesus came.This inspired the absolutely marvelous 15th century text (translated by the great J.M. Neale) of “O sons and daughters, let us sing” (Hymn #99 in my favorite hymnal):
The other disciples therefore said unto him, We have seen the LORD. But he said unto them, Except I shall see in his hands the print of the nails, and put my finger into the print of the nails, and thrust my hand into his side, I will not believe.
And after eight days again his disciples were within, and Thomas with them: then came Jesus, the doors being shut, and stood in the midst, and said, Peace be unto you.
Then saith he to Thomas, Reach hither thy finger, and behold my hands; and reach hither thy hand, and thrust it into my side: and be not faithless, but believing.
And Thomas answered and said unto him, My LORD and my God.
Jesus saith unto him, Thomas, because thou hast seen me, thou hast believed: blessed are they that have not seen, and yet have believed.
When Thomas first the tidings heard,From decades of Episcopal singing, this are the only verses in the hymnal that I recall speaking to St. Thomas. Hymnal 1940 recommends using these verses for the First Sunday after Easter and other verses for Easter, so I guess it’s up to the music director or priest to pick and choose the right combination.
how they had seen the risen Lord,
he doubted the disciples' word.
Alleluia!
"My piercèd side, O Thomas, see;
my hands, my feet, I show to thee;
not faithless but believing be."
Alleluia!
No longer Thomas then denied;
he saw the feet, the hands, the side;
"Thou art my Lord and God," he cried.
Alleluia!
How blest are they who have not seen,
and yet whose faith has constant been;
for they eternal life shall win.
Alleluia!
For a few minutes, I thought this passage about Thomas had been lobotomized by the editors of Hymnal 1982, since the text is no longer in Hymn #203. However, the editors (quite sensibly I think) split the nine verses into two hymns, with #203 using the Easter text and #206 including the Easter 2 verses about Thomas and the Apostles.
Three cheers for Hymnal 1982! (Regular readers know that such praise won’t happen again any time soon.)
Sunday, April 8, 2012
True to Mrs. Alexander
Today we attended Easter Services at the most Anglo-Catholic of San Diego’s ACNA parishes, Holy Trinity Anglican Parish of Ocean Beach. The services were held in the LCMS parish across the alley from their decades-long sanctuary that they walked away from in 2010 after losing their property fight with the local ECUSA diocese.
However, today was the first major feast with their “new” hymnals. When they surrendered their building to the rump ECUSA parish, they also surrendered their copies of Hymnal 1982. Since then, they tried to make do with the LCMS Lutheran Service Book, but it was just enough different to be confusing.
When it came time to buy their own hymnal, they had a choice — but it was no choice at all. Using Hymnal 1982 had always struck me as incongruous at the only Rite I ACNA parish in San Diego. So they took donation to buy copies of Hymnal 1940 and the solicitation was oversubscribed. (We bought five). Even today, with more than 80 in the sanctuary, they didn’t even use half their collection of brand new hymnals.
(I’d like to think this was a trend, but before the Schism II exodus in San Diego there were only two Rite I parishes — Holy Trinity in San Diego and St. Michael’s in Carlsbad — and St. Michael’s decided to split rather than leave.)
Unlike our previous visits at Christmas, the traditional language felt right in conjunction with the “bells and smells” traditional liturgy and theology. They scheduled three familiar Easter hymns: “Jesus Christ is ris’n today” (#85), “The strife is o’er, the battle done” (#91) and “He is risen, He is risen” (#90). (My wife would have liked some Vaughan Williams, but as visitors we can’t tell them what to do.)
The difference was immediately apparent when we sang the first verse of the final hymn (H40: #90), to Joachim Neander’s best-known tune:
Her 1846 lyrics were published in Verses for Holy Seasons, a book of poetry for children’s christian education. It seems to have been introduced to Anglican worship in her native Ireland with the The Church Hymnal (1874) by the Church of Ireland. The Hymnal 1940 Companion says us ’Mericans picked up the hymn with Hymnal 1874 and remarks that the differences are minor except for the omission of Alexander’s second verse. The first appearance in the Church of England appears to be in 1906 The English Hymnal (#132).
