Mount Melleray Abbey … founded in 1833, 6 km outside Cappoquin, Co Waterford (Photograph: Patrick Comerford)
Patrick Comerford
Part of my childhood came to an end at the weekend when Mount Melleray Abbey, near Cappoquin, Co Waterford, closed its doors after Mass on Saturday morning (25 January 2025).
The abbey has closed almost two centuries after it was founded in the 1830s by an Irish-born monk, Dom Vincent Ryan, returned to Ireland from the Cistercian monastery in Melleray in France, first settled in Rathmore, Co Kerry, and then became the first abbot of Mount Melleray in West Waterford.
The monks decided to close the abbey last November and agreed to form a union with Mount Saint Joseph Abbey in Roscrea, Co Tipperary, and Mellifont Abbey, Co Louth. The group, known as the Abbey of Our Lady of Silence, began to relocate to Roscrea on a temporary basis yesterday (Sunday 26 January 2025).
Throughout my childhood years, I was very familiar with Mount Melleray, which was the neighbouring farm to my grandmother’s farm at Moonwee.
The abbey bells rang across the farm and fields throughout the day. As children, we regularly traipsed through the fields at Moonwee, across brooks and stiles, to the farm and monastery at Melleray, feeling free to explore the abbey churches, buildings and farmyard, and to silently listen to the monks singing the daily offices.
I remember Moonwee and Mount Melleray, the fields around them and the streets of Cappoquin as my childhood idyll. In fact, Mount Melleray was even part of our postal address. However, I have been back to Mount Melleray only a few times since those childhood days, and my last visit was in August 2020. Twenty years earlier, I had decided against the idea of a pre-ordination retreat there in 2000. So, it was emotionally moving to return to Mount Melleray that summer five years ago and to reconnect with a spiritual tradition and monastic buildings I had once been familiar with more than half a century earlier.
Inside the monastic church at Mount Melleray Abbey (Photograph: Patrick Comerford)
For almost two centuries, Mount Melleray Abbey has been a community of Cistercian or Trappist monks on the slopes of the Knockmealdown Mountains, about 6 km north of Cappoquin, Co Waterford. It was founded in 1833 on land donated by the Keane family of Cappoquin House at a nominal rent.
James Joyce mentions Mount Melleray in ‘The Dead,’ the final short story in Dubliners (1914), in which the monks of Mount Melleray are noted for their exceptional hospitality and piety. The poet Seán Ó Ríordáin’s celebrated the abbey in his poem ‘Cnoc Mellerí’ in Eireaball Spideoige (1952).
The Cistercian order was founded as branch of the Benedictines by Saint Bernard of Clairvaux in the 12th century, and the Trappists date from the mid-17th century. After the French Revolution and the suppression of monastic houses in France, some dispossessed Trappist monks arrived in England in 1794 and established a community in Lulworth, Dorset.
The symbol of the abbot’s crozier in the choir stalls Mount Melleray Abbey (Photograph: Patrick Comerford)
Following the restoration of the Bourbons, these monks returned to France in 1817 to re-establish the ancient Melleray Abbey in Brittany. During the July Revolution of 1830, the monks were forced to flee France once again and were sent by Dom Antoine, Abbot of Melleray, to found an abbey in Ireland.
The monastery was founded on 30 May 1832 at Scrahan, near Cappoquin, by a group of Irish and English monks from Melleray who had come to Ireland under the leadership of Father Vincent de Paul Ryan.
After many efforts to locate his community, he accepted an offer from Sir Richard Keane of Cappoquin House to rent 500 acres of mountain land, and this later increased to 700 acres.
The high altar and the sanctuary in the monastic church in Mount Melleray (Photograph: Patrick Comerford)
William Abraham, Bishop of Waterford and Lismore, blessed the foundation stone of the new monastery on the feast of Saint Bernard 1833. The monastery was named Mount Melleray in memory of the mother house. It became an abbey in 1835, and Father Vincent was unanimously elected abbot. He received his abbatial blessing from Bishop Abraham, the first abbatial blessing in Ireland since the Reformation.
A small group of monks was sent from Mount Melleray to England in 1835 to found Mount Saint Bernard Abbey, near Coalville, Leicestershire. Abbot Vincent vigorously undertook the work of completing the abbey, but he died on 9 December 1845.
His successor, Dom Joseph Ryan, resigned after two years, and Dom Bruno Fitzpatrick became abbot in September 1848. Dom Bruno consolidated the initial work and the abbey and also devoted his energy to missionary work. During its earlier years, the monastery was directly subject to the bishop of the diocese, but in 1848 it came under the jurisdiction of the general chapter.
The life of Saint Bernard in a window by the Harry Clarke studios (Photograph: Patrick Comerford)
The seminary at Mount Melleray began as a small school formed by Abbot Vincent in 1843, and was developed by Abbot Bruno and his successors.
When the Scottish essayist Thomas Carlyle visited Dromana House near Cappoquin in 1849, he also visited Mount Melleray and described the abbey in some detail, noting particularly the huge vats of ‘stir-about’ or porridge the monks prepared for the large number of Famine victims.
Abbot Bruno died in 1893, and was succeeded by Dom Carthage Delaney, who was blessed in 1894 and presided over Mount Melleray for 13 years. His successor, Dom Marius O’Phelan, was solemnly blessed by Bishop Sheahan of Waterford in 1908.
Dom Marius is credited with resuming the building programme at Mount Melleray in 1925. He bought the great cut limestone blocks from Mitchelstown Castle, 42 km west, after it was burnt by anti-treaty republicans on 12 August 1922. The owners of Mitchelstown Castle dismantled the ruins in 1925 and the stones were transported by steam lorry in two consignments a day over a five-year period.
The foundation stone laid by Cardinal McRory in Mount Melleray Abbey in 1933 (Photograph: Patrick Comerford)
Dom Marius died as the abbey was being laid out, and his successor, Dom Celsus O’Connell, continued the monumental task. The monks ended up with far more stones than they needed and these were eventually stacked in fields around the monastery.
In March 1932, the community of English Cistercian nuns of Stapehill, England, moved to Saint Mary’s Convent, Lismore, which was bought and prepared for them by the monks of Mount Melleray.
The monastery celebrated its centenary in August 1933. Cardinal John McRory, Archbishop of Armagh, laid the foundation stone of a new abbey church on 17 April 1933, just 12 days after Dom Celsus was elected the seventh abbot and a few months before the abbey celebrated its centenary.
The public church and the monastic church are the main elements of the church building project undertaken by Dom Celsus, and building work began in January 1935.
The words of the canticle Magnificat carved on the wooden screen at the west end of the monastic church in Mount Melleray Abbey (Photograph: Patrick Comerford)
The monastic church, where monks of Mount Melleray celebrated the Divine Office every day until last week, was completed and solemnly blessed on 26 November 1940. Later, a high altar and some 20 lesser altars – all in marble and the gifts of benefactors – were installed, and a magnificent stained-glass window was erected behind the high altar.
President Séan T O’Kelly paid a state visit to Mount Melleray in June 1946. However, it was not until the 120th anniversary of Mount Melleray that the abbey church was solemnly consecrated by Bishop Coholan of Waterford on 20 August 1952. During the consecration festival from 20 to 29 August 1952, over 100,000 people visited Mount Melleray, including President Séan T O’Kelly.
The abbey church is Gothic in architectural style and cruciform in plan. Although extended, it follows mainly the lines of the original chapel built by the first community.
In the Cistercian tradition, a massive crucifix was suspended over the nave and contained relics of Saint Bernard and many Irish saints. However, this was removed during the post-Vatican II liturgical reforms.
The east window in the monastic church in Mount Melleray Abbey (Photograph: Patrick Comerford)
The east window is the work of the Harry Clarke studio. The central panel represents Christ the King crowning the Virgin Mary at the Assumption. Each evening at the Office of Compline, the lights of the Church were extinguished and, according to Cistercian tradition, the figure of the Virgin Mary was illuminated for the singing of the Salve Regina.
To the right of the central panel are Saint Catherine of Alexandria and Saint Carthage of Lismore; to the far right are Saint Robert, one of the three founders of the Cistercian Order, and Saint Patrick of Ireland.
To the left of the central panel are Saint Brigid of Kildare and Saint Columba; to the far left are Saint Bernard of Clairvaux, Doctor of the Church and the founder of the Cistercians, and Saint Malachy of Armagh, who invited Saint Bernard to send Cistercian monks to Ireland, leading to the foundation of Mellifont Abbey in 1142.
At the west end of the church, the words of the canticle Magnificat are carved in large letters on a wooden screen.
Inside the public church in Mount Melleray Abbey, facing the east end (Photograph: Patrick Comerford)
The public church was consecrated at the same time as the monastic church, with Dom Benignus Hickey, Abbot of New Mellifont, consecrating the High Altar.
The public church was dedicated to the Assumption and Saint Philomena, and was once the National Shrine of Saint Philomena. Her statue was removed when her name was removed from the Roman Calendar.
The interior of the public church has five bays consisting of aisles on either side and double lancets above. The sanctuary is decorated in mosaic, both in the nave and the aisles. The walls surrounding the side aisles are decorated with angels.
The walls of the sanctuary have the instruments of the Passion in quatrefoils on the lateral walls, the east wall has images of the Sacred Heart on the north side and Saint Joseph on the south side, each with a monogram in the quatrefoil beneath.
Inside the public church in Mount Melleray Abbey facing the west end (Photograph: Patrick Comerford)
The east window of the public church is in two levels. Above, in the central panel is the Assumption of the Virgin Mary with angels. Below, from left to right, are Saint Brigid, Saint Malachy of Armagh, who introduced the Cistercians to Ireland, Saint Bernard of Clairvaux, founder of the Cistercians, and Saint Patrick.
The seven main panels of this window were originally in the east window of the old monastic church.
Many of the stained-glass windows in the side aisles are also the work of Harry Clarke or the Harry Clarke Studios in Dublin.
Saint Peter and Saint Paul in a two-light lancet window by the Harry Clarke Studio in the public church in Mount Melleray Abbey (Photograph: Patrick Comerford)
From its early days, the school at Mount Melleray educated both clerical and lay students until the boarding school closed in 1974. Another local landmark that is part of my childhood memories, the ‘Cats’ bar, also closed a number of years ago.
The Abbot of Mount Melleray, Dom Eamon Fitzgerald, became the first Irish Abbot General of the Cistercian Order in 2008. He returned to Melleray in 2022 after 14 years in Rome as abbot general.
The last abbot, Dom Richard Purcell, was elected the Abbot of Mount Melleray at the age of 33 in 2017. He had previously been Abbot of Mount Saint Joseph Abbey, Roscrea, and had already received the abbatial blessing in 2009.
In the past, Mount Melleray was involved in founding New Melleray Abbey, near Dubuque, Iowa, Mount Saint Joseph Abbey, Roscrea, Co Tipperary, and the Southern Star Abbey in New Zealand.
In recent years, the number of monks living in the community at Mount Melleray had dwindled from almost 60 in 1991 to six last week – and two of those six were away last week. Two had died within the space of two years, and another was living as a hermit near Saint Mary’s Abbey of Cistercian nuns in Glencairn, near Lismore, where he celebrated Mass once a week for the sisters.
The farm is now leased to a neighbouring farmer, while the monks hire contractors to fell trees from its extensive forestry. The monastery’s apiary, which once yielded an abundance of heather honey, has also disappeared, its hives long dismantled and the bees long gone.
The Lamb of God depicted in a Harry Clarke window in the public church in Mount Melleray Abbey (Photograph: Patrick Comerford)
Despite last week’s closing and move, the monks have not ruled out a possible return to Mount Melleray, according to Christina O’Flynn, who has been running the gift shop for the last 7½ years.
‘It’s not going to be a derelict building. It is not being sold … Some staff are being kept on to look after the grounds. It belongs to the monks. Anything else is just rumours,’ she told journalists. ‘They built a whole new wing that the order could walk right into it. Refurbishments are being carried out while they are away. If they do come back it will be different to how it was but we don't care about that. This is not about structures or buildings. What matters to us is having the liturgy back.’
‘We don’t see it as closing down,’ she said. ‘After 18 months they will make a decision about where they are going to live permanently. The hope is that it will be back here. All the monks want to come back.’
However, the present plans involve the monks from Mount Melleray remaining at the newly-formed Abbey of Our Lady of Silence in Roscrea for at least a year. The new community has 26 members, including three novices, with others interested in joining.
Meanwhile, the Cistercian order says its two other abbeys in Ireland – Bolton Abbey in Moone, Co Kildare, and Portglenone, Co Antrim – continue to operate autonomously.
The fields between Mount Melleray and Moonwee were my childhood idyll (Photograph: Patrick Comerford)
Showing posts with label Mount Melleray. Show all posts
Showing posts with label Mount Melleray. Show all posts
27 January 2025
Part of my childhood fades
as the last monks leave
Mount Melleray Abbey near
Cappoquin at the weekend
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04 January 2025
Daily prayer in Christmas 2024-2025:
11, Saturday 4 January 2025
‘Eleven pipers piping’ … the pipe organ by Paul Neiland in the Church of the Annunciation in Clonard, Wexford (Photograph: Patrick Comerford)
Patrick Comerford
On the Eleventh day of Christmas my true love sent to me … ‘eleven pipers piping, ten lords a-leaping, nine ladies dancing, eight maids a-milking, seven swans a-swimming, six geese a-laying, five golden rings, four colly birds, three French hens, two turtle doves, and a partridge in a pear tree’.
We are still in the season of Christmas, which is a 40-day season that lasts not until Epiphany (6 January), which some parishes may celebrate tomorrow, but until Candlemas or the Feast of the Presentation (2 February).
If the threatened snowstorm holds off this morning I may get to the Greek Café (Το Στεκι Μασ, ‘Our Place’) which is hosted by the Greek Orthodox Community in Stony Stratford every first Saturday of the month from 10:30 to 3 pm in the Swinfen Harris Church Hall beside the Orthodox Church on London Road. But, before today begins, I am taking some quiet time this morning to give thanks, to reflect, to pray and to read in these ways:
1, today’s Gospel reading;
2, a short reflection;
3, a prayer from the USPG prayer diary;
4, the Collects and Post-Communion prayer of the day.
‘The Call of the Disciples’ … a window designed by the Harry Clarke Studios in Christ Church, Spanish Point, Co Clare, depicts the ‘Calling of Saint Peter and Saint Andrew’ – although only one disciple is present (Photograph: Patrick Comerford)
John 1: 35-42 (NRSVA):
35 The next day John again was standing with two of his disciples, 36 and as he watched Jesus walk by, he exclaimed, ‘Look, here is the Lamb of God!’ 37 The two disciples heard him say this, and they followed Jesus. 38 When Jesus turned and saw them following, he said to them, ‘What are you looking for?’ They said to him, ‘Rabbi’ (which translated means Teacher), ‘where are you staying?’ 39 He said to them, ‘Come and see.’ They came and saw where he was staying, and they remained with him that day. It was about four o’clock in the afternoon. 40 One of the two who heard John speak and followed him was Andrew, Simon Peter’s brother. 41 He first found his brother Simon and said to him, ‘We have found the Messiah’ (which is translated Anointed) 42 He brought Simon to Jesus, who looked at him and said, ‘You are Simon son of John. You are to be called Cephas’ (which is translated Peter).
