The Fifth Sunday In Lent (Year A)
11:00 a.m.
From today’s Gospel according to Saint John: Then took Mary a pound of ointment of spikenard, very costly, and anointed the feet of Jesus, and wiped his feet with her hair: and the house was filled with the odour of the ointment.
As was the case in the First Sunday of Lent, the 11am service of The Fifth 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.
The Holy Eucharist is given at the High Altar and, for convenience, at the Chantry rail as well.
‚ñ∫The Rector anticipates Holy Week in his weekly audio message.
‚ñ∫Please participate in Easter Outreach here.
Music notes: Dr. Edmund Rubbra (1901-1986) was one of the last century’s leading church composers and his choral and organ music is highly original. Following a brief career as a railway clerk, Rubbra studied composition at Reading University and the Royal College of Music with Gustav Holst, John Ireland and Ralph Vaughan Williams amongst others. He served in the Royal Artillery during the Second World War and then went on to become a senior lecturer at Oxford University and the Guildhall School of Music.
The Missa in honorem Sancti Dominici was written to mark Rubbra’s conversion to Roman Catholicism on Saint Dominic’s Day, 1948. The Mass owes much to early models, and the bareness of the writing is somewhat reminiscent of organum. The relative brevity of the movements indicates Rubbra’s desire that the setting should be used as a practical part of the liturgy.
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