Holy Eucharist Rite II at 10:30 a.m. sung by the Adult Choir; sermon by the Rev. Paul-Gordon Chandler.
Worship at Home:
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Service Music:
Organ Voluntary Offertorio in G George Frederick Handel (1685-1759)
Prelude on Cwm Rhondda Julia Calkins, 2002
Processional Hymn 53 Once he came in blessing Gottes Sohn ist kommen
Gloria in excelsis S278 William Mathias (1934-1992)
Sequence Hymn 620 Jerusalem, my happy home Land of Rest
Offertory Anthem Swing low, sweet chariot Spiritual, arr. Alice Parker (b. 1925)
Swing low, sweet chariot
Coming for to carry me home
Swing low, sweet chariot
Coming for to carry me home
I looked over Jordan, and what did I see
A band of angels coming after me
Sometimes I’m up, sometimes I’m down
Sometimes I’m almost to the ground
Alice Parker is a national treasure: America’s reigning queen of choral music. – American Record Guide
My twenty-years’ experience with Robert Shaw, an immersion in folk music of many kinds, has had a profound effect on my own understanding of song. I learned to see each tune as a small universe, setting up its own rules of pitch and rhythm, mood and dance. If I understand that universe, and work within it for my setting, the result is an organic whole that allows the original melody to flourish. – Alice Parker
Sanctus S128 William Mathias
Fraction Anthem S166 Agnus Dei Gerald Near (b. 1942)
Communion Motet Oculi omnium Charles Wood (1866-1926)
Words: Psalm 144:15
Oculi omnium in te spirant Domine: The eyes of all wait upon thee, O Lord:
Et tu das illis escam in tempore opportune And thou givest them their meat in due season.
Gloria tibi Domine. Amen. Glory be to thee, O Lord. Amen.
Closing Hymn in Procession 690 Guide me, O thou great Jehovah Cwm Rhondda
Voluntary Praeludium in G, BWV 550 Johann Sebastian Bach (1685-1750)
This Prelude was probably written during the latter part of Bach’s tenure in Arnstadt (1703-1707), where he served as organist at the Neue Kirche. Thus, it is an early work and while it may not be a major achievement, it still exhibits the composer’s craftsmanship in contrapuntal writing and structure. The piece opens with a joyous, lively theme that centers largely on a four-note pattern that is often mirrored in the harmonies of the left hand, and a rigorous pedal solo. The counterpoint that follows works up a quite glorious and triumphant sense. – Robert Cummings