Sunday, September 28, 2014

"you declare your mighty power chiefly in showing mercy and pity"; grant, therefore, in your mercy, that we might run to obtain your promises!

2010 ICEL: (26th Sunday in Ordinary Time):
O God, who manifest your almighty power
above all by pardoning and showing mercy,
bestow, we pray, your grace abundantly upon us
and make those hastening to attain your promises
heirs to the treasures of heaven.
Through [etc.].

Corpus orationum no. 1952 A-B (7th-beginning of the 8th century (Casin:  Monte Cassino 271; Gothicum:  Vatic. Reg. Lat. 317; etc.), with a few variants); Bruylants no. 418 (first half of the 8th century, with several variants) (10th Sunday after Pentecost):
Deus, qui omnipotentiam tuam
parcendo maxime et miserando manifestas,
multiplica super nos gratiam tuam,
ut, ad tua promissa currentes,
cælestium bonorum facias esse consortes.
Per [etc.].

Sources:  Ps 36 (35):8a:  "multiplicasti misericordiam tuam, Deus".

1973 ICEL (26th Sunday in Ordinary Time), via Fr. Z:
Father, you show your almighty power, in your mercy and forgiveness. Continue to fill us with your gifts of love. Help us to hurry toward the eternal life you promise and come to share in the joys of your kingdom.

1549 BCP:
God, which declarest thy almighty power, most chiefly in shewyng mercy and pitie; Geue unto us abundauntly thy grace, that we, running to thy promises, may be made partakers of thy heauenly treasure; through [etc.].

1662 BCP (11th Sunday after Trinity):
O God, who declarest thy Almighty power, most chiefly in shewing mercy and pity; Mercifully grant unto us such a measure of thy grace, that we running in the way of thy commandments, may obtain thy gracious promises, and be made partakers of thy heavenly treasure, through [etc.].

1979 BCP Traditional (Proper 21):
O God, who declarest thy almighty power chiefly in showing mercy and pity:  Mercifully grant unto us such a measure of thy grace, that we, running to obtain thy promises, may be made partakers of thy heavenly treasure; through [etc.].

1979 BCP Contemporary (Proper 21):
O God, you declare your mighty power chiefly in showing mercy and pity:  Grant us the fullness of your grace, that we, running to obtain your promises, may become partakers of your heavenly treasure; through [etc.].

Saturday, September 27, 2014

"'No good work is undertaken with wise reflection.'"

"'. . . but God led me up like a[n old] nag whose eyes have been put out so that it won't see those who come to deliver the fatal blow.'
     "Then said the Doctor on this [subject], 'that rarely is a good work undertaken[rarely does a good work] come—out of wisdom or prudence, but it must all happen in [the context of] a misunderstanding or lack of information. . . ."

". . . aber Gott hat mich hinan geführt wie einen Gaul, dem die Augen geblendet sind, daß er die nicht sehe, so zu ihm zurennen.
     "Und sagte der Doctor darauf, 'daß selten ein gut Werk aus Weisheit oder Fürsichtigkeit fürgenommen werde oder geschehe, sondern es musse alles in einem Irrsal oder Unwissenheit geschehen."

     Martin Luther, at Tischrede no. 406 (Veit Dietrich 157), December 1532 =WA Tischreden 1, 175-176 (Aurifaber parallel in small print on p. 176, which is not there dated, and derives from Dr. Martin Luthers Tischreden oder Colloquia.  Nach Aurifabers erster Ausgabe, . . . vols. 1-3 ed. Karl Eduard Förstemann (Leipzig, 1844-1846), vol. 4 ed. Heinrich Ernst Bindseil (Berlin, 1848), vol. 1, no. 23, p. 26).
     I was put onto this by André Dumas, who translates it as follows:
'Dieu m'a conduit sur les sommets comme une rosse dont les yeux sont aveugles, afin que'elle ne voie pas ceux qui viennent la heurter..., car rarement bonne œuvre, entreprise en sagesse et prévoyance, n'atteint son but.  Tout doit se faire comme dans un dédale d'inconscience.'
My translation of the French:  'God led me onto the heights like a sorry nag whose eyes are blind, so that it doesn't see those who come to strike it. . . . for rarely does a good work, undertaken in wisdom and foresight, attain its goal.  Everything must be done as in a labyrinth/maze of ignorance/unawareness.'
André Dumas, "300e anniversaire de la mort de Blaise Pascal:  L'apologétique du Dieu caché chez Pascal," Revue d'histoire et de philosophie religieuses 4 (1962):  298n2 (290-303).

