Litany & Choral Eucharist

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Above: from the Incarnation Window of Saint Thomas Church. Having slithered in to create distance between God and Adam, the old Satan is up to his old tricks with the New Adam in today’s Gospel according to Saint Luke. This time, obedience, not pride, wins out.¬† It is this New Adam to whom we pray, in the words of today’s closing hymn, “Then if Satan on us press, Jesus, Savior, hear our call! Victor in the wilderness, grant we may not faint nor fall!”

The 11am service on the First Sunday in Lent begins, as it does every year, with the clergy and choir entering in silence, going to their respective places in the chancel. The Litany then begins with the words “O God the Father, Creator of heaven and earth” and the clergy and choir walk a long Procession through the nave, moving down the center aisle and through the side aisles among the congregation. By the time the Rector chants “Son of God: we beseech thee to hear us,” the choir and clergy have returned to their places in the chancel.

If you listen to this service via the webcast, you will notice the movements of clergy and choir throughout the Litany Procession as they as they go farther and come nearer.

After the Litany Procession, the Rector chants the Collect of the Day, and the lessons and psalm proceed as usual, leading up to a sermon by Fr Austin.

The Holy Eucharist is given at the High Altar and, for convenience, at the Chantry rail as well.

Lenten practices: In his Ash Wednesday sermon, Fr Mead spoke about the three traditional lenten disciplines of prayer, fasting and almsgiving. Consider worshiping with us on weekdays in Lent, or making your confession (which the Rector speaks about his weekly audio message), or meditating each day on the word of God and reflections on the word of God.

Music notes: Published in 1566, Guerrero’s Missa Inter Vestibulum is scored for four voices and based on a motet by Morales of the same name. Guerrero took Morales’ opening motif (a descending scale of a fourth) and adapted it widely in his Mass, most notably at the beginning of each movement. The second Agnus Dei richly expands into six voices and like many of Guerrero’s other Masses, employs ‚Äútrinitas in unitate,‚Äù or exact triple canonic imitation. This technique was studied and adopted by many other composers, including Guerrero’s younger contemporary, Tom√°s Luis da Victoria.

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