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L E N T E N P R O G R a M 2 0
LENTEN PROGRAM 2020 Grace. 12 TheFIRST Temptation. SUNDAY OF LENT CONTENTS 22 The SECONDTransfiguration. SUNDAY OF LENT 4 Leading the weekly sessions 5 Contributor biographies Sunday reflections 32 Fr Christopher G Sarkis The Samaritan Sr Anastasia Reeves OP THIRD SUNDAYwoman. OF LENT Mgr Graham Schmitzer 6 Contributor biographies Weekday reflections 42 Sr Susanna Edmunds OP Healing the Fr Damian Ference blind man. Peter Gilmore FOURTH SUNDAY OF LENT Michael “Gomer” Gormley Sr Mary Helen Hill OP Fr Antony Jukes OFM Sr Elena Marie Piteo OP 53 Sr Magdalen Mather OSB Darren McDowell RaisingFIFTH SUNDAY Lazarus. OF LENT Trish McCarthy Matthew Ockinga Fr Chris Pietraszko Mother Hilda Scott OSB 62 Professor Eleonore Stump Michelle Vass ThePALM Passion. SUNDAY 74 HeEASTER is risen. SUNDAY 3 The Temptation.FIRST SUNDAY OF LENT 4 ARTWORK REFLECTION He was born of a poor family, and his mother had hoped he would become a priest. He was involved in the insurrection of 1848 which erupted in Naples. After his death, he was labelled as one of the warrior artists of Italy. Is this reflected in the painting we are contemplating—a battle? The landscape is desert, not a slice of green to be seen. Christ seems to be in a completely relaxed mode, an attitude of prayer, engrossed in conversation with his Father. Fasting has not emaciated him. He seems completely in control. The Temptation of Christ But, on the left is the Tempter. In Latin, “left” is Domenico Morelli (1823–1901) sinistra, from which we get our word “sinister”. It “The Temptation of Christ”, c. -
The Choral Compositions of Arvo Pärt As an Example of “God-Seeking” Through Music in Soviet Russia
Journal of Eastern Christian Studies 59(1-2), 85-101. doi: 10.2143/JECS.59.1.2023428 T©HE 2007 CHORAL by Journal COMPOSITIONS of Eastern Christian OF ARVO Studies. PÄRT All rights reserved. 85 THE CHORAL COMPOSITIONS OF ARVO PÄRT AS AN EXAMPLE OF “GOD-SEEKING” THROUGH MUSIC IN SOVIET RUSSIA TATIANA SOLOVIOVA* 1. EMERGING FROM THE UNDERGROUND OF ‘OFFICIAL ATHEISM’ OF THE SOVIET ERA Arvo Pärt was a representative of the underground music in the former Soviet Union. His music, like the works of many other musicians and art- ists, did not fit within the narrow bosom of Socialist Realism – the prevail- ing ideology of the time.1 He had to struggle in order to write the music he wanted. Nowadays there is no Soviet Empire anymore, and the composi- tions of Pärt represent “the face” of contemporary music. He is one of the few composers whose art music enjoys success similar to that of pop. He is widely known, and his works are being performed all over the world. Arvo Pärt was born in 1935 in Paide, near Tallinn, the capital of Estonia, one of the Western republics within the former USSR. Between the First and the Second World War this little country enjoyed a short period of in- dependence. Life for Pärt till 1980 was inseparably connected with his Motherland Estonia on one hand, and with Russia, which was the political and cultural dominant at that time, on the other hand. Pärt knew and loved national traditions, as well as he knew European and Russian culture: he called the composer Glazunov who taught his teacher Heino Eller ‘my musi- * Tatiana Soloviova studied at Moscow State University and obtained her PhD in His- tory. -
CHORAL EVENSONG March 14, 2021 5:30 Pm
