DOCSLIB.ORG

Te Deum Laudamus from the Morning, Evening and Communion Service in B Flat, Charles Villiers Stanford Op

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Te Deum Laudamus from the Morning, Evening and Communion Service in B Flat, Charles Villiers Stanford Op Te Deum Laudamus From the Morning, Evening and Communion Service in B flat, Charles Villiers Stanford Op. 10, 1878 Trumpet and timpani parts added by David Cameron, 2002 Trumpet 1 Trumpet 2 Timpani in B flat, F, & E flat SOPRANO We praise thee, O ALTO We praise thee, O TENOR We praise thee, O BASS We praise thee, O ORGAN 10 Tpt 1 Tpt 2 Timps cres. S God, we ac - know - ledge thee to be the Lord, all the earth doth wor- ship thee, the cres. A God, we ac - know - ledge thee to be the Lord, all the earth doth wor- ship thee, the cres. T God, we ac - know - ledge thee to be the Lord, all the earth doth wor- ship thee, the cres. B God, we ac - know- ledge thee to be the Lord, all the earth doth wor- ship thee, the cres. Gt. Arrangement copyright © 2016 CPDL 2 Stanford: Te Deum Laudamus 18 Tpt 1 Tpt 2 Timps S Fa- ther ev-- er last- ing. the heav'ns and A Fa- ther ev-- er last - ing. the heav'ns and T Fa- ther ev-- er last- ing. To thee all an gels cry a- loud. the heav'ns and B Fa- ther ev-- er last- ing. To thee all an gels cry a- loud. the heav'ns and dim. 27 Tpt 1 Tpt 2 cres. cres. S all the powers there - in, to thee che-- ru bin and Se ra phin con --- tin-- ual ly do cres. A all the powers there - in, to thee che-- ru bin and Se-- ra phin con - tin-- ual T all the powers there- in, con - B all the powers there - in, Sw. Man. Ped. 3Stanford: Te Deum Laudamus 3Stanford: 36 Tpt 1 cres. Tpt 2 Timps S cry, Ho --- ly, Ho --- ly Ho --- ly, Lord A ly do cry, Ho --- ly, Ho --- ly Ho --- ly, Lord T tin-- ual ly cry, Ho --- ly, Ho --- ly Ho --- ly, Lord B do cry, Ho --- ly, Ho --- ly Ho --- ly, Lord 45 Tpt 1 Tpt 2 cres. Timps S God of Sa - ba --- oth; heav'n and earth are full of the ma-- jes A God of Sa - ba --- oth; heav'n and earth are full of the ma -- jes T God of Sa - ba --- oth; heav'n and earth are full of the ma-- jes B God of Sa - ba --- oth; heav'n and earth are full of the ma-- jes 453 Stanford: Te Deum Laudamus Tpt 1 Tpt 2 Timps S ty of thy glo ---- ry. DEC. 3 3 A ty of thy glo ---- ry. The glor- ious com--- pn ny of the A 3 3 T ty of thy glo ---- ry. The glor- ious com--- pn ny of the A 3 3 B ty of thy glo ---- ry. The glor- ious com--- pn ny of the A dim. 62 CAN. DEC. 3 3 A pos- tles praise thee; the good- ly fel-- low ship of the Pro- phets praise thee; the no- ble ar- my of 3 3 T pos- tles praise thee; the good- ly fel-- low ship of the Pro- phets praise thee; the no- ble ar- my of 3 3 B pos- tles praise thee; the good- ly fel-- low ship of the Pro- phets praise thee; the no- ble ar- my of 5Stanford: Te Deum Laudamus 5Stanford: 70 Tpt 1 Tpt 2 Timps cres. S the ho- ly Church through- out all the world doth ac-- know ledge thee, the Fa- ther cres. A the ho - ly Church through - out all the world doth ac -- know ledge thee, the Fa - ther mar- tyrs praise thee. cres. T mar - tyrs praise the ho- ly Church through- out all the world doth ac -- know ledge thee, the Fa- ther thee. cres. B mar- tyrs praise thee. the ho- ly Church through- out all the world doth ac-- know ledge thee, the Fa- ther 78 Tpt 1 Tpt 2 Timps 3 3 S of an in-- fi nite ma-- jes ty, thine ho--- no ra ble true and on- ly Son; al - so the 3 3 A ofof anan inin-- fi nite ma-- jes ty, thine ho--- no ra ble true and on- ly Son; al - so the 3 3 T of an in-- fi nite ma-- jes ty, thine ho--- no ra ble true and on- ly Son; al - so