Preparing for Worship

Sunday, March 4, 2012    

Second Sunday in Lent     

Collect

O God, whose glory it is always to have mercy: Be gracious to all who have gone astray from your ways, and bring them again with penitent hearts and steadfast faith to embrace and hold fast the unchangeable truth of your Word, Jesus Christ your Son; who with you and the Holy Spirit lives and reigns, one God, for ever and ever. Amen.

Readings     

Genesis 17:1-7, 15-16 /  Psalm 22:22-30 / Romans 4:13-25 / Mark 8:31-38  

Services

7:45 a.m. Holy Eucharist Rite I  

Celebrant: Dominic Moore

Preacher: 30 Hour Famine youth

Eucharistic Minister: Nancy Jackson

Lector/Intercessor: 30 Hour Famine youth

Usher: John Kingsley

9:00 a.m., Holy Eucharist Rite II  

Celebrant: Dominic Moore

Preacher: 30 Hour Famine youth

Canterbury Choir & YCMM Choir: John Linker, Organist/Choirmaster; Henk Linker, Visiting Artist in Residence

Verger: David Goodpaster

Acolytes: Laura Greenfield, Thomas Priest, Alina Snowden, Mary Greenfield, Philip Priest, Jackson Young, Evelyn Hinz

Eucharistic Ministers: Tony Baxter, Katherine Bihl, Jim and Pat Johnson, David Goodpaster

Lector/Intercessor: 30 Hour Famine youth

Lay Eucharistic Visitor: Elizabeth Leppman

Ushers: Ken Miller, Mark Plummer, David Thompson, Andrew Burton

Greeters: Main St.-Deana Brashear

West Door-Joyce Roth

Children's Chapel: No chapel today

11:15 a.m., Holy Eucharist Rite I     

Celebrant: Dominic Moore

Preacher: 30 Hour Famine youth

Parish Choir & Treble Choir: John Linker, Organist/ Choirmaster; Henk Linker, Visiting Artist in Residence 

Verger: January Haile

Acolytes: Meredith Aker, Clarita Ledbetter, Claire Campbell, Mason Deep

Eucharistic Ministers: Buzz Carmichael, Barbara Messer, Shannon Messer, Dan Primm, January Haile

Lector/Intercessor: 30 Hour Famine youth

Ushers: Charley and Nancy Davis, Hoppy Hopkins, Jim Martin

Greeters: Main St.-Bill and Lucy Cox

West Door-Joyce Roth

Children's Chapel: No chapel today

Others Serving This Sunday

Music     
Hymns  

401, 707, 449     

Click HERE for a link to an online index to the 1982 Hymnal that will allow you to read the texts and listen to the tunes for Sunday's hymns.

Organ   

This is the Good Shepherd Prayer List. Each day at noon, the persons on this list are lifted up in prayer. On Sundays during the Prayers of the People, the Intercessor pauses while we pray aloud or silently for each of those on the prayer list, which is published in the bulletin. You are also invited to add these names to your personal prayer list.  

Why does Jesus matter to you (if he does)?

What does Easter mean to you?

What does it mean to you to respond wholeheartedly to Jesus' call to "follow me"?

What difference does it make to you that Jesus was a faithful practicing Jew?  

How has relationship with the post-Easter Jesus changed your life? 

Daughters of the King will meet next Sunday, March 11, at 4:00 p.m. in the Library. March sandwich team members are Dorothy Nichols, Ema Jean Niles, Barbara Mostert, Phyllis Campell, Izzie Purdon, and Kitty Mattingly.

...that so many adults responded to Sunday's plea to help with the 30 Hour Famine.

...that last Saturday, our men's group did some exterior sprucing up to ensure the church lawn and grounds look beautiful again this year.

...that 24 adults shared a meal and discussed their faith at the first session of our Lenten study, led by members of our after EfM group. The group meets every Wednesday during Lent.

On this second Sunday in Lent we are enriched by penitential and inspirational music. Hymn 401 is one of two English paraphrases in our Hymnal of the Yigdal, the Jewish articles of faith written down in the 12th century and put into verse about 300 years later. Thomas Olivers wrote the text around 1763 after hearing the Yigdal chanted in the Great Synagogue in London when he was inspired to arrange it as an English hymn. The tune LEONI is based on the Hebrew melody traditionally used for the Yigdal, however, the melody is not thought to be much older than the 7th century.  It was written out by Meyer Lyon (Meier Leoni, for whom it is named), cantor of the Great Synagogue in London. Hymn 449 represents the rediscovery of the vast liturgical and musical resources of the early medieval Church as a result of the Oxford and Cambridge-Camden Movements. The text is from the 15th century when it appeared as a nativity hymn. The translation from Latin is by Benjamin Webb, and this translation has been used since The Hymnal 1940 with slight altera-tions. The tune DEO GRACIAS was composed in the first part of the 15th century and is believed to have been written in commemoration of King Henry V's victory over the French at the Battle of Agincourt in 1415. It is found in two contemporary manuscripts both dating from the 15th century. One is Cambridge Trinity College MS 0.3.58-a vellum roll 6'8" long by 7" wide with staves in red and initials in red and blue containing13 English carols, of which DEO GRACIAS ANGLIA is number seven. The other is the Selden Manuscript from Oxford dating from about mid-15th century.

Sir John Goss was a pupil of Thomas Attwood (a close friend of Felix Mendelssohn) at St. Paul's Cathedral in London. Goss later succeeded his teacher as organist at St. Paul's and was also mentor to the younger John Stainer. Set in the key of A-flat, his anthem O Saviour of the world features a motive of a descending stepwise melodic pattern accompanied by generally consonant harmonies, saving dissonances for words such as "cross" and "blood."

The motet O sacrum convivium by Thomas Tallis has enjoyed a secure spot in the choral repertory for the past few centuries. It was first published in Cantiones Sacrae of 1575, a collection that Tallis and William Byrd published together and dedicated to the Queen. Tallis's style features the voices imitating one another, setting each line of text to different music, unifying elements such as intervallic repetition (a fourth or fifth announces the start of most phrases), and brief melismatic passages on important syllables. "Cross relations" happen with great frequency in English music of this period, a term that describes chromatic contradictions between two notes sounding simultaneously (or in close proximity) in two different voices. These somewhat startling moments are not "wrong notes" but are the byproduct of horizontal vocal lines weaving in and out of each other's way.