     Cf. Luther's Works 54, p. 64, which translates Veit Dietrich 157, but not the Aurifaber in small print on p. 176:
     'No good work is undertaken or done with wise reflection. It must all happen in a half-sleep. This is how I was forced to take up the office of teaching. If I had known what I know now, ten horses wouldn’t have driven me to it. Moses and Jeremiah also complained that they were deceived. Nor would any man take a wife if he first gave real thought [to what might happen in marriage and the household].     Here Philip said that he had diligently observed that in history great deeds had never been done by old men.  'This was so,' said Luther, 'when Alexander and Augustus were young; afterward men become too wise. They didn’t do great things by deliberate choice but by a sort of impulse. If you young fellows were wise, the devil couldn’t do anything to you; but since you aren’t wise, you need us who are old. Our Lord God doesn’t do great things except by violence, as they say. If old men were strong and young men were wise it would be worth something. The sect leaders are all young men like Icarus and Phaeton. Such are Zwingli and Karlstadt.  They are novices in the sacred Scriptures.'
(Note that the two paragraphs appear to contradict one another.  In the first, "'No good work is undertaken with wise reflection.'"  Yet in the second, "'you need us who are old.'")
     There are a couple of images of Rocinante here that would be perfect for that first sentence.

Thursday, September 25, 2014

"As though a Christian could be without the Lord's [day assembly-cum-Eucharist]"!

"As though a Christian could be without the dominicum or the dominicum be celebrated without the Christian.  Do you not know, Satan, the Christian is constituted in the dominicum and the dominicum in the Christian, so that the one without the other does not stand[?]"

"Quasi christianus sine dominico esse possit, aut dominicum sine christiano celebrari.  An nescis, Satanas, in dominico christianum et in christiano dominicum constitutum, ut nec alterum sine altero valeat esse?"

     Narrator in response to the question put to Felix by the proconsul, "'I do not ask whether you are a Christian, but did you participate in assemblies (Non quæro utrum christianus sis, sed an cellectam feceris)], or have you any writings?'"  "Sometime after February 23, 303".  Acta martyrum Saturnini, Dativi et aliorum plurimorum martyrum in Africa 12, ed. Thierry Ruinart, PL 8, cols. 711-712, as translated in Edward J. Kilmartin, S.J., "The basis of the Sunday Mass obligation," Bread from heaven, ed. Paul Bernier, S.S.S. (New York:  Paulist Press, 1977), 157-158 (151-161).  "In the commentary on the proconsul's statement to Felix, assembly [(collecta)] is equated with dominicum" (161n21).

Tuesday, September 23, 2014

Gunpowder "was one of the chief instruments in freeing the world from the dominion of physical force. . . ."

Wikimedia Commons
Das Schießpulver “war ein Hauptmittel zur Befreiung von der physischen Gewalt. . . .”

     Georg Wilhelm Friedrich Hegel, Philosophy of history IV.ii.3 ("The transition from feudalism to monarchy"), trans. J. Sibree (GBWW, vol. 46, p. 343); ed. Karl Hegel, p. 486.
     This must be read very carefully in context, of course.  (For example, by "physical force" Hegel means the physical force of feudalism, that wielded by "haughty steel-clad nobles, armed with spear and sword" against the peasantry.)
     But still,
We may indeed be led to lament the decay or the depreciation of the practical value of personal valourthe bravest, the noblest may be shot down by a cowardly wretch at a safe distance in an obscure lurking place; but, on the other hand, gunpowder has made a rational, considerate braveryspiritual valour [(eine vernünftige, besonnene Tapferkeit, den geistigen Muth)]the essential to martial success.  Only through this instrumentality could that superior order of valour be called forth, that valour in which the heat of personal feeling has no share [(die Tapferkeit ohne persönliche Leidenschaft)]; . . .

306 Trombones

"[The Tuba mirum opens with a lofty phrase that leads nowhere and is impotent.]  Why just one trombone to sound the terrible blast that should echo round the world and raise the dead from the grave [(from the bottom of their tombs)]?  Why keep the other two trombones silent when not three, not thirty, not three hundred would be enough?  [Would this be because the word tuba is in the singular and not the plural?  To attribute [for even] an instant such stupid thinking to Mozart would be to do him an injury.]"

