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Festal Eucharist

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Sunday, April 22, 2018
11:00 am High Altar

THE FOURTH SUNDAY OF EASTER

Collect:

O God, whose Son Jesus is the good shepherd of thy people: Grant that when we hear his voice we may know him who calleth us each by name, and follow where he doth lead; who, with thee and the Holy Spirit, liveth and reigneth, one God, for ever and ever. Amen.

Included in this Choral Eucharist are hymns sung by the congregation and choir, additional music sung exclusively by the choir, lessons, prayers, a sermon, and a Rite I Mass. All baptized Christians are welcome to receive Holy Communion.

Celebrant: Fr Turner

Preacher: The Right Reverend Martin Shaw, Retired Bishop of Argyll and the Isles, the Scottish Episcopal Church

Deacon: Fr Daniels

Subdeacon: Fr Ritter

Sung by: The Saint Thomas Choir of Men and Boys

Prelude: Canzona, BWV 588, Johann Sebastian Bach (1685-1750)

The Liturgy of the Word


Service: Missa Papae Marcelli, Giovanni Pierluigi da Palestrina (c.1525-1594)

Hymn: 205
Good Christians all, rejoice and sing
GELOBT SEI GOTT

Lesson: Acts 4:5-12

Psalm: 23 Anglican Chant (Walford Davies)

Epistle: 1 John 3:16-24

Alleluia: Harmonized plainchant

Hymn: 343
Shepherd of souls, refresh and bless
ST. AGNES

Gospel: John 10:11-18

Motet: Sicut cervus, Giovanni Pierluigi da Palestrina

Motet: O sacrum convivium, Thomas Tallis (c.1505-1585)

Hymn: 645
The King of love my shepherd is
ST. COLUMBA

Voluntary: Toccata in d, BWV 538 ‘Dorian’, Johann Sebastian Bach

Listen


Hymn 8:54-13:18
Gloria 14:2-19:14
Psalm 22:34-24:48
Hymn 26:30-28:54
Sermon 32:42-50:5
Greetings 56:32-59:46
Offertory 01:00:25-01:06:42
Sanctus/Benedictus 01:09:04-01:13:18
Agnus Dei/Anthem 01:23:36-01:31:00
Hymn 01:35:54-01:39:50
Voluntary 01:39:50-01:45:20

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Music Notes & Announcements

Notes on today's setting
From the pen of the venerable Palestrina came a number of masses which were based upon Gregorian chant tunes and motifs. The Missa Papae Marcelli is unique among his many settings of the mass in that it bears a dedicatory title. It is recorded in 1555 that, upon hearing a thoughtlessly-sung celebration of the Good Friday liturgy in the Papal Chapel, the dismayed Marcellus II ordered that “whatever was to be performed when the mysteries of the Passion and Death of the Saviour were celebrated must be sung with properly modulated voices, and written so that everything could be understood properly.” Although printed in 1567, Missa Papae Marcelli was composed much earlier, perhaps even before Marcellus’ admonition. Palestrina, recognizing that the exceptional textual clarity and rhythmic vitality of this particular mass setting might satisfy the Pope’s stylistic requirements, may well have dedicated it to him for those very reasons.

Music for the Eve of Ascension
Toward the end of the Easter season, together with Christians around the world, we celebrate Christ’s bodily Ascension into heaven. During his time at Thomaskirche, Leipzig, J.S. Bach heroically composed a new cantata for each liturgical feast day. On Wednesday, May 9, at 7:30 p.m., Concerts at Saint Thomas anticipates this feast presenting Music for the Eve of Ascension featuring Bach’s first Cantata for Ascension Day (BWV 37) alongside his Lutheran Mass in G Minor and Antonio Vivaldi’s Introduzione e Gloria. Daniel Hyde conducts St. Luke’s Chamber Ensemble and soloists Eric S. Brenner, Mark Bleeke, Lawrence Jones, Daniel Moore and Boys of the Saint Thomas Choir. For tickets, call 212.664.9360 or email Concerts@SaintThomasChurch.org.

Out of Egypt: Reading Exodus Theologically.
April 29, the Sunday class begins a study of the book of Exodus in the Old Testament. In addition to being a record of the central event in Jewish history – the escape from Egypt and journey towards the Promised Land –Exodus also provides a prime case study of the benefits of a utilization of the traditional “four senses” of scripture: the literal, the typological, the moral, and the mystical. The first class begins with the first chapter of the book and an interpretation of the Hebrew presence in Egypt with reference to the “four senses” methodology.

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