‘Eleven pipers piping’ … a lone piper busking at Waverley Bridge in Edinburgh (Photograph: Patrick Comerford)
Today’s Reflection:
The Christian interpretation of the song ‘The 12 Days of Christmas’ often sees the 11 pipers piping as figurative representations of the 11 faithful disciples, counting out Judas: Peter, Andrew, James, John, Philip, Bartholomew, Matthew, Thomas, James son of Alphaeus, Simon the Zealot and Jude.
It is interesting that when artists depict the pipers piping they seem to opt for Scottish pipers or pipers in military bands, but never draw on the pipes of church organs.
In this morning’s Gospel reading at the Eucharist (John 1: 35-42), immediately after his baptism by Saint John the Baptist in the River Jordan, Christ begins calling his first disciples. First, he calls Andrew and Simon Peter. Andrew is called first, but before responding to the call to follow Christ, he goes back and fetches his brother Simon and brings him to Jesus.
Andrew and Peter are brothers, but their names indicate the early differences and divisions within the Church. Andrew’s name is Greek ('Ανδρέας, Andreas), meaning ‘manly’ or ‘valorous,’ while Peter’s original name, Simon (שמעון, Shimon) is so obviously Jewish, meaning ‘hearing’.
It is the same again later in this chapter with Philip and Nathanael: Philip is a strong Greek name – everyone in the region knew Philip of Macedon was the father of Alexander the Great; Nathanael’s name is a Hebrew compound meaning ‘the Gift of God.’
It is as though we are being reminded from the very beginning, with the story of the call of the disciples, the diversity and divisions are part of the essential fabric of the Church. They are woven into that fabric, even in the names that show that the disciples represent both Jews and Greeks, the Hebrew-speakers and those who are culturally Hellenised.
In reacting to those false divisions in the early Church, the Apostle Paul tells us: ‘There is no longer Jew or Greek, there is no longer slave or free, there is no longer male and female; for all of you are one in Christ Jesus’ (Galatians 3: 28; see Colossians 3: 11).
Christ’s call came to the first disciples as a diverse group of people, from diverse backgrounds, often – as with Philip and Nathanael – when they were least expecting it. But they responded to that call faithfully: Andrew went and fetched Simon Peter; Philip found Nathanael.
There are challenging times ahead in this new year, but this Gospel reading also offers us some challenges:
How do we recover the vision of the Church as a place of refuge and a celebration of diversity and difference that reflects our hopes for the kingdom of God?
Are we inspired with enough infectious enthusiasm to want to be like Andrew who goes back for Peter, Philip who goes back for Nathanael?
In the Kingdom of God, diversity and difference are not just a matter of tolerance, they are part of the very nature of Christ’s will for the Church.
In the Church, no brother – or sister – should be left behind because of diversity or difference.
How do we move beyond the tolerance of diversity to respect for diversity and then on to the point of rejoicing in diversity as a gift in the Church, so that truly, as the Apostle Paul tells us: ‘There is no longer Jew or Greek, there is no longer slave or free, there is no longer male and female; for all of you are one in Christ Jesus’?
‘Look, here is the Lamb of God!’ (John 1: 36) … a detail in a window in Mount Melleray Abbey, Cappoquin, Co Waterford (Photograph: Patrick Comerford)
Today’s Prayers (Saturday 4 January 2025):
The theme this week in ‘Pray With the World Church’, the Prayer Diary of the Anglican mission agency USPG (United Society Partners in the Gospel), has been ‘We Believe, We Belong: Nicene Creed’. This theme was introduced last Sunday by Dr Paulo Ueti, Theological Advisor and Regional Manager for Latin America and the Caribbean, USPG.
The USPG Prayer Diary today (Saturday 4 January 2025) invites us to pray:
Father, in a time of climate crisis, may we act boldly and compassionately, living out the faith we proclaim by caring for your world. As we affirm our belief in Christ, let our actions reflect His love for all of creation.
The Collect:
Almighty God,
who wonderfully created us in your own image
and yet more wonderfully restored us
through your Son Jesus Christ:
grant that, as he came to share in our humanity,
so we may share the life of his divinity;
who is alive and reigns with you,
in the unity of the Holy Spirit,
one God, now and for ever.
The Post-Communion Prayer:
Heavenly Father,
whose blessed Son shared at Nazareth the life of an earthly home:
help your Church to live as one family,
united in love and obedience,
and bring us all at last to our home in heaven;
through Jesus Christ our Lord.
Additional Collect:
God in Trinity,
eternal unity of perfect love:
gather the nations to be one family,
and draw us into your holy life
through the birth of Emmanuel,
our Lord Jesus Christ.
Collect on the Eve of Christmas II:
Almighty God,
in the birth of your Son
you have poured on us the new light of your incarnate Word,
and shown us the fullness of your love:
help us to walk in his light and dwell in his love
that we may know the fullness of his joy;
who is alive and reigns with you,
in the unity of the Holy Spirit,
one God, now and for ever.
Yesterday’s Reflection
Continued Tomorrow
A traditional icon of the Twelve Apostles: Andrew is in the middle of icon as the first-called of the Twelve; Peter is second from the left in the front row, facing the Apostle Paul; Philip and Nathanael (Bartholomew) are in the middle row, first and second from the left
Scripture quotations are from the New Revised Standard Version Bible: Anglicised Edition copyright © 1989, 1995 National Council of the Churches of Christ in the United States of America. Used by permission. All rights reserved worldwide. http://nrsvbibles.org
Patrick Comerford
On the Eleventh day of Christmas my true love sent to me … ‘eleven pipers piping, ten lords a-leaping, nine ladies dancing, eight maids a-milking, seven swans a-swimming, six geese a-laying, five golden rings, four colly birds, three French hens, two turtle doves, and a partridge in a pear tree’.
We are still in the season of Christmas, which is a 40-day season that lasts not until Epiphany (6 January), which some parishes may celebrate tomorrow, but until Candlemas or the Feast of the Presentation (2 February).
If the threatened snowstorm holds off this morning I may get to the Greek Café (Το Στεκι Μασ, ‘Our Place’) which is hosted by the Greek Orthodox Community in Stony Stratford every first Saturday of the month from 10:30 to 3 pm in the Swinfen Harris Church Hall beside the Orthodox Church on London Road. But, before today begins, I am taking some quiet time this morning to give thanks, to reflect, to pray and to read in these ways:
1, today’s Gospel reading;
2, a short reflection;
3, a prayer from the USPG prayer diary;
4, the Collects and Post-Communion prayer of the day.
‘The Call of the Disciples’ … a window designed by the Harry Clarke Studios in Christ Church, Spanish Point, Co Clare, depicts the ‘Calling of Saint Peter and Saint Andrew’ – although only one disciple is present (Photograph: Patrick Comerford)
John 1: 35-42 (NRSVA):
35 The next day John again was standing with two of his disciples, 36 and as he watched Jesus walk by, he exclaimed, ‘Look, here is the Lamb of God!’ 37 The two disciples heard him say this, and they followed Jesus. 38 When Jesus turned and saw them following, he said to them, ‘What are you looking for?’ They said to him, ‘Rabbi’ (which translated means Teacher), ‘where are you staying?’ 39 He said to them, ‘Come and see.’ They came and saw where he was staying, and they remained with him that day. It was about four o’clock in the afternoon. 40 One of the two who heard John speak and followed him was Andrew, Simon Peter’s brother. 41 He first found his brother Simon and said to him, ‘We have found the Messiah’ (which is translated Anointed) 42 He brought Simon to Jesus, who looked at him and said, ‘You are Simon son of John. You are to be called Cephas’ (which is translated Peter).
Today’s Reflection:
The Christian interpretation of the song ‘The 12 Days of Christmas’ often sees the 11 pipers piping as figurative representations of the 11 faithful disciples, counting out Judas: Peter, Andrew, James, John, Philip, Bartholomew, Matthew, Thomas, James son of Alphaeus, Simon the Zealot and Jude.
It is interesting that when artists depict the pipers piping they seem to opt for Scottish pipers or pipers in military bands, but never draw on the pipes of church organs.
In this morning’s Gospel reading at the Eucharist (John 1: 35-42), immediately after his baptism by Saint John the Baptist in the River Jordan, Christ begins calling his first disciples. First, he calls Andrew and Simon Peter. Andrew is called first, but before responding to the call to follow Christ, he goes back and fetches his brother Simon and brings him to Jesus.
Andrew and Peter are brothers, but their names indicate the early differences and divisions within the Church. Andrew’s name is Greek ('Ανδρέας, Andreas), meaning ‘manly’ or ‘valorous,’ while Peter’s original name, Simon (שמעון, Shimon) is so obviously Jewish, meaning ‘hearing’.
It is the same again later in this chapter with Philip and Nathanael: Philip is a strong Greek name – everyone in the region knew Philip of Macedon was the father of Alexander the Great; Nathanael’s name is a Hebrew compound meaning ‘the Gift of God.’
It is as though we are being reminded from the very beginning, with the story of the call of the disciples, the diversity and divisions are part of the essential fabric of the Church. They are woven into that fabric, even in the names that show that the disciples represent both Jews and Greeks, the Hebrew-speakers and those who are culturally Hellenised.
In reacting to those false divisions in the early Church, the Apostle Paul tells us: ‘There is no longer Jew or Greek, there is no longer slave or free, there is no longer male and female; for all of you are one in Christ Jesus’ (Galatians 3: 28; see Colossians 3: 11).
Christ’s call came to the first disciples as a diverse group of people, from diverse backgrounds, often – as with Philip and Nathanael – when they were least expecting it. But they responded to that call faithfully: Andrew went and fetched Simon Peter; Philip found Nathanael.
There are challenging times ahead in this new year, but this Gospel reading also offers us some challenges:
How do we recover the vision of the Church as a place of refuge and a celebration of diversity and difference that reflects our hopes for the kingdom of God?
Are we inspired with enough infectious enthusiasm to want to be like Andrew who goes back for Peter, Philip who goes back for Nathanael?
In the Kingdom of God, diversity and difference are not just a matter of tolerance, they are part of the very nature of Christ’s will for the Church.
In the Church, no brother – or sister – should be left behind because of diversity or difference.
How do we move beyond the tolerance of diversity to respect for diversity and then on to the point of rejoicing in diversity as a gift in the Church, so that truly, as the Apostle Paul tells us: ‘There is no longer Jew or Greek, there is no longer slave or free, there is no longer male and female; for all of you are one in Christ Jesus’?
‘Look, here is the Lamb of God!’ (John 1: 36) … a detail in a window in Mount Melleray Abbey, Cappoquin, Co Waterford (Photograph: Patrick Comerford)
Today’s Prayers (Saturday 4 January 2025):
The theme this week in ‘Pray With the World Church’, the Prayer Diary of the Anglican mission agency USPG (United Society Partners in the Gospel), has been ‘We Believe, We Belong: Nicene Creed’. This theme was introduced last Sunday by Dr Paulo Ueti, Theological Advisor and Regional Manager for Latin America and the Caribbean, USPG.
The USPG Prayer Diary today (Saturday 4 January 2025) invites us to pray:
Father, in a time of climate crisis, may we act boldly and compassionately, living out the faith we proclaim by caring for your world. As we affirm our belief in Christ, let our actions reflect His love for all of creation.
The Collect:
Almighty God,
who wonderfully created us in your own image
and yet more wonderfully restored us
through your Son Jesus Christ:
grant that, as he came to share in our humanity,
so we may share the life of his divinity;
who is alive and reigns with you,
in the unity of the Holy Spirit,
one God, now and for ever.
The Post-Communion Prayer:
Heavenly Father,
whose blessed Son shared at Nazareth the life of an earthly home:
help your Church to live as one family,
united in love and obedience,
and bring us all at last to our home in heaven;
through Jesus Christ our Lord.
Additional Collect:
God in Trinity,
eternal unity of perfect love:
gather the nations to be one family,
and draw us into your holy life
through the birth of Emmanuel,
our Lord Jesus Christ.
Collect on the Eve of Christmas II:
Almighty God,
in the birth of your Son
you have poured on us the new light of your incarnate Word,
and shown us the fullness of your love:
help us to walk in his light and dwell in his love
that we may know the fullness of his joy;
who is alive and reigns with you,
in the unity of the Holy Spirit,
one God, now and for ever.
Yesterday’s Reflection
Continued Tomorrow

Scripture quotations are from the New Revised Standard Version Bible: Anglicised Edition copyright © 1989, 1995 National Council of the Churches of Christ in the United States of America. Used by permission. All rights reserved worldwide. http://nrsvbibles.org
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03 January 2025
Daily prayer in Christmas 2024-2025:
10, Friday 3 January 2025
‘On the Tenth Day of Christmas … Ten Lords a-Leaping’… bishops sitting in the House of Lords
Patrick Comerford
On the tenth day of Christmas my true love sent to me … ‘ten lords a-leaping, nine ladies dancing, eight maids a-milking, seven swans a-swimming, six geese a-laying, five golden rings, four colly birds, three French hens, two turtle doves, and a partridge in a pear tree’.
Although New Year’s Day has passed, and many of our New Year resolutions may even be forgotten, we are still in the season of Christmas, a 40-day season that lasts not until Epiphany (6 January), but until Candlemas or the Feast of the Presentation (2 February).
Before today begins, I am taking some quiet time this morning to give thanks, to reflect, to pray and to read in these ways:
1, today’s Gospel reading;
2, a short reflection;
3, a prayer from the USPG prayer diary;
4, the Collects and Post-Communion prayer of the day.
‘This is the Lamb of God’ … Saint John the Baptist (left) with Christ in the centre depicted as the Good Shepherd and the Virgin Mary (right) … a stained-glass window in Saint Mary’s Church, Lichfield (Photograph: Patrick Comerford)
John 1: 29-34 (NRSVA):
29 The next day he saw Jesus coming towards him and declared, ‘Here is the Lamb of God who takes away the sin of the world! 30 This is he of whom I said, “After me comes a man who ranks ahead of me because he was before me.” 31 I myself did not know him; but I came baptizing with water for this reason, that he might be revealed to Israel.’ 32 And John testified, ‘I saw the Spirit descending from heaven like a dove, and it remained on him. 33 I myself did not know him, but the one who sent me to baptize with water said to me, “He on whom you see the Spirit descend and remain is the one who baptizes with the Holy Spirit.” 34 And I myself have seen and have testified that this is the Son of God.’
The Lamb of God depicted in a stained glass window in Saint Mary’s Cathedral, Limerick (Photograph: Patrick Comerford)
Today’s Reflection:
The Christian interpretation of the song ‘The 12 Days of Christmas’ often sees the ten Lords a-Leaping as figurative representations of the Ten Commandments (see Exodus 20: 1-17).
