Confirmation in the Diocese of Harrisburg is administered to candidates at least 13 years of age. In recent years, Confirmation has been conferred in the spring. A course of instruction is required prior to this, which takes place as part of the parish CCD program, which meets at the church on Sundays from 9:15 am to 10:15 am during the academic year.
Confirmation sponsors who are not members of the parish will need letters of good standing from their respective pastors. Confirmation sponsors must satisfy the requirements for a Confirmation sponsor stipulated by the Catholic Church, which are the same as those for baptism (per canon 893).
Pentecost by Juan de Flandes
First Communion by Luis Alvarez Catalá
Children preparing for First Communion are to take a class offered at the parish. To make things as convenient as possible for parents, they can choose to enroll their child either in the Sunday catechism program, which meets from 9:15 to 10:15 am during the academic year, or they can choose to enroll their in the Friday Religious Education program, which includes a class taught by the pastor to the children preparing for First Holy Communion. Children should be 7 years old by the October at the beginning of the academic year. The ceremony of First Holy Communion is usually done in May or June.
First Communion at St. Lawrence, 2022
30 Minutes before each Mass.
By appointment, and in cases of emergency available 24 hours a day, seven days a week. Call the parish office at (717) 889-4217. If it is outside office hours and you cannot reach anyone, and it is a true sacramental emergency, dial extension 9.
Parishioners should contact the office at least six weeks before the birth of a child.
Any Baptismal sponsor who is not a member of the parish will need a letter of good standing from the sponsor's pastor. Baptismal sponsors must satisfy the requirements for a Baptismal sponsor stipulated by the Catholic Church.
The duties of godparents are described by the Catechism of the Council of Trent (book II, chapter II, question XXVII):
The faithful must also be taught the duties of sponsors; for such is the negligence with which this office is treated in the Church, that its bare name alone remains, whilst none seem to have the least idea of the sanctity it conveys. Let all sponsors, then, at all times recollect that they are bound principally by this law that they exercise a constant vigilance over their spiritual children, and take particular care that, in those things which regard the formation of a Christian life, they approve themselves throughout life such as [their sponsors] promised they should be by the solemn ceremony. On this subject let us hear what St. Dionysius writes (c. 105. dist. v. de cons). Dilating upon the language of the sponsor, he says: I promise, by my assiduous exhortations, to induce this child, when he shall arrive at a knowledge of religion, to renounce everything opposed to, and to profess and perform the sacred promises, which he now makes. St. Augustine also says: I most especially admonish you, men and women, who have become sponsors unto sons in baptism, to consider that ye stood as sureties before God for those whom ye received at the sacred font. And, indeed, it pre-eminently becomes every man, who has undertaken any office, to be indefatigable in the discharge of its duties; and he who professed to be the schoolmaster and guardian of another should on no account suffer him to be deserted, whom he once received under his pledge of guardianship, as long as he shall understand him to have occasion for his care and protection. Speaking of this same office of sponsors, St. Augustine sums up, in a few words, the lessons of instruction which ought to be impressed by them on the minds of their spiritual children: They ought, says he, to admonish them to observe chastity, love justice, cling to charity; and, above all, they should teach them the Creed, the Lord’s Prayer, the Ten Commandments, and the first rudiments of the Christian religion (D. Aug. serm. 163, de temp. and serm. 215, and serm. 165, de temp. de cons. dist. iv. c. 120).
Adult inquirers to the Catholic Faith are invited to visit our Inquiry Class on Saturdays.
The Baptism of Christ by Alessandro Turchi
- Church Cleaning (contact Kristin Patterson,
This email address is being protected from spambots. You need JavaScript enabled to view it. ): This group of rotating volunteers cleans the church weekly, as it is indeed the House of God. - Confraternity of Christian Mothers (contact Stephanie Fonticoba,
This email address is being protected from spambots. You need JavaScript enabled to view it. ): Our local branch (established in 2022) of the Archconfraternity of Christian Mothers, which was established in post-revolution France to provide mothers help in educating their children to love God, meets monthly normally on the fourth Saturday of the month after the 9am Mass. The meeting involves prayer, a small amount of business, a talk from a priest, a light breakfast, and lots of opportunity to confer with other moms.
→ If you are a member of the Confraternity and would like to be on the CCM email list, send a message toThis email address is being protected from spambots. You need JavaScript enabled to view it. . - Girls Sodality (contact: Rebecca Mack,
This email address is being protected from spambots. You need JavaScript enabled to view it. ): For girls 8 to 14, they meet the second Saturday of each month after the 9 am Mass for a talk from a priest, fun, and socializing. - Holy Name Society (contact: Will Gabig,
This email address is being protected from spambots. You need JavaScript enabled to view it. ): Long a presence at St. Lawrence Church, the Holy Name Society is established to serve as a witness to its members and to the world always to honor the Holy Name. They meet on first Saturdays after the 9 am Mass.
→ If you are a member of the Society and would like to be on the Holy Name email list, send a message toThis email address is being protected from spambots. You need JavaScript enabled to view it. . - Knights of Columbus (contact: Josh Logan,
This email address is being protected from spambots. You need JavaScript enabled to view it. ): Our parish's council of the Knights of Columbus was established in 2022 and meets monthly on third Tuesdays at 6:30 pm.
→ If you are a member of the Knights of Columbus and would like to be on the Knights' email list, send a message toThis email address is being protected from spambots. You need JavaScript enabled to view it. . - Legion of Mary (contact: Dan Jones,
This email address is being protected from spambots. You need JavaScript enabled to view it. ): This dedicated members of our praesidium meets weekly on Tuesdays at 6:30 pm. - Meal Train (contact: Alyssa Showers,
This email address is being protected from spambots. You need JavaScript enabled to view it. ): For mothers who've recently given birth, this group organizes meals cooked by other parishioners. - Prayer Chain (contact: Fr. Cortes,
This email address is being protected from spambots. You need JavaScript enabled to view it. ): When one part of the body suffers, the whole body suffers, St. Paul teaches. Through our weekly prayer message, we particularly intercede for fellow parishioners who seek prayers from the rest of the community. We also pray for any intentions involving their friends and family that they share. - Prolife Group (contact: Kris Keck,
This email address is being protected from spambots. You need JavaScript enabled to view it. ): This group organizes the parish's prolife activities, including participation in the Pennsylvania March for Life and the National March for Life.