CHORAL EVENSONG march 14, 2021 5:30 pm Solemn Evensong (sung Evening Prayer, Rite I beginning on page 61 of The Book of Common Prayer) is one of the jewels of the Anglican tradition. Most of the service is sung, often by the choir alone. Opening Improvisation Patrick A. Scott All stand for The Opening Sentences THE INVITATORY AND PSALTER The Preces and Responses music: The Hymnal 1982, S-1 & S-26 V. O Lord, open thou our lips: R. And our mouth shall show forth thy praise V. O God, make speed to save us: R. O Lord, make hast to help us. Glory be to the Father, and to the Son, and to the Holy Spirit: as it was in the beginning, is now, and will be forever. Amen. The congregation is invited to sit and meditate on the text of the opening hymn while the cantors and organist sing. Those worshiping from home are invited to join in singing. See page 6 regarding in-person congregational singing. Office Hymn 143,“ THE GLORY OF THESE FORTY DAYS” music: Erhalt uns, Herr, melody from Geistliche Lieder, 1543 text: Latin, 6th cent.; tr. Maurice F. Bell (1862-1947) All sit while the Choir sings Psalm 107:1-3, 17-22 Plainsong Tone II.1 1 Give thanks to the Lord, for he is good, * and his mercy endures for ever. 2 Let all those whom the Lord has redeemed proclaim * that he redeemed them from the hand of the foe. 3 He gathered them out of the lands; * from the east and from the west, from the north and from the south. -
Choral Vespers
GONVILLE & CAIUS COLLEGE CHAPEL Easter Term 2021 CHORAL VESPERS Vespers is the sixth of the seven prayer services of the Christian day. Its name comes from the Latin vespera, which means ‘evening.’ When Thomas Cranmer created the English Prayer Book in 1549 and 1552 he combined Vespers with the night service (compline) into the service we know as Evensong. Magnificat is the Gospel Canticle of Vespers, as Nunc Dimittis is the Gospel Canticle of Compline. The service ends with a traditional antiphon (a special seasonal text, from which comes our modern word ‘anthem’) in honour of the Blessed Virgin Mary. 2nd May Fourth Sunday of Easter LUCERNARIUM (The Lighting of the Lamps) Thy word is a lantern unto my feet and a light unto my paths. Thou also shalt light my candle the Lord my God shall make my darkness to be light. The light and peace of Jesus Christ be with you and with thy spirit Light Prayer Blessed art thou, Sovereign Lord, God and Father of our Lord Jesus Christ, to thee be glory and praise for ever. Thou hast called us out of darkness into thy marvellous light that our lives may reflect thy glory and our lips repeat thy song: Blessed be God, Father, Son and Holy Spirit HYMN LUCIS Creator optime O BLEST Creator of the light, lucem dierum proferens, Who mak'st the day with radiance bright, primordiis lucis novae, and o'er the forming world didst call mundi parans originem: the light from chaos first of all; Qui mane iunctum vesperi Whose wisdom joined in meet array diem vocari praecipis: the morn and eve, and named them Day: taetrum chaos illabitur, night comes with all its darkling fears; audi preces cum fletibus. -
The Temptation of Christ
The Temptation of Christ REDEMPTION SERIES # 2 Ellen G. White 1877 Contents Confrontation in the Desert Adam and Eve and their Eden home The Test of Probation Paradise Lost. Plan of Redemption Sacrificial Offerings Appetite and Passion A Threat to Satan's Kingdom The Temptation Christ as a Second Adam Terrible Effects of Sin upon Man The First Temptation of Christ Significance of the Test Christ did no Miracle for Himself He Parleyed not with Temptation Victory through Christ The Second Temptation The Sin of Presumption Christ our Hope and Example The Third Temptation Christ's Temptation Ended Christian Temperance. Self-indulgence in Religion's Garb More Than One Fall. Health and Happiness. Strange Fire. Presumptuous Rashness and Intelligent Faith. Spiritism Character Development Confrontation in the Desert After the baptism of Jesus in Jordan He was led by the Spirit into the wilderness, to be tempted of the devil. When He had come up out of the water, He bowed upon Jordan's banks and pleaded with the great Eternal for strength to endure the conflict with the fallen foe. The opening of the heavens and the descent of the excellent glory attested His divine character. The voice from the Father declared the close relation of Christ to His Infinite Majesty: "This is my beloved Son, in whom I am well pleased." The mission of Christ was soon to begin. But He must first withdraw from the busy scenes of life to a desolate wilderness for the express purpose of bearing the threefold test of temptation in behalf of those He had come to redeem. -
