March 31, 2019 F����� S��� L��

W������ to this service of worship. College Place United Methodist Church is a diverse community welcoming all persons and embracing differences of age, racial and ethnic background, national origin, sexual orientation, gender identity, family configuration, socioeconomic status, and physical

and mental ability. We invite all to join our journey of faith toward greater love, hope, and acceptance in every aspect of our Christian life together.

If you are a first time guest, please sign a visitor card in the pew and re-turn it in the offering plate or give to an usher or the pastor. “The Con-nection,” our newsletter, is available near the entries of the sanctuary.

Our attendance was 70 for worship last week 3/31 – Sunday Night Live, 8pm 4/1 – Girl Scouts, 5:30pm, upstairs

– Triad Hitchup, 5:30, Nursery

– Church Leadership Council, 6:30pm, John Wesley Room

4/2 – Lent Study, 12:30pm & 7pm, John Wesley Room

– Aerobics, 6pm, Early Discipleship classroom

4/7 – 5th Sunday in Lent, Sunday school 9:45am, worship 11am

509 Tate St., Greensboro, NC 27403 ♦ 336-275-3363 ♦ collegeplaceumc.com

COLLEGE PLACE UNITED METHODIST CHURCH ...seeks to be a Christ centered, diverse community open to everyone as they are. We believe all people are worthy of being loved and worthy of loving others. We strive to show God’s grace, make disciples, and change the world with our hands, our hearts, our minds, and our words.

Campus Ministry at Greensboro College

Robert Brewer, Chaplain (272-7102 x597, rbrewer@greensboro.edu) Wesley-Luther Campus Ministry @ UNCG

Andrew T. Mails, Director (334-5119, atmails@uncg.edu) College Place Staff:

Technology Coordinator: Admin. Assistant: Carol Taylor (336-681-8336, carol.taylor@collegeplaceumc.com) Nursery: Infants and Toddlers: Melody Chamberlain, Kamala Shrestha & Dominique Battle Director of Children’s Ministries: Lauren Sellers (lsellers@collegeplaceumc.com) Music Director: Susan Young (336-375-4416, syoung@collegeplaceumc.com) Director of Community Outreach & Worship Arts: The Rev. Dr. Robert W. Brewer (rbrewer@collegeplaceumc.com) Pastor Emeritus: The Rev. Robert M. Smith, Jr. Assistant Pastor: The Rev. Sharon Quate (336-558-1140, squate@collegeplaceumc.com)

Pastor: The Rev. Dr. Jason W. Harvey (336-404-0969, jharvey@collegeplaceumc.com)

Cover art is an original work by the Rev. Dr. Anne Conover, Artist in Residence at College Place United Methodist Church.

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One: We praise the name of God who redeems us! All: We give thanks to God who gathers in the lost. One: We sing praises to Christ who forgives our sins. All: We set our eyes upon the Savior who welcomes us home.

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Holy, Holy, Holy! Lord God Almighty

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“Tell of the sto-ries of Je-sus we love to hear; sto-ries of how he would wel-come all chil-dren here: Arms that are o-pen; none turned a-way. Tell the whole world that love is the way!

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Our Father, who art in heaven, hallowed be thy name. Thy Kingdom come, thy will be done on earth as it is in heaven. Give us this day our daily bread. And forgive us our trespasses, as we forgive those who

trespass against us. And lead us not into temptation, but deliver us from evil. For thine is the kingdom and the power, and the glory, forever. Amen.

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G3L,0�� Fauré

Presented by the Choirs of First Moravian Church and College Place UMC

Introït et Kyrie Offertoire Sanctus Pie Jesu

Agnus Dei Libera me

In Paradisum

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Introït et Kyrie

Requiem aeternam dona eis, Domine, Grant them eternal rest,

Lord, et lux perpetua luceat eis. and may perpetual light shine on them.

Te decet hymnus, Deus, in Sion, To you, God, hymns of praise are sung in Sion,

et tibi reddetur votum in Jerusalem: and unto you shall vows be performed in Jerusalem:

exaudi orationem meam, hear my prayer,

ad te omnis caro veniet. to you shall come all flesh.