In modern Roman Catholic usage, today celebrates the Holy Name of Jesus, which is marked in most other traditions, including the Anglican and Lutheran traditions, on 1 January.
When I read this morning’s Gospel reading at the Eucharist (John 1: 29-34), I am surprised when John the Baptist says of Jesus: ‘I myself did not know him’. For this is the same John who leapt for joy in the womb of his mother Elizabeth as soon as she heard the sound of the greeting of her pregnant cousin, the Virgin Mary.
How did John not know his cousin Jesus?
Yet, John also points to Jesus as ‘the Lamb of God who takes away the sin of the world’.
During Advent and Christmas, while I was singing with the choir of Saint Mary and Saint Giles, Stony Stratford, our repertoire included ‘The Lamb’, a choral work written in 1982 by John Tavener (1944-2013) and one of his best-known works. It is a setting for unaccompanied SATB choirs of William Blake’s poem ‘The Lamb’ (1789).
‘The Lamb’ had its premiere in Winchester Cathedral on 22 December 1982, and was performed again two days later at the Festival of Nine Lessons and Carols in King’s College Chapel, Cambridge, on Christmas Eve. Since then, it has remained popular with many churches and choirs, especially around Christmas.
Tavener often composed pieces for family and friends. He wrote ‘The Lamb’ as a birthday present for his three-year-old nephew, Simon, without any intention of commercial success. He wrote ‘The Lamb’ on a car journey from South Devon to London, and completed it within 15 minutes. He said the work came to him ‘fully grown so to speak, all I had to do was to write it down.’
The chordal verses of ‘The Lamb’ feature a musical device that Tavener called the ‘joy-sorrow chord’, sung on the word ‘Lamb’. He used the chord in other pieces too, including ‘Funeral Ikos’ and ‘Ikon of Light’.
‘The Lamb’ is part of William Blake’s collection Songs of Innocence and Experience (1789). Blake’s poem draws primarily on the Agnus Dei and the concept of Jesus as the Lamb of God. His text highlights various binaries, including the contrast between youthful innocence and older age, and the pairing of lamb the animal with the Lamb of God.
Inspired by ‘The Lamb’ while reading Blake’s poetry, Tavener said ‘I read the words, and immediately I heard the notes.’
After finishing the composition, Tavener sent it to his publisher Chester Music, asking if they could share it with King’s College, Cambridge, for the service of Nine Lessons and Carols in 1982. When he saw the piece, Stephen Cleobury, Director of Music at King’s College, decided to include it, and ‘The Lamb’ has been popular with churches and choirs ever since.
The Lamb (William Blake and John Tavener:
Little Lamb who made thee?
Dost thou know who made thee
Gave thee life and bid thee feed
By the stream and o’er the mead;
Gave thee clothing of delight
Softest clothing woolly bright;
Gave thee such a tender voice
Making all the vales rejoice!
Little Lamb who made thee
Dost thou know who made thee?
Little Lamb I’ll tell thee,
Little Lamb I'll tell thee!
He is called by thy name
For he calls himself a Lamb:
He is meek and he is mild
He became a little child:
I a child and thou a lamb
We are called by his name.
Little Lamb God bless thee.
Little Lamb God bless thee.
‘There is the Lamb of God’ … a detail in a window in Mount Melleray Abbey, Cappoquin, Co Waterford (Photograph: Patrick Comerford)
Today’s Prayers (Friday 3 January 2025):
The theme this week in ‘Pray With the World Church’, the Prayer Diary of the Anglican mission agency USPG (United Society Partners in the Gospel), is ‘We Believe, We Belong: Nicene Creed’. This theme was introduced on Sunday by Dr Paulo Ueti, Theological Advisor and Regional Manager for Latin America and the Caribbean, USPG.
The USPG Prayer Diary today (Friday 3 January 2025) invites us to pray:
Creator God, as we reflect on the unity of the Trinity proclaimed at Nicaea, we are reminded of you as creator and our responsibility to care for your creation. Teach us to be faithful stewards of the Earth.
The Collect:
Almighty God,
who wonderfully created us in your own image
and yet more wonderfully restored us
through your Son Jesus Christ:
grant that, as he came to share in our humanity,
so we may share the life of his divinity;
who is alive and reigns with you,
in the unity of the Holy Spirit,
one God, now and for ever.
The Post-Communion Prayer:
Heavenly Father,
whose blessed Son shared at Nazareth the life of an earthly home:
help your Church to live as one family,
united in love and obedience,
and bring us all at last to our home in heaven;
through Jesus Christ our Lord.
Additional Collect:
God in Trinity,
eternal unity of perfect love:
gather the nations to be one family,
and draw us into your holy life
through the birth of Emmanuel,
our Lord Jesus Christ.
Yesterday’s Reflection
Continued Tomorrow
Scripture quotations are from the New Revised Standard Version Bible: Anglicised Edition copyright © 1989, 1995 National Council of the Churches of Christ in the United States of America. Used by permission. All rights reserved worldwide. http://nrsvbibles.org
Patrick Comerford
On the tenth day of Christmas my true love sent to me … ‘ten lords a-leaping, nine ladies dancing, eight maids a-milking, seven swans a-swimming, six geese a-laying, five golden rings, four colly birds, three French hens, two turtle doves, and a partridge in a pear tree’.
Although New Year’s Day has passed, and many of our New Year resolutions may even be forgotten, we are still in the season of Christmas, a 40-day season that lasts not until Epiphany (6 January), but until Candlemas or the Feast of the Presentation (2 February).
Before today begins, I am taking some quiet time this morning to give thanks, to reflect, to pray and to read in these ways:
1, today’s Gospel reading;
2, a short reflection;
3, a prayer from the USPG prayer diary;
4, the Collects and Post-Communion prayer of the day.
‘This is the Lamb of God’ … Saint John the Baptist (left) with Christ in the centre depicted as the Good Shepherd and the Virgin Mary (right) … a stained-glass window in Saint Mary’s Church, Lichfield (Photograph: Patrick Comerford)
John 1: 29-34 (NRSVA):
29 The next day he saw Jesus coming towards him and declared, ‘Here is the Lamb of God who takes away the sin of the world! 30 This is he of whom I said, “After me comes a man who ranks ahead of me because he was before me.” 31 I myself did not know him; but I came baptizing with water for this reason, that he might be revealed to Israel.’ 32 And John testified, ‘I saw the Spirit descending from heaven like a dove, and it remained on him. 33 I myself did not know him, but the one who sent me to baptize with water said to me, “He on whom you see the Spirit descend and remain is the one who baptizes with the Holy Spirit.” 34 And I myself have seen and have testified that this is the Son of God.’
The Lamb of God depicted in a stained glass window in Saint Mary’s Cathedral, Limerick (Photograph: Patrick Comerford)
Today’s Reflection:
The Christian interpretation of the song ‘The 12 Days of Christmas’ often sees the ten Lords a-Leaping as figurative representations of the Ten Commandments (see Exodus 20: 1-17).
In modern Roman Catholic usage, today celebrates the Holy Name of Jesus, which is marked in most other traditions, including the Anglican and Lutheran traditions, on 1 January.
When I read this morning’s Gospel reading at the Eucharist (John 1: 29-34), I am surprised when John the Baptist says of Jesus: ‘I myself did not know him’. For this is the same John who leapt for joy in the womb of his mother Elizabeth as soon as she heard the sound of the greeting of her pregnant cousin, the Virgin Mary.
How did John not know his cousin Jesus?
Yet, John also points to Jesus as ‘the Lamb of God who takes away the sin of the world’.
During Advent and Christmas, while I was singing with the choir of Saint Mary and Saint Giles, Stony Stratford, our repertoire included ‘The Lamb’, a choral work written in 1982 by John Tavener (1944-2013) and one of his best-known works. It is a setting for unaccompanied SATB choirs of William Blake’s poem ‘The Lamb’ (1789).
‘The Lamb’ had its premiere in Winchester Cathedral on 22 December 1982, and was performed again two days later at the Festival of Nine Lessons and Carols in King’s College Chapel, Cambridge, on Christmas Eve. Since then, it has remained popular with many churches and choirs, especially around Christmas.
Tavener often composed pieces for family and friends. He wrote ‘The Lamb’ as a birthday present for his three-year-old nephew, Simon, without any intention of commercial success. He wrote ‘The Lamb’ on a car journey from South Devon to London, and completed it within 15 minutes. He said the work came to him ‘fully grown so to speak, all I had to do was to write it down.’
The chordal verses of ‘The Lamb’ feature a musical device that Tavener called the ‘joy-sorrow chord’, sung on the word ‘Lamb’. He used the chord in other pieces too, including ‘Funeral Ikos’ and ‘Ikon of Light’.
‘The Lamb’ is part of William Blake’s collection Songs of Innocence and Experience (1789). Blake’s poem draws primarily on the Agnus Dei and the concept of Jesus as the Lamb of God. His text highlights various binaries, including the contrast between youthful innocence and older age, and the pairing of lamb the animal with the Lamb of God.
Inspired by ‘The Lamb’ while reading Blake’s poetry, Tavener said ‘I read the words, and immediately I heard the notes.’
After finishing the composition, Tavener sent it to his publisher Chester Music, asking if they could share it with King’s College, Cambridge, for the service of Nine Lessons and Carols in 1982. When he saw the piece, Stephen Cleobury, Director of Music at King’s College, decided to include it, and ‘The Lamb’ has been popular with churches and choirs ever since.
The Lamb (William Blake and John Tavener:
Little Lamb who made thee?
Dost thou know who made thee
Gave thee life and bid thee feed
By the stream and o’er the mead;
Gave thee clothing of delight
Softest clothing woolly bright;
Gave thee such a tender voice
Making all the vales rejoice!
Little Lamb who made thee
Dost thou know who made thee?
Little Lamb I’ll tell thee,
Little Lamb I'll tell thee!
He is called by thy name
For he calls himself a Lamb:
He is meek and he is mild
He became a little child:
I a child and thou a lamb
We are called by his name.
Little Lamb God bless thee.
Little Lamb God bless thee.
‘There is the Lamb of God’ … a detail in a window in Mount Melleray Abbey, Cappoquin, Co Waterford (Photograph: Patrick Comerford)
Today’s Prayers (Friday 3 January 2025):
The theme this week in ‘Pray With the World Church’, the Prayer Diary of the Anglican mission agency USPG (United Society Partners in the Gospel), is ‘We Believe, We Belong: Nicene Creed’. This theme was introduced on Sunday by Dr Paulo Ueti, Theological Advisor and Regional Manager for Latin America and the Caribbean, USPG.
The USPG Prayer Diary today (Friday 3 January 2025) invites us to pray:
Creator God, as we reflect on the unity of the Trinity proclaimed at Nicaea, we are reminded of you as creator and our responsibility to care for your creation. Teach us to be faithful stewards of the Earth.
The Collect:
Almighty God,
who wonderfully created us in your own image
and yet more wonderfully restored us
through your Son Jesus Christ:
grant that, as he came to share in our humanity,
so we may share the life of his divinity;
who is alive and reigns with you,
in the unity of the Holy Spirit,
one God, now and for ever.
The Post-Communion Prayer:
Heavenly Father,
whose blessed Son shared at Nazareth the life of an earthly home:
help your Church to live as one family,
united in love and obedience,
and bring us all at last to our home in heaven;
through Jesus Christ our Lord.
Additional Collect:
God in Trinity,
eternal unity of perfect love:
gather the nations to be one family,
and draw us into your holy life
through the birth of Emmanuel,
our Lord Jesus Christ.
Yesterday’s Reflection
Continued Tomorrow
Scripture quotations are from the New Revised Standard Version Bible: Anglicised Edition copyright © 1989, 1995 National Council of the Churches of Christ in the United States of America. Used by permission. All rights reserved worldwide. http://nrsvbibles.org
22 December 2024
Daily prayer in Advent 2024:
22, Sunday 22 December 2024,
the Fourth Sunday of Advent
An image of the Virgin Mary in a quiet corner at the High Leigh Conference Centre in Hoddesdon, Hertfordshire (Photograph: Patrick Comerford)
Patrick Comerford
We are in the final days of the Season of Advent, today is the Fourth Sunday of Advent (Advent IV, 22 December 2024) and Christmas Day is just a few days away.
Later this morning, I hope to sing with the choir at the Parish Eucharist in Saint Mary and Saint Giles Church at 9:30, Stony Stratford, and at the Advent Carol Service this evening at 6:30 pm. But, before today begins, I am taking some quiet time this morning to give thanks, to reflect, to pray and to read in these ways:
1, today’s Gospel reading;
2, a short reflection;
3, a prayer from the USPG prayer diary;
4, the Collects and Post-Communion prayer of the day.
The words of the canticle Magnificat carved on a wooden screen in Mount Melleray Abbey, Cappoquin, Co Waterford (Photograph: Patrick Comerford)
Luke 1: 39-55 (NRSVA):
39 In those days Mary set out and went with haste to a Judean town in the hill country, 40 where she entered the house of Zechariah and greeted Elizabeth. 41 When Elizabeth heard Mary’s greeting, the child leapt in her womb. And Elizabeth was filled with the Holy Spirit 42 and exclaimed with a loud cry, ‘Blessed are you among women, and blessed is the fruit of your womb. 43 And why has this happened to me, that the mother of my Lord comes to me? 44 For as soon as I heard the sound of your greeting, the child in my womb leapt for joy. 45 And blessed is she who believed that there would be a fulfilment of what was spoken to her by the Lord.’
46 And Mary said,
‘My soul magnifies the Lord,
47 and my spirit rejoices in God my Saviour,
48 for he has looked with favour on the lowliness of his servant.
Surely, from now on all generations will call me blessed;
49 for the Mighty One has done great things for me,
and holy is his name.
50 His mercy is for those who fear him
from generation to generation.
51 He has shown strength with his arm;
he has scattered the proud in the thoughts of their hearts.
52 He has brought down the powerful from their thrones,
and lifted up the lowly;
53 he has filled the hungry with good things,
and sent the rich away empty.
54 He has helped his servant Israel,
in remembrance of his mercy,
55 according to the promise he made to our ancestors,
to Abraham and to his descendants for ever.’
The Virgin Mary with the Crown of Thorns in a church window in Bansha, Co Tipperary (Photograph: Patrick Comerford)
Today’s Reflection:
In the Gospel reading at the Eucharist today (Luke 1: 39-55), we continue a series of readings before Christmas that draw on the two nativity narratives found in Matthew 1: 1-24 and Luke 1: 5-79.
During the week before Christmas, the great canticle Magnificat at Evensong traditionally has a refrain or antiphon attached to it proclaiming the ascriptions or ‘names’ given to God through the Old Testament. Each name develops into a prophecy of the coming of the Messiah.
O Sapientia, or O Wisdom, is the first of these days, and was marked on Tuesday (17 December). It was followed on Wednesday (18 December) by O Adonai, by O Root of Jesse on Thursday (19 December), O Key of David on Friday (20 December), O Dayspring yesterday (21 December), and by O King of the Nations today (22 December), and, finally O Emmanuel tomorrow (23 December).