On the Temptation of Jesus
University of Massachusetts Amherst ScholarWorks@UMass Amherst Doctoral Dissertations 1896 - February 2014 1-1-1993 On the temptation of Jesus. Thomas P. Sullivan University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/dissertations_1 Recommended Citation Sullivan, Thomas P., "On the temptation of Jesus." (1993). Doctoral Dissertations 1896 - February 2014. 2212. https://scholarworks.umass.edu/dissertations_1/2212 This Open Access Dissertation is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Doctoral Dissertations 1896 - February 2014 by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. ON THE TEMPTATION OF JESUS A Dissertation Presented by THOMAS P. SULLIVAN Submitted to the Graduate School of the University of Massachusetts in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY September 1993 Department of Philosophy Copyright by Thomas P. Sullivan 1993 All Rights Reserved ON THE TEMPTATION OF JESUS A Dissertation Presented by THOMAS P. SULLIVAN Approved as to style and content by: Gareth B. Matthews, Chair Fred Feldman, Member To Fred, Lois, and Elizabeth In Memory of Lindsay ACKNOWLEDGMENTS I would like to thank a number of people who have helped to see me through my graduate work in general and through this dissertation in particular. Before anyone else, I should mention my grandmothers, Elizabeth Stout and Laura Sullivan. Neither of them lived long enough to see me complete my Ph.D., but each of them always supported my academic career actively and enthusiastically. My parents, Ginny and Neal, have continued that support as long as I can remember, and they have consistently encouraged me to work hard (and to finish!). -
Evensong Wednesday in the Second Week of Lent
Evensong wednesday in the second week of lent March 3, 2021 ◆ 4:30 pm Welcome to this service of Evensong at Saint Mark’s Cathedral via Zoom on Wednesday in the Second Week of Lent. Everything you need to participate in the service will be in this leaflet, which will be shared on the Zoom screen throughout the service. Note: Everyone will be muted upon entry to this Zoom meeting. The Officiant begins the service with the following sentence of Scripture. sentence of scripture Joel 2:13 Officiating Priest Rend your hearts and not your garments. Return to the Lord your God, for he is gracious and merciful, slow to anger and abounding in steadfast love, and repents of evil. preces The Book of Common Prayer, p. 117 Officiant O God, make speed to save us. People O Lord, make haste to help us. All Glory to the Father and to the Son, and to the Holy Spi rit as it was in the beginning, is now, and will be for ever. A men. Al le lu ia. 1 phos hilaron O gracious light ◆ sung by all tune: The Eighth Tune This hymn will be sung unaccompanied in a round at a distance of one measure. psalter Psalm 119:73-80: Yodh ◆ chanted by Choristers Plainsong Tone 8.1 Manus tuœ fecerunt me 73 [Your hands have] made me and / fashioned me; * give me understanding, that I may learn / your commandments. 74 Those who fear you will be glad when they / see me, * because I / trust in your word. 75 I know, O Lord, that your judgments are / right * and that in faithfulness you / have afflicted me. -
The Grapevine