the 3 3 B of an in - ma-- jes ty, thine ho--- no ra ble truetrueandandonon- ly Son; al- so the dim. 6 Stanford: Te Deum Laudamus 86 Tpt 1 - - Tpt 2 - - Timps 3 S Ho - ly Ghost, the Com ---- for - ter. Thou art the King of Glo- ry, O 3 A Ho - ly Ghost, the Com ---- for - ter. Thou art the King of Glo- ry, O 3 T Ho - ly Ghost, the Com ---- for - ter. Thou art the King of Glo- ry, O 3 B Ho- ly Ghost, the Com ---- for - ter. Thou art the King of Glo- ry, O 94 Tpt 1 Tpt 2 Timps S Christ; thou art the ev-- er last --- ing Son of the Fa - A Christ; thou art the ev-- er last --- ing Son of the Fa - T Christ; thou art the ev-- er last --- ing Son of the Fa - B Christ; thou art the ev-- er last --- ing Son of the Fa - 7Stanford: Te Deum Laudamus 7Stanford: 103 Tpt 1 Tpt 2 S ther. A ther. T ther. When thou took-- est up on thee to de - li- ver man, thou didst not ab- hor the B ther. When thou took-- est up on thee to de - li- ver man, thou didst not ab- hor the Sw. 112 cres. T Vir- gin's womb; when thou hadst o-- ver come the sharp - ness of cres. B .
Load more

Recommended publications
  • What Handel Taught the Viennese About the Trombone
    291 What Handel Taught the Viennese about the Trombone David M. Guion Vienna became the musical capital of the world in the late eighteenth century, largely because its composers so successfully adapted and blended the best of the various national styles: German, Italian, French, and, yes, English. Handel’s oratorios were well known to the Viennese and very influential.1 His influence extended even to the way most of the greatest of them wrote trombone parts. It is well known that Viennese composers used the trombone extensively at a time when it was little used elsewhere in the world. While Fux, Caldara, and their contemporaries were using the trombone not only routinely to double the chorus in their liturgical music and sacred dramas, but also frequently as a solo instrument, composers elsewhere used it sparingly if at all. The trombone was virtually unknown in France. It had disappeared from German courts and was no longer automatically used by composers working in German towns. J.S. Bach used the trombone in only fifteen of his more than 200 extant cantatas. Trombonists were on the payroll of San Petronio in Bologna as late as 1729, apparently longer than in most major Italian churches, and in the town band (Concerto Palatino) until 1779. But they were available in England only between about 1738 and 1741. Handel called for them in Saul and Israel in Egypt. It is my contention that the influence of these two oratorios on Gluck and Haydn changed the way Viennese composers wrote trombone parts. Fux, Caldara, and the generations that followed used trombones only in church music and oratorios.
    [Show full text]
  • 9914396.PDF (12.18Mb)
    INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter fece, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely afreet reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, b^inning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back o f the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Ifigher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Infonnaticn Compare 300 North Zeeb Road, Aim Arbor NO 48106-1346 USA 313/761-4700 800/521-0600 NOTE TO USERS The original manuscript received by UMI contains pages with indistinct print. Pages were microfilmed as received. This reproduction is the best copy available UMI THE UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE A CONDUCTOR’S GUIDE TO THREE SACRED CHORAL/ ORCHESTRAL WORKS BY ANTONIO CALDARA: Magnificat in C.