The seven majestic Messianic titles for Christ are based on Biblical prophecies, and they help the Church to recall the variety of the ills of humanity before the coming of the Redeemer as each antiphon in turn pleads with mounting impatience for Christ to save his people.
The Gospel reading at the Eucharist today continues yesterday’s reading (Luke 1: 39-45), telling the story of the Visitation of the Virgin Mary to her cousin Saint Elizabeth.
This Advent has been a time of waiting, a time of preparation, a time of anticipation. For the past three Sundays, in our time of waiting, preparation and anticipation, we have been preparing ourselves in the liturgy and the music, with carol services and quiet days, with Christmas Markets and Santa’s grotto, with the Advent Wreath and the Crib.
The four candles on the Advent wreath have reminded us, week-after-week, of those who prepared us in the past for the Coming of the Christ Child: first the Patriarchs and Matriarchs, our ancestors in faith, including Abraham and Sarah, Isaac and Jacob; then the prophets of the Old Testament, including Isaiah, Jeremiah, and Micah, who we heard from this morning; then, last week it was Saint John the Baptist.
This Sunday, the fourth and final candle reminds us of the Virgin Mary. This connects with the Canticle Magnificat, which we hear instead of a Psalm, and our Gospel reading, telling the story of her visit to her cousin Saint Elizabeth.
The Canticle Magnificat (Luke 1: 46-55) is normally heard during Evening Prayer and not on Sunday mornings.
The great German theologian and martyr, Dietrich Bonhoeffer (1906-1945), in an Advent sermon in London over 90 years ago (17 December 1933), said Magnificat ‘is the oldest Advent hymn,’ and he spoke of how she knows better than anyone else what it means to wait for Christ’s coming:
‘In her own body she is experiencing the wonderful ways of God with humankind: that God does not arrange matters to suit our opinions and views, does not follow the path that humans would like to prescribe. God’s path is free and original beyond all our ability to understand or to prove.’
The Virgin Mary of the Visitation and of the canticle Magnificat is a strong and revolutionary woman, unlike the Virgin Mary of the plaster-cast statues and the Rosary.
The Mary I see as a role model for belief and discipleship is the Mary who sets off in a hurry and a flurry to visit her cousin Elizabeth, the Mary with a gob on her who speaks out of turn when she comes out with those wonderful words we hear in this Gospel reading, the Mary who sings the Canticle Magnificat.
This Mary is a wonderful, feisty person. She is what the red-top tabloid newspapers today might describe ‘a gymslip Mum.’ But, instead of hiding herself away from her family, from her cousins, from the woman in her family who is married to a priest, she rushes off to her immediately, to share her good news with her.
And she challenges so many of our prejudices and our values and our presumptions today. Not just about gymslip mums and unexpected or unplanned pregnancies, but about what the silent and the marginalised have to say about our values in society today.
And Mary declares:
He has shown strength with his arm;
he has scattered the proud in the thoughts of their hearts.
He has brought down the powerful from their thrones,
and lifted up the lowly;
he has filled the hungry with good things,
and sent the rich away empty.
He has helped his servant Israel,
in remembrance of his mercy,
according to the promise he made to our ancestors,
to Abraham and to his descendants for ever.’
It is almost like this is the programme or the agenda we can expect when the Christ Child is born.
An icon of the Virgin Mary found in an antique shop in Rethymnon … the fourth candle on the advent wreath recalls the Virgin Mary (Photograph: Patrick Comerford)
Today’s Prayers (Sunday 22 December 2024, Advent IV):
The theme this week in ‘Pray With the World Church’, the Prayer Diary of the Anglican mission agency USPG (United Society Partners in the Gospel), is ‘Love – Advent’. This theme is introduced today with Reflections by the Revd Lopa Mudra Mistry, Presbyter in the Diocese of Calcutta, the Church of North India (CNI):
Read Micah 5: 2-5a
The Synodical Board of Social Service (SBSS) Kolkata of CNI has been serving the 11 villages of West Bengal's South 24 Parganas region for over 25 years, focusing on improving malnutrition and increasing family income.
To combat malnutrition issues, a series of nutrition camps, organised by SBSS Kolkata CNI, recently took place in each of the villages. The community gained valuable knowledge about healthy diets and the benefits of local foods. To boost family income, participants learned multi-layer farming techniques and how to create organic fertilisers and pesticides.
Through these camps, the SBSS Kolkata CNI has been able to display God’s love in action and has demonstrated to the community as in Micah 5:2-5a, that God cares for the least and left behind and does not leave them out. God is concerned for them so that they can live in security, the security that food will be available to them from their own fields and that the produce of the Earth will render to them the security of finance from the sale of their produce which is tastier, healthier and locally grown.
God’s love translated into action when he made us in his own image to have communion with Him. The sacrifice of our time and energy cannot compare to the sacrifice of Christ. But in this season of Advent, we can reflect on big and small ways to share the love of Christ.
The USPG Prayer Diary today (Sunday 22 December 2024, Advent IV) invites us to pray:
Almighty God, help us to show love through actions, caring for all regardless of their background or beliefs. Help us to define ourselves by love of others, and not of self. May our actions, not only our words, reflect true love.
The Collect:
God our redeemer,
who prepared the Blessed Virgin Mary
to be the mother of your Son:
grant that, as she looked for his coming as our saviour,
so we may be ready to greet him
when he comes again as our judge;
who is alive and reigns with you,
in the unity of the Holy Spirit,
one God, now and for ever.
The Post-Communion Prayer:
Heavenly Father,
who chose the Blessed Virgin Mary
to be the mother of the promised saviour
: fill us your servants with your grace,
that in all things we may embrace your holy will
and with her rejoice in your salvation;
through Jesus Christ our Lord.
Additional Collect:
Eternal God,
as Mary waited for the birth of your Son,
so we wait for his coming in glory;
bring us through the birth pangs of this present age
to see, with her, our great salvation
in Jesus Christ our Lord.
Yesterday’s Reflection
Continued Tomorrow
Scripture quotations are from the New Revised Standard Version Bible: Anglicised Edition copyright © 1989, 1995 National Council of the Churches of Christ in the United States of America. Used by permission. All rights reserved worldwide. http://nrsvbibles.org
Patrick Comerford
We are in the final days of the Season of Advent, today is the Fourth Sunday of Advent (Advent IV, 22 December 2024) and Christmas Day is just a few days away.
Later this morning, I hope to sing with the choir at the Parish Eucharist in Saint Mary and Saint Giles Church at 9:30, Stony Stratford, and at the Advent Carol Service this evening at 6:30 pm. But, before today begins, I am taking some quiet time this morning to give thanks, to reflect, to pray and to read in these ways:
1, today’s Gospel reading;
2, a short reflection;
3, a prayer from the USPG prayer diary;
4, the Collects and Post-Communion prayer of the day.
The words of the canticle Magnificat carved on a wooden screen in Mount Melleray Abbey, Cappoquin, Co Waterford (Photograph: Patrick Comerford)
Luke 1: 39-55 (NRSVA):
39 In those days Mary set out and went with haste to a Judean town in the hill country, 40 where she entered the house of Zechariah and greeted Elizabeth. 41 When Elizabeth heard Mary’s greeting, the child leapt in her womb. And Elizabeth was filled with the Holy Spirit 42 and exclaimed with a loud cry, ‘Blessed are you among women, and blessed is the fruit of your womb. 43 And why has this happened to me, that the mother of my Lord comes to me? 44 For as soon as I heard the sound of your greeting, the child in my womb leapt for joy. 45 And blessed is she who believed that there would be a fulfilment of what was spoken to her by the Lord.’
46 And Mary said,
‘My soul magnifies the Lord,
47 and my spirit rejoices in God my Saviour,
48 for he has looked with favour on the lowliness of his servant.
Surely, from now on all generations will call me blessed;
49 for the Mighty One has done great things for me,
and holy is his name.
50 His mercy is for those who fear him
from generation to generation.
51 He has shown strength with his arm;
he has scattered the proud in the thoughts of their hearts.
52 He has brought down the powerful from their thrones,
and lifted up the lowly;
53 he has filled the hungry with good things,
and sent the rich away empty.
54 He has helped his servant Israel,
in remembrance of his mercy,
55 according to the promise he made to our ancestors,
to Abraham and to his descendants for ever.’
The Virgin Mary with the Crown of Thorns in a church window in Bansha, Co Tipperary (Photograph: Patrick Comerford)
Today’s Reflection:
In the Gospel reading at the Eucharist today (Luke 1: 39-55), we continue a series of readings before Christmas that draw on the two nativity narratives found in Matthew 1: 1-24 and Luke 1: 5-79.
During the week before Christmas, the great canticle Magnificat at Evensong traditionally has a refrain or antiphon attached to it proclaiming the ascriptions or ‘names’ given to God through the Old Testament. Each name develops into a prophecy of the coming of the Messiah.
O Sapientia, or O Wisdom, is the first of these days, and was marked on Tuesday (17 December). It was followed on Wednesday (18 December) by O Adonai, by O Root of Jesse on Thursday (19 December), O Key of David on Friday (20 December), O Dayspring yesterday (21 December), and by O King of the Nations today (22 December), and, finally O Emmanuel tomorrow (23 December).
The seven majestic Messianic titles for Christ are based on Biblical prophecies, and they help the Church to recall the variety of the ills of humanity before the coming of the Redeemer as each antiphon in turn pleads with mounting impatience for Christ to save his people.
The Gospel reading at the Eucharist today continues yesterday’s reading (Luke 1: 39-45), telling the story of the Visitation of the Virgin Mary to her cousin Saint Elizabeth.
This Advent has been a time of waiting, a time of preparation, a time of anticipation. For the past three Sundays, in our time of waiting, preparation and anticipation, we have been preparing ourselves in the liturgy and the music, with carol services and quiet days, with Christmas Markets and Santa’s grotto, with the Advent Wreath and the Crib.
The four candles on the Advent wreath have reminded us, week-after-week, of those who prepared us in the past for the Coming of the Christ Child: first the Patriarchs and Matriarchs, our ancestors in faith, including Abraham and Sarah, Isaac and Jacob; then the prophets of the Old Testament, including Isaiah, Jeremiah, and Micah, who we heard from this morning; then, last week it was Saint John the Baptist.
This Sunday, the fourth and final candle reminds us of the Virgin Mary. This connects with the Canticle Magnificat, which we hear instead of a Psalm, and our Gospel reading, telling the story of her visit to her cousin Saint Elizabeth.
The Canticle Magnificat (Luke 1: 46-55) is normally heard during Evening Prayer and not on Sunday mornings.
The great German theologian and martyr, Dietrich Bonhoeffer (1906-1945), in an Advent sermon in London over 90 years ago (17 December 1933), said Magnificat ‘is the oldest Advent hymn,’ and he spoke of how she knows better than anyone else what it means to wait for Christ’s coming:
‘In her own body she is experiencing the wonderful ways of God with humankind: that God does not arrange matters to suit our opinions and views, does not follow the path that humans would like to prescribe. God’s path is free and original beyond all our ability to understand or to prove.’
The Virgin Mary of the Visitation and of the canticle Magnificat is a strong and revolutionary woman, unlike the Virgin Mary of the plaster-cast statues and the Rosary.
The Mary I see as a role model for belief and discipleship is the Mary who sets off in a hurry and a flurry to visit her cousin Elizabeth, the Mary with a gob on her who speaks out of turn when she comes out with those wonderful words we hear in this Gospel reading, the Mary who sings the Canticle Magnificat.
This Mary is a wonderful, feisty person. She is what the red-top tabloid newspapers today might describe ‘a gymslip Mum.’ But, instead of hiding herself away from her family, from her cousins, from the woman in her family who is married to a priest, she rushes off to her immediately, to share her good news with her.
And she challenges so many of our prejudices and our values and our presumptions today. Not just about gymslip mums and unexpected or unplanned pregnancies, but about what the silent and the marginalised have to say about our values in society today.
And Mary declares:
He has shown strength with his arm;
he has scattered the proud in the thoughts of their hearts.
He has brought down the powerful from their thrones,
and lifted up the lowly;
he has filled the hungry with good things,
and sent the rich away empty.
He has helped his servant Israel,
in remembrance of his mercy,
according to the promise he made to our ancestors,
to Abraham and to his descendants for ever.’
It is almost like this is the programme or the agenda we can expect when the Christ Child is born.
An icon of the Virgin Mary found in an antique shop in Rethymnon … the fourth candle on the advent wreath recalls the Virgin Mary (Photograph: Patrick Comerford)
Today’s Prayers (Sunday 22 December 2024, Advent IV):
The theme this week in ‘Pray With the World Church’, the Prayer Diary of the Anglican mission agency USPG (United Society Partners in the Gospel), is ‘Love – Advent’. This theme is introduced today with Reflections by the Revd Lopa Mudra Mistry, Presbyter in the Diocese of Calcutta, the Church of North India (CNI):
Read Micah 5: 2-5a
The Synodical Board of Social Service (SBSS) Kolkata of CNI has been serving the 11 villages of West Bengal's South 24 Parganas region for over 25 years, focusing on improving malnutrition and increasing family income.
To combat malnutrition issues, a series of nutrition camps, organised by SBSS Kolkata CNI, recently took place in each of the villages. The community gained valuable knowledge about healthy diets and the benefits of local foods. To boost family income, participants learned multi-layer farming techniques and how to create organic fertilisers and pesticides.
Through these camps, the SBSS Kolkata CNI has been able to display God’s love in action and has demonstrated to the community as in Micah 5:2-5a, that God cares for the least and left behind and does not leave them out. God is concerned for them so that they can live in security, the security that food will be available to them from their own fields and that the produce of the Earth will render to them the security of finance from the sale of their produce which is tastier, healthier and locally grown.
God’s love translated into action when he made us in his own image to have communion with Him. The sacrifice of our time and energy cannot compare to the sacrifice of Christ. But in this season of Advent, we can reflect on big and small ways to share the love of Christ.
The USPG Prayer Diary today (Sunday 22 December 2024, Advent IV) invites us to pray:
Almighty God, help us to show love through actions, caring for all regardless of their background or beliefs. Help us to define ourselves by love of others, and not of self. May our actions, not only our words, reflect true love.
The Collect:
God our redeemer,
who prepared the Blessed Virgin Mary
to be the mother of your Son:
grant that, as she looked for his coming as our saviour,
so we may be ready to greet him
when he comes again as our judge;
who is alive and reigns with you,
in the unity of the Holy Spirit,
one God, now and for ever.
The Post-Communion Prayer:
Heavenly Father,
who chose the Blessed Virgin Mary
to be the mother of the promised saviour
: fill us your servants with your grace,
that in all things we may embrace your holy will
and with her rejoice in your salvation;
through Jesus Christ our Lord.
Additional Collect:
Eternal God,
as Mary waited for the birth of your Son,
so we wait for his coming in glory;
bring us through the birth pangs of this present age
to see, with her, our great salvation
in Jesus Christ our Lord.