→ If you are a member of this group and would like to be on the group's email list, send a message toThis email address is being protected from spambots. You need JavaScript enabled to view it. . - St. Catherine of Siena Young Adult Group (
This email address is being protected from spambots. You need JavaScript enabled to view it. ): The young adults group meets two to three times per month for prayer, instruction, meals, and socializing.
→ More information.
- St. Tarcisius (contact: Dan Miccolupi,
This email address is being protected from spambots. You need JavaScript enabled to view it. ): For children ages 5 to 12, this group provides a monthly meeting of fun and socializing, as well as time for the children in prayer, being led by a priest teaching them how to pray. - Tuesday Adoration (contact: Amanda Healy,
This email address is being protected from spambots. You need JavaScript enabled to view it. ): Members of this group commit to an hour of adoration, which is available roughly from 8 am with Exposition, to 11:45 am, when Benediction is made by one of the priests. After Benediction, the priests pray the hour of None as part of their duty of offering the Divine Office. Anyone is welcome to come throughout this time, to adore, to receive Benediciton, to assist at the Divine Office, or all of these. - Youth Group (contact: Joelle Riethmiller,
This email address is being protected from spambots. You need JavaScript enabled to view it. ): The youth group meets once per month, in evenings of third Saturdays from 6 to 9 pm. The evenings involve socializing, prayer, often a talk from one of the priests, etc.
Being part of a parish is an essential part of being Catholic. To be part of St. Lawrence, you can register either online (see note below), or by printing and completing our parish registration form, which should be mailed to the parish office at 110 State Street, Harrisburg, Penn. 17101, or dropped off in person during office hours. It could also be deposited in the collection basket at Sunday Mass.
Register Online Printable Form
* When registering online using the link above, at the subsequent page, for Organization, select "St. Lawrence Catholic Church, Harrisburg" in the drop-down menu, and follow the rest of the instructions.
Our parish altar boys strive to give glory to God through service at His holy altar. They serve at High Mass and Low Mass, Benediction of the Blessed Sacrament, and other liturgical ceremonies as torchbearers, acolytes, thurifers, crucifers, and masters of ceremonies.
This privilege is open to boys who have received first Holy Communion. For those willing to make serving at Mass a priority, our monthly meeting of altar boys meets on the second Saturday of each month after the 9 am Mass.
For more information, please email
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St. Lawrence Church
110 State Street Harrisburg, PA 17101
P: (717) 889-4217
E:
SMS: (717) 889-4217
If you are interested in the Catholic Faith, you are most welcome to come and spend some time here to get to know God through the Church that he established here on earth. We very warmly welcome you to engage with us at whatever level you find most comfortable. We have a class for those interested in the Catholic Faith on Saturdays at 3:30 pm, to which you are welcome simply to show up (come to the front door at 112 State Street and ring the bell). You are also welcome to reach out to one of the priests if you would like a one-on-one conversation.
In addition, you are invited to come to Mass on a Sunday or a weekday (when it is less crowded) and just watch the liturgy. Of course non-Catholics would not go to receive Communion (until you've been received into the Church), but you would benefit much from a spiritual communion, and you would be edified by the mystical silence of the Low Mass and by the ancient Gregorian chant sung by our choir at High Mass.
In short, we invite you to consider this place your spiritual home—even if informally—until all of your doubts have been addressed and the Lord's wonderful grace has had its way with your soul.
The congregation of St. Lawrence grew out of the German-American population of south-central Pennsylvania in the mid-19th Century. Having initially purchased a church on Front Street in Harrisburg, which was dedicated in honor of St. Lawrence in 1860, the congregation outgrew the structure, and a new church was built at Walnut and 5th streets.
When the Pennsylvania capitol burned down in 1897, the construction of the new building with expanded grounds led to the purchase of St. Lawrence Church by the Commonwealth of Pennsylvania. Using the proceeds of the sale, the current church was built on State Street (see archives), and was consecrated on April 20, 1918, by the Most Reverend Philip R. McDevitt, fourth bishop of Harrisburg. In 1984, this history of the parish, including details about the previous buildings used, was published.
Eventually the congregation shrank, but a group of the Faithful dedicated to the traditional form of the Roman Rite began organizing monthly Latin Masses at Trinity High School in 1988. With St. Lawrence Church now being used less and less, the group obtained permission to have Mass at St. Lawrence in 2005.
With the issuance of the motu proprio Summorum Pontificum by Pope Benedict XVI on July 7, 2007, more people came to the traditional Mass at St. Lawrence, and in December 2007, the Most Reverend Kevin C. Rhoades, ninth bishop of Harrisburg, established a canonically erected stable home for the Latin Mass at St. Lawrence. Likewise the Most Reverend Ronald Gainer and the Most Reverend Timothy Senior, the eleventh and twelfth bishops of Harrisburg respectively, have generously cared for the people of St. Lawrence. Most recently, Bishop Senior has published his own decree regulating the use of the Latin Mass in the Diocese of Harrisburg, and this also confirmed the permissions previously granted to the Priestly Fraternity of St. Peter (FSSP) at St. Lawrence.
Variously called the Traditional Latin Mass (TLM), the Extraordinary Form, the Usus Antiquior, Mass of the Ages, or just simply the Latin Mass, the form of the Mass celebrated at St. Lawrence Church is the same used in the Western Church for most of its existence, until the changes introduced in recent decades.
