External Solemnity of Corpus Christi 2026
Processional hymn: Let All Mortal Flesh Keep Silence, 900
Hymn of Thanksgiving: Adoremus in Æternum, 970
Kyriale: III, 705; Credo: II, 772
Motet at Offertory: Ave Verum Corpus, William Byrd
Communion Motet: Qui Manducat, Heinrich Isaac (c.1450–1517)
Communion Motet: O Sacrum Convivium, Jacques Arcadelt (1507–1568)
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. Next to Mozart, the setting by William Byrd is perhaps the most famous setting of the Eucharistic themed text. In his setting, Byrd doubles the latter portion of the prayer which says: “O sweet, O gentle, O Jesus, son of Mary, have mercy on me.”
William Byrd (c. 1543–1623) became Catholic in the 1570s and he composed much music for the church against government ordinances. In 1605 the first volume of the Gradualia, which are settings of the propers of the Mass, was banned in England under penalty of imprisonment along with all of his Catholic music. By the time of his death he was seen favorably as a composer by both Anglican and Catholic alike.
Trinity Sunday 2026
Processional hymn: Holy, Holy, Holy, 929
Recessional hymn: O God, Almighty Father, 977
Kyriale: III, 705; Credo I, 768
Responsory: Tibi laus, Orlandus Lassus
Communion antiphon: Benedicimus Deum, John Mason
The responsory Tibi Laus by Orlandus Lassus will be sung after the Offertory chant. Those who have assisted at Tenebræ will recall that office is a combination of Matins and Lauds which are the first two hours of the Divine Office. During Matins, each of the nine readings are followed by a responsory. Tibi Laus is the refrain portion of the fifth Responsory from Matins today. The responsory is usually in two parts: a respond (or refrain) which is often split in two, and a verse. In the second half of Lassus’s setting, the words O beáta Trinitas are sung three times with three of the four voices in rhythmic unison which emphasizes the “three in one.”
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.
Pentecost 2026
Processional: Thy Grace, O Holy Ghost, Impart, 885
Hymn to the Holy Ghost: Veni Creator Spiritus, 956
Recessional hymn: Come Down, O Love Divine, 887
Kyriale: I, 696; Credo: I, 768
Offertory motet: Domus Mea, Jacobus Gallus
Communion antiphon: Factus Est Repente, Jacobus Gallus
Both motets sung by the choir this Sunday are by the composer Jacobus Gallus. The work Domus Mea at the offertory was composed as the communion antiphon for the dedication of a church while Factus Est Repente is the proper communion antiphon for the feast of Pentecost. Gallus’s setting retains the large leap from the Gregorian antiphon which illustrates the rushing wind along with energetic off beat rhythms. The final alleluias in the communio give a sense of stability and finality to the bright and lively texture in this work.
Jacobus Gallus (1550–1591), was a late-Renaissance composer of presumed Slovene ethnicity. Born in Carniola, which at the time was one of the Habsburg lands in the Holy Roman Empire, he lived and worked in Moravia and Bohemia during the last decade of his life. His output was both sacred and secular, and hugely prolific: over 500 works have been attributed to him.
Sunday after Ascension 2026
Processional hymn: Hail The Day That Sees Him Rise, 852
Recessional hymn: Alleluia, Sing to Jesus, 936
Kyriale: Mass I, 696; Creed I, 768
Offertory Antiphon: Ascendit Deus, Christoph Dalitz (b.1967)
Hymn after Offertory: Salva Festa Dies, Chant
Communion hymn: Jesu nostra redemptio, Rev. Tomás Luis de Victoria
The hymn after the communion antiphon this week is another setting from Rev. Tomás Luis de Victoria. The text is from an older form of the Vespers hymn during Ascensiontide. As with the Easter hymn setting, the Gregorian melody is sung for the odd verses and the even are through composed. For 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.
Reverend 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 2026
Processional hymn: Be Joyful Mary, Heavenly Queen, 847
Recessional hymn: All Creatures of Our God and King, 921
Kyriale: Mass I, 696; Credo I, 768
Offertory antiphon: Benedicite Gentes, Orlandus Lassus (c.1532–1594)
Marian antiphon: Regina Cœli, Solemn chant
Communion motet: Cantate Domino, Giuseppe Ottavio Pitoni
The motet Cantate Domino is a setting of Psalm 149:1–2 by Baroque Italian composer Giuseppe Ottavio Pitoni. O sing unto the Lord a new song: let the congregation of saints praise him. Let Israel rejoice in him that made him: and let the children of Sion be joyful in their King. 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. This form allows for restating of the initial text and for contrast in dynamic (how strong or quiet the music becomes).
Giuseppe Ottavio Pitoni (1657–1743) was an Italian vocalist, organist and composer. He studied voice from the age of five and became a maestro di cappella (choirmaster) at Santa Maria Maggiore, Monterotondo, a historic church near Rome by sixteen. Pitoni held director positions at many parishes in Rome and was a prominent church musician during the late Baroque era.