Yesterday’s Reflection
Continued Tomorrow
Scripture quotations are from the New Revised Standard Version Bible: Anglicised Edition copyright © 1989, 1995 National Council of the Churches of Christ in the United States of America. Used by permission. All rights reserved worldwide. http://nrsvbibles.org
20 August 2024
Daily prayer in Ordinary Time 2024:
102, Tuesday 20 August 2024
‘Again I tell you, it is easier for a camel to go through the eye of a needle than for someone who is rich to enter the kingdom of God’ (Matthew 19: 24) … a camel at the Goreme Open Air Museum in Cappadocia (Photograph: Patrick Comerford)
Patrick Comerford
We are continuing in Ordinary Time in the Church Calendar and this week began with the Twelfth Sunday after Trinity (Trinity XII). The calendar of the Church of England in Common Worship today (20 August) remembers Saint Bernard (1153), Abbot of Clairvaux, Teacher of the Faith, and William Booth (1912) and Catherine Booth (1890), founders of the Salvation Army.
Before today begins, I am taking some quiet time this morning to give thanks, for reflection, prayer and reading in these ways:
1, today’s Gospel reading;
2, a reflection on the Gospel reading;
3, a prayer from the USPG prayer diary;
4, the Collects and Post-Communion prayer of the day.
Squeezing through the Eye of a Needle? … a narrow, low gate in the streets of Tangier (Photograph: Patrick Comerford)
Matthew 19: 23-30 (NRSVA):
23 Then Jesus said to his disciples, ‘Truly I tell you, it will be hard for a rich person to enter the kingdom of heaven. 24 Again I tell you, it is easier for a camel to go through the eye of a needle than for someone who is rich to enter the kingdom of God.’ 25 When the disciples heard this, they were greatly astounded and said, ‘Then who can be saved?’ 26 But Jesus looked at them and said, ‘For mortals it is impossible, but for God all things are possible.’
27 Then Peter said in reply, ‘Look, we have left everything and followed you. What then will we have?’ 28 Jesus said to them, ‘Truly I tell you, at the renewal of all things, when the Son of Man is seated on the throne of his glory, you who have followed me will also sit on twelve thrones, judging the twelve tribes of Israel. 29 And everyone who has left houses or brothers or sisters or father or mother or children or fields, for my name’s sake, will receive a hundredfold, and will inherit eternal life. 30 But many who are first will be last, and the last will be first.’
‘If you wish to be perfect, go, sell your possessions, and give the money to the poor’ (Matthew 19: 21) … torn and ragged banknotes in a tin box outside an antiques shop in Rethymnon (Photograph: Patrick Comerford)
Today’s Reflection:
A rich young man has come to Jesus seeking advice. He has many possessions, but he knows this is not enough. He wants to possess eternal life, and comes to Jesus for advice. When Jesus suggests he should go, sell his possessions, and give the money to the poor and then return and follow him, the young man ‘went away grieving, for he had many possessions.’
Then Jesus tells the disciples ‘it will be hard for a rich person to enter the kingdom of heaven … it is easier for a camel to go through the eye of a needle than for someone who is rich to enter the kingdom of God.’
During her sermon preparation some years ago, a priest colleague asked on Facebook: ‘If a fire broke out in your house, what three possessions would you grab?’
The answers she got were interesting. People included their laptop (with their photographs), their phone, their keys, their wallet or purse with their plastic cards, and their passport.
What would you take with you?
What do we cling to?
I once had a large collection of old banknotes. There was enough there to make me a millionaire or even a multimillionaire … in Weimar Germany, war-time Greece or Ceausescu’s Romania. But in reality they are worth nothing today and would earn no interest apart from the interest they might have for collectors.
They were in circulation at times when inflation became rampant in those countries and at times of crisis in Europe. Had they been spent at the time they were issued they might have bought something of value; had they been given away in their day, they might have helped the poor and the hungry. But circumstances saw to it that those who became attached to their wealth on paper would lose all they had.
Our readings this morning challenge us to think again what we cling to and what are our true values.
Does the faith of the man who falls down before Christ in the Gospel reading depend on his own wealth and money? When our prosperity and wealth disappear, like the fast-fading value of those banknotes, are we in danger of feeling abandoned by God?
How would we grab our faith and take it with us if we rushed to escape a crisis?
In the Gospel reading yesterday, the man runs up to Jesus, and falls on his kneels as if in adoration, or like a servant before a master, and asks what he should do to inherit eternal life.
Christ’s response is cautious. Is he challenging the man to see whether he really knows the Ten Commandments? Or is he testing the man to see how he has acquired his riches and wealth?
The man slinks away because he has much property.
What acts as a ball and chain that holds us back in our lives today, leaving us not fully free to follow Jesus? I may not have much property. But is there something else that I need to shed, in my attitudes, values, habits, behaviour, priorities, use of time, commitment or lack of commitment?
In his compassion, Christ sees this man’s weakness. He has emphasised his relationship with others. But is this founded on his desire for personal salvation, some sort of personal version of the concept of ‘karma’?
What about his relationship with God?
Does he trust in God because God is God, rather than because of what God can do for him?
The man asks how he may inherit eternal life. Is eternal life something to be inherited, like wealth and social status or place in society? In that society, religion was inherited rather than a matter of personal choice – one was born a Jew, but few people ever became Jews. Is eternal life to be inherited, like religious identity and social class?
Are we in danger at times of thinking that we are entitled to our place in the Kingdom of God?
And in our behaviour, as well as our prayers, do we let God know, and others know, this?
Christ comes to the quick when he points out that this young man puts his trust in his own piety and wealth, in his achievements, in his inherited status. But wealth stands in the way of his relationship with God.
So, Christ tests the man. If he truly loves the poor, he will make a connection between loving God and loving others. The man is shocked and makes quick his departure.
This rich young man may lack nothing, but he wants eternal life. Yet he fails to realise he has met the living God face-to-face, and he turns away.
But Christ does not say the rich and the wealthy cannot find salvation. He says money and riches can hold us back and make it difficult to be true disciples, to enter the kingdom of God. It can be so difficult that, ‘it is easier for a camel to go through the eye of a needle than for someone who is rich to enter the kingdom of God’ (verse 24). The Talmud sggests thought it would be even more difficult, perhaps even impossible, where it speaks of ‘an elephant passing through a needle’s eye’ (b. Ber. 55b; b. B. Metz. 38b).
We cannot save ourselves, but God can save us. However, Peter’s implied question (verse 27) points out again how easy it is to think that being a disciple or follower of Christ should be linked with the hope of rewards in the here and now.
I find I have to ask myself again after reading this Gospel passage: What do I cling onto most now that I can shed – not in terms of property and possessions, but prejudices and values – that get between me and Christ, and between the way I live my life and eternal life.
Then will I be happy to get down on my knees, like a camel, and squeeze into the City of God through the smallest and most narrow of the city gates, and find in the most humbling of ways how to squeeze into the Kingdom of God?
The Talmud speaks of the difficulty of ‘an elephant passing through a needle’s eye’ … an elephant in Lichfield Cathedral as part of the March of the Elephants in support of Saint Giles Hospice (Photograph: Patrick Comerford, 2024)
Today’s Prayers (Tuesday 20 August 2024):
The theme this week in ‘Pray With the World Church,’ the Prayer Diary of the Anglican mission agency USPG (United Society Partners in the Gospel), is ‘What price is the Gospel?’ This theme was introduced on Sunday with a programme update from Dr Jo Sadgrove, Research and Learning Advisor, USPG.
The USPG Prayer Diary today (Tuesday 20 August 2024) invites us to pray:
Lord, we pray for the healing of the deep wounds – spiritual, psychological, economic, environmental and social – inflicted by the SPG and the Anglican Church in the name of the Gospel.
The Collect:
Merciful redeemer,
who, by the life and preaching of your servant Bernard,
rekindled the radiant light of your Church:
grant us, in our generation,
to be inflamed with the same spirit of discipline and love
and ever to walk before you as children of light;
through Jesus Christ your Son our Lord,
who is alive and reigns with you,
in the unity of the Holy Spirit,
one God, now and for ever.
The Post Communion Prayer:
God of truth,
whose Wisdom set her table
and invited us to eat the bread and drink the wine
of the kingdom:
help us to lay aside all foolishness
and to live and walk in the way of insight,
that we may come with Bernard to the eternal feast of heaven;
through Jesus Christ our Lord.
The life of Saint Bernard of Clairvaux (20 August) depicted in stained-glass windows in Mount Melleray Abbey, Cappoquin, Co Waterford (Photograph: Patrick Comerford)
Yesterday’s reflection
Continued tomorrow
Scripture quotations are from the New Revised Standard Version Bible: Anglicised Edition copyright © 1989, 1995, National Council of the Churches of Christ in the United States of America. Used by permission. All rights reserved worldwide. http://nrsvbibles.org
Tourists on camels near Levissi (Kayaköy) near Fethiye in Turkey (Photograph: Patrick Comerford)
Patrick Comerford
We are continuing in Ordinary Time in the Church Calendar and this week began with the Twelfth Sunday after Trinity (Trinity XII). The calendar of the Church of England in Common Worship today (20 August) remembers Saint Bernard (1153), Abbot of Clairvaux, Teacher of the Faith, and William Booth (1912) and Catherine Booth (1890), founders of the Salvation Army.
Before today begins, I am taking some quiet time this morning to give thanks, for reflection, prayer and reading in these ways:
1, today’s Gospel reading;
2, a reflection on the Gospel reading;
3, a prayer from the USPG prayer diary;
4, the Collects and Post-Communion prayer of the day.
Squeezing through the Eye of a Needle? … a narrow, low gate in the streets of Tangier (Photograph: Patrick Comerford)
Matthew 19: 23-30 (NRSVA):
23 Then Jesus said to his disciples, ‘Truly I tell you, it will be hard for a rich person to enter the kingdom of heaven. 24 Again I tell you, it is easier for a camel to go through the eye of a needle than for someone who is rich to enter the kingdom of God.’ 25 When the disciples heard this, they were greatly astounded and said, ‘Then who can be saved?’ 26 But Jesus looked at them and said, ‘For mortals it is impossible, but for God all things are possible.’
27 Then Peter said in reply, ‘Look, we have left everything and followed you. What then will we have?’ 28 Jesus said to them, ‘Truly I tell you, at the renewal of all things, when the Son of Man is seated on the throne of his glory, you who have followed me will also sit on twelve thrones, judging the twelve tribes of Israel. 29 And everyone who has left houses or brothers or sisters or father or mother or children or fields, for my name’s sake, will receive a hundredfold, and will inherit eternal life. 30 But many who are first will be last, and the last will be first.’
‘If you wish to be perfect, go, sell your possessions, and give the money to the poor’ (Matthew 19: 21) … torn and ragged banknotes in a tin box outside an antiques shop in Rethymnon (Photograph: Patrick Comerford)
Today’s Reflection:
A rich young man has come to Jesus seeking advice. He has many possessions, but he knows this is not enough. He wants to possess eternal life, and comes to Jesus for advice. When Jesus suggests he should go, sell his possessions, and give the money to the poor and then return and follow him, the young man ‘went away grieving, for he had many possessions.’
Then Jesus tells the disciples ‘it will be hard for a rich person to enter the kingdom of heaven … it is easier for a camel to go through the eye of a needle than for someone who is rich to enter the kingdom of God.’
During her sermon preparation some years ago, a priest colleague asked on Facebook: ‘If a fire broke out in your house, what three possessions would you grab?’
The answers she got were interesting. People included their laptop (with their photographs), their phone, their keys, their wallet or purse with their plastic cards, and their passport.
What would you take with you?
What do we cling to?
I once had a large collection of old banknotes. There was enough there to make me a millionaire or even a multimillionaire … in Weimar Germany, war-time Greece or Ceausescu’s Romania. But in reality they are worth nothing today and would earn no interest apart from the interest they might have for collectors.
They were in circulation at times when inflation became rampant in those countries and at times of crisis in Europe. Had they been spent at the time they were issued they might have bought something of value; had they been given away in their day, they might have helped the poor and the hungry. But circumstances saw to it that those who became attached to their wealth on paper would lose all they had.
Our readings this morning challenge us to think again what we cling to and what are our true values.
Does the faith of the man who falls down before Christ in the Gospel reading depend on his own wealth and money? When our prosperity and wealth disappear, like the fast-fading value of those banknotes, are we in danger of feeling abandoned by God?
How would we grab our faith and take it with us if we rushed to escape a crisis?
In the Gospel reading yesterday, the man runs up to Jesus, and falls on his kneels as if in adoration, or like a servant before a master, and asks what he should do to inherit eternal life.
Christ’s response is cautious. Is he challenging the man to see whether he really knows the Ten Commandments? Or is he testing the man to see how he has acquired his riches and wealth?
The man slinks away because he has much property.
What acts as a ball and chain that holds us back in our lives today, leaving us not fully free to follow Jesus? I may not have much property. But is there something else that I need to shed, in my attitudes, values, habits, behaviour, priorities, use of time, commitment or lack of commitment?
In his compassion, Christ sees this man’s weakness. He has emphasised his relationship with others. But is this founded on his desire for personal salvation, some sort of personal version of the concept of ‘karma’?
What about his relationship with God?
Does he trust in God because God is God, rather than because of what God can do for him?
The man asks how he may inherit eternal life. Is eternal life something to be inherited, like wealth and social status or place in society? In that society, religion was inherited rather than a matter of personal choice – one was born a Jew, but few people ever became Jews. Is eternal life to be inherited, like religious identity and social class?
Are we in danger at times of thinking that we are entitled to our place in the Kingdom of God?
And in our behaviour, as well as our prayers, do we let God know, and others know, this?
Christ comes to the quick when he points out that this young man puts his trust in his own piety and wealth, in his achievements, in his inherited status. But wealth stands in the way of his relationship with God.
So, Christ tests the man. If he truly loves the poor, he will make a connection between loving God and loving others. The man is shocked and makes quick his departure.
This rich young man may lack nothing, but he wants eternal life. Yet he fails to realise he has met the living God face-to-face, and he turns away.
But Christ does not say the rich and the wealthy cannot find salvation. He says money and riches can hold us back and make it difficult to be true disciples, to enter the kingdom of God. It can be so difficult that, ‘it is easier for a camel to go through the eye of a needle than for someone who is rich to enter the kingdom of God’ (verse 24). The Talmud sggests thought it would be even more difficult, perhaps even impossible, where it speaks of ‘an elephant passing through a needle’s eye’ (b. Ber. 55b; b. B. Metz. 38b).
We cannot save ourselves, but God can save us. However, Peter’s implied question (verse 27) points out again how easy it is to think that being a disciple or follower of Christ should be linked with the hope of rewards in the here and now.
I find I have to ask myself again after reading this Gospel passage: What do I cling onto most now that I can shed – not in terms of property and possessions, but prejudices and values – that get between me and Christ, and between the way I live my life and eternal life.
Then will I be happy to get down on my knees, like a camel, and squeeze into the City of God through the smallest and most narrow of the city gates, and find in the most humbling of ways how to squeeze into the Kingdom of God?