Hymnal 1940 and TEH use the same words, except that TEH are missing the 4th verse. Both seem to be (as promised) minor changes to Mrs. Alexander‘s words of 166 years ago:
Hymnal 1982 (#180) includes the full harmony for the hymn, and makes only one editorial change: due to the M-word, the first verse becomes “we are free.” Although it sticks in my craw every time I have to sing it, it is admittedly a relatively minor attack by the PC police. (Given that a woman wrote “man is free” in a children’s hymn, this would suggest her original language was intended to be inclusive, referring to the human race.)
However, today was the first major feast with their “new” hymnals. When they surrendered their building to the rump ECUSA parish, they also surrendered their copies of Hymnal 1982. Since then, they tried to make do with the LCMS Lutheran Service Book, but it was just enough different to be confusing.
When it came time to buy their own hymnal, they had a choice — but it was no choice at all. Using Hymnal 1982 had always struck me as incongruous at the only Rite I ACNA parish in San Diego. So they took donation to buy copies of Hymnal 1940 and the solicitation was oversubscribed. (We bought five). Even today, with more than 80 in the sanctuary, they didn’t even use half their collection of brand new hymnals.
(I’d like to think this was a trend, but before the Schism II exodus in San Diego there were only two Rite I parishes — Holy Trinity in San Diego and St. Michael’s in Carlsbad — and St. Michael’s decided to split rather than leave.)
Unlike our previous visits at Christmas, the traditional language felt right in conjunction with the “bells and smells” traditional liturgy and theology. They scheduled three familiar Easter hymns: “Jesus Christ is ris’n today” (#85), “The strife is o’er, the battle done” (#91) and “He is risen, He is risen” (#90). (My wife would have liked some Vaughan Williams, but as visitors we can’t tell them what to do.)
The difference was immediately apparent when we sang the first verse of the final hymn (H40: #90), to Joachim Neander’s best-known tune:
He is risen, he is risen!So unlike in my least favorite hymnal, Mrs. Alexander’s lyrics to her best-known hymn were presented with her original intentions preserved.
Tell it out with joyful voice:
he has burst his three days' prison;
let the whole wide earth rejoice:
death is conquered, man is free,
Christ has won the victory.
Her 1846 lyrics were published in Verses for Holy Seasons, a book of poetry for children’s christian education. It seems to have been introduced to Anglican worship in her native Ireland with the The Church Hymnal (1874) by the Church of Ireland. The Hymnal 1940 Companion says us ’Mericans picked up the hymn with Hymnal 1874 and remarks that the differences are minor except for the omission of Alexander’s second verse. The first appearance in the Church of England appears to be in 1906 The English Hymnal (#132).
Hymnal 1940 and TEH use the same words, except that TEH are missing the 4th verse. Both seem to be (as promised) minor changes to Mrs. Alexander‘s words of 166 years ago:
| Verses for Holy Seasons (1846) | Hymnal 1940 |
|---|---|
| He is risen, He is risen, Tell it with a joyful voice, He has burst His three days' prison, Let the whole wide earth rejoice ; Death is conquered, man is free, Christ has won the victory. Come, ye sad and fearful-hearted, With glad smile and radiant brow ; Lent's long shadows have departed, All His woes are over now, And the Passion that He bore ; Sin and pain can vex no more. Come, with high and holy hymning Chant our Lord's triumphant lay; Not one darksome cloud is dimming Yonder glorious morning ray Breaking o'er the purple East; Brighter far our Easter feast. He is risen, He is risen, He has oped the eternal gate ; We are free from sin's dark prison, Risen to a holier state, And a brighter Easter beam On our longing eyes shall stream. | He is risen, he is risen! Tell it out with joyful voice: he has burst his three days' prison; let the whole wide earth rejoice: death is conquered, man is free, Christ has won the victory. Come, ye sad and fearful-hearted, with glad smile and radiant brow! Lent's long shadows have departed; Jesus' woes are over now, and the passion that he bore-- sin and pain can vex no more. Come, with high and holy hymning, hail our Lord's triumphant day; not one darksome cloud is dimming yonder glorious morning ray, breaking o'er the purple east, symbol of our Easter feast. He is risen, he is risen! He hath opened heaven's gate: we are free from sin's dark prison, risen to a holier state; and a brighter Easter beam on our longing eyes shall stream. |
Hymnal 1982 (#180) includes the full harmony for the hymn, and makes only one editorial change: due to the M-word, the first verse becomes “we are free.” Although it sticks in my craw every time I have to sing it, it is admittedly a relatively minor attack by the PC police. (Given that a woman wrote “man is free” in a children’s hymn, this would suggest her original language was intended to be inclusive, referring to the human race.)