St. John’s Episcopal Church August 2017 Ocean Springs, Mississippi ST. JOHN’S EPISCOPAL CHURCH MARCH 2015 OCEAN SPRINGS, MISSISSIPPI The Grapevine “Church School” this Fall at St. John’s Last year, Sunday school for children was held in the Youth Room with groups dividing by age and going to other rooms in our education wing for small group gatherings. This year (at least for the Fall), Sunday school for children will be held in the worship space (nave, chancel, and sanctuary) of St. John’s. The adult bible study and coffee hour and the periodic adult forum will continue unchanged in the fall. Only Sunday school for children will be affected by this change of venue and format. Sunday school for children will be called “Church School” and will be led by the Rector and the parents of the childrenMarch of the parish at and St. will beJohn formatted’ ass a worship service. Like Coffee Hour, the Adult Forum, and Adult Bible Study, Church School will take place between the 9:00 a.m. and 11:15 a.m. worship services. We will begin Church School at 10:15 a.m. and conclude by 11:00 a.m. Church School will be scheduled to last no more than 45 minutes. Parents are encouraged to attend Church School with their children. It is a religious experience for the entire family. Parents of children of all ages, from infants held in arms to those soon to enter middle school are encouraged to bring your children and experience Church School for yourself. -
Moments of Doubt and Pain: the Symbol of Jesus Christ in the Last
MOMENTS OF DOUBT AND PAIN: THE SYMBOL OF JESUS CHRIST IN THE LAST TEMPTATION OF CHRIST AND APOCALYPSE NOW by MARIA ELIZABETH KLECKLEY (Under the Direction of Carolyn Jones Medine) ABSTRACT This thesis explores the intersection of the fields of film studies and religion. That intersection, after being studied through several works on the topic, is further explored through the films The Last Temptation of Christ and Apocalypse Now. Each of these films is analyzed for their religious aspects, more specifically through their depictions of a Christ figure. INDEX WORDS: Film Studies, Film Theory, The Last Temptation of Christ, Apocalypse Now, Jesus Christ, Martin Scorsese, Francis Ford Coppola MOMENTS OF DOUBT AND PAIN: THE SYMBOL OF JESUS CHRIST IN THE LAST TEMPTATION OF CHRIST AND APOCALYPSE NOW by MARIA ELIZABETH KLECKLEY BA, University of South Carolina, 2011 A Thesis Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree MASTER OF ARTS ATHENS, GEORGIA 2014 © 2014 Maria Elizabeth Kleckley All Rights Reserved MOMENTS OF DOUBT AND PAIN: THE SYMBOL OF JESUS CHRIST IN THE LAST TEMPTATION OF CHRIST AND APOCALYPSE NOW by MARIA ELIZABETH KLECKLEY Major Professor: Carolyn Jones Medine Committee: Sandy D. Martin Christopher Sieving Electronic Version Approved: Maureen Grasso Dean of the Graduate School The University of Georgia May 2014 iv DEDICATION To W.W. My star, my perfect silence Psalm 16:6 v ACKNOWLEDGEMENTS It’s entirely obnoxious to begin to think of all the people who deserve acknowledgement for encouraging and guiding me over the last two years, but it’s a fantastic means of procrastination, so here we go. -
Palm Sunday 2021
Celebrating Christ’s Presence In a Changing World St. Paul’s Episcopal Church Sunday of the Passion: Palm Sunday March 28, 2021 10:30 am (The words to the hymns are printed at the end of the bulletin.) Prelude: “All Glory, Laud, and Honor” Michael Burkhardt (1957-) The Liturgy of the Palms: (See Insert) Mark 11:1-11 Psalm 118:1-2, 19-29 Procession of the Altar Party: The Hymnal 1982 #154 All Glory, Laud and Honor Celebrant Bless the Lord who forgives all our sins; People God’s mercy endures for ever. Amen. Celebrant: Almighty God, whose most dear Son went not up to joy but first he suffered pain, and entered not into glory before he was crucified: Mercifully grant that we, walking in the way of the cross, may find it none other than the way of life and peace; through Jesus Christ our Lord. Amen. KYRIE (all together sing) The Hymnal 1982 #S91 Collect of the Day Celebrant The Lord be with you People And also with you Celebrant Let us pray Almighty and everliving God, in your tender love for the human race you sent your Son our Savior Jesus Christ to take upon him our nature, and to suffer death upon the cross, giving us the example of his great humility: Mercifully grant that we may walk in the way of his suffering, and also share in his resurrection; through Jesus Christ our Lord, who lives and reigns with you and the Holy Spirit, one God, for ever and ever. Amen. The Lessons: Isaiah 50:4-9 Psalm 31:9-16 Philippians 2:5-11 The Passion Gospel Reading Mark 14:1-15:47 The Sermon Natalie Magnusson, Lay Preacher Nicene Creed We believe in one God, the Father, the Almighty, maker of heaven and earth, of all that is, seen and unseen. -
