Aug 13, 2017 • 10:00 am

The Rev. J.C. Austin, preaching

Sanctuary

Tenth Sunday after Pentecost

Sermon: "Marked for Life"

Text: Matthew 22:15-22

Then the Pharisees went and plotted to entrap him in what he said. So they sent their disciples to him, along with the Herodians, saying, “Teacher, we know that you are sincere, and teach the way of God in accordance with truth, and show deference to no one; for you do not regard people with partiality. Tell us, then, what you think. Is it lawful to pay taxes to the emperor, or not?” But Jesus, aware of their malice, said, “Why are you putting me to the test, you hypocrites? Show me the coin used for the tax.” And they brought him a denarius. Then he said to them, “Whose head is this, and whose title?” They answered, “The emperor’s.” Then he said to them, “Give therefore to the emperor the things that are the emperor’s, and to God the things that are God’s.” When they heard this, they were amazed; and they left him and went away.

Music

Petite Suite for Piano Four-hands • Claude Debussy (1862–1918)
En bateau • Cortège • Menuet

The Lord is My Shepherd • Ruth Watson Henderson (b. 1932)

Alleluia from “Exsultate, jubilate” • W. A. Mozart (1756–1791)

Petite Suite for Piano Four-hands: Ballet • Claude Debussy

Worship Notes

"Debussy wrote his Petite Suite in the course of the year 1888, a few months after his return from Rome. It seems that the work originally had five movements and that in the end Debussy withdrew the third. He played the piece at a Parisian salon on 1 March 1889 with Jacques Durand (the son of the publisher Auguste Durand), whom he had met at the Conservatoire. A few months later, while visiting the composition class of his former teacher at the Conservatoire, Ernest Guiraud, he played the work [with] his friend Paul Dukas to the assembled students, one of whom, Henri Busser, later arranged the work for orchestra.

"Like all of Debussy’s early works, the Petite Suite, which was published by Durand in February 1889, did not achieve success until after the composer had attracted attention with [his monumental opera], Pelléas et Mélisande. Before long it had been arranged, either in whole or in part, for all manner of instruments. Today, along with the Arabesques, it is among Debussy’s most popular works."

—François Lesure, 1996

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