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.
4th Sunday after Easter 2026
Processional hymn: Christ the Lord is Ris’n Again, 846
Recessional hymn: Praise, My Soul, the King of Heaven, 933
Kyriale: Mass I, 696; Creed I, 768
Marian Antiphon: Regina Cœli, Antonio Lotti
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.
Antonio Lotti (1667–1740) was an Italian composer who spent is musical career at St. Mark’s in Venice working his way from a staff singer to organist and eventually choirmaster. His music was renowned in his own time as Johann Sebastian Bach, George Frideric Handel, and Jan Dismas Zelenka were all documented to have copies of Lotti’s Missa Sapientiae.
3rd Sunday after Easter 2026
Processional hymn: Come, Ye Faithful, Raise the Strain, 844
Recessional hymn: At the Lamb’s High Feast We Sing, 848
Kyriale: Mass I, 696; Credo I, 768
Hymn at the offertory: Exsultemus et laetemur hodie, Chant
Hymn at communion: Ad cænam agni providi, Rev. Thomás Luis de Victoria
Ad Cænam Agni Providi by Rev. Thomás Luis de Victoria is a setting of the Vespers hymn during Eastertide dating back to the 500s. An English version of this hymn will be sung at the recession for Sunday. 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. 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. This final verse in it’s entirety is shared with Rex gloriose martyrum, his setting for Martyr’s feasts.
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.
2nd Sunday after Easter 2026
Processional Hymn: On This Day, the First of Days, 945
Recessional hymn: The King of Love, My Shepherd Is, 874
Kyriale: I, 696; Credo I, 768
Offertory Motet: O quam metuendus est, Tomás Luis de Victoria
Communion Antiphon: Ego Sum Pastor, Heinrich Isaac (c.1450–1517)
The motet O quam metuendus est by Tomás Luis de Victoria is a setting of the Magnificat antiphon for the day of the dedication of a church. Monday, April 20th marks the 108th anniversary of St. Lawrence’s dedication and that antiphon will be sung during Vespers. 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.