Kyrie eleison. Lord have mercy. Christe eleison. Christ have mercy.

Kyrie eleison. Lord have mercy.

Offertoire

O Domine Jesu Christe, Rex gloriae, O Lord Jesus Christ, king of glory,

libera animas defunctorum free the departed souls

de poenis inferni et de profundo lacu, from the pains of hell and from the deep pit,

de ore leonis, ne absorbeat tartarus: from the jaws of the lion, let them not be swallowed up,

ne cadant in obscurum. Nor vanish into darkness.

Hostias et preces tibi, Domine, Our sacrifice and prayers, Lord,

laudis offerimus: we offer to you with praise:

tu suscipe pro animabus illis, Receive them on behalf of the souls, quarum hodie memoriam facimus:

whom we remember today: fac eas, Domine, de morte transire ad vitam.

make them, Lord, pass from death to life. Quam olim Abrahae promisisti et semini ejus.

As you promised Abraham and his seed. Amen. Amen.

Fauré’s Requiem is preformed by

The Choirs of First Moravian Church

and College Place United Methodist Church

with Soloists

Justin McKinney (Offertoire) Tess Chapman (Pie Jesu)

Nicholas Shoaf (Libera me)

and Musicians

Eve Hubbard, Violin 1 Diane Bonds, Cello 1

Kate Middel, Viola 1 Margaret Petty, Cello 2

Theresa Fox, Viola 2 Dan Thune, Bass

Jonah Springs, Horn 1 Jeffrey Mathis, Horn 2

Susan Young, Organist Jane McKinney, Director

Sanctus Sanctus, Sanctus, Sanctus

Holy, holy, holy

Dominus Deus Sabaoth. Lord God of hosts.

Pleni sunt coeli et terra gloria tua. Heaven and earth are full of your glory.

Hosanna in excelsis. Hosanna in the highest.

Pie Jesu Pie Jesu, Domine,

Merciful Lord Jesus, dona eis requiem, grant them rest,

sempiternam requiem. eternal rest.

Agnus Dei Agnus Dei, qui tollis peccata mundi,

Lamb of God, who takes away the sins of the world, dona eis requiem. grant them rest.

Agnus Dei, qui tollis peccata mundi, Lamb of God, who takes away the sins of the world,

dona eis requiem, sempiternam requiem. grant them rest, eternal rest.

Lux aeterna luceat eis, Domine. May perpetual light shine on them, Lord.

Cum sanctis tuis in aeternum, quia pius es. With your saints throughout eternity, by your grace.

Requiem aeternam dona eis, Domine, Grant them eternal rest, Lord,

et lux perpetua luceat eis. and may perpetual light shine on them.

Libera me Libera me, Domine, de morte aeterna, Deliver me, Lord, from eternal death,

in die illa tremenda, on that terrible day,

quando coeli movendi sunt et terra; when earth and heaven are shaken;

dum veneris judicare saeculum per ignem. when you come to judge all things by fire.

Tremens factus sum ego, et timeo, I am trembling and afraid,

dum discussio venerit, atque ventura ira. until the trial comes, and the wrath.

Dies illa, dies irae, calamitatis et miseriae, Day of torment, day of wrath, calamity and misery, dies

magna et amara valde. greatest and most bitter day.

Requiem aeternam dona eis, Domine, Grant them eternal rest, Lord,

et lux perpetua luceat eis. and may perpetual light shine on them.

In Paradisum In Paradisum deducant Angeli:

May angels lead you into Paradise: in tuo adventu suscipiant te Martyres, may you be received by the martyrs,

et perducant te in civitatem sanctam Jerusalem. and brought to the holy city of Jerusalem.

Chorus Angelorum te suscipiat, May choirs of angels greet you,

et cum Lazaro quondam paupere and with Lazarus, who was once lowly

aeternam habeas requiem. may you find eternal rest.

