Notes About The Music

21st Sunday after Pentecost 2026

Processional hymn: O Jesus Christ Remember, 941
Recessional hymn: O God Our Help in Ages Past, 923
Kyriale: Mass XI, 740; Credo IV, 780

Offertory antiphon: Vir erat in terra Hus, G.P. Palestrina
Communion antiphon: In Salutari, Heinrich Isaac (c.1450–1517)

Two of the proper chants for this Sunday’s Mass will be sung chorally. In 1593, G.P. Palestrina published 68 five voice settings of offertory texts for Sundays and major feasts during the church year. This Sunday’s offertory, which is from that publication set, is a setting from the beginning of the book of Job.

Heinrich Isaac’s communion settings are almost entirely inspired by the original Gregorian chant and often at least one voice is given that melody while the other voices work to compliment that music. By contrast, Palestrina’s offertory settings are entirely original and often features variants of “text painting” where he will compose the music to evoke the text in a heightened way. 

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.

External Solemnity of Our Lady of the Rosary, 2026 

Processional hymn: O Sanctissima, 915
Recessional hymn: Daily, Daily Sing to Mary, 912
Kyriale: Mass XI, 740; Credo IV, 780

Hymn at offertory: Te gestiéntem gáudiis, Chant
Marian Antiphon: Salve Regina, Rev. Francesco Soriano (c.1548–1621)

There are four hymns which were assigned for the Divine Office on the Feast of the Holy Rosary by Pope Leo XIII in 1888. Originally composed by Fr. Augustine Thomas Ricchini, OP for the Dominican breviary, the subject of all four hymns are the fifteen mysteries of the Holy Rosary. The first three hymns deal with each set of Mysteries: the Joyous, the Sorrowful, and the Glorious. The fourth hymn which will be sung at Sunday’s Mass, Te gestiéntem gáudiis, is a short summary of the first three hymns. The melody for these hymns is also used for many different texts on feasts of the Blessed Virgin; one of the most famous texts being Maria Mater Gratiae.

Fr. Augustine Thomas Ricchini, OP (1695-1779) was a native of Cremona, Italy, he held several ecclesiastical offices and was a friend of Pope Benedict XIV. Father first held the office of the Secretary of the Congregation of the Index, and then was the Master of the Sacred Palace. He was also an adviser to the Master General of the Dominicans from 1759 to 1778.

18th Sunday after Pentecost

Processional hymn: All Ye Who Seek A Comfort Sure, 862
Recessional hymn: Let All Mortal Flesh Keep Silence, 900
Kyriale: Mass IX, 740; Credo IV, 780

Chant at Offertory: Ubi Caritas, Chant harmonized by Craig Kingsbury (b. 1952)
Motet at Communion: Da Pacem Domine, Costanzo Festa (c. 1490–1545)

The words for the votive antiphon for peace Da Pacem, Domine dates from the 6th or 7th century and is based on biblical verses 2 Kings 20:19, 2 Chronicles 20:12,15 and Psalms 72:6–7. The first words of the antiphon are shared in common with the Introit for this Sunday’s Mass: Grant peace, Lord, in our time; for there is none else who would fight for us if not you, our God. Costanzo Festa sets this antiphon for four voices retaining the Gregorian melody as a Cantus Firmus in the Tenor voice and in canon with the Bass voice.

Costanzo Festa (c. 1490–1545) was the first Italian polyphonic composer of international renown. Festa was one of only a few Italians in the Papal Choir during his generation and was hailed as, “a most excellent musician and eminent singer” by Pope Paul III. His compositional style focused less on imitation and complex counterpoint for its own sake, and often wrote purely homophonic passages.

17th Sunday after Pentecost 2026 

 Processional hymn: The Seven Sorrows of Our Lady, 917
Recessional hymn: Remember Me Before the Lord, 918
Kyriale: Mass XI, 740; Credo IV, 780

Hymn at Offertory: Stabat Mater, Chant Sequence
Motet at Communion: Ave Maris Stella, Rev. Guillaume Dufay

The month of September is dedicated to the Seven Sorrows of the Blessed Virgin Mary, and the feast itself was this past Friday. During the Mass the sequence Stabat Mater is said prior to the Gospel. This sequence is often used as a devotional hymn for praying the stations of the cross and is sung to a simple tune. The chant sung today, which is the proper chant, is more ornate and the melody changes every two verses. 

The Vespers hymn for many feasts of the Blessed Virgin is Ave Maris Stella, which dates to the 9th-century and sung today is a setting by Reverend Tomás Luis de Victoria. As is common for his hymn settings, he composed alternating verses and retained a ornamented version of the melody as the foundation for the polyphony.

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.