    [Show full text]
  • Vespers 2020 Music Guide
    MILLIKIN UNIVERSITY® 2 0 2 0 ALL IS BRIGHT MUSIC GUIDE VESPERS MEANS ‘EVENING’ AND IS ONE OF THE SEVEN CANONICAL HOURS OF PRAYER. MILLIKIN UNIVERSITY | SCHOOL OF MUSIC BELL CAROL (2017 All Choirs) William Mathias “AlltheBellsonEarthShallRing”wastheVespersthemeinMathias’compositionwastheperfect openingTheprocessionendeavorstorevealtoaudiencemembersthatbellsaregiftssounds(musicifyou will)oeredtothemangerIndeedtheremainderoftheprogramdisplayedbellsinbothcelebratoryand reflectivemomentsThepiecewascomposedforSirDavidWillcocksthechoirmasterwhobroughtsomuch attentiontotheLessonsandCarolsofKing’sCollegeCambridge ALLELUIA(2018 University Choir) Fredrik Sixten “SingAlleluia”wasthethemeofVespersinandSixten’sreflectivesettingcameearlyintheprogram givingthiswordusuallyconsideredfestiveinmoodasenseofadventhope LAUDATE DOMINUM (2015 Millikin Women) Gyöngyösi Levente LaudateDominumhasservedmanycomposersinincludingMozartwhouseditinhiswellknownSolemn VespersContemporaryHungariancomposerGyöngyösicombinesanincessantmantraonasinglenotewith complexrhythmsforthissettingofPs(“OPraisetheLordallyenations”)Harmonicdensityincreasesand joinstherhythmicdrivetothefinalAlleluiawheretheadditionofatambourineaddsafinalcelebratorynote MAGNIFICAT(2017 Collegiate Chorale) Bryan Kelly EvensongtheAnglicanversionofVespersalwaysincludesasettingoftheMagnificatEventhough thisiscomposedforEnglishearsBryanKelly’senthusiasmforLatinAmericanmusicisclearlyevident inthissettingfromthes GLORIA PATRIMAGNIFICAT (2019 All Choirs) John Rutter ThefinalmovementofRutter’sMagnificatgathersmanyofthework’sthemesintoatriumphantfinale
    [Show full text]
  • Soprano Cornet
    SOPRANO CORNET: THE HIDDEN GEM OF THE TRUMPET FAMILY by YANBIN CHEN (Under the Direction of Brandon Craswell) ABSTRACT The E-flat soprano cornet has served an indispensable role in the British brass band; it is commonly considered to be “the hottest seat in the band.”1 Compared to its popularity in Britain and Europe, the soprano cornet is not as familiar to players in North America or other parts of world. This document aims to offer young players who are interested in playing the soprano cornet in a brass band a more complete view of the instrument through the research of its historical roots, its artistic role in the brass band, important solo repertoire, famous players, approach to the instrument, and equipment choices. The existing written material regarding the soprano cornet is relatively limited in comparison to other instruments in the trumpet family. Research for this document largely relies on established online resources, as well as journals, books about the history of the brass band, and questionnaires completed by famous soprano cornet players, prestigious brass band conductors, and composers. 1 Joseph Parisi, Personal Communication, Email with Yanbin Chen, April 15, 2019. In light of the increased interest in the brass band in North America, especially at the collegiate level, I hope this project will encourage more players to appreciate and experience this hidden gem of the trumpet family. INDEX WORDS: Soprano Cornet, Brass Band, Mouthpiece, NABBA SOPRANO CORNET: THE HIDDEN GEM OF THE TRUMPET FAMILY by YANBIN CHEN Bachelor
    [Show full text]
  • The Grande Messe Des Morts (Requiem), Op. 5 by Hector Berlioz
    THE GRANDE MESSE DES MORTS (REQUIEM), OP. 5 BY HECTOR BERLIOZ: A CONDUCTOR’S GUIDE TO THE HISTORICAL BACKGROUND, ORCHESTRATION, RHETORICAL/DRAMA-LITURGICAL PROJECTION AND FORMAL/STRUCTURAL ANALYSIS BY KRISTOFER J. SANCHACK Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University December 2015 Accepted by the faculty of the Indiana University Jacobs School of Music, in partial fulfillment of the requirements for the degree Doctor of Music Doctoral Committee ______________________________________ Jan Harrington, Research Director ______________________________________ Jan Harrington, Chair ______________________________________ Betsy Burleigh ______________________________________ Dominick DiOrio ______________________________________ Frank Samarotto 30 November 2015 ii Copyright © 2015 Kristofer J. Sanchack iii Dedicated to my parents and grandparents who have supported me through a very long process iv Acknowledgements There are so many people to whom I am extremely grateful. First I would like to thank my family. My parents, grandparents, sister and niece have continued each and every day to encourage me to finish this paper. Without their support, I doubt this project would have been completed. I also want to thank my partner, who throughout the process was supportive, helpful, understanding and caring. I would like to thank Dr. Carmen-Helena Téllez who began with me on this odyssey, and my mentor, friend and research chair Dr. Jan Harrington, who believed and continued to be a pillar of strength to me throughout this endeavor. I am also indebted to Dr. Betsy Burleigh, Dr. Dominick DiOrio and Dr. Frank Samarotto, who graciously agreed to serve on the committee for this paper.
