October 27, 2024 - 23rd Sunday After Pentecost

Prelude

Every Praise  arr. Jeff Cranfill

Offertory

He Comes To Us  Jane Marshall

Communion Meditation

More Than Amazing  Lincoln Brewster and Mia Fieldes

Postlude

Toccata in D Minor, BWV 565  Johann Sebastian Bach

Hymns

7 - Christ, Whose Glory Fills the Skies 

371 - Thou, Whose Almighty Word 

466 - Eternal Light, Shine In My Heart 

538 - God Of Mercy, God Of Grace 

671 - Amazing Grace, How Sweet the Sound 

410 - Praise, My Soul, the King of Heaven

This Sunday will mark the debut of the Trinity Orchestra! They will play Jeff Cranfill's arrangement of "Every Praise', which incorporates the tune "Old 100th". The orchestra rehearses every 2nd and 4th Sunday at 3:00pm. If you play an instrument, we'd love to have you join us!

Jane Marshall

Albert Schweizer

The Offertory will be sung by the Trinity Choir. Written by Jane Marshall, "He Comes to Us" is rooted in the words written by Albert Schweitzer in his book, The Quest for the Historical Jesus. Schweitzer, who gave up two brilliant careers, one as a gifted writer and theologian, and that of an accomplished organist and musician, to become a medical doctor in Africa, wrote of what it means to hear and respond Jesus' call:

He comes to us as One unknown, without a name, as of old, by the lakeside. He came to those men who knew him not. He speaks to us the same word: "Follow thou me!" and sets us to the tasks which he has to fulfill for our time. He commands. And to those who obey Him, whether they be wise or simple, He will reveal Himself in the toils, the conflicts, the sufferings which they shall pass through in his fellowship, and as an ineffable mystery, they shall learn in their own experience who He is.

The anthem concludes with the famous chorale, "O Morningstar! How Fair and Bright"

O Morning Star, how fair and bright 

thou beamest forth in truth and light! 

O Sovreign meek and lowly.

Thou Root of Jesse, David’s Son, 

my Lord and Master, Thou hast won

my heart to serve Thee solely!

Thou art holy, fair and glorious, all-victorious, 

rich in blessing, rule and might o’er all possessing.

It's the Sunday before Halloween, so by popular request, Jack will play the Toccata in D Minor at the Postlude. The composition is widely accredited for its propelling rhythm, dramatic authority, and majestic notes, and rose to prominence when it appeared in “Fantasia,” a Disney cult classic. It was adapted by Leopold Stokowski for orchestra and was utilized in the opening sequence of the film. The piece was first published by Felix Mendelssohn in 1883 and went on to become one of the most celebrated creations in the organ repertoire. The first section of the composition, which you will hear on Sunday,  is a “toccata,” derived from the Italian word “tocacare,” which reads - “to touch.” It refers and represents a musical form that is crafted for keyboard instruments and is pre-designed to uncover the performer’s virtuosity - “touch.” Johann Sebastian’s take offers a typical essence, and is enriched with several fast “arpeggios,” - notes of the chord that is played in a series, not simultaneously. These notes are generally in a free form and provide the composer with more creative freedom. The Toccata starts in the upper ranges of the keyboard, predominantly with a single voice, which is subsequently doubled at the octave. It is then marked with the appearance of a diminished seventh chord, which is crafted “one note at a time.” This portion resolves into “D major.” It is further followed by three short passages, which are doubled at the octave and reiterates a short motif. The section reaches its climax by resolving into “D minor,” albeit with a flourish. The second section comprises of multiple figurations offering minimal connections, subsequently switching into “A minor,” the dominant key. The final section consists entirely of reiterations of the “three-figure note,” with profound similarity to the opening section. The piece concludes with “D minor,” which follows a short pedal flourish.