A short biography of Gabriel Fauré

Gabriel Fauré was born on May 12, 1845 in Pamiers, in the Midi-Pyrénées region of southern France. His musical talent was recognized at an early age, and he spent his high school years at the Niedermeyer School in Paris, where he studied organ, piano, and choral music and where his teachers included Camille Saint-Saëns.

After graduating, he worked as organist and choirmaster at a series of churches of increasing prestige, until 1877, when he took over Saint-Saëns's post as choirmas-ter at the Madeleine in Paris. Fauré would remain at the Madeleine for almost 20 years. He also taught composition at the Paris Conservatoire, becoming director in 1905, and his pupils included Maurice Ravel and Nadia Boulanger.

Alas, by the time Fauré was established as a successful composer and a pivotal figure in French musical life, he began to grow deaf, and his compositional output dropped considerably. He died at the age of 79 in Paris, on November 24, 1924.

Notes on the composition of the Requiem: Fauré began sketches for the Req-uiem in 1887. Unlike many composers, he was not drawn to compose a Requiem because of the death of a loved one, though his mother passed away during early stages of composition and his father died two years before.

By the time of the first performance, on January 16 1888, there were five move-ments: an Introit and Kyrie, the Sanctus, Pie Jesu, Agnus Dei, and In Paradisum. To perform the work, Fauré called for a mixed choir with divided tenors and bass-es, a soprano soloist, an orchestra of low strings (violas, cellos, and double basses), harp, timpani, and organ, with a violin solo in the Sanctus. He added an Offertoire in 1889, and added a setting of the Libera Me that he had written for baritone and organ some twelve years earlier. He added horns, trumpets, and trom-bones to the orchestra, and a baritone soloist, and this version was first performed at the Madeleine in January of 1893.

Fauré’s publisher wanted a larger-scale work, though, leading to a final revision premiered in July 1900 at the Trocadéro in Paris. In this version, the one most commonly heard in concert, woodwinds and violins were added to the orchestra, though for the most part they only double lines present in the original orchestra-tion. In fact, most modern scholars now believe that one of Fauré's students did this orchestration, and not Fauré himself.

As a choirmaster and organist, Fauré constantly sought to create a new kind of church music. He wanted something different than the operatic bel canto style which was popular in Paris at the time, and different than the outsized, large-scale Germanic Romantic style which dominated the rest of Europe. Along the way, he helped to establish a distinctive French style which set the stage for the develop-ment of the Impressionist style of Debussy and Ravel.

For example, the composers of the day tended to write for progressively bigger and bigger orchestras, with thicker, more complicated textures, and phrases which stuck slavishly to the divisions of the bar line. Fauré, on the other hand, opted for smaller ensembles and spare orchestrations, omitting violins and winds in the Req-uiem, for instance, when he felt they were unnecessary.

EASTER IN THE SANCTUARY: Each Easter we have the opportunity to place flowers in the sanctuary in honor or in memory of the person(s) you would like to remember.

Easter Lilies will be $8.00 each. Just fill out the form below and place it in the collection plate along with your payment.

Please reserve ______ Easter Lilies In honor of _____________________________or In memory of ___________________________

by__________________________________________

We also plan to mix other springtime flowers into the Easter dis-play. If you would like to make a donation towards the purchase of other springtime flowers you may place it in the collection plates. Mark you donation so we will that it is for the “other spring flowers”. These extra flo-ral donations can also be made in honor or in memory of loved ones.

In lieu flowers, you can also make a gift to the Good Samaritan Fund or any of the church’s funds. Checks should be made out to College Place and note Good Samaritan or the any other desired contribution fund on the memo line.

Please receive $ for the Fund

In honor of ___________________________________

by ______________________________

In memory of __________________________

by ______________________________

All flower orders and memorial contributions need to be turned in by Monday, April 8th so the orders can be placed in time for them to be here for Easter Sunday.

April 14th, we will have our annual Easter Egg Hunt following the worship service and a brief picture in the fellowship hall. Come and enjoy a fun day!