    [Show full text]
  • Easter Day the Resurrection of Our Lord Jesus Christ
    Do not be afraid; I know that you are looking for Jesus who was crucified. He is not here; for he has been raised, as he said. —Matthew 28:5b-6a EASTER DAY THE RESURRECTION OF OUR LORD JESUS CHRIST FESTIVAL HOLY EUCHARIST SUNDAY, APRIL 20, 2014 WASHINGTON NATIONAL CATHEDRAL EASTER DAY THE SUNDAY OF THE RESURRECTION SUNDAY, APRIL 20, 2014 • EIGHT & ELEVEN AM American Sign Language interpretation at the 11 am service is offered in the south transept. Please ask an usher for direction. carillon prelude He is risen, he is risen! Unser Herrscher; arr. Frank P. Law (1917–1985) Prélude sur L’Alleluia de Fulbert de Chartres (évèque 1007–1029) Louis Delapierre (1899–1981) The day of resurrection! Ellacombe; arr. Sally Slade Warner (1932-2009) Hallelujah! for carillon Hilton J. Rufty (1904-1974) Jesus Christ is risen today Easter Hymn; arr. F.P. Law organ voluntary Saraband for the Morning of Easter Herbert Howells (1892-1983) Fantasia in G (Pièce d’Orgue), BWV 572 Johann Sebastian Bach (1685-1750) Pastorale, from Symphony No. 1 Louis Vierne (1870-1937) Dankpsalm Max Reger (1873-1916) brass prelude Fanfare, from Water Music George Frederic Handel (1685-1759), arr. Chuck Seipp Trumpet Voluntary William Boyce (1711-1779), arr. C. Seipp Overture & La Rejouissance, from Music for the Royal Fireworks G. F. Handel, arr. C. Seipp Prelude to Te Deum Marc-Antoine Charpentier (1634-1704), arr. C. Seipp welcome introit This joyful Eastertide arr. Charles Wood (1866-1926) This joyful Eastertide, away with sin and sorrow! My love, the Crucified, hath sprung to life this morrow.
    [Show full text]
  • Prelude to Te Deum EUROVISIONS - FANFARE
    Komp.: Marc-Antoine Charpentier Arr: Roland J.Bauer Prelude to Te Deum EUROVISIONS - FANFARE Trumpet/Clarinet Bb b 2 œ œ ˙ Mœ™ œ (Part 1) &b 2 œ ™ œ œ œ J Trumpet/Clarinet Bb b 2 (Part 2) b ™ œ œ œ œ™ œ & 2 œ ™ œ œ œ œ J Baritone/ Tenor Sax B b 2 œ œ œ œ œ œ œ™ œ (Part 3) &b 2 œ ™ J Tuba/Bass C (Part 4) ? b b 2 ™ j b b 2 œ ™ ˙ œ œ œ œ œ™ œ œ ˙ œ œ œ œ™ œ Tpt. 1 b œ œ œ œ œ œ œ œ &b œ œ œ œ œ œ œ œ œ Tpt. 2 bb œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ œ Bar. b œ œ œ œ œ ˙ œ œ œ &b œ œ œ œ Tba. ? bbbb œ œ œ œ ˙ œ œ œ œ ˙ œ œ œ œ œ œ œ œ ˙ œ œ œ œ ˙ œ œ 1. 2. ˙ M œ M œ M U Tpt. 1 bb œ™ œ œ œ œ œ™ œ ˙™ ™ œ œ œ œ™ œ w & J J œ ™ J U Tpt. 2 bb œ œ™ œ œ œ j ™ œ œ j & œ J œ™ œ ˙™ œ ™ œ™ œ w œ œ U Bar. b œ œ œ™ œ œ œ™ œ ˙™ œ œ™ œ w &b J J œ ™ J U Tba. ? j bbbb œ œ œ œ œ ˙ œ ™ œ œ œ w œ œ ™ œ œ œ ™ œ œ œ œ œ™ œ œ œ ˙™ œ œ w © 2020 by Roland J.
