Festal Eucharist

Sunday, March 18, 2012
The Fourth Sunday In Lent (Laetare)

The Fourth Sunday In Lent (Laetare)


Gracious Father, whose blessed Son Jesus Christ came down from heaven to be the true bread which giveth life to the world: Evermore give us this bread, that he may live in us, and we in him; who liveth and reigneth with thee and the Holy Spirit, one God, now and for ever. Amen.

11:00 a.m.

Above: The Resurrection Chapel altar at Easter. This Sunday reminds us that Christ has already won the victory, even as we prepare ourselves to enter into deep Lent.

Today’s 11am Eucharist is “Festal” because it is Laetare (“Refreshment”) Sunday. Included in this Festal 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.

Because of Laetare, you will also notice the rose (instead of violet) vestments on the clergy and rose frontal on the altar. Flowers, which on all other Lenten Sundays are not used in the church at all, also appear on the altar.

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∫ The Rector speaks about Laetare Sunday, and anticipates the visits of two distinguished preachers, in his weekly audio message.

Music notes: As a composer, Latvian-born Uƒüis Prauli≈Ü≈ù draws from his formal conservatory training as well as past experiences of playing with rock bands and working as a sound engineer at Latvian Radio. Prauli≈Ü≈ù composed the Missa Rigensis in 2003. It was premiered that same year by the Riga Dom Boys’ Choir, a choir in which the composer himself sang as a boy. Prauli≈Ü≈ù intention was to compose a work in the spirit of the great Renaissance Masses, ‘without overwhelming force or volume’ resulting in a piece equally suited to concert or liturgical performance. The declamatory Kyrie explores the various states of supplication, but finally resolves with a sotto voce lament sung by a single voice. The ‘swung’ Hosannas of the Sanctus are a jolt to the hushed beginning, and the simple Agnus Dei, with its clarity of texture, includes an optional Post-Communion recitation, adding to the unique quality of this setting.

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