The Second Sunday In Lent
The Second Sunday In Lent
O God, whose glory it is always to have mercy: Be gracious to all who have gone astray from thy ways, and bring them again with penitent hearts and steadfast faith to embrace and hold fast the unchangeable truth of thy Word, Jesus Christ thy Son; 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. Details of the service may be seen in the leaflet, which is posted at the bottom of this page, where you will also find links to the webcast during and after the service.
‚ñ∫One of the great glories of the tradition is the hymnody of the Church. Notice, for instance, the words of the first hymn (401) anticipates the Old Testament Lesson (Genesis 17) and how the words of the gradual hymn (691) in many ways echo the words of the Collect for the Second Sunday in Lent.The Rector speaks about how hymns are selected at Saint Thomas in his weekly audio message.
Music notes: William Byrd (c.1540-1623) is probably the most famous and best-loved of all early English composers. His career was marked by the various changes in the practices of the Church for which he composed. As a chorister at the Chapel Royal in Mary Tudor’s reign, Byrd was exposed to elaborate Latin church music, for which the brief-lived monarch had a taste. Byrd is recorded as Organist of Lincoln Cathedral by the age of twenty-three, returning to London in 1570 to work as a singer, composer and organist at the Chapel Royal under Queen Elizabeth. As he won fame for his fine Anglican Church Music, Byrd was nevertheless composing deeply-felt Latin motets, and in 1593, having grown tired of compromise, he moved with his family to Stondon Massey in Essex, where he lived out the rest of his life as a recusant catholic. Byrd’s three settings of the Mass Ordinary were written between 1592 and 1595 and would have been intended for performance in the secretive atmosphere of domestic worship. It is in works such as the five-part Mass, with its intimate and beautifully crafted portrayal of the text, that the composer illustrates the expressive powers so profoundly inspired by his sense of faith.
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