The Talmud speaks of the difficulty of ‘an elephant passing through a needle’s eye’ … an elephant in Lichfield Cathedral as part of the March of the Elephants in support of Saint Giles Hospice (Photograph: Patrick Comerford, 2024)
Today’s Prayers (Tuesday 20 August 2024):
The theme this week in ‘Pray With the World Church,’ the Prayer Diary of the Anglican mission agency USPG (United Society Partners in the Gospel), is ‘What price is the Gospel?’ This theme was introduced on Sunday with a programme update from Dr Jo Sadgrove, Research and Learning Advisor, USPG.
The USPG Prayer Diary today (Tuesday 20 August 2024) invites us to pray:
Lord, we pray for the healing of the deep wounds – spiritual, psychological, economic, environmental and social – inflicted by the SPG and the Anglican Church in the name of the Gospel.
The Collect:
Merciful redeemer,
who, by the life and preaching of your servant Bernard,
rekindled the radiant light of your Church:
grant us, in our generation,
to be inflamed with the same spirit of discipline and love
and ever to walk before you as children of light;
through Jesus Christ your Son our Lord,
who is alive and reigns with you,
in the unity of the Holy Spirit,
one God, now and for ever.
The Post Communion Prayer:
God of truth,
whose Wisdom set her table
and invited us to eat the bread and drink the wine
of the kingdom:
help us to lay aside all foolishness
and to live and walk in the way of insight,
that we may come with Bernard to the eternal feast of heaven;
through Jesus Christ our Lord.
The life of Saint Bernard of Clairvaux (20 August) depicted in stained-glass windows in Mount Melleray Abbey, Cappoquin, Co Waterford (Photograph: Patrick Comerford)
Yesterday’s reflection
Continued tomorrow
Scripture quotations are from the New Revised Standard Version Bible: Anglicised Edition copyright © 1989, 1995, National Council of the Churches of Christ in the United States of America. Used by permission. All rights reserved worldwide. http://nrsvbibles.org
Tourists on camels near Levissi (Kayaköy) near Fethiye in Turkey (Photograph: Patrick Comerford)
17 March 2024
‘Dona Nobis Pacem’:
War and Peace in music
in Stony Stratford
during ‘troubled times’
‘War and Peace’ … the MK Chorale Spring Concert in Stony Stratford included Haydn’s ‘Nelson’ Mass and the Vaughan Williams cantata, ‘Dona Nobis Pacem’
Patrick Comerford
Saint Mary and Saint Giles Church in Stony Stratford was the venue last night (16 March 2024) for the MK Chorale Spring Concert, ‘War and Peace’. The programme included Haydn’s ‘Nelson’ Mass (Missa in angustilis) and the Vaughan Williams cantata, Dona Nobis Pacem.
MK Chorale was accompanied on Saturday evening by the Alina Orchestra, conducted by Mark Jordan, and professional soloists, Helen Groves (soprano) and Thom Isherwood (baritone), with Olivia Shotton (alto) and Jacob Cole (tenor). The concert also supported the work of MK Chorale’s charity of the year, Unity MK, a local charity offering practical and emotional support for people experiencing homelessness or who are at crisis point.
MK Chorale was founded by Hilary Davan Wetton in 1974. It has about 100 members. The patron, Jean Rigby, is a long-time principal with English National Opera, Glyndebourne and the Royal Opera House, and a former Stony Stratford resident.
MK Chorale in Saint Mary and Saint Giles Church, Stony Stratford, last night (Photograph: Patrick Comerford, 2024)
Haydn’s reputation was at its peak in 1798 when he wrote his ‘Nelson’ Mass, but his world was in turmoil. Napoleon had won four major battles with Austria in less than a year, his armies had crossed the Alps and threatened Vienna itself, and Napoleon had invaded Egypt to destroy Britain’s trade routes through the Middle East.
When Haydn finished this Mass, he named it Missa in angustiis (‘Mass for troubled times’). But as he wrote the Mass, Napoleon was dealt a major defeat by Nelson at the Battle of the Nile, and the mass gradually became known as the ‘Nelson Mass’.
The Mass has six movements: Kyrie, Gloria, Credo, Sanctus, Benedictus and Agnus Dei, and reaches its climax with the plaintive plea for peace in Latin at the end of Agnus Dei:
Agnus Dei,
qui tolis peccata mundi,
miserere nobis.
Agnus Dei,
qui tolis peccata mundi,
miserere nobis.
Agnus Dei,
qui tolis peccata mundi,
dona nobis pacem.
Lamb of God
who takes away the sin of the world,
have mercy on us.
Lamb of God
who takes away the sin of the world,
have mercy on us.
Lamb of God,
who takes away the sin of the world,
grant us peace.
Those dramatic, concluding words, dona nobis pacem (‘grant us peace’) prepared the way for the second part of the evening’s programme, Dona Nobis Pacem by Vaughan Williams.
‘Agnus Dei’ is the first section of the cantata ‘Dona nobis pacem’ … the Lamb of God in a Harry Clarke window in Mount Melleray Abbey, Co Waterford (Photograph: Patrick Comerford)
Ralph Vaughan Williams (1872-1958) wrote Dona nobis pacem, a cantata for soprano and baritone soli, chorus and orchestra, in six continuous sections or movements.
Although Vaughan Williams is often best-remembered for collecting folk songs that he adapted as hymn tunes, he also wrote many works for chorus and orchestra, selecting and setting great texts for some of his finest works.
The oratorio Dona nobis pacem dates from the early 1930s and was written as a warning against war as another World War seemed to be looming on the horizons. The texts come from the Mass, the poet Walt Whitman, the Bible, and the politician and anti-war campaigner John Bright.
The work takes its name from the concluding phrase in the invocation to the Lamb of God sung or recited during the fraction at the Eucharist:
Agnus Dei, qui tollis peccata mundi, dona nobis pacem.
Lamb of God, who takes away the sin of the world, grant us peace.
The opening and closing movements take their names from the opening and closing words of this liturgical prayer, so Vaughan Williams, in this inter-war plea for peace, opens and closes this oratorio with the Paschal invocation of Christ, pleading for the peace that he offers to a broken world.
The spires of Lichfield Cathedral seen from the gates of the Garden of Remembrance in Lichfield … the lettering on the gates says: ‘Pax 1919’ (Photograph: Patrick Comerford)
With the current war in Ukraine and the violence in Gaza, Israel and Palestine, that plea – Dona Nobis Pacem, ‘Grant us Peace’ – has a new urgency and a renewed poignancy.
The first German Zeppelin air raids hit England in January 1915. Vaughan Williams, who was then 42, enlisted in the Royal Army Medical Corps and was assigned to ambulance duties, working with the wounded on the front lines in Flanders.
After World War I, Vaughan Williams held to his belief that music was a means to preserve civilisation, even amid war. He formed a military chorus and went on to dedicate his life to teaching others to make music. He promoted a ‘United States of the World’ where ‘those will serve that universal state best who bring into the common fund something that they and they only can bring.’
His oratorio Sancta Civitas, ‘The Holy City’ (1923-1925) was filled with vision, sadness, and suffering, and the music was ahead of its time in its use of dissonance. His cantata Dona Nobis Pacem has its roots in that earlier oratorio, expressing his anguish over the worsening political situation in Europe that would lead again to war.
When Vaughan Williams was invited to provide a work for the centenary of the Huddersfield Choral Society in October 1936, he remembered an unpublished setting he had composed for Walt Whitman’s ‘Dirge for Two Veterans,’ a poem in Whitman’s collection Drum Taps (1865), written at the end of the American Civil War.
He now resurrected this composition as the centrepiece of his new work, preceding it with two further poems by Whitman in Drum Taps, ‘Beat! beat! drums!’ and ‘Reconciliation.’
He prefaces this group of Whitman poems with a setting of the liturgical text, Agnus Dei, and followed it with a passage from a speech given in Parliament by John Bright in 1855 during the Crimean War: ‘The Angel of Death has been abroad throughout the land; you may almost hear the beating of his wings …’ Indeed, Vaughan Williams claimed to be the only composer ever to have set a passage from the proceedings of the House of Commons.
In the last two sections, he uses a series of Biblical passages that together express optimism for future peace.
The text is rounded off with a verse from Saint Luke’s Gospel, ‘Glory to God in the highest, and on earth peace, good-will toward men’ (Luke 2: 14) and a final repetition of the plea Dona nobis pacem, ‘Grant us peace.’
The whole work is welded together by his sense of urgency. As Vaughan Williams’s biographer, Simon Heffer, said, his main inspiration for Dona Nobis Pacem ‘is drawn not from the soil of England, but from the whole world going mad around him.’
Dona nobis pacem was first performed in Huddersfield on 2 October 1936, with the Huddersfield Choral Society and the Hallé Orchestra conducted by Albert Coates, and was performed at countless festivals and concerts in the anxious years leading up to World War II.
Dona Nobis Pacem also anticipates by 25 years Benjamin Britten’s War Requiem, with its dramatic settings of Latin liturgical texts and poetry and its emphasis on reconciliation.
‘Beat! beat! drums! – Blow! bugles! blow!’ … the War Memorial on Horsefair Green in Stony Stratford (Photograph: Patrick Comerford)
Given its connections with both World Wars, this cantata seems appropriate to revive as the world lives with the catastrophic consequences of the Russian invasion of and war in Ukraine.
Vaughan Williams’s perspective is no longer bound to the geography of England. His empathy now enfolds a world faced with another war. In setting biblical and poetic texts to music, he pays a subtle tribute to Verdi’s Requiem, which he admired – for example, the drop of a semitone on the word dona, bass drum key-shifts by thirds, and wild brass fanfares.
Dona Nobis Pacem is scored for chorus and large orchestra, with soprano and baritone soloists. It opens with a heart-rending cry. This angelic cry from the soprano, Dona nobis pacem, is repeated at intervals, in different settings, punctuating the entire piece. From the beginning, the angel is the first to appear, soaring high and distant, beseeching peace against a choir alternatively gloomy with war, then echoing in serenity.
In the event, Vaughan Williams’s warnings and entreaties went unheeded, and the oratorio’s optimism turned out historically unjustified in the short run. Vaughan Williams devoted the years of World War II to helping refugees find shelter and work, providing food by planting huge vegetable gardens and keeping chickens, and helping to stage free lunchtime concerts.
Nor does the oratorio’s hope does not come cheap, and the humanitarian warmth and splendour of his vision remains. With Benjamin Britten’s War Requiem, Dona nobis pacem remains one of the most satisfying musical answers to the questions posed by war itself. It fills a large canvas and its theme is anguished and impassioned on a cosmic scale as it pleads for peace, tolerance and understanding.
The six sections or movements are:
1, Agnus Dei
2, Beat! beat! drums! (Whitman)
3, Reconciliation (Whitman)
4, Dirge for Two Veterans (Whitman)
5, The Angel of Death (John Bright)
6, Dona nobis pacem (the Books of Jeremiah, Daniel, Haggai, Micah, and Leviticus, the Psalms, the Book of Isaiah, and Saint Luke’s Gospel)
‘The Falling Angel’, Marc Chagal (1947)
1, Agnus Dei:
The cantata opens with a soprano solo, one voice offering an apprehensive Agnus Dei, a well-known phrase in liturgical texts. She introduces the theme, singing it over the orchestra and choir.
The chorus joins in her fervent cry for peace. In answer, the drums of war are heard in the far distance, no longer a contagious dance rhythm of centuries past but, instead, the harbinger of war.
Agnus Dei, qui tollis peccata mundi,
dona nobis pacem.
Lamb of God, who takes away the sins of the world, Grant us peace.
2, ‘Beat! beat! drums!’
The second movement is a violent depiction of war and a furious setting of Walt Whitman’s poem ‘Beat! beat! drums!’
The words in this movement are based on a poem in Drum Taps written by the American poet Walt Whitman (1819-1892). This poem was written after he had served as a volunteer nurse in the American Civil War. He was stunned by the death toll of over 600,000 in that war over the space of four years.
Whitman’s words describe the drums and bugles of war bursting through doors and windows. When war erupts, nothing and nobody is inviolate. Peaceful lives in schools and churches, of brides, farmers and sleepers, of old men and children are in turn swept aside by the warring sounds.
The setting of this movement is for choir, heralded by volleys of brass and rattling percussion. In the use of the bass drum and its key shifts by thirds, Vaughan Williams here recalls Verdi’s Dies irae.
The movement erupts with articulate fear, depicting a violence that destroys peaceful daily lives. In the examples – merchants and scholars disappearing while others pray, weep, and entreat – we sense the numbers of people being swept into war’s unremitting violence once again in the 1930s.
Beat! beat! drums!
Beat! beat! drums! – Blow! bugles! blow!
Through the windows – through the doors – burst like a ruthless force,
Into the solemn church, and scatter the congregation;
Into the school where the scholar is studying;
Leave not the bridegroom quiet – no happiness must he have now with his bride;
Nor the peaceful farmer any peace, ploughing his field, or gathering in his grain,
So fierce you whirr and pound, you drums – so shrill you bugles blow.
Beat! beat! drums! – Blow! bugles! blow!
Over the traffic of cities – over the rumble of wheels in the streets:
Are beds prepared for sleepers at night in the houses?
No sleepers must sleep in those beds;
No bargainers bargains by day – would they continue?
Would the talkers be talking? would the singer attempt to sing?
[Would the lawyer rise in the court to state his case before the judge?]
Then rattle quicker, heavier drums – you bugles wilder blow.
Beat! beat! drums! – Blow! bugles! blow!
Make no parley – stop for no expostulation;
Mind not the timid – mind not the weeper or prayer;
Mind not the old man beseeching the young man;
Let not the child’s voice be heard, nor the mother’s entreaties,
Make even the trestles to shake the dead where they lie awaiting the hearses,
So strong you thump O terrible drums – so loud you bugles blow.
3, Reconciliation
The heart of Dona nobis pacem is found in the third movement, ‘Reconciliation.’ In this movement, Vaughan Williams uses this heart-wrenching poem by Walt Whitman in its entirety.
Although Whitman’s long lines are not easily set to music, the words have an almost intolerable beauty, marked by truth and compassion in the face of the shocking carnage suffered by humanity.
‘Reconciliation’ transcends the threatening atmosphere with a striking, bitter-sweet moment. Set like a lullaby, Whitman’s text offers a promise to the dead enemy – ‘a man divine as myself’ – that time will wash away the awful deeds of war, a promise sealed with a kiss.
The text is matched in perfect spirit by the beautiful setting by Vaughan Williams, sung by the commanding yet gentle voice of the baritone soloist. The baritone introduces the first half of the poem, which the choir echoes and varies.
The baritone then continues with the rest of the poem, followed by the choir presenting a new variation of the first half.
At the end, the soprano repeats a variation of Dona nobis pacem, which we heard in the first movement, hauntingly soaring above the final lines of the chorus.
3, Reconciliation
Word over all, beautiful as the sky,
Beautiful that war and all its deeds of carnage must in time be utterly lost,
That the hands of the sisters Death and Night incessantly, softly,
Wash again and ever again this soiled world;
For my enemy is dead, a man as divine as myself is dead,
I look where he lies white-faced and still in the coffin – I draw near,
Bend down and touch lightly with my lips the white face in the coffin.