Thursday, April 5, 2012
Hymns for Maundy Thursday?
As a child, I don't recall spending a lot of time in Church during Holy Week: after we left Palm Sunday, we didn’t return until Easter morn. (Of course, back then I needed my parents to drive the 11 miles to church and back).
As an adult, I’ve made a point to attend church at the beginning and end of Lent, starting with Ash Wednesday and ending with Good Friday. Due to work and travel schedule, this year I attended Maundy Thursday instead of Good Friday.
By its nature, Good Friday has always seemed like a no-music Holy Day. The liturgical index in the Hymnal 1940 lists hymns for Palm Sunday, Maundy Thursday, Eastern Even and Easter Day. For Thursday, it likes hymns for Holy Communion but not morning or evening prayer (but then there’s no morning prayer setting for Christmas Eve or Easter Even).
Singing hymns seems particularly appropriate for Maundy Thursday, given the final line of Mark’s account of the Last Supper (Mark 14:26):
Hymnal 1982 has a large collection (#158-173) labelled “Holy Week,” but most of these seem mostly Lenten, Passiontide or Good Friday type hymns. This includes #168 (“O sacred Head, sore wounded”) and #172 (“Were you there when they crucified my Lord?”) which are also in H40 (#75, #80). Still, none of these are specifically about the Last Supper, nor are the Holy Communion hymns in H40 (#189 - #213).
Tonight I attended Maundy Thursday at an LCMS church — something I’ve often done since leaving fancy ECUSA churches with nice buildings for struggling Schism I or II refugees without buildings. And despite the chronic habit of Concordia Publishing House towards planned obsolescence as a way to make money, it seems like they’ve gone further than most in filling this gap, with two Last Supper hymns in the Lutheran Service Book.
The one we sung tonight was #445, “When You woke that Thursday morning”. The text was written by (LCMS) Lutheran pastor Jaroslav Vajda (1919-2008) for CPH, while the music was written by Marty Haugen (b. 1950) for GIA, a rival publisher. Despite its contemporary bonafides, the tune seemed quite singable and the text reads more like a modernized version of a 19th century text than a traditional sappy praise song. (However, as part of an obnoxious trend of modern hymnals to sell a separate book to organists, the hymn is harmony-free).
The other one, #446 (“Jesus, greatest at the table”), also combines two contemporary compositions: a text sold by CPH with a tune (“New Malden”) from the British Methodists (that appears to have been composed in 1971). I didn’t hear it so I can’t speak to its singability.
Interesting, our pastor chose a slightly different Holy Thursday hymn (#436) for communion, one that is certainly familiar to Anglicans:
Both H40 and A&M have 3 verses: about the arrest, trial and crucifixion of Our Lord. The Hymnal 1940 Companion notes that Montgomery had both 1820 and 1825 versions of the text, that the hymn first entered the American hymnal in 1874. It also notes that the Americans dropped the 4th verse (“Early hasten to the tomb”) — a verse that is in the LSB but one we did not sing tonight.
The LCMS pastor’s choices reminds us that the day did not end for Jesus or the Apostles with the Last Supper, but continued on from the Mount of Olives in the inevitable road to Calvary. Even with these Lutheran options, it seems like there are more opportunities to craft hymns for one of the holiest feasts of the year.