    [Show full text]
  • Grande Messe Des Morts: Hector Berlioz's Romantic Interpretation Of
    GRAND MESSE DES MORTS: HECTOR BERLIOZ'S ROMANTIC INTERPRETATION OF THE ROMAN CATHOLIC REQUIEM TRADITION Amber E. Broderick A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC December 2012 Committee: Arne Spohr, Advisor Eftychia Papanikolaou © 2012 Amber E. Broderick All Rights Reserved iii ABSTRACT Arne Spohr, Advisor Hector Berlioz (1803-1869) was commissioned by the French government in 1836 to compose a requiem mass for a state ceremony and to restore sacred music to a respected position in France. Berlioz envisioned a requiem that both continued the Roman Catholic requiem tradition and expanded it in context of the Romantic era and Kunstreligion. Berlioz conceived his Grande messe des morts (Requiem) as a “music drama,” in which the thirteenth-century Latin prose wa s used as secular poetry rather than an immutable sacred text. Berlioz’s Requiem is not religious in strict theological terms but relates more closely to what Frank Heidlberger calls an artistic statement of “secular moral philosophy.” Berlioz devised a first-person physiological narrative which presented the listener with a private emotional experience, achieving this psychological journey, in part, through a Romantic interpretation: textual alterations, programmatic orchestration, and the innovative use of antiphonal brass orchestras. The text was freely edited and rearranged to produce a libretto-type program, which Edward Cone deems a “dramatic portrayal of an imaginary progress through this world and the next.” Berlioz enhanced his interpretation by shifting from the traditional third-person perspective to the first-person. This adjustment required minimal changes to the text but maximum changes for the listener, who experienced a personal journey focused on the individual, rather than the divine.
    [Show full text]
  • Dettingen Te Deum
    DETTINGEN TE DEUM HWV 283 George Fredrick Handel Vocal Score with Keyboard Accompaniment EDITION HWV 283 George Fredrick Handel Terms of Use This digital score edition is wholly owned and is the intellectual property of Note Perfect. The digital engraving has been created from editions that are in the public domain. This digital engraving artwork is not Public Domain. This score is authorised to be downloaded from these web sites only: www.note-perfect.com www.cantatedomino.org www.imslp.org No other web site is authorised to host this file. This score is provided to you without cost, you are licenced to : Print the score for the purpose of concert/worship performance, study, and personal use. Distribute the score to your choir and musicians for performance. You may not : Distribute/upload the score to other web sites, sharing sites, cloud based storage or any similar destination. Remove copyright notices. Remove logo. Remove cover pages (4). Edit for redistribution. Republish or create any derivative from this artwork. Sell or make profit from this publication. Hotlink to the file. (You may only link to the web page for the file). EDITION DETTINGEN TE DEUM HWV 283 George Fredrick Handel Vocal Score with Keyboard Accompaniment This edition is primarily created for use with the Note Perfect choir and soloist rehearsal training aids for this work obtainable at www.note-perfect.com. This digital engraving has been compiled from editions that are in the public domain. This digital engraving artwork and electronic publication is the intellectual property of Note Perfect and is not in the Public Domain.
    [Show full text]
  • Berlioz Grande Messe Des Morts 100Mm  50Mm Or Less
    50mm or less 75mm Berlioz Grande Messe des Morts 100mm 50mm or less 150mm or over 75mm 100mm 150mm or over Berlioz Grande Messe des Morts Mary Magdalene Church, Wrocław - September !"" Nicholas Parker Neil Hutchinson Andrew Halifax Nicholas Parker, Neil Hutchinson, Paul McCreesh Tenor All recording and editing facilities by Classic Sound Limited, London and Nicholas Parker @e edition used for this performance is a performing edition by Paul McCreesh, based on the original th century sources Paul McCreesh © Wratislavia Cantans, Glyn Matthews A Wratislavia Cantans / National Forum of Music production - Artistic Director, Wrocław Philharmonic Choir released under licence to Winged Lion www.wingedlionrecords.com 50mm or less Assistant Conductor McCreesh/Wroclaw is the logo of the Wratislavia Cantans oratorio series Pronunciation Advisor 75mm 100mm 150mm or over @e city of Wrocław in south-west Poland is both a deeply historic and dynamic Co-financed by the European Union, designed by Prof. Stefan Kuryłowicz and modern-age city where economic growth and cutting-edge technology co-exist with acoustical supervision by the renowned Artec consultancy, the hall’s opening alongside a lively and flourishing cultural scene. It is home to one of Europe!s in is keenly anticipated. oldest universities and to numerous festivals, of which the most widely known is @is is the first in a new series of oratorio recordings celebrating the collaboration Wratislavia Cantans, founded in by the great Polish conductor, Andrzej between Wratislavia Cantans and its artistic director Paul McCreesh. @ese Markowski. For over years Wratislavia Cantans has welcomed many recordings will feature many of Wrocław!s finest musicians and the Gabrieli outstanding artists to the beautiful ancient churches and historic buildings within Consort & Players, alongside guest ensembles and outstanding young musicians, the City of Wrocław and in the surrounding area of Lower Silesia; it has recently who will come together as Ensemble Wrocław.