4, Dirge for Two Veterans (Whitman)
Vaughan Williams based this movement on an earlier setting of the same words he had composed in 1914, before the outbreak of World War, and which he now incorporates into Dona nobis pacem.
This is a setting for a third poem by Walt Whitman (1819-1892), ‘Dirge for Two Veterans,’ from Drum-Taps (1865). The poem provides a second drum study for Vaughan Williams, but the drums this time are not the drums of war but the drums heard after war, the drums of death and burial, the drums of mourning and a funeral procession.
The drums and brass are transformed into instruments of noble commemoration; the strings and harp create a serene field filled by the choir fill with tender, loving words.
We are invited into a moonlit scene where we find a mother, highlighted by the moon, watching the funeral march for her son and her husband, both killed together in battle.
Her grief is symbolic of the grief shared by all families when lives are cut short one generation after another.
A compassionate world witnesses the scene with one heart, giving love as the moon gives light. The mourning turns to an outpouring of compassion and love as the wife and mother opens her heart and pours out her love for husband and son.
The moon gives you light,
And the bugles and the drums give you music;
And my heart, O my soldiers, my veterans,
My heart gives you love.
4, ‘Dirge for Two Veterans’
The last sunbeam
Lightly falls from the finished Sabbath,
On the pavement here, and there beyond it is looking,
Down a new-made double grave.
Lo, the moon ascending!
Up from the east the silvery round moon,
Beautiful over the house-tops, ghastly, phantom moon;
Immense and silent moon.
I see a sad procession,
And I hear the sound of coming full-keyed bugles;
All the channels of the city streets they’re flooding,
As with voices and with tears.
I hear the great drums pounding,
And the small drums steady whirring;
And every blow of the great convulsive drums,
Strikes me through and through.
For the son is brought with the father.
In the foremost ranks of the fierce assault they fell;
Two veterans, son and father, dropped together,
And the double grave awaits them.
Now nearer blow the bugles,
And the drums strike more convulsive;
And the daylight o’er the pavement quite has faded,
And the strong dead-march enwraps me.
In the eastern sky up-buoying,
The sorrowful vast phantom moves illumined;
(’Tis some mother’s large transparent face,
In heaven brighter growing.)
O strong dead-march you please me!
O moon immense with your silvery face you soothe me!
O my soldiers twain! O my veterans passing to burial!
What I have I also give you.
The moon gives you light,
And the bugles and the drums give you music;
And my heart, O my soldiers, my veterans,
My heart gives you love.
5, ‘The Angel of Death’
Vaughan Williams’s text for the fifth movement, ‘The Angel of Death,’ is derived from a speech on 23 February 1855 in the House of Commons by the great Victorian politician and reformer John Bright. In his speech, Bright condemned the Crimean War.
John Bright (1811-1889) was a leading Quaker, a Radical and Liberal statesman, and one of the greatest orators of his generation. The historian AJP Taylor says ‘John Bright was the greatest of all parliamentary orators … the alliance between middle class idealism and trade unionism, which he promoted, still lives in the present-day Labour Party.’ He is best remembered for his opposition to the Corn Laws, which came to an end in 1846.
Bright was an MP from 1843 to 1889, promoting free trade, electoral reform and religious freedom. He was almost a lone voice in opposing the Crimean War. In a speech in Birmingham in 1865, he became the first politician to refer to Westminster as the ‘Mother of Parliaments.’
Bright’s speech in 1855 draws on images in the Passover story in the Book Exodus, where the Angel of Death kills the firstborn children of Egypt, but spared any Israelite where the lintels and the door posts have been painted the lintels of his door posts with the blood of the lamb (see Exodus 12: 21-32).
Of course, the Exodus story makes no mention of the ‘Angel of Death’ as the author of this tenth and final plague. But Bright’s eloquence helped to popularise this image.
Afterwards, Benjamin Disraeli told Bright: ‘I would give all that I ever had to have delivered that speech.’ However, the speech did not prevent the Crimean War. As Bright had predicted, the campaign wasted many lives. More were lost through incompetent preparations than on the battlefield. Despite the technical military advances the British military had acquired, the war was marked by incompetence and 600,000 people were left dead.
Shocked by the disaster, and frustrated at being unable to avert it, Bright experienced a nervous breakdown. He lost his seat as MP for Manchester, although he was soon elected MP for Birmingham in 1858.
Bright’s words seem so appropriate to quote today and seem so relevant when we consider the present war in Ukraine, 170 years after the Crimean war. At the time Vaughan Williams was writing this oratorio, Bright’s speech was finding new relevance in England with the rise of Nazism and Fascism on Continental Europe, and a fear of yet another great war.
Bright’s words were given new prominence in those fearful days in the 1930s, when they were quoted by the pacifist former Dean of Canterbury, HRL (‘Dick’) Sheppard (1880-1937), in his We Say No (1935), published a year before he founded the Peace Pledge Union and a year before Vaughan Williams’s Dona nobis pacem was first performed.
In this movement, Vaughan Williams creates an atmosphere of anxiety and expectation, which leaves us wondering whether the war will ever end, whether we shall ever find peace.
The ostinato bass which has played out the ‘veterans’ in the last movement now plays in the Angel of Death.
The fifth movement begins with the baritone soloist and a quote from John Bright’s speech in which he tried to prevent the Crimean War: ‘The Angel of Death has been abroad throughout the land …’ Darkness seeps through the music, first quietly then with a dramatic interjection of Dona nobis pacem.
In the final movement that follows, the fearful news of the presence of the Angel of Death shall cause the chorus to burst into another cry for peace, but only more trouble rolls across the land: ‘We looked for peace, but no good came … The harvest is past, the summer is ended, and we are not saved …’
5, ‘The Angel of Death’
The Angel of Death has been abroad throughout the land;
you may almost hear the beating of his wings.
There is no one as of old …
to sprinkle with blood the lintel
and the two side-posts of our doors,
that he may spare and pass on.
6, ‘Dona nobis pacem’
In his final movement, Vaughan Williams draws together a number of Biblical sayings urging communal action for peace. With the fearful news of the presence of the Angel of Death, the chorus bursts into another cry for peace.
The attraction these Biblical texts held for Vaughan Williams is puzzling to many. At Cambridge, Bertrand Russell described him as ‘the most frightful atheist.’ By the 1930s, the music critic Frank Howes (1891-1974), editor of the journal of the English Folk Dance and Song Society, described him as a ‘cheerful Christian agnostic.’ Yet much of the composer’s work throughout his life is concerned with the journey of the soul.
The movement opens with sombre quotes from the Book of Jeremiah, with the soprano and choir intervening with the plea, ‘Dona nobis pacem.’
But more trouble stalks the land: ‘We looked for peace, but no good came …’ The snorting of Dan’s horses momentarily recalls the apocalyptic equine visions of Vaughan Williams’s earlier oratorio, Sancta Civitas (1923-1925).
The words of Jeremiah continue mournfully: ‘The harvest is past, the summer is ended, and we are not saved …’
The solo baritone is reassuring ‘O man, greatly beloved, fear not, peace be unto thee.’
Chorus basses intone the great text from Micah, almost every word a poem: ‘Nation shall not lift up a sword against nation, neither shall they learn war any more.’ The word spreads among all instruments and tongues in prospect of a New Jerusalem: bells ring out in a riotous succession of keys and peals.
The movement then continues with more optimistic texts, including a brief setting of the news of the angels at Christmas: Gloria in excelsis Deo, ‘Glory to God in the highest, and on earth peace, good-will toward me.’ A phrase that sometimes is too familiar, is repeated, ringing with celebratory optimism.
It ends with a quiet coda of Dona nobis pacem, introduced by the soprano again, adding the choir to finish the piece. The soprano’s ‘Dona nobis pacem,’ floating hauntingly overhead, sounds a warning that we must heed, lest we revert and again sacrifice ‘righteousness and peace’ which ‘have kissed each other’ to war.
Her voice alone lingers at the end like a solitary ray of hope, a light in the night. The final message is optimistic. Grant us peace.
6, ‘Dona Nobis Pacem’
Dona nobis pacem.
We looked for peace, but no good came; and for a time of health, and behold trouble! The snorting of his horses was heard from Dan; the whole land trembled at the sound of the neighing of his strong ones; for they are come, and have devoured the land … and those that dwell therein …
The harvest is past, the summer is ended, and we are not saved …
Is there no balm in Gilead?; is there no physician there? Why then is not the health of the daughter of my people recovered?
‘Dona nobis pacem’ with the Eastman-Rochester Chorus, the Eastman School Symphony Orchestra and Michaela Anthony, soprano
Patrick Comerford
Saint Mary and Saint Giles Church in Stony Stratford was the venue last night (16 March 2024) for the MK Chorale Spring Concert, ‘War and Peace’. The programme included Haydn’s ‘Nelson’ Mass (Missa in angustilis) and the Vaughan Williams cantata, Dona Nobis Pacem.
MK Chorale was accompanied on Saturday evening by the Alina Orchestra, conducted by Mark Jordan, and professional soloists, Helen Groves (soprano) and Thom Isherwood (baritone), with Olivia Shotton (alto) and Jacob Cole (tenor). The concert also supported the work of MK Chorale’s charity of the year, Unity MK, a local charity offering practical and emotional support for people experiencing homelessness or who are at crisis point.
MK Chorale was founded by Hilary Davan Wetton in 1974. It has about 100 members. The patron, Jean Rigby, is a long-time principal with English National Opera, Glyndebourne and the Royal Opera House, and a former Stony Stratford resident.
MK Chorale in Saint Mary and Saint Giles Church, Stony Stratford, last night (Photograph: Patrick Comerford, 2024)
Haydn’s reputation was at its peak in 1798 when he wrote his ‘Nelson’ Mass, but his world was in turmoil. Napoleon had won four major battles with Austria in less than a year, his armies had crossed the Alps and threatened Vienna itself, and Napoleon had invaded Egypt to destroy Britain’s trade routes through the Middle East.
When Haydn finished this Mass, he named it Missa in angustiis (‘Mass for troubled times’). But as he wrote the Mass, Napoleon was dealt a major defeat by Nelson at the Battle of the Nile, and the mass gradually became known as the ‘Nelson Mass’.
The Mass has six movements: Kyrie, Gloria, Credo, Sanctus, Benedictus and Agnus Dei, and reaches its climax with the plaintive plea for peace in Latin at the end of Agnus Dei:
Agnus Dei,
qui tolis peccata mundi,
miserere nobis.
Agnus Dei,
qui tolis peccata mundi,
miserere nobis.
Agnus Dei,
qui tolis peccata mundi,
dona nobis pacem.
Lamb of God
who takes away the sin of the world,
have mercy on us.
Lamb of God
who takes away the sin of the world,
have mercy on us.
Lamb of God,
who takes away the sin of the world,
grant us peace.
Those dramatic, concluding words, dona nobis pacem (‘grant us peace’) prepared the way for the second part of the evening’s programme, Dona Nobis Pacem by Vaughan Williams.
‘Agnus Dei’ is the first section of the cantata ‘Dona nobis pacem’ … the Lamb of God in a Harry Clarke window in Mount Melleray Abbey, Co Waterford (Photograph: Patrick Comerford)
Ralph Vaughan Williams (1872-1958) wrote Dona nobis pacem, a cantata for soprano and baritone soli, chorus and orchestra, in six continuous sections or movements.
Although Vaughan Williams is often best-remembered for collecting folk songs that he adapted as hymn tunes, he also wrote many works for chorus and orchestra, selecting and setting great texts for some of his finest works.
The oratorio Dona nobis pacem dates from the early 1930s and was written as a warning against war as another World War seemed to be looming on the horizons. The texts come from the Mass, the poet Walt Whitman, the Bible, and the politician and anti-war campaigner John Bright.
The work takes its name from the concluding phrase in the invocation to the Lamb of God sung or recited during the fraction at the Eucharist:
Agnus Dei, qui tollis peccata mundi, dona nobis pacem.
Lamb of God, who takes away the sin of the world, grant us peace.
The opening and closing movements take their names from the opening and closing words of this liturgical prayer, so Vaughan Williams, in this inter-war plea for peace, opens and closes this oratorio with the Paschal invocation of Christ, pleading for the peace that he offers to a broken world.
The spires of Lichfield Cathedral seen from the gates of the Garden of Remembrance in Lichfield … the lettering on the gates says: ‘Pax 1919’ (Photograph: Patrick Comerford)
With the current war in Ukraine and the violence in Gaza, Israel and Palestine, that plea – Dona Nobis Pacem, ‘Grant us Peace’ – has a new urgency and a renewed poignancy.
The first German Zeppelin air raids hit England in January 1915. Vaughan Williams, who was then 42, enlisted in the Royal Army Medical Corps and was assigned to ambulance duties, working with the wounded on the front lines in Flanders.
After World War I, Vaughan Williams held to his belief that music was a means to preserve civilisation, even amid war. He formed a military chorus and went on to dedicate his life to teaching others to make music. He promoted a ‘United States of the World’ where ‘those will serve that universal state best who bring into the common fund something that they and they only can bring.’
His oratorio Sancta Civitas, ‘The Holy City’ (1923-1925) was filled with vision, sadness, and suffering, and the music was ahead of its time in its use of dissonance. His cantata Dona Nobis Pacem has its roots in that earlier oratorio, expressing his anguish over the worsening political situation in Europe that would lead again to war.
When Vaughan Williams was invited to provide a work for the centenary of the Huddersfield Choral Society in October 1936, he remembered an unpublished setting he had composed for Walt Whitman’s ‘Dirge for Two Veterans,’ a poem in Whitman’s collection Drum Taps (1865), written at the end of the American Civil War.
He now resurrected this composition as the centrepiece of his new work, preceding it with two further poems by Whitman in Drum Taps, ‘Beat! beat! drums!’ and ‘Reconciliation.’
He prefaces this group of Whitman poems with a setting of the liturgical text, Agnus Dei, and followed it with a passage from a speech given in Parliament by John Bright in 1855 during the Crimean War: ‘The Angel of Death has been abroad throughout the land; you may almost hear the beating of his wings …’ Indeed, Vaughan Williams claimed to be the only composer ever to have set a passage from the proceedings of the House of Commons.
In the last two sections, he uses a series of Biblical passages that together express optimism for future peace.
The text is rounded off with a verse from Saint Luke’s Gospel, ‘Glory to God in the highest, and on earth peace, good-will toward men’ (Luke 2: 14) and a final repetition of the plea Dona nobis pacem, ‘Grant us peace.’
The whole work is welded together by his sense of urgency. As Vaughan Williams’s biographer, Simon Heffer, said, his main inspiration for Dona Nobis Pacem ‘is drawn not from the soil of England, but from the whole world going mad around him.’
Dona nobis pacem was first performed in Huddersfield on 2 October 1936, with the Huddersfield Choral Society and the Hallé Orchestra conducted by Albert Coates, and was performed at countless festivals and concerts in the anxious years leading up to World War II.
