October 14, 2018 + The Twenty-first Sunday after Pentecost
Holy Eucharist Rite II at 10:30 a.m. sung by the Youth & Adult Choirs, sermon by the Rev’d Susan Pinkerton.
Worship at Home:
Click here: Service Bulletin – Sermon Text
Voluntary Prelude in E-flat Major, BWV 552 Johann Sebastian Bach (1685-1750)
Processional Hymn 680 O God, our help in ages past St. Anne
Sequence Hymn 684 O for a closer walk with God Caithness
Offertory Anthem Zion’s Walls Aaron Copland (1900-1990)
Come fathers and mothers, come sisters and brothers, come join us in singing the praises of Zion.
O fathers, don’t you feel determined to meet within the walls of Zion?
We’ll shout and go round the walls of Zion.
In the 1930s and ‘40s, Brooklyn-born and Paris-trained Aaron Copland produced orchestral ballets such as Billy the Kid, Rodeo, and especially Appalachian Spring, which illustrated his firm belief that American composers should write on American themes. To aid him in fashioning a uniquely “American” sound, the definition of which is still argued by musicologists today, Copland extensively researched nineteenth-century musical Americana such as minstrel-show songs, traditional ballads, children’s songs, political campaign tunes, and Revivalist hymns such as Zion’s Walls. Copland sets Zion’s Walls—a gathering-song which first appeared in the 1855 tune-book Sacred Harp—as alternately raucous or contemplative, but always heartfelt.
Sanctus S128 William Mathias
Fraction Anthem S166 Agnus Dei Gerald Near (b. 1942)
Communion Anthem Lay up for yourselves Ned Rorem (b. 1923)
Words: Matthew 6: 20-21
Lay up for yourselves treasures in heaven, where neither moth nor rust doth corrupt,
And where thieves do not break through and steal.
For where your treasure is, there will your heart be also.
Hymn in Procession 601 O day of God, draw nigh St. Michael
Voluntary Fugue in E-flat Major, BWV 552 (“St. Anne”) Johann Sebastian Bach
The Fugue in E-flat is loaded with 3s – three sections with distinct themes, representing the strength of God the Father, the youth of God the Son, and the joyful dancing of God the Holy Spirit. There are three distinct meters, yet they all “work together,” suggesting unity of the three parts. It gets much more complicated than that, and I’ll be happy to show you some very daunting formulas that show how Bach literally embedded theological meaning into the notes. It is a coincidence (or is it?) that the Father section echoes the hymn-tune for O God, our help in ages past.