Currently livestreaming: The Mass of the Lord’s Supper

Solemn Eucharist

Sunday, May 27, 2012
The Day of Pentecost

The Day of Pentecost

Almighty God, who on this day didst open the way of eternal life to every race and nation by the promised gift of thy Holy Spirit: Shed abroad this gift throughout the world by the preaching of the Gospel, that it may reach to the ends of the earth; through Jesus Christ our Lord, who liveth and reigneth with thee, in the unity of the same Spirit, one God, for ever and ever. Amen.

11:00 a.m.

Above: Come, gracious spirit, heavenly Dove (Hymn 512) and lead us. The descent of the Holy Spirit is often portrayed as a dove, as we have in the image above from the Baptism Window of Saint Thomas Church. You can also see the dove in the left panel of the reredos in the Chantry Chapel, at the top of the scene of Christ’s baptism by John. If you have not yet been baptized into the Body of Christ by water and the Spirit, don’t hesitate to contact us.¬†

Included in this Solemn Eucharist are hymns sung by the congregation and choir, additional music sung exclusively by the choir, lessons, prayers, a sermon, a Rite I Mass, and lots of incense. 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∫The Rector speaks in some detail in his weekly audio message about the transition from the fifty days of Eastertide (just ended) to the Day of Pentecost.

Music notes: The music of the Swiss composer, Frank Martin (1890-1974), first came to prominence through the festivals of the International Society for Contemporary Music. His output includes a number of orchestral and chamber works, but only one piece of unaccompanied sacred choral music, the Mass for Double Choir written in 1922. The piece was not premiered until 1963, a fact largely attributed to the composer’s deeply-felt Christian faith. At the time of the work’s first performance in Hamburg, Martin wrote ‚ÄúI did not want it to be performed‚Ķ I considered it as being a matter between God and myself. I felt then that an expression of religious feelings should remain secret and removed from public opinion.‚Äù There is no doubt that the setting is a profound statement of personal faith. The Gloria, usually the most exuberant part of any mass setting, begins and ends very gently, the joy of the text conveyed through complex cross-rhythms and harmonies of ecstatic richness. In the Sanctus we hear the increasing persistence in the upper parts of the cry of the Cherubim and Seraphim, the Benedictus concludes with a vibrant ‘Hosanna’ and in the Agnus Dei, added in 1926, one choir sings a lyrical plainsong-like melody against the gently pulsating chords of the other, until the two unite in one of the most beautiful passages in all unaccompanied choral music, the final petition for peace.

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