11am Eucharist, Sunday, October 8th, 2017
Rite I, 18th Sunday after Pentecost
Themes from the Readings: Saul is jealous of David’s favor with the Lord and his people; A mighty fortress is our God; Revelation’s rider on a white horse; Jesus is persecuted for blaspheming but he persists, “the Father is in me and I am in the Father”; the perseverance of those whom God chooses.
Sermon Title: David: Warrior
Sermon on: 1 Samuel 18:6-16
Prelude: ”Prelude”, By: Cesar Franck. Carlton Niven, Organist
Processional Hymn: 688 A mighty fortress is our God (Ein feste Burg)
Gloria: S204, Scottish Chant
First Reading: 1 Samuel 18:6-16
Psalm: Psalm 144:1-4, Chant Formula by: William Russell (1777-1813)
Choir: 1. Blessed be the Lord my rock!*
who trains my hands to fight and my fingers to battle;
2. My help and my fortress, my stronghold and my deliverer,*
my shield in whom I trust, who subdues the peoples under me.
3. O Lord, what are we that you should care for us?*
mere mortals that you should think of us?
4. We are like a puff of wind;*
our days are like a passing shadow.
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.
Second Reading: Revelation 19:11-16
Gospel Hymn: 565 He who would valiant be (Monk’s Gate)
Gospel: John 10:22-39
Sermon Hymn: 483 The head that once was crowned with thorns (St. Magnus)
Offertory Anthem: I lift mine eyes unto the hills, by: David V. Friedell
Choir: I lift mine eyes unto the hills whence flows my joy, and all my worth.
My help cometh from Him, who fills unseen both heav’n and earth.
He shall not let thy foot be moved, nor will He slumber, never sleep,
Behold, o’er Israel the Lord defends, and watch shall keep.
The glorious God is my sole stay, He is my sun and shade;
the cold by night, the heat by day, neither shall me invade.
The Lord shall watch amidst the crowd, or else within my door.
He is my pillar and my cloud forever more.
-Paraphrase of Psalm 121 by: Henry Vaughan (1621-1695)
Doxology: Hymn 380, stanza 3
Holy: S114, Willan
Communion Meditation: “Prelude”, No. 5 from 24 Pièces en Style Libre, Op. 31 By: Louis Vierne (1870-1937)
Communion Anthem: Almighty and Everlasting God, by: Orlando Gibbons (1583-1625)
Choir: Almighty and everlasting God,
Mercifully look upon our infirmities
And in all our dangers and necessities,
Stretch forth thy right hand
To help and defend us:
Through Christ our Lord, Amen.
–A Collect from the 1549 Prayerbook
Recessional Hymn: 595 God of grace and God of glory (Mannheim)
Postlude: “Fugue”, from Prelude, Fugue and Variation, Op.18, By: César Franck
Music Notes
By: Ashley Sosis
One of the St. Augustine Choir’s goals for this fall is for all of its members to get back into reading Anglican Chant as it is traditionally notated, with the music printed in a single line above the entire psalm text. Here is an astute description of Anglican Chant by Alec Wyton from The Anglican Chant Psalter”
The chant known as Anglican chant developed from harmonized plainsong psalm tones (like the one we sang last week) and from festal psalm settings by late sixteenth and early seventeenth century English composers. During the following centuries the daily singing of Prayer Book psalm so Anglican chant became normal practice in English cathedrals, collegiate churches and chapels, and in many parish churches. Anglican chant psalm singing is still practiced throughout the Anglican communion.
The chant included in service today is composed of ten chords—a reciting chord followed by a median cadence of three chords, with a second reciting chord followed by five chords which make up the final cadence or ending. The chant thus reflects the usual parallel construction of the canticles or psalms. The first half of each verse is sung to the first part of the chant. The second reciting chord and final cadence carry the remainder of the text following the asterisk.
Because of its fixed design, Anglican chant requires the text to be marked (“pointed”), so that certain syllables may be sung to particular notes of the music. Chant that is intuitive to the singer matches primary verbal stresses with musical ones. Musical stress is assumed to occur on the second, forth, sixth, eighth, and tenth chords of the chant. Here’s what the text of the psalm looks like with the correct syllabic stresses. The symbols in our music suggest the following words fall on the second, fourth, sixth, eighth and tenth chords:
Unstressed Stressed
1Blessed be the 2LORD
3my 4ROCK!*
5who trains my hands to 6FIGHT
7and my 8FINGERS
9to 10BATTLE.