Dona Nobis Pacem also anticipates by 25 years Benjamin Britten’s War Requiem, with its dramatic settings of Latin liturgical texts and poetry and its emphasis on reconciliation.
‘Beat! beat! drums! – Blow! bugles! blow!’ … the War Memorial on Horsefair Green in Stony Stratford (Photograph: Patrick Comerford)
Given its connections with both World Wars, this cantata seems appropriate to revive as the world lives with the catastrophic consequences of the Russian invasion of and war in Ukraine.
Vaughan Williams’s perspective is no longer bound to the geography of England. His empathy now enfolds a world faced with another war. In setting biblical and poetic texts to music, he pays a subtle tribute to Verdi’s Requiem, which he admired – for example, the drop of a semitone on the word dona, bass drum key-shifts by thirds, and wild brass fanfares.
Dona Nobis Pacem is scored for chorus and large orchestra, with soprano and baritone soloists. It opens with a heart-rending cry. This angelic cry from the soprano, Dona nobis pacem, is repeated at intervals, in different settings, punctuating the entire piece. From the beginning, the angel is the first to appear, soaring high and distant, beseeching peace against a choir alternatively gloomy with war, then echoing in serenity.
In the event, Vaughan Williams’s warnings and entreaties went unheeded, and the oratorio’s optimism turned out historically unjustified in the short run. Vaughan Williams devoted the years of World War II to helping refugees find shelter and work, providing food by planting huge vegetable gardens and keeping chickens, and helping to stage free lunchtime concerts.
Nor does the oratorio’s hope does not come cheap, and the humanitarian warmth and splendour of his vision remains. With Benjamin Britten’s War Requiem, Dona nobis pacem remains one of the most satisfying musical answers to the questions posed by war itself. It fills a large canvas and its theme is anguished and impassioned on a cosmic scale as it pleads for peace, tolerance and understanding.
The six sections or movements are:
1, Agnus Dei
2, Beat! beat! drums! (Whitman)
3, Reconciliation (Whitman)
4, Dirge for Two Veterans (Whitman)
5, The Angel of Death (John Bright)
6, Dona nobis pacem (the Books of Jeremiah, Daniel, Haggai, Micah, and Leviticus, the Psalms, the Book of Isaiah, and Saint Luke’s Gospel)
‘The Falling Angel’, Marc Chagal (1947)
1, Agnus Dei:
The cantata opens with a soprano solo, one voice offering an apprehensive Agnus Dei, a well-known phrase in liturgical texts. She introduces the theme, singing it over the orchestra and choir.
The chorus joins in her fervent cry for peace. In answer, the drums of war are heard in the far distance, no longer a contagious dance rhythm of centuries past but, instead, the harbinger of war.
Agnus Dei, qui tollis peccata mundi,
dona nobis pacem.
Lamb of God, who takes away the sins of the world, Grant us peace.
2, ‘Beat! beat! drums!’
The second movement is a violent depiction of war and a furious setting of Walt Whitman’s poem ‘Beat! beat! drums!’
The words in this movement are based on a poem in Drum Taps written by the American poet Walt Whitman (1819-1892). This poem was written after he had served as a volunteer nurse in the American Civil War. He was stunned by the death toll of over 600,000 in that war over the space of four years.
Whitman’s words describe the drums and bugles of war bursting through doors and windows. When war erupts, nothing and nobody is inviolate. Peaceful lives in schools and churches, of brides, farmers and sleepers, of old men and children are in turn swept aside by the warring sounds.
The setting of this movement is for choir, heralded by volleys of brass and rattling percussion. In the use of the bass drum and its key shifts by thirds, Vaughan Williams here recalls Verdi’s Dies irae.
The movement erupts with articulate fear, depicting a violence that destroys peaceful daily lives. In the examples – merchants and scholars disappearing while others pray, weep, and entreat – we sense the numbers of people being swept into war’s unremitting violence once again in the 1930s.
Beat! beat! drums!
Beat! beat! drums! – Blow! bugles! blow!
Through the windows – through the doors – burst like a ruthless force,
Into the solemn church, and scatter the congregation;
Into the school where the scholar is studying;
Leave not the bridegroom quiet – no happiness must he have now with his bride;
Nor the peaceful farmer any peace, ploughing his field, or gathering in his grain,
So fierce you whirr and pound, you drums – so shrill you bugles blow.
Beat! beat! drums! – Blow! bugles! blow!
Over the traffic of cities – over the rumble of wheels in the streets:
Are beds prepared for sleepers at night in the houses?
No sleepers must sleep in those beds;
No bargainers bargains by day – would they continue?
Would the talkers be talking? would the singer attempt to sing?
[Would the lawyer rise in the court to state his case before the judge?]
Then rattle quicker, heavier drums – you bugles wilder blow.
Beat! beat! drums! – Blow! bugles! blow!
Make no parley – stop for no expostulation;
Mind not the timid – mind not the weeper or prayer;
Mind not the old man beseeching the young man;
Let not the child’s voice be heard, nor the mother’s entreaties,
Make even the trestles to shake the dead where they lie awaiting the hearses,
So strong you thump O terrible drums – so loud you bugles blow.
3, Reconciliation
The heart of Dona nobis pacem is found in the third movement, ‘Reconciliation.’ In this movement, Vaughan Williams uses this heart-wrenching poem by Walt Whitman in its entirety.
Although Whitman’s long lines are not easily set to music, the words have an almost intolerable beauty, marked by truth and compassion in the face of the shocking carnage suffered by humanity.
‘Reconciliation’ transcends the threatening atmosphere with a striking, bitter-sweet moment. Set like a lullaby, Whitman’s text offers a promise to the dead enemy – ‘a man divine as myself’ – that time will wash away the awful deeds of war, a promise sealed with a kiss.
The text is matched in perfect spirit by the beautiful setting by Vaughan Williams, sung by the commanding yet gentle voice of the baritone soloist. The baritone introduces the first half of the poem, which the choir echoes and varies.
The baritone then continues with the rest of the poem, followed by the choir presenting a new variation of the first half.
At the end, the soprano repeats a variation of Dona nobis pacem, which we heard in the first movement, hauntingly soaring above the final lines of the chorus.
3, Reconciliation
Word over all, beautiful as the sky,
Beautiful that war and all its deeds of carnage must in time be utterly lost,
That the hands of the sisters Death and Night incessantly, softly,
Wash again and ever again this soiled world;
For my enemy is dead, a man as divine as myself is dead,
I look where he lies white-faced and still in the coffin – I draw near,
Bend down and touch lightly with my lips the white face in the coffin.
4, Dirge for Two Veterans (Whitman)
Vaughan Williams based this movement on an earlier setting of the same words he had composed in 1914, before the outbreak of World War, and which he now incorporates into Dona nobis pacem.
This is a setting for a third poem by Walt Whitman (1819-1892), ‘Dirge for Two Veterans,’ from Drum-Taps (1865). The poem provides a second drum study for Vaughan Williams, but the drums this time are not the drums of war but the drums heard after war, the drums of death and burial, the drums of mourning and a funeral procession.
The drums and brass are transformed into instruments of noble commemoration; the strings and harp create a serene field filled by the choir fill with tender, loving words.
We are invited into a moonlit scene where we find a mother, highlighted by the moon, watching the funeral march for her son and her husband, both killed together in battle.
Her grief is symbolic of the grief shared by all families when lives are cut short one generation after another.
A compassionate world witnesses the scene with one heart, giving love as the moon gives light. The mourning turns to an outpouring of compassion and love as the wife and mother opens her heart and pours out her love for husband and son.
The moon gives you light,
And the bugles and the drums give you music;
And my heart, O my soldiers, my veterans,
My heart gives you love.
4, ‘Dirge for Two Veterans’
The last sunbeam
Lightly falls from the finished Sabbath,
On the pavement here, and there beyond it is looking,
Down a new-made double grave.
Lo, the moon ascending!
Up from the east the silvery round moon,
Beautiful over the house-tops, ghastly, phantom moon;
Immense and silent moon.
I see a sad procession,
And I hear the sound of coming full-keyed bugles;
All the channels of the city streets they’re flooding,
As with voices and with tears.
I hear the great drums pounding,
And the small drums steady whirring;
And every blow of the great convulsive drums,
Strikes me through and through.
For the son is brought with the father.
In the foremost ranks of the fierce assault they fell;
Two veterans, son and father, dropped together,
And the double grave awaits them.
Now nearer blow the bugles,
And the drums strike more convulsive;
And the daylight o’er the pavement quite has faded,
And the strong dead-march enwraps me.
In the eastern sky up-buoying,
The sorrowful vast phantom moves illumined;
(’Tis some mother’s large transparent face,
In heaven brighter growing.)
O strong dead-march you please me!
O moon immense with your silvery face you soothe me!
O my soldiers twain! O my veterans passing to burial!
What I have I also give you.
The moon gives you light,
And the bugles and the drums give you music;
And my heart, O my soldiers, my veterans,
My heart gives you love.
5, ‘The Angel of Death’
Vaughan Williams’s text for the fifth movement, ‘The Angel of Death,’ is derived from a speech on 23 February 1855 in the House of Commons by the great Victorian politician and reformer John Bright. In his speech, Bright condemned the Crimean War.
John Bright (1811-1889) was a leading Quaker, a Radical and Liberal statesman, and one of the greatest orators of his generation. The historian AJP Taylor says ‘John Bright was the greatest of all parliamentary orators … the alliance between middle class idealism and trade unionism, which he promoted, still lives in the present-day Labour Party.’ He is best remembered for his opposition to the Corn Laws, which came to an end in 1846.
Bright was an MP from 1843 to 1889, promoting free trade, electoral reform and religious freedom. He was almost a lone voice in opposing the Crimean War. In a speech in Birmingham in 1865, he became the first politician to refer to Westminster as the ‘Mother of Parliaments.’
Bright’s speech in 1855 draws on images in the Passover story in the Book Exodus, where the Angel of Death kills the firstborn children of Egypt, but spared any Israelite where the lintels and the door posts have been painted the lintels of his door posts with the blood of the lamb (see Exodus 12: 21-32).
Of course, the Exodus story makes no mention of the ‘Angel of Death’ as the author of this tenth and final plague. But Bright’s eloquence helped to popularise this image.
Afterwards, Benjamin Disraeli told Bright: ‘I would give all that I ever had to have delivered that speech.’ However, the speech did not prevent the Crimean War. As Bright had predicted, the campaign wasted many lives. More were lost through incompetent preparations than on the battlefield. Despite the technical military advances the British military had acquired, the war was marked by incompetence and 600,000 people were left dead.
Shocked by the disaster, and frustrated at being unable to avert it, Bright experienced a nervous breakdown. He lost his seat as MP for Manchester, although he was soon elected MP for Birmingham in 1858.
Bright’s words seem so appropriate to quote today and seem so relevant when we consider the present war in Ukraine, 170 years after the Crimean war. At the time Vaughan Williams was writing this oratorio, Bright’s speech was finding new relevance in England with the rise of Nazism and Fascism on Continental Europe, and a fear of yet another great war.
Bright’s words were given new prominence in those fearful days in the 1930s, when they were quoted by the pacifist former Dean of Canterbury, HRL (‘Dick’) Sheppard (1880-1937), in his We Say No (1935), published a year before he founded the Peace Pledge Union and a year before Vaughan Williams’s Dona nobis pacem was first performed.
In this movement, Vaughan Williams creates an atmosphere of anxiety and expectation, which leaves us wondering whether the war will ever end, whether we shall ever find peace.
The ostinato bass which has played out the ‘veterans’ in the last movement now plays in the Angel of Death.
The fifth movement begins with the baritone soloist and a quote from John Bright’s speech in which he tried to prevent the Crimean War: ‘The Angel of Death has been abroad throughout the land …’ Darkness seeps through the music, first quietly then with a dramatic interjection of Dona nobis pacem.
In the final movement that follows, the fearful news of the presence of the Angel of Death shall cause the chorus to burst into another cry for peace, but only more trouble rolls across the land: ‘We looked for peace, but no good came … The harvest is past, the summer is ended, and we are not saved …’
5, ‘The Angel of Death’
The Angel of Death has been abroad throughout the land;
you may almost hear the beating of his wings.
There is no one as of old …
to sprinkle with blood the lintel
and the two side-posts of our doors,
that he may spare and pass on.
6, ‘Dona nobis pacem’
In his final movement, Vaughan Williams draws together a number of Biblical sayings urging communal action for peace. With the fearful news of the presence of the Angel of Death, the chorus bursts into another cry for peace.
The attraction these Biblical texts held for Vaughan Williams is puzzling to many. At Cambridge, Bertrand Russell described him as ‘the most frightful atheist.’ By the 1930s, the music critic Frank Howes (1891-1974), editor of the journal of the English Folk Dance and Song Society, described him as a ‘cheerful Christian agnostic.’ Yet much of the composer’s work throughout his life is concerned with the journey of the soul.
The movement opens with sombre quotes from the Book of Jeremiah, with the soprano and choir intervening with the plea, ‘Dona nobis pacem.’
But more trouble stalks the land: ‘We looked for peace, but no good came …’ The snorting of Dan’s horses momentarily recalls the apocalyptic equine visions of Vaughan Williams’s earlier oratorio, Sancta Civitas (1923-1925).
The words of Jeremiah continue mournfully: ‘The harvest is past, the summer is ended, and we are not saved …’
The solo baritone is reassuring ‘O man, greatly beloved, fear not, peace be unto thee.’
Chorus basses intone the great text from Micah, almost every word a poem: ‘Nation shall not lift up a sword against nation, neither shall they learn war any more.’ The word spreads among all instruments and tongues in prospect of a New Jerusalem: bells ring out in a riotous succession of keys and peals.
The movement then continues with more optimistic texts, including a brief setting of the news of the angels at Christmas: Gloria in excelsis Deo, ‘Glory to God in the highest, and on earth peace, good-will toward me.’ A phrase that sometimes is too familiar, is repeated, ringing with celebratory optimism.
It ends with a quiet coda of Dona nobis pacem, introduced by the soprano again, adding the choir to finish the piece. The soprano’s ‘Dona nobis pacem,’ floating hauntingly overhead, sounds a warning that we must heed, lest we revert and again sacrifice ‘righteousness and peace’ which ‘have kissed each other’ to war.
Her voice alone lingers at the end like a solitary ray of hope, a light in the night. The final message is optimistic. Grant us peace.
6, ‘Dona Nobis Pacem’
Dona nobis pacem.
We looked for peace, but no good came; and for a time of health, and behold trouble! The snorting of his horses was heard from Dan; the whole land trembled at the sound of the neighing of his strong ones; for they are come, and have devoured the land … and those that dwell therein …
The harvest is past, the summer is ended, and we are not saved …
Is there no balm in Gilead?; is there no physician there? Why then is not the health of the daughter of my people recovered?
‘Dona nobis pacem’ with the Eastman-Rochester Chorus, the Eastman School Symphony Orchestra and Michaela Anthony, soprano
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