As an adult, I’ve made a point to attend church at the beginning and end of Lent, starting with Ash Wednesday and ending with Good Friday. Due to work and travel schedule, this year I attended Maundy Thursday instead of Good Friday.
By its nature, Good Friday has always seemed like a no-music Holy Day. The liturgical index in the Hymnal 1940 lists hymns for Palm Sunday, Maundy Thursday, Eastern Even and Easter Day. For Thursday, it likes hymns for Holy Communion but not morning or evening prayer (but then there’s no morning prayer setting for Christmas Eve or Easter Even).
Singing hymns seems particularly appropriate for Maundy Thursday, given the final line of Mark’s account of the Last Supper (Mark 14:26):
And when they had sung a hymn, they went out to the Mount of Olives.Hymnal 1940 does not list any hymns between “Passiontide” and “Eastern Even,” but in the liturgical index it lists five possible hymns — 189, 193, 194, 195, 199 — all from the Holy Communion section. I recognize only one of these hymns — “Father, we thank the who hast planted” (#195) — because of the wonderful 16th century Louis Bourgeois tune. But none of these communion hymns seem explicitly tied to Holy Thursday.
Hymnal 1982 has a large collection (#158-173) labelled “Holy Week,” but most of these seem mostly Lenten, Passiontide or Good Friday type hymns. This includes #168 (“O sacred Head, sore wounded”) and #172 (“Were you there when they crucified my Lord?”) which are also in H40 (#75, #80). Still, none of these are specifically about the Last Supper, nor are the Holy Communion hymns in H40 (#189 - #213).
Tonight I attended Maundy Thursday at an LCMS church — something I’ve often done since leaving fancy ECUSA churches with nice buildings for struggling Schism I or II refugees without buildings. And despite the chronic habit of Concordia Publishing House towards planned obsolescence as a way to make money, it seems like they’ve gone further than most in filling this gap, with two Last Supper hymns in the Lutheran Service Book.
The one we sung tonight was #445, “When You woke that Thursday morning”. The text was written by (LCMS) Lutheran pastor Jaroslav Vajda (1919-2008) for CPH, while the music was written by Marty Haugen (b. 1950) for GIA, a rival publisher. Despite its contemporary bonafides, the tune seemed quite singable and the text reads more like a modernized version of a 19th century text than a traditional sappy praise song. (However, as part of an obnoxious trend of modern hymnals to sell a separate book to organists, the hymn is harmony-free).
The other one, #446 (“Jesus, greatest at the table”), also combines two contemporary compositions: a text sold by CPH with a tune (“New Malden”) from the British Methodists (that appears to have been composed in 1971). I didn’t hear it so I can’t speak to its singability.
Interesting, our pastor chose a slightly different Holy Thursday hymn (#436) for communion, one that is certainly familiar to Anglicans:
Go to dark Gethsemane, ye that feel the tempter’s power;The same hymn is in H40 (#70) as a Passiontide hymn; there the tune is called “Petra” (vs. “Gethsemane” in LSB) but it’s the same 1853 tune by Richard Redhead. H40 has the same 1825 text by James Montgomery as in the 1876 Hymns Ancient & Modernbut not that tune.
Your Redeemer’s conflict see, watch with Him one bitter hour,
Turn not from His griefs away; learn of Jesus Christ to pray.
Both H40 and A&M have 3 verses: about the arrest, trial and crucifixion of Our Lord. The Hymnal 1940 Companion notes that Montgomery had both 1820 and 1825 versions of the text, that the hymn first entered the American hymnal in 1874. It also notes that the Americans dropped the 4th verse (“Early hasten to the tomb”) — a verse that is in the LSB but one we did not sing tonight.
The LCMS pastor’s choices reminds us that the day did not end for Jesus or the Apostles with the Last Supper, but continued on from the Mount of Olives in the inevitable road to Calvary. Even with these Lutheran options, it seems like there are more opportunities to craft hymns for one of the holiest feasts of the year.