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.