    [Show full text]
  • The Emperor and the Pope: the Challenge of Orchestrating for the Organ and the Orchestra
    The Emperor and the Pope: the Challenge of Combining the Organ and the Orchestra May 7, 2012 Christina Haan Artist Diploma, Opera, CCM, 1999 Master of Music, Accompanying, CCM, 1991 Bachelor of Arts, Piano, Portland State University, 1983 Document for the degree of DMA in Organ Performance Cincinnati College-Conservatory of Music, Keyboard Division Committee Chair: Robert Zierolf, PhD Abstract This paper examines the possible meanings of statements made by Hector Berlioz (1803-1869) and Richard Strauss (1864-1949) in Berlioz’s Grand Traité d’Instrumentation et d’Orchestration modernes about the difficulties of composing for organ and orchestra, and their advice on how to solve these difficulties. (Strauss later published this treatise with his own comments interpolated.) Although most orchestral instruments and organs Berlioz could have heard have changed in design since his day, our team—a musician, an engineer, and an engineer-musician—searched present day combinations for the possible existence of the difficulties described. Recordings were made of Principal and Reed stops on three organs built by different companies and installed in different acoustics. The harmonic frequencies of these stops were compared with those of four selected orchestral instruments—violin, flute, oboe, and horn—to determine if there is a fundamental inability to tune with the organ. Our team concluded that flutes and oboes can make instantaneous adjustments and tune perfectly with the organ, but violins and horns produce much dissonance. Berlioz’s Te Deum, Op. 22, Strauss’s Also sprach Zarathustra, Op. 30, Saint-Saëns’s Symphony No. 3 in C Minor, and Widor’s Symphony No.
    [Show full text]
  • Prelude: Overture to Te Deum - Marc-Antoine Charpentier, Scripture: Isaiah 25: 6-9 (Pew Bible P
    St. Paul's United Church Word April 1, 2018 Afternoon Handbell Ringers: Come, Christians, Join to Sing - Gathering Spanish Hymn, arr. F.T. Simpson Prelude: Overture to Te Deum - Marc-Antoine Charpentier, Scripture: Isaiah 25: 6-9 (Pew Bible p. 568) arr. M. Rondeau and L. Tuk, Leen Tuk – trumpet, Don Templeton – trombone, Andrew Smart – tuba, Musical Praise: We Will Rejoice – Roy Hopp Simon Woodside - timpani Greeting and Announcements Scripture: Mark 16: 1-8 (Pew Bible pp. 829-30) Lighting the Christ Candle Sermon: “The Ins and Outs of Faith in Jesus” Call to Worship: Prayers of God’s People Christ is risen. Christ is risen indeed! Communion God is alive... New birth is given. Hope is alive... A new age is dawning! Offertory/Communion Hymn: VU 352 I Danced in the Morning Joy is alive... Redemption is here! Love is alive... New life is within us! Prayer of Great Thanksgiving The church is alive.... Christ is Risen! God's spirit is within us! He is Risen Indeed! God of life, we worship you! We should give thanks! God of creation, we praise you Thanks and praise to the One who brings life! God of revelation, we learn from you! God of resurrection, we are here to celebrate you! We thought you were dead. We thought the cross was the end. We thought that when the stone rolled over the tomb, that was it. Hymn: VU 155 Jesus Christ is Risen Today But this is it: the dead are living; the cross is empty; the stone is rolled away, Prayer: When everything was dark and it seemed that the sun would and one word says it all: never shine again, your love broke through, God of life.
    [Show full text]