Despite those changes, the Church has allowed the Faithful to continue to worship in the older forms, and this permission has been reiterated by Pope Francis for the Priestly Fraternity of St. Peter (FSSP). In a very special act, the Holy Father granted the FSSP a guarantee to be able to continue to celebrate the this form of the Mass.
Here is a brochure that tells the story of the meeting between Pope Francis and two FSSP priests on Feb. 4, 2022, and the decree he signed on Feb. 11, 2022, the feast day of Our Lady Immaculate of Lourdes:
For a lighthearted and delightful look at the Traditional Latin Mass, Michael Knowles did a series of interviews with various people, including children, a college student, an atheist YouTuber, a diocesan priest, and a theologian. See the interviews here.
Sunday after Ascension 2024
Processional hymn: Be Joyful Mary, Heavenly Queen, 847
Recessional hymn: Alleluia, Sing to Jesus, 936
Kyriale: Mass I, 696; Creed III, 776
Offertory Antiphon: Ascendit Deus, Christoph Dalitz (b.1967)
Hymn after Offertory: Ascendens Christus, Jacobus Gallus (1500–1591)
Communion Hymn: Jesu nostra redemptio, Tomás Luis de Victoria
Jesu nostra redemptio by Tomás Luis de Victoria is a setting of the an older form of the Vespers hymn during Ascensiontide. As with the other settings, the Gregorian melody is sung for the odd verses and the even are through composed. One technique Victoria employs in this work is the inclusion of a cantus firmus during the choral sections. A cantus firmus (literally “fixed melody”) is a pre-existing melody which acts as the foundation for a work of polyphony. In the case of Jesu nostra redemptio, the Gregorian melody is the cantus firmus; in verse two the Soprano voice sings the tune in a very elongated fashion which spans the entire choral verse, likewise the tenors do the same in the fourth verse. Those who sing the Divine Office regularly will recognize that the Gregorian melody is the same as the current Ascensiontide Vespers hymn, Salútis humánæ Sátor as well as the Vespers Hymn for the Transfiguration, Quicumque Christum quǽritis.
Tomás Luis de Victoria (c.1548–1611), along with Palestrina and de Lassus, is one of the greatest composers of the 16th C., famous for its ethereal polyphony. Ordained a priest at age 27, he lived in Rome for years, and assisted St. Philip Neri as chaplain of San Girolamo della Carità.
5th Sunday after Easter 2024
Processional hymn: Praise, My Soul, the King of Heaven, 933
Recessional hymn: At the Lamb’s High Feast, 848
Kyriale: Mass I, 696; Credo III, 776
Offertory Antiphon: Benedicite Gentes, Orlandus Lassus
Communion Motet: Cantate Domino, Giuseppe Ottavio Pitoni (1657–1743)
Orlandus Lassus published Benedicite Gentes in a compilation of Offertory Chants all set for four voices in 1585. The composition is entirely original rather than using the Gregorian melody as a foundation. However, the work is in the same melodic mode as the ancient melody.
The motet Cantate Domino is a setting of Psalm 149:1–2 by Baroque Italian composer Giuseppe Ottavio Pitoni (1657–1743). The initial text of Sing to the Lord a new song is shared at the beginning of today’s alleluia verse which is taken from Psalm 97:1. Pitoni’s work, like much of late Baroque music, is tightly structured in small phrases with two main sections and follows the general format of “A-B-A.”, also called ternary form.
Orlandus Lassus (c.1532–1594) is known for the mature polyphonic style in the Franco-Flemish school. He wrote over 2,000 works in Latin, French, Italian, and German both sacred and secular. Lassus along with Giovanni Pierluigi da Palestrina and Tomás Luis de Victoria are the most influential composers of the late Renaissance.
4th Sunday after Easter
Processional hymn: Christ the Lord is Ris’n Again,
Recessional hymn: Love’s Redeeming Work Is Done, 850
Kyriale: Mass I, 696; Creed III, 776
Marian Antiphon: Regina Cœli, Antonio Lotti (1667–1740)
Communion Motet: O quam metuendus est, Tomás Luis de Victoria
Antonio Lotti’s Regina Cœli was first published nearly 100 years after its creation by German Catholic Priest, Fr. Karl Proske in 1859. The composition is perhaps the most well known choral setting of the Marian Antiphon. Lotti sets the four voices together rhythmically which allows for the text to be heard clearly, and the bright major key highlights the joyful tenor of the prayer.
The motet O quam metuendus est by Tomás Luis de Victoria is a setting of the Magnificat antiphon for the dedication of a church. The text is taken from the description of Jacob’s Ladder in Genesis: “How awe-inspiring is this place! Surely this can be nothing else but the house of God and the gate of heaven.”
Tomás Luis de Victoria (c.1548–1611), along with Palestrina and de Lassus, is one of the greatest composers of the 16th C., famous for its ethereal polyphony. Ordained a priest at age 27, he lived in Rome for years, and assisted St. Philip Neri as chaplain of San Girolamo della Carità.
3rd Sunday After Easter
Processional hymn: On This Day the, First of Days, 945
Recessional hymn: Come, Ye Faithful, Raise the Strain, 844
Kyriale: I, 696; Credo III, 776
Motet at Offertory: Urbs Beata Jerusalem, Pietro Pontio, 1532–1596
Motet at Communion: Ad cænam agni providi, Tomás Luis de Victoria
This Sunday following the proper chant for Communion, the choir will sing Ad Cænam Agni Providi by Thomás Luis de Victoria. The text is a setting of the Vespers hymn during Eastertide which dates to the 500s. Victoria composed the even verses of this hymn alternating with the ancient chant melody for the odd verses—a technique he often employed for other hymns. Each choral verse is unique from one another and doesn’t employ any repetition as one might expect in a hymn. Instead he crafted each line to portray the text being sung. In verse six, Victoria only composed for the Tenor, Alto, and Soprano voices as the text describes Christ rising from the grave and opening paradise so our ears hear only high tones. In the final verse, the Holy Trinity is invoked and the music changes to groups of three, while all voices sing the text in rhythm together making for a very effective three-in-one quality in musical form.
