The Twentieth Sunday After Pentecost
11:00 a.m.
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Above: a sad Canterbury Cathedral, missing its Dean, who is on Fifth Avenue this morning, saying a few words from a pulpit . He won’t return to Kent anytime soon, which is all the better for us. On Tuesday, November 1 for All Saints, he gives a presentation at 6:30pm here at Saint Thomas on the topic of Canterbury Cathedral. All are welcome to attend.
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. Details of the service may be seen in the leaflet, which is posted at the bottom of this page.
‚ñ∫The Rector speaks about the visit of Dean Willis in his Weekly Audio Message.
‚ñ∫This is the fifth week of the 2012 Every Member Canvass, through which we raise the money to pay for the annual operating expenses of the Church and Choir School. Read more here and consider making a pledge online. We need everyone who worships with us, including the many thousands from around the globe who have listened to at least one webcast, to consider making a pledge in support of our mission.
‚ñ∫If you haven’t yet made a “tile” for the EMC Tiles Project, please do so today. If you need some help, consider attending an informal help session after the 11am Eucharist through 3:30pm. All tiles will be on display at a special EMC Coffee Hour on November 6.
Music notes: Claudio Giovanni Antonio Monteverdi (1567-1643), in addition to being the first great operatic composer, was a pivotal figure in the change in style from late Renaissance to early Baroque. In 1613, Monteverdi was appointed Maestro di Cappella of San Marco in Venice, a declining institution that he revitalized by hiring new musicians, expanding the music library, and raising the standards of performance. His Messa da Capella was first published in his collection Selva morale et spirituale in 1641. The work has been associated by scholars with the Thanksgiving Mass at St Mark’s in November 1631, celebrating the end of the terrible Venetian plague of 1630-1631. Monteverdi’s mass setting, with its unforced and luminous counterpoint, is clearly a monument to the prima prattica or old style of polyphonic writing, in the spirit of Palestrina and Lassus.
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