Arvo Pärt Triodion Polyphony · Stephen Layton
ARVO PÄRT TRIODION POLYPHONY · STEPHEN LAYTON TRIODION ARVO PÄRT POLYPHONYPOLYPHONY STEPHENSTEPHEN LAYTONLAYTON 30 OLYPHONY’s first Hyperion recording of Arvo Pärt’s choral music (CDA66960) focused on music written Pbetween 1988 and 1991, a particularly fertile period for the composer which coincided with a surge of international performances and recordings, and resulting acclaim. Works on that disc, and others such as the large-scale setting of Psalm 51, Miserere, suggested that Pärt was moving into more complex, exotic harmonic territory. With clusters, compound chords and use of the augmented second interval, he seemed to be stretching the crucial, characteristic boundary in his music between dissonance and consonance. Judging by the more recent music on this disc—all written between 1996 and 2002—that harmonic journey was, for Pärt, something from which he has now returned. The essential purity of the triad remains paramount, and chord progressions in works such as Triodion and Salve Regina seem more diatonically conventional. And although there is less evidence in these pieces of strict ARVO PÄRT © Tina Foster ‘tintinnabulation’—the rigidly maintained discourse during the recording sessions at Temple Church, London between stepwise and triadic part-writing—there is enough austerity of structure and harmony in other ways extended periods at his second home near Colchester in to make it unmistakably ‘Pärtian’. Essex—resulting in a noticeably greater fluency with Polyphony’s first Hyperion disc featured Pärt’s first English. But this, he insists, is not the reason for a greater setting in English (a section from Saint Matthew’s account number of English settings. -
An Analysis of Sergei Rachmaninov's All-Night Vigil “Now Let Thy Servant
An Analysis of Sergei Rachmaninov’s All-Night Vigil “Now Let Thy Servant Depart” Lance Morrow Lance Morrow is music director at Salem United Methodist Church and an adjunct faculty member of the Department of Music at Austin Peay State University, both in Clarksville, TN. He holds choral music and conducting degrees from the University of North Alabama and Austin Peay State University [email protected] Introduction the Saturday-evening service preceding major feast days n the years just prior to 1915, Sergei Rachmaninov and includes Vespers (or Great Compline, depending on toured the United States, Austria, and Poland. He the occasion), Matins, and the First Hour. Originally, the I returned to Russia just before the enforcement All-Night Vigil stretched throughout the night, hence its of traveling restrictions due to the Great War. In only title; however, most modern parishes simply use the Nunc two weeks in early 1915 (almost thirty years before his Dimittis, from the Vespers service, as one of the last read- death), he completed his All-Night Vigil, now considered ings before lying down to sleep. a masterpiece of choral literature. This was the last of a Also called the “Canticle of Simeon,” the Nunc Dimittis few sacred settings in a small body of choral works, and [Now Let Thy Servant Depart] originates in Luke 2:29–32 Rachmaninov dedicated it to the memory of Stepan Vasi- of the New Testament. This prayer to “depart in peace” lyevich Smolensky, the respected church music historian, correlates with a tranquil death—a serene decline—an idea who had introduced him to Orthodox sacred music.