The Third Sunday Of Easter
The Third Sunday Of Easter
O God, whose blessed Son did manifest himself to his disciples in the breaking of bread: Open, we pray thee, the eyes of our faith, that we may behold him in all his redeeming work; through the same thy Son Jesus Christ our Lord, who liveth and reigneth with thee, in the unity of the Holy Spirit, one God, now and for ever. Amen.
Above: Today marks the annual in-gathering of the United Thank Offering (UTO) of the Episcopal Church U.S.A. The UTO supports projects around the world which address poverty of women and children. Bring in your blue boxes or take a blue envelope from the narthex and use it for your donation, which you can put in the offering plate. You can also make your donation online through Tuesday. Donations of any amount are appreciated. Parish members will be in the Narthex from 10 to 11am today to collect the blue boxes and to distribute and collect blue envelopes.
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. 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.
Music notes: Juan Guti√©rrez de Padilla (c. 1590-1664) was born in Spain and was brought up in Andalusia. Clearly a prodigious musician, he had been Maestro de Capilla at Jerez de la Frontera and Cadiz Cathedral by the age of 26. The date of Padilla’s move to New Spain is unsure but he is known to have been a singer at Puebla Cathedral between 1622 and 1629 when he became its Maestro de Capilla (remaining there until his death). It was Padilla’s good fortune to hold the post at Puebla during the tenure of Bishop Palafox y Mendoza, who was a great supporter of the arts and who lavished money on the music of the Cathedral to the extent that its services were regarded as considerably superior to those in Mexico City at the time.
Padilla was a master of polyphony in the prima prattica vein and his sacred choral music is characteristically rhythmic, chromatically colorful and harmonically rich with sonorities that one might imagine well-suited to instruments of the period. The magnificent Missa Ego flos campi is written for double choir and would almost certainly have been accompanied by a group of instrumentalists employed by the authorities in Puebla. Frequent alternations between major and minor modes add a distinctive color to the work.
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