"Le Tuba mirum débute par une phrase sublime, qui n'aboutit à rien et dont l'instrumentation est impuissante.  Pourquoi un seul trombone est-il chargé de sonner l'appel terrible qui doit retenir par toute la terre et réveiller les morts au fond de leurs tombeaux?  Pourquoi faire taire les deux autres trombones?  quand, au lieu de trois, trente, trois cents même ne seraient pas de trop?  Serait-ce parce que le mot tuba exprime le singulier et non le pluriel?  C'est faire une injure à Mozart que de lui supposer un instant une aussi sotte idée."

     Hector Berlioz on Mozart's Requiem (the Tuba mirum), Le rénovateur, 30 March 1834, "echoed in similar terms in G[azette ]m[usicale], 7 September 1834; C[ritique ]m[usicale], 1 [(1823-34) (Paris, 1996)], pp. 204, 376" (Hugh MacDonald, Berlioz's orchestration treatise:  a translation and commentary (Cambridge, England:  Cambridge University Press, 2002), 219-220, as supplemented from the French in brackets by me).  French as quoted in Hector Berlioz, Grand traité d'instrumentation et d'orchestration modernes, ed. Peter Bloom, Hector Berlioz:  New edition of the complete works, ed. Berlioz Centenary Committee, London, in association with the Calouste Gulbenkian Foundation, Lisbon, vol. 24 (Kassel:  Bärenreiter, 2003), 310n13.

Thursday, September 18, 2014

Berlioz on the trombone

     "I regard the trombone as the true leader of the race of wind instruments which I have described as 'epic'.  It possesses nobility and grandeur to a high degree and it has all the solemnity of high musical poetry, ranging from a calm, imposing, devotional aura to the wild clamours of an orgy.  It is up to the composer to make it chant like a chorus of priests, or utter threats, then muffled groans, then a subdued funeral knell, then a resounding hymn of glory, then a piercing shriek, then a mighty fanfare for the waking of the dead or the death of the living."

     Hector Berlioz, Grand traité d'instrumentation et d'orchestration modernes (1844; 2nd ed. 1855), trans. Hugh MacDonald (Berlioz's orchestration treatise:  a translation and commentary (Cambridge, England:  Cambridge University Press, 2002), 219).


     "Le trombone est, à mon sens, le véritable chef de cette race d’instruments à vent que j’ai qualifiés d’epiques.  Il possède en effet au suprême degré la noblesse et la grandeur; il a tous les accents graves ou forts de la haute poésie musicale, depuis l’accent religieux, imposant et calme, jusqu’aux clameurs forcenées de l’orgie.  Il dépend du compositeur de le faire tour à tour chanter comme un chœur de prêtres, menacer, gémir sourdement, murmurer un glas funèbre, entonner un hymne de gloire, éclater en horribles cris, ou sonner sa redoubtable fanfare pour le réveil des morts ou la mort des vivants."

     Hector Berlioz, Grand traité d'instrumentation et d'orchestration modernes, ed. Peter Bloom, Hector Berlioz:  New edition of the complete works, ed. Berlioz Centenary Committee, London, in association with the Calouste Gulbenkian Foundation, Lisbon, vol. 24 (Kassel:  Bärenreiter, 2003), 309.  Cf. Hector Berlioz, Grand traité d'instrumentation et d'orchestration modernes (1844), nouvelle edition (Paris:  Henry Lemoine & Cie, Editeurs, [1855]), 205.


     "The trombone is,—in my opinion,—the true chief of that race of wind instruments which I have designated as epic instruments.  It possesses in an eminent degree, both nobleness and grandeur; it has all the deep and powerful accents of high musical poetry,—from the religious accent, calm and imposing, to the wild clamours of the orgy.  It depends on the composer to make it by turn chaunt like a choir of priests; threaten, lament, ring a funeral knell, raise a hymn of glory, break forth into frantic cries, or sound its dread flourish to awaken the dead or to doom the living."
     Hector Berlioz, A treatise upon modern instrumentation and orchestration (1844), trans. Mary Cowden Clarke, New (3rd) ed., rev. & corr. (Boston:  Oliver Ditson and Co., [1860]), 156.


"In my opinion, the trombone is the true head of that family of wind instruments which I have named the epic one. It possesses nobility and grandeur to the highest degree; it has all the serious and powerful tones of sublime musical poetry, from religious, calm and imposing accents to savage, orgiastic outburst. Directed by the will of the master, the trombones can chant like a choir of priests, threaten, utter gloomy sighs, a mournful lament, or a bright hymn of glory, they can break forth into awe-inspiring cries and awaken the dead or doom the living with their fearful voices."
     Hector Berlioz, Treatise on instrumentation (1844), enlarged and rev. by Richard Strauss, trans. Theodore Front  (New York:  E. F. Kalmus, 1948), 302.