Tomás Luis de Victoria (c.1548–1611), along with Palestrina and de Lassus, is one of the greatest composers of the 16th C., famous for its ethereal polyphony. Ordained a priest at age 27, he lived in Rome for years, and assisted St. Philip Neri as chaplain of San Girolamo della Carità.
2nd Sunday After Easter
Hymn: Veni Creator Spiritus, 956
Recessional hymn: The King of Love, My Shepherd Is, 874
Credo III, 776
Antiphon during Confirmation: Confirma Hoc, John Mason
Kyriale: Missa Puisque J’ai Perdu, Orlandus Lassus (c.1532–1594)
Marian Antiphon: Regina Cœli, Cristóbal de Morales (c. 1500–1553)
Communion Antiphon: Ego Sum Pastor, Heinrich Isaac (c.1450–1517)
Orlandus Lassus’s (c.1532–1594), Missa Puisque J’ai Perdu, is a polyphonic setting of the ordinary parts of the Mass. Lassus took the musical foundation for this setting from a chanson (song) by Johannes Lupi from which the Mass received its name.
In his four voice setting of Regina Cœli, Cristóbal de Morales uses this familiar melody with some ornamentation in the Soprano voice. The Alto voice echos much of the Soprano melody at a lower pitch while the Tenor and Bass voices have many moving notes throughout. He emphasizes the final alleluia by having each voice sing a series of ascending notes then drop to a lower pitch and repeat several times which lasts well over a quarter of the overall work.
Orlandus Lassus (c.1532–1594) is known for the mature polyphonic style in the Franco-Flemish school. He wrote over 2,000 works in Latin, French, Italian, and German both sacred and secular. Lassus along with Giovanni Pierluigi da Palestrina and Tomás Luis de Victoria are the most influential composers of the late Renaissance.
Low Sunday
Processional hymn: In Our Risen Lord Rejoice, 851
Recessional hymn: Praise, My Soul, the King of Heaven, 933
Credo III, 776
Kyriale: Missa Puisque J'ai Perdu, Orlandus Lassus (c. 1532–1594)
Motet after Offertory: Surge, Amica Mea, Giovanni Matteo Asola (c. 1532–1609)
Motet during communion: Sicut Cervus, G.P. Palestrina
Surge, Amica Mea is text taken from the Song of Solomon 2:14: Arise, my love, my fair one, and come away. O my dove, who is in the clefts of the rock, in the secret places of the stairs, let me see your countenance, let me hear your voice; for sweet is your voice, and your countenance is beautiful.
The motet Sicut Cervus by G.P. Palestrina is one of his most well known works and is regarded as the culminating example of Sacred Roman Polyphony. The text is taken from Psalm 41: As a deer longs for flowing streams, so my soul longs for you, O God.
G.P. Palestrina (c. 1525–1594) is highly regarded for his contributions of Sacred Polyphony and development of counterpoint in the late 16th Century. In the post-Tridentine period he earned the reputation of the ideal Catholic composer for his success in reconciling the functional and aesthetic aims of Catholic church music. Palestrina wrote over 105 Masses and 250 sacred motets in addition to many other works.
Easter Sunday
Processional Hymn: Jesus Christ is Ris’n Today, 843
Recessional hymn: At the Lamb’s High Feast We Sing, 848
Kyriale: Missa Brevis in G, K140, Wolfgang Amadeus Mozart (1756–1791)
Offertory Antiphon: Terra Tremuit, William Byrd (c. 1540–1623)
Motet after Offertory: Resurrexi, Msgr. Marco Frisina (b. 1954)
Communion Antiphon: Pascha Nostrum, William Byrd
Hymn at Communion: Ave Verum Corpus, Camille Saint-Saëns (1835–1921)
The Missa Brevis in G by W. A. Mozart has been given the title of the “Pastoral Mass” because of its lyrical and bright melodies throughout the work. As is common for Masses of this time, Mozart uses soloists in contrast to full choir to give variety to the composition and bring attention to the text of the prayer. For example in the Credo the full choir sings together until “descendit de cælis” at which point the music stops. Then a soprano soloist sings “Et incarnatus est” in a slower tempo with lighter accompaniment which emphasizes the solemnity of the Incarnation. The Agnus Dei is atypical for a Missa Brevi because it is uncharacteristically long. In some editions, Mozart cut about 25 measures from the “Dona nobis” portion of the movement. Today the choir will sing the movement in its entirety.
Wolfgang Amadeus Mozart (1756–1791) was a prolific and influential composer of the Classical period and perhaps the most widely celebrated in the history of Western music. Despite his short life, his rapid pace of composition resulted in more than 800 works including Masses, symphonies, operas, and chamber works.
Palm Sunday
Recessional hymn: O Sacred Head Surrounded, 837
Kyriale: Mass XVII, 762; Credo VI, 788
Hymn after Offertory: Vexilla Regis, Chant
Communion Antiphon: Pater, Si, Heinrich Isaac
During Passiontide and on September 14, the hymn Vexilla Regis is sung during Vespers. This hymn was written by Venantius Fortunatus (530-609) who wrote it in honor of the arrival of a large relic of the True Cross which had been sent to Queen Radegunda by the Emperor Justin II and his Empress Sophia.
Pater, Si, set to music by Heinrich Isaac, derives the melodic material directly from the Gregorian antiphon. In the musical tradition of singing the Passion narratives, as we hear at Mass today, Jesus has the lowest voice. In this motet, which takes the text from Our Lord in the Garden of Gethsemane, the voices are all set lower than an average Communio by Isaac—perhaps as a connection to this tradition.
