Holy Name of Jesus 2026
Processional hymn: Songs of Thankfulness and Praise, 820
Recessional hymn: Joy to the World, 806
Credo III, 776
Kyriale: Missa Quaeramus cum pastoribus, Cristóbal de Morales (c.1500–1553)
Motet after Offertory: In Nomine Jesu, Jacobus Gallus
Motet at Communion: Jesu Dulcis Memoria, Cornelius Schmuck (1814–1903)
Both choral selections focus on the feast celebrates this Sunday of the Holy Name. Jesu, Dulcis Memoria is a celebrated 12th century hymn attributed to St. Bernard of Clairvaux. The entire hymn has some 42 to 53 stanzas depending upon the manuscript and five verses were chosen for the Vespers hymn of this feast. In Nomine Jesu is a simple setting of the introit by Jacobus Gallus. The introit is shared with the Wednesday of Holy Week with some alterations to the text most notably the Holy Name present in the opening incipit.
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 in the Octave of Christmas, 2025
Processional hymn: God Rest You Merry, Gentlemen, 807
Recessional hymn: Angels We Have Heard On High, 812
Credo III, 776
Kyriale: Missa Quaeramus cum pastoribus, Cristóbal de Morales (c.1500–1553)
Marian Antiphon: Alma Redemptoris Mater, G.P. Palestrina (1525–1585)
Communion motet: Quaeramus cum pastoribus, Reverend Jean Mouton
The text for Quaeramus cum pastoribus—most famously set by Reverend Jean Mouton—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. The poem has four distinct sections punctuated with the refrain of Noe or Noel meaning Christmas and it draws attention to the stable, shepherds, and the conditions Our Lord was in when He was first born. Mouton’s motet also inspired the polyphonic setting of the Mass set by Cristóbal de Morales and sung today.
Reverend Jean Mouton (c. 1459–1522) was a French priest and composer of the Renaissance. He was famous both for his motets, which are among the most refined of the time, and for being the teacher of the famous composer Adrian Willaert, one of the founders of the Venetian School. Over 100 of his compositions survive today and Pope Leo X rewarded him with the honorary title, apostolic notary on the occasion of a motet he composed for the pope in 1515.
4th Sunday of Advent 2025
Processional hymn: O Mother Blest, the Chosen Shrine, 914
Recessional hymn: O Come, O Come Emmanuel, 797
Kyriale: Mass XVII, 762; Credo III, 776
Hymn at Offertory: Rorate Cœli De Super, Christoph Dalitz (b. 1967)
Communion antiphon: Ecce Virgo, Johann Joseph Fux
Three of this Sunday’s propers are shared in common with the Mass in honor of the Blessed Virgin called Rorate—which is the first word of the introit for both Masses. This Marian theme is present in the communion antiphon with the text taken from Isaiah 7:14 and Matthew 1:23: Behold, a virgin shall conceive and bear a son, and shall call his name Emmanuel. Johann Joseph Fux sets this antiphon chorally and staggers each voice’s entrance delaying a strong cadence until all meet on Emmanuel which gives a clear contrast from the music that precedes it and draws attention to the name of the Lord.
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 2025
Processional hymn: Savior of the Nations, Come, 798
Recessional hymn: On Jordan’s Bank, 800
Credo III, 776; Kyriale XVII, 762
Offertory Antiphon: Ostende nobis Domine, Nicholas Lemme (b. 1978)
Communion motet: Veni Redemptor Gentium, Cristóbal de Morales
The hymn Veni, redemptor gentium was composed by St. Ambrose of Milan and two stanzas were set to music by Cristóbal de Morales. Only partial manuscripts remain for Morales’s setting and the score sung today was reconstructed by the chair of Boston College’s Music Department, Dr. Michael Noone. Some religious orders use the hymn during Christmastide while many areas in Germany traditionally sing it during Advent. The English-poetic translation of this hymn is this Sunday’s processional hymn, Savior of the Nations, Come.
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.
2nd Sunday of Advent 2025
Processional hymn: Creator of the Stars of Night, 799
Recessional hymn: Hark! A Herald Voice is Calling, 795
Kyriale: Mass XVII, 762; Credo III, 776
Motet at Offertory: Conditor Alme Siderum, Rev. 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 Rev. 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.
Reverend 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.