Wednesday, September 17, 2014

Leaf of manuscript at First Free Methodist Church, Seattle

benedicimus ti
bi gloria in secu
la.  ps. Magnt.
Et fit co
memor
Domini
nice prie
Antiph.
Nolite iudi
care ut non iudi

     Leaf of a 16th- or 17th-century Roman Breviary (more strictly an Antiphonal or Antiphonary) opened to Second Vespers, Trinity Sunday.  Fine Center, First Free Methodist Church, Seattle, WA.
  • . . . benedicimus tibi gloria in s(a)ecula.  Concluding fragment (or explicit) of the Te deum patrem ingenitum, of which there are examples in Cantus from c. 960, all of them either Antiphons or Responsories, and the vast bulk of them associated with either First or Second Vespers on Trinity Sunday: "Te deum patrem ingenitum te filium unigenitum te spiritum sanctum paraclitum sanctam et individuam trinitatem toto corde et ore confitemur laudamus atque benedicimus tibi gloria in saecula," "Thee God the Father unbegotten, thee the only begotten Son, thee the Holy Ghost the Comforter, holy and undivided Trinity, with all our heart and mouth we confess, praise and bless; to thee be glory for ever" (trans. Margaret Winkworth).
  • ps[almus (a rubric)].  Magn[ifica]t.
  • Et fit com(m)emor[atio] Domininic[a]e pri[ma]e Antiph[ona (a rubric)].  "Then is made a commemoration of the First Sunday [after Pentecost]".  See, for example, First Vespers, Trinity Sunday, in the 1893 Breviary below ("Et fit Commemoratio Dominicæ primæ post Pentecosten, Aña", "Then is made a commemoration of the First Sunday after Pentecost, [with the] Antiphon" Loquere Domine, quia audit servus tuus), though the Antiphon in the case of Second Vespers is Nolite judicare, below.  "the feast [of Pentecost] was kept with an octave from early times" (ODCC, 3rd rev. ed., s.v. "Whitsunday"), and is therefore much older than the feast of the Trinity, which didn't become a feast of the universal Church until 1334, but was at that point (?) assigned to the First Sunday after Pentecost (though the Sundays following continued to be reckoned as "after Pentecost" ("Second Sunday after Pentecost" and so forthrather than "after Trinity" ("First Sunday after Trinity" and so forthin the Roman rite (the Carmelite, Dominican, and Carthusian orders excepteduntil 1969) (ODCC, 3rd rev. ed., s.v. "Trinity Sunday").
  • Nolite iudicare ut non iudi[cemini]:  Mt 7:1, Vulgate, also used frequently as an antiphon (Cantus from c. 980, according to which the Nolite iudicare gets associated with Trinity Sunday (rather than, say, the Fourth or Fifth Sunday after Pentecost) several centuries later than the Te deum patrem ingenitum (1400 and 1501)):  "Judge not, that you be not jud[ged]."
     If this leaf-of-a-manuscript is really from the 16th or 17th century, then the relevant major revisions to the Breviarium Romanum were made in 1568 and 1911, and this 1893 printing of the Breviary (opened to Second Vespers, Trinity Sunday) ought to be roughly what we're looking for.  Note that it makes the Te deum patrem ingenitum the Antiphon to the Magnificat ("Ad Magnif. Aña."), and the Nolite judicare, the Antiphon for the commemoration of the Pentecostal background to Trinity Sunday ("Pro Commem. Dominicæ, Aña.", "For the Commemoration of the [First] Sunday [after Pentecost], [use the] Antiphon" Nolite judicare).  Cf. this 1879 printing of a translation of the pre-1911 Roman Breviary into English, at Second Vespers, Trinity Sunday:  "Antiphon at the Song of the Blessed Virgin.  With all our heart and with all our voice do we acknowledge Thee, praise Thee, and bless Thee, O God the Father the Unbegotten. . . . The following is the Commemoration of the First Sunday after Pentecost.  Antiphon.  Judge not, that ye be not judged. . . . Verse. . . . Answer. . . . Prayer. . . ."    

     In conclusion, what First Free Methodist has appears to be the leaf of a Roman Breviary (but given the presence of musical notation, more strictly an Antiphonal or Antiphonary) opened to the middle of Second Vespers, Trinity Sunday.

     I make at present no claims as to authenticity of the artifact itself.  Note, for example, that "Dominic[a]e" is mispelled ("Domini|nic[a]e").

     With thanks to Dr. Owen Ewald for his input.