Heinrich Isaac (c.1450–1517) was a Renaissance composer from the South Netherlandish region. His output was rivaled only by Orlandus Lassus in number and variety of composition. Most notable of his collections is Choralis Constantinus which contains nearly 400 Gregorian chant based motets of propers for the Mass.
Passion Sunday
Processional hymn: How Hast Thou Offended, 836
Recessional hymn: O Sacred Head Surrounded, 837
Kyriale: Mass XVII, 762; Credo VI, 788
Hymn after Offertory: Stabat Mater, Chant Sequence
Communion Motet: Eripe Me, Deus, Orlandus Lassus
The Mass of Seven Sorrows of the Blessed Virgin Mary may be said on the Friday of Passion Week. During the Mass the sequence Stabat Mater is sung prior to the Gospel. This sequence is often used as a devotional hymn for praying the Stations of the Cross and is sung to a simple tune. The chant sung today is the proper chant, which is more ornate and the melody changes every two verses.
Eripe Me, Deus is a three voice Motet set by Orlandus Lassus and setting of the Offertory antiphon for the Monday of Holy Week. The translation is, “Deliver me Lord from my enemies O Lord I have fled to Thee, teach me to do Thy will for Thou art my God.” Psalm 142:9–10
Orlandus Lassus (c.1532–1594) is known for the mature polyphonic style in the Franco-Flemish school. He wrote over 2,000 works in Latin, French, Italian, and German both sacred and secular. Lassus along with Giovanni Pierluigi da Palestrina and Tomás Luis de Victoria are the most influential composers of the late Renaissance.
4th Sunday of Lent (Lætare)
Processional hymn: O Kind Creator, Bow Thine Ear, 832
Recessional hymn: Lift High the Cross, 835
Kyriale: Mass XVII, 762; Credo VI, 788
Offertory Antiphon: Ave Regina Coelorum, Antonio Lotti (1667–1740)
Communion Hymn: Audi Benigne Conditor, Orlandus Lassus
This Sunday’s processional is an English version of the hymn Audi Benigne Conditor. It is the Vespers Hymn during Lent and its Latin text is attributed to Pope St. Gregory the Great (540-604).
Orlandus Lassus set the same text for five voices and divided the motet into two parts. Both parts have two verses from the hymn while omitting the fifth verse. One notable moment in his motet occurs in the second part when the text says, “grant a remedy to the weak” and shifts the harmony on “weak” in a way that draws the ear as it moves a tone down from the key center.
Orlandus Lassus (c.1532–1594) is known for the mature polyphonic style in the Franco-Flemish school. He wrote over 2,000 works in Latin, French, Italian, and German both sacred and secular. Lassus along with Giovanni Pierluigi da Palestrina and Tomás Luis de Victoria are the most influential composers of the late Renaissance.
3rd Sunday of Lent
Processional hymn: Jesus, Meek And Lowly, 833
Recessional hymn: Forty Days and Forty Nights, 829
Kyriale: Mass XVII, 762; Credo VI, 788
Offertory Antiphon: Justitiæ Domine, G.P. Palestrina
Communion Hymn: Surge, Amica Mea, G.M. Asola (ca.1532–1609)
Part of G.P. Palestrina’s prolific compositional output includes the publication, Offertoria totius anni, which contains 68 five-voice choral settings of Offertory Antiphons for Sundays and major feasts. This Sunday’s Offertory is taken from this compilation.
Palestrina uses melodies and harmonies centered in a major key, giving the motet a bright color and conveying the joyful nature of the Psalm. The statutes of the Lord are right, and rejoice the heart his judgments sweeter also than honey, and the honey-comb. For thy servant keeps them. –Psalm 18:9,11-12
G.P. Palestrina (c. 1525–1594) is highly regarded for his contributions of Sacred Polyphony and development of counterpoint in the late 16th Century. In the post-Tridentine period he earned the reputation of the ideal Catholic composer for his success in reconciling the functional and aesthetic aims of Catholic church music. Palestrina wrote over 105 Masses and 250 sacred motets in addition to many other works.
2nd Sunday of Lent
Processional hymn: Lord, Who Throughout These Forty Days, 828
Recessional hymn: Crux Fidelis, 840
Kyriale: Mass XVII, 762; Credo VI, 788
Motet after Offertory: O Domine, Jesu Christe, G.P. Palestrina
Communion Hymn: Attende Domine, Chant arr. Catuí Côrte-Real Suarez
O Domine Jesu Christe is the second verse of a hymn attributed to Pope St. Gregory I (ca. 540–604). The verse was popular among Renaissance composers and there are at least 20 settings including settings by Victoria, Hassler, Guerrero, and two by G.P. Palestrina. The choir this Sunday will sing Palestrina’s setting for four voices which also uses a variation in the last line of text:
Lord Jesus Christ, I worship you, who was wounded on the cross and given gall and vinegar to drink: I pray that your wounds (may be a remedy for my soul.) In the original hymn the last line says: (and your death may give me life.)
G.P. Palestrina (ca. 1525–1594) is highly regarded for his contributions of Sacred Polyphony and development of counterpoint in the late 16th Century. In the post-Tridentine period he earned the reputation of the ideal Catholic composer for his success in reconciling the functional and aesthetic aims of Catholic church music. Palestrina wrote over 105 Masses and 250 sacred motets in addition to many other works.
1st Sunday of Lent
Processional hymn: Forty Days and Forty Nights, 829
Recessional hymn: When I Survey the Wondrous Cross, 838
Kyriale: Mass XVII, 762; Credo VI, 788
Chant after Offertory: Parce, Domine, Gregorian Chant
Marian Antiphon: Ave Regina Cœlorum, Solemn Chant
On Ash Wednesday, Joel 2:17 is sung in the second antiphon during the imposition of ashes. The translation is: Spare, O Lord, spare thy people; and give not thine inheritance to perdition.