Fauré also thought on a smaller, more intimate scale than many of his contem-poraries. There are none of the larger-than-life, outsized statements of a Wagner or a Berlioz here; the entire Requiem has some 30 bars of fortissimo singing, and most of it doesn't rise above mezzoforte. Instead, Fauré uses subtle grada-tions in dynamic, color, and harmony to achieve the effects that he wants. And in the Requiem, these gradations often follow the central points of emphasis in the text.

In some ways, though, Fauré's style involves some paradox. One example is the curious relationship between freedom and control. In his piano music, his cham-ber compositions, his songs, and his vocal works, phrases emerge that are freed from the tyranny of the strong-weak-strong-weak four-beat bar line. For the Requiem, he draws melodic inspiration from the tunes and rhythms of Gregori-an chant, which thought in similarly long phrases. But Fauré was quite explicit about how to go about achieving this freedom. He knew exactly what he want-ed, and is scrupulously precise in his directions on rhythm, dynamics, and phrase length. As a result, even more than in other composers, it is essential in singing Fauré to pay strict attention to every marking in the text. Often, Fauré's effects depend on very subtle shifts in dynamics or harmony, sfhits that require meticulous attention to bring off successfully.

In addition, while Fauré sought to distance himself from the long-winded Ger-manic style, he still drew inspiration from a number of German masters. Like Bach and Beethoven, Fauré set a standard sacred Latin text, but felt free to edit the text, inserting words and leaving out phrases where it suited his vision. And his debt to Brahms is interesting; one might think of this work as a "French Requiem". For the opening movement of the German Requiem, Brahms uses divided violas and cellos in the opening bars, and the violins do not play at all. The German Requiem includes a German-language version of the Sanctus (Wie lieblich sind deine Wohnungen, Herr Zebaoth), followed by a beautiful inter-lude essentially for soprano solo, then a dramatic movement for baritone and choir with foretellings of the Last Judgment, and finishes with a hymn for those who are dead. There are some structural parallels with movements in th! e Fauré Requiem (the Sanctus goes third, followed by the soprano solo Pie Jesu, and the fifth movement offers baritone and choir singing of the Day of Judgment, fol-lowed by a vision of Paradise). More importantly, both composers aimed at a very different view of the Mass of Death. Rather than offer visions of the terrors to come, Brahms sought to create a mass to comfort the living. Similarly, Fauré said that he saw death "as a happy deliverance, an aspiration towards the happi-ness of the hereafter, rather than as a painful passing away." For this reason, Fauré's setting is remarkably subdued, omits entirely the Sequenz segment, with its visions of wrath and hellfire, and adds the Pie Jesu and In Paradisum texts, which are not part of the Requiem proper but emphasize the granting of eternal rest.

Source Information: http://www.jamescsliu.com/classical/Faure_Requiem.html, ac-cessed March 27, 2019

LentStudy

There is still time to join the Lent study: Learning to Walk in the Dark. We are offering two sessions each Tuesday, at 12:30 pm and at 7:00 pm. We have 2 books left and they are $13 each (scholarships availa-ble, if requested). An e-version available online as well. Ask Pastors Sharon, Robert, or Jason if you’d like additional information.

Butter�liesareHERE

We have a few extra caterpillars that need foster homes. If you are interested in being a foster parent for some caterpillars see Lauren Sellers or Jason Harvey asap. Launch and re-lease party will be Easter Sunday following the morning worship as a way to recall and proclaim the power of the resurrection of Je-sus.

UnitedMethodistCommitteeonReliefSunday

Today, we have an opportunity to contribute to UMCOR Sunday.

Gifts received fund the operating activities of our worldwide relief

and development work the United Methodist Committee on Relief

(UMCOR) to respond to disasters, staying on the scene long

after others have left, and to support community development ef-

forts that enrich the lives of people around the world. Today’s of-

fering ensures that 100% of the disaster offerings for specific

events go toward desperate needs. Thank you for considering

making a donation to the cause

through envelops in the bulletin or

UMCOR Sunday indicated on your

gifts.