Choral Eucharist

Sunday, October 14, 2012
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The Twentieth Sunday After Pentecost

The Twentieth Sunday After Pentecost

Almighty and everlasting God, who in Christ hast revealed thy glory among the nations: Preserve the works of thy mercy, that thy Church throughout the world may persevere with steadfast faith in the confession of thy Name; through the same Jesus Christ our Lord, who liveth and reigneth with thee and the Holy Spirit, one God, for ever and ever. Amen. (Proper 24)


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11:00 a.m.

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∫Are you one of the many hundreds from around the world who listen the 11am Sunday Eucharist via the webcast? Choral services at saint Thomas are freely available, but at significant cost. Please help us continue to carry forward our mission to worship, love and serve Our Lord Jesus Christ through the Anglican tradition and our unique choral heritage. We ask you to consider making yourself known to us via the Every Member Canvass at whatever level you are able.

‚ñ∫The Rector speaks about Saint Luke, whose feast day is this Thursday, October 18, in his weekly audio message.

Music notes: Benjamin Britten’s Missa Brevis in D was written in 1959 for the boys of Westminster Cathedral Choir, London. Britten had heard the boys sing under their director George Malcolm and had been excited by the unconventional strong-toned singing that they produced. Malcolm had cultivated a uniquely ‘continental’ sound in his boys’ choir that was utterly different from the traditional soft, flutey tones associated then with the Anglican choral tradition. The work displays Britten’s characteristic flair for writing for children but retains a devout liturgical gravitas. The Gloria, with its uneven rhythms is a lively setting that immediately appeals to young performers and lends appropriate joy to the text. The bell-like Sanctus is followed by the quiet fervor of the Benedictus ‚Äì set for two solo voices above an organ ‘walking bass’. The Agnus Dei is an agonized prayer for peace as the voices sing a forlorn melodic line over a repeated bass figure in the organ.