The simple chant sung today after the Offertory Antiphon uses the same verse as a refrain which is sung in alternatum with verses from a Lenten hymn attributed to St. Ambrose. The first verse of the hymn says: Let us appease His wrath, Beg for mercy from our Judge; Cry to Him in supplication, Let us all prostrate and say.
A manuscript from the Tours sacramentary—which dates from the 9th Century—illustrates the long association of this verse of scripture being sung during the season of Lent and for penitential occasions.
Quinquagesima
Processional hymn: Soul of My Savior, 938
Recessional hymn: Jesus, My Lord, My God, My All, 899
Kyriale: Mass XI, 740; Credo IV, 780
Offertory Antiphon: Benedictus es Domine, Orlandus Lassus
Chant after Offertory: Ubi Caritas, Chant
Motet at Communion: Anima Christi, Msgr. Marco Frisina (b. 1954)
The Offertory antiphon this Sunday is a choral setting by Orlandus Lassus with text from Psalm 118:12-13: Blessed are You, O Lord; teach me Your statutes. With my lips I declare all the ordinances of Your mouth.
Ubi Caritas is the 8th and final antiphon that is sung during the washing of feet on Holy Thursday. The text of the refrain is: Where charity and love are, there is God. The choir will sing the original Gregorian melody with a choral refrain harmonized by Craig Kingsbury.
The motet after the Communion chant might be the most famous setting of the prayer Anima Christi by Msgr. Marco Frisina. Monsignor’s setting can be accompanied with either strings or organ and alternates full choir with a solo voice.
Orlandus Lassus (c.1532–1594) is known for the mature polyphonic style in the Franco-Flemish school. He wrote over 2,000 works in Latin, French, Italian, and German both sacred and secular. Lassus along with Giovanni Pierluigi da Palestrina and Tomás Luis de Victoria are the most influential composers of the late Renaissance.
Sexagesima
Processional hymn: O God Of Loveliness, 930
Recessional hymn: Faith Of Our Fathers, 928
Kyriale: Mass XI, 740; Credo IV, 780
Marian Antiphon: Ave Regina Cœlorum, Solemn Chant
Communion Antiphon: Introibo Ad, Heinrich Isaac
The communion antiphon set by Heinrich Isaac is taken from Psalm 42(43):4, “And I will go in to the altar of God: to God who giveth joy to my youth.” In this short antiphon he ornaments the Gregorian melody and uses it as the musical foundation in the Soprano and Tenor voices. The schola sings the Gregorian antiphon first and between each iteration of the antiphon, verses from Psalm 42(43) are sung.
Heinrich Isaac (c.1450–1517) was a Renaissance composer from the South Netherlandish region. His output was rivaled only by Orlandus Lassus in number and variety of composition. Most notable of his collections is Choralis Constantinus which contains nearly 400 Gregorian chant based motets of propers for the Mass.
Septuagesima
Processional hymn: Man To Christ's Sacred Wound
Recessional hymn: God of Mercy, God of Grace
Kyriale: Mass XI, 740; Credo IV, 780
Offertory Motet: Bonus Est, G.P. Palestrina (c. 1525–1594)
Hymn at Communion: Adoro Te Devote, Chant harm. Mark Emerson Donnelly (b. 1960)
The offertory motet was composed by G.P. Palestrina (c. 1525–1594) and published in his second anthology of vocal works for ad lib church use. The text is taken from Lamentations 3:25 and Psalm 30:1-2: The Lord is good to those who hope in Him, to the soul that seeks him. In Thee, O Lord, have I hoped, let me never be confounded: deliver me in Thy justice. Bow down thy ear to me: make haste to deliver me. It was written for three voices and repeats for each verse listed above.
G.P. Palestrina (c. 1525–1594) is highly regarded for his contributions of Sacred Polyphony and development of counterpoint in the late 16th Century. In the post-Tridentine period he earned the reputation of the ideal Catholic composer for his success in reconciling the functional and aesthetic aims of Catholic church music. Palestrina wrote over 105 Masses and 250 sacred motets in addition to many other works.
3rd Sunday After Epiphany
Processional hymn: O Lord, I Am Not Worthy, 902
Recessional hymn: As With Gladness Men of Old, 819
Credo IV, 780, Kyriale IV, 710
Marian Antiphon: Alma Redemptoris Mater, Solemn Chant
Communion Antiphon: Miribantur Omnes, Heinrich Isaac
The communion antiphon set by Heinrich Isaac is taken from the Gospel of Luke 4:22, “They were all amazed at the things which proceeded from the mouth of God.” The motet is taken from his famous Choralis Constantinus, which is a collection of choral settings of the proper chants of the Mass.
Heinrich Isaac (c.1450–1517) was a Renaissance composer from the South Netherlandish region. His output was rivaled only by Orlandus Lassus in number and variety of composition. Most notable of his collections is Choralis Constantinus which contains nearly 400 Gregorian chant based motets of propers for the Mass.
2nd Sunday After Epiphany
Processional hymn: Praise to the Lord, 927
Recessional hymn: Come Down, O Love Divine, 887
Credo IV, 780, Kyriale IV, 710
Offertory motet: Alma Redemptoris Mater, GP Palestrina (c. 1547–1580)
Communion motet: O Admirabile Commercium, Fabio Constantini (c. 1575–1644)
O Admirabile Commercium, is a motet by Fabio Constantini and setting of the first Antiphon from Vespers on the Octave of Christmas. The translation is: O admirable exchange: the creator of human-kind, taking on a living body was worthy to be born of a virgin, and, coming forth as a human without seed, has given us his deity in abundance.
Fabio Constantini (c. 1575–1644) was an Italian music editor and composer. He sang under Palestrina at St Peter’s, Rome (until 1610), and held posts as maestro di cappella, notably at Orvieto Cathedral (1610-14, 1618-22), Santa Casa, Loreto, Ancona and Ferrara Cathedral.
