November 12, 2017 + The 23rd Sunday after Pentecost

Holy Eucharist Rite II at 10:30 a.m. sung by the Adult Choir; sermon by the Rev. Paul-Gordon Chandler.

Worship at Home:

Click here for: Service Bulletin – Sermon Text

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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

 

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