Quinquagesima 2026
Processional hymn: Soul of My Savior, 938
Recessional hymn: Jesus, My Lord, My God, My All, 899
Kyriale: Mass XI, 740; Credo III, 776
Offertory Antiphon: Benedictus es Domine, Orlandus Lassus
Marian Chant following Offertory: Memorare, Plainchant
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.
The motet after the communion chant is perhaps 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 2026
Processional hymn: O God Of Loveliness, 930
Recessional hymn: O Thou the Martyrs’ Glorious King, 872
Kyriale: Mass XI, 740; Credo III, 776
Antiphon after Offertory: Ubi Caritas, Chant
Communion Antiphon: Introibo Ad, Heinrich Isaac
The communion antiphon is another set by Heinrich Isaac from his Choralis Constantinus. The antiphon’s text 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 Sunday 2026
Processional hymn: Man To Christ’s Sacred Wound, 827
Recessional hymn: As With Gladness Men of Old, 819
Kyriale: Mass XI, 740; Credo III, 776
Offertory Motet: Bonus Est, G.P. Palestrina (c. 1525–1594)
Motet at Communion: Simile est regnum, Cristóbal de Morales
The Gospel for Septuagesima Sunday is from Matthew 20 where Our Lord imparts the parable of the vineyard laborers. Cristóbal de Morales set this parable to music and it was published while he directed music at the Cathedral in Toledo near the end of his life. The motet is in two parts, and the first part ends with a very dramatic rendering of verse four: the music has a grand pause and strong tutti entrance on, “Go ye into the vineyard…” Morales skips over a few verses and finishes the second part with the end of the parable, “…many be called, but few chosen.”
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 wrote many Mass settings. His compositions consist almost entirely of sacred vocal motets.
3rd Sunday after Epiphany 2026
Processional hymn: O Lord, I Am Not Worthy, 902
Recessional hymn: As With Gladness Men of Old, 819
Credo III, 776
Kyriale: Missa Quaeramus cum Pastoribus, Cristóbal de Morales (c.1500–1553)
Offertory Antiphon: Dextera Domini, Orlandus Lassus
Offertory Motet: Tota Pulchra Es, Rev. Jean Mouton (c. 1459–1522)
Communion Antiphon: Miribantur Omnes, A. Jones
This Sunday’s propers are one of two sets that repeat each Sunday until the liturgical season changes. Both the Offertory and Communion antiphons will be sung as choral settings. The original chant for Dextera Domini is in mode 2 and Orlandus Lassus uses the original mode for his composition while composing entirely original music for the antiphon. The setting of Mirabantur Omnes is a composition created by a member of the choir.
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.
2nd Sunday after Epiphany 2026
Processional hymn: Praise to the Lord, 927
Recessional hymn: Come Down, O Love Divine, 887
Credo III, 776
Kyriale: Missa Quaeramus cum pastoribus, Cristóbal de Morales (c.1500–1553)
Marian Antiphon: Alma Redemptoris Mater, Solemn Chant
Communion antiphon: Dicit Dominus, Heinrich Isaac
The communion antiphon for this Sunday’s Mass is set by Heinrich Isaac and is taken from the Gospel of John describing Our Lord’s first public miracle. Isaac has the soprano voice sing a stylized version of the Gregorian melody sometimes in canon with the tenor. He deviates from this structure during the passage where the chief steward proclaims they have kept the good wine until now; Isaac musically ornaments this in two voices with many moving notes.
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.