Holy Family of Jesus, Mary, and Joseph
Processional hymn: Once in Royal David’s City, 818
Recessional hymn: What Child Is This, 821
Credo IV, 780
Kyriale: Missa Quaeramus cum pastoribus, a5, Cristóbal de Morales (c. 1500–1553)
Offertory motet: Gaude Joseph, Chant
Communion motet: O Jesu mi Dulcissime, a8, Giovanni Croce (c. 1558–1609)
The motet sung at communion, O Jesu mi Dulcissime, is a double choir work composed by Giovanni Croce. The Cathedral of St. Mark’s in Venice, where Croce served, has maintained a strong musical tradition since the Renaissance. One favored technique was the use of cori spezzati. where multiple choirs sing the same motet but in different areas of the church. The communion motet will be sung by our choir split into two groups on either side of the choir loft.
Giovanni Croce (c. 1558–1609) was an Italian priest and composer of the late Renaissance from Venice and contemporary of Monteverdi and Andrea Gabrieli. He was ordained to the priesthood in 1585. He was appointed to the prestigious position of maestro di cappella at the famous St. Mark's cathedral from 1603 until his death.
Sunday in the Octave of Christmas
Processional hymn: God Rest You Merry, Gentlemen, 807
Recessional hymn: Angels We Have Heard On High, 812
Credo IV, 780
Hymn of Thanksgiving: Te Deum, Simple Tone
Kyriale: Missa Quaeramus cum pastoribus, a5, Cristóbal de Morales (c. 1500–1553)
Offertory motet: O Magnum Mysterium, Johann Stadlmayr (c. 1580–1648)
Communion motet: Quaeramus cum pastoribus, Jean Mouton (c.1459–1522)
The Kyriale offered by the choir for the Christmas season is one composed by Cristóbal de Morales and is a parody Mass based off of the motet sung at communion by Jean Mouton. The text for Quaeramus cum pastoribus is of uncertain origin, apparently first being used by Mouton. This setting became so popular is has been found not only in the Vatican and throughout Europe, but even in Guatamalan churches.
Cristóbal de Morales (c.1500–1553) was an organist and composer regarded as the first Spanish composer of international renown. He sang and composed for the Papal choir in Rome for which he wrote many Mass settings. His compositions consist almost entirely of sacred vocal motets.
Vigil of Christmas
Processional hymn: O Come, O Come, Emmanuel, 796
Recessional hymn: Come, Thou Long-Expected Jesus, 801
Kyriale: Mass XVII, 762; Credo IV, 780
Offertory antiphon: Tollite portas, Giovanni Battista Martini (1706–1784)
Marian antiphon: Alma Redemptoris Mater, Solemn Tone
Communion antiphon: Revelabitur, Johann Joseph Fux (c.1660–1741)
Today’s propers focus intently in anticipation of tomorrow’s solemn feast. The communion antiphon is set by Johann Joseph Fux with the text taken from Isaiah 40:5: “The Glory of the Lord shall be revealed; and all flesh shall see the salvation of our God.” Fux staggers each voice’s entrance and when the fourth voice joins, the lower three voices unite rhythmically to convey the idea of revealing the Lord’s glory. He concludes the motet on the dominant chord, which has a sense of expectation rather than resolution.
Johann Joseph Fux (c.1660–1741) was an Austrian composer, music theorist and pedagogue of the late Baroque era. His most enduring work is his treatise on counterpoint, Gradus ad Parnassum, which has become the single most influential book on the Palestrinian style of Renaissance polyphony. His work greatly influenced composers such as Haydn, Beethoven, and Mozart.
3rd Sunday of Advent
Processional hymn: Savior of the Nations Come, 798
Recessional hymn: On Jordan’s Bank, 800
Kyriale: Mass XVII, 762; Credo IV, 780
Offertory: Ostende nobis Domine, Nicholas Lemme (b. 1978)
Hymn during communion: Veni, Veni, Emmanuel, Christoph Dalitz (b. 1993)
In 1935 Karl Ott published the Offertoriale, which is a book that provides verses for the offertory chants of Sundays and Feasts throughout the year which are not otherwise provided in schola chant scores. This Sunday, the offertory antiphon will be chanted and the verse is a new composition by Nicholas Lemme set for three part men’s voices. Lemme’s setting is anchored on two notes which are repeated often in the verse and droned as the original chant melody returns at the end. The text is from Psalm 84:8, “Show us Lord, your mercy and grant us Thy salvation.”
Nicholas Lemme (b. 1978) is a composer, singer, and professor of music based in Lincoln, NE. Mr. Lemme teaches sacred polyphony, and voice at Our Lady of Guadalupe Seminary, FSSP, Denton, NE and holds the position of Choir Master at St. Francis of Assisi Oratory, Lincoln, NE.
2nd Sunday of Advent
Processional hymn: Creator of the Stars of Night, 799
Recessional hymn: Hark! A Herald Voice is Calling, 795
Kyriale: Mass XVII, 762; Credo IV, 780
Motet at Offertory: Conditor Alme Siderum, Guillaume Dufay
Communion Antiphon: Jerusalem Surge, Heinrich Isaac (c.1450–1517)
The Vespers hymn for Advent, Conditor alme siderum, dates to the 7th-century. It alludes both to Christ’s coming at Christmas for our salvation, and to His final return in glory. Sunday’s Mass will include the English chanted version for the procession and one of the earliest choral settings by Guillaume Dufay. Dufay’s compositions often use the technique of fauxbordon, where the original melody is retained with some embellishment while the other voices harmonize in a fixed parallel structure.
Guillaume Dufay (c. 1397–1474) was a priest, composer, and music theorist of early Renaissance music, who is variously described as French or Franco-Flemish. He was ordained to the priesthood in 1428 and spent his life directing and composing for papal and cathedral choirs. Dufay was among the most influential composers of the fifteenth century, and his music was copied, distributed and sung everywhere that polyphony had taken root.
1st Sunday of Advent
Processional hymn: Savior of the Nations Come, 798
Recessional hymn: Come, Thou Long-Expected Jesus, 801
Kyriale: Mass XVII, 762; Credo IV, 780
Motet after Offertory: Alma Redemptoris Mater, G.P. Palestrina
Communion antiphon: Rorate Cœli De Super, Christoph Dalitz (b. 1967)
During Advent and Christmastide until February 2 the proper Marian antiphon sung at compline and for other occasions is Alma Redemptoris Mater. G.P. Palestrina set this text three times and this Sunday the choir will sing one version set for double choir. This motet is one of Palestrina’s most famous aside from Sicut Cervus and Jesu Rex. The motet begins with the incipit from the simple chant and the full choir continues from “redemptoris…” Unlike his other settings, this composition is entirely original in melody and has a mostly homophonic texture. This means that the choir moves mostly together rhythmically instead of as individual voices.
G.P. Palestrina (c. 1525–1594) is highly regarded for his contributions of Sacred Polyphony and development of counterpoint in the late 16th Century. In the post-Tridentine period he earned the reputation of the ideal Catholic composer for his success in reconciling the functional and aesthetic aims of Catholic church music. Palestrina wrote over 105 Masses and 250 sacred motets in addition to many other works.
24th & Last Sunday After Pentecost
Processional hymn: O God, Almighty Father, 877
Recessional hymn: Holy God, We Praise Thy Name, 881
Kyriale: Mass XI, 740; Credo III, 776
Offertory Antiphon: De Profundis, Estêvão Lopes Morago
Communion Antiphon: Amen, Dico Vobis, John Mason
De Profundis is the Offertory Antiphon which repeats for the final Sundays after Pentecost. The text is from the beginning two verses of Psalm 129 and today’s setting is composed by Estêvão Lopes Morago. Though the motet does not have overt rhythmic or harmonic complexities, it conveys the message of the Psalm effectively by other means. One technique Morago employs is that each time a voice sings clamavi (cry) a neighboring voice sings the same phrase a little higher or stronger. Another intriguing aspect of the composition is how even though it does not use any melody from the Gregorian Antiphon, it is clearly in the same ancient melodic mode as the original chant.
Estêvão Lopes Morago (c.1575–c.1630) was a Spanish-born composer who studied, lived, worked and died in Portugal. He was a canon and choirmaster of Viseu Cathedral. Morago composed motets, responsories, psalms, Magnificats, and a Requiem. His work is considered to be highly innovative in the Iberian Peninsula.
6th Resumed Sunday After Epiphany
Processional hymn: Praise to the Holiest In the Height, 922
Recessional hymn: Now Thank We All Our God, 937
Kyriale: Mass XI, 740; Credo III, 776
Antiphon after Offertory: Ubi Caritas, Chant harmonized by Craig Kingsbury (b. 1952)
Communion Antiphon: Amen, Dico Vobis, John Mason
The chant Ubi Caritas is the 8th and final antiphon that is sung during the washing of feet on Holy Thursday. The text of the refrain is: Where charity and love are, there is God. The choir will sing the original Gregorian melody with a choral refrain harmonized by Craig Kingsbury.
This Sunday’s setting of Amen, Dico Vobis is a world premier written by John Mason, a composer who is a member of the St. Lawrence Choir. The text of this antiphon is from Mark’s Gospel 11:24: Amen, I say to you, whatsoever you ask when you pray, believe that you shall receive, and it shall be done to you. The antiphon is alternated with Psalm 130 and followed by a Gloria Patri.
5th Resumed Sunday After Epiphany
Processional hymn: Hearken, Shepherd of the Sheep, 873
Recessional hymn: All People That On Earth Do Dwell, 925
Kyriale: Mass XI, 740; Credo III, 776
Motet after Offertory: Sicut Cervus, G.P. Palestrina (c. 1525–1594)
Communion antiphon: Amen, dico vobis, Heinrich Isaac (c. 1450–1517)
The motet Sicut Cervus by G.P. Palestrina is one of his most well known works and is regarded as the culminating example of Sacred Roman Polyphony. The text is taken from Psalm 41: As a deer longs for flowing streams, so my soul longs for you, O God.
Though many recordings and performances end with the first verse, Palestrina composed an entire second part that includes verses 2 and 3 from the same Psalm: My soul thirsts for God, the living God. When can I enter and see the face of God? My tears have been my bread day and night, as they ask me every day, “Where is your God?
G.P. Palestrina (c. 1525–1594) is highly regarded for his contributions of Sacred Polyphony and development of counterpoint in the late 16th Century. In the post-Tridentine period he earned the reputation of the ideal Catholic composer for his success in reconciling the functional and aesthetic aims of Catholic church music. Palestrina wrote over 105 Masses and 250 sacred motets in addition to many other works.
23rd Sunday After Pentecost
Processional hymn: The King of Love, My Shepherd Is, 874
Recessional hymn: O Jesus Christ, Remember, 941
Kyriale: Mass XI, 740; Credo III, 776
Hymn at the offertory: Adoremus in æternum, Gregorio Allegri
Hymn at communion: Ave Verum Corpus, Chant
Adoremus in æternum is the hymn commonly sung following Benediction. Gregorio Allegri set the hymn refrain for four voices and alternates with plainchant for the verses and doxology (invocation of the Holy Trinity, i.e. Gloria Patri). The text of the refrain is: “Let us adore for ever the most holy Sacrament.”
The prayer Ave Verum Corpus is a short Eucharistic hymn dating from the 14th century and attributed to Pope Innocent VI (d. 1362). During the Middle Ages the prayer was sung at the elevation during the consecration at Mass.
Gregorio Allegri (c.1582–1652) was an Italian composer and vocalist. His compositions garnered the attention of Pope Urban VIII who appointed Allegri as a singer for the Sistine Chapel Choir in 1629. Among his published work, his setting of Miserere Mei (Psalm 50) is the most famous and is still sung at the Vatican every year.