21st Sunday after Pentecost 2025
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 Motet: Vir erat in terra Hus, G.P. Palestrina
Hymn at Communion: Ave Maria, Virgo Serena, Chant Sequence
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.
The chant sequence Ave Maria, Virgo Serena was originally composed for the feast of the Annunciation, and was moved to ad libitum chants after the Council of Trent. The text highlights major events in the life of the Blessed Virgin Mary. It also inspired three major compositions in the late 1400s, most notably a setting by Josquin des Prez.
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.
Christ the King 2025
Processional hymn: Crown Him with Many Crowns, 858
Recessional: Christus Vincit, Chant
Credo IV, 780; Kyriale: III, 705
Motet at Offertory: Rex gloriose martyrum, Tomás Luis de Victoria
Motet at Communion: Ave Maria, a5, G.P. Palestrina (1525–1585)
The Motet sung during the offertory is a setting of a hymn by Tomás Luis de Victoria. He composed the even verses of this hymn alternating with the ancient chant melody for the odd verses. During verse two, the Tenor voice retains the Gregorian melody in long tones, known also as the cantus firmus. 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; Victoria used this exact same verse in his setting of the Easter hymn Ad Cenam Agni Providi.
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.
19th Sunday after Pentecost 2025
Processional hymn: On This Day, the First of Days, 945
Recessional hymn: My God, Accept My Heart This Day, 942
Kyriale: Mass IX, 731; Credo IV, 780
Motet at the offertory: Ametur, a3, Fr. Tom Luby, MSC
Hymn at communion: Salve Mater, Carmelite Chant, arr. Paul Thomas May
Salve Mater is a hymn composed in the 11th century and exemplifies Mary’s role as Mother of all Christians. The hymn is structured with a refrain and verses. In today’s chant, the refrain was harmonized by St. Lawrence’s Music Director. Text of the refrain: Hail, Mother of mercy, Mother of God and Mother of pardon, Mother of hope and Mother of grace, Mother, full of holy gladness. O Mary!
Ametur, a3 was written by Fr. Tom Luby, who was a member of the Missionaries of the Sacred Heart. This three part motet is a setting of the Missionaries’s motto, “May the Sacred Heart of Jesus be loved everywhere!”
External Solemnity of the Motherhood of the Blessed Virgin Mary 2025
Processional hymn: O Glorious Maid, Exalted Far, 911
Recessional hymn: Maiden, Yet A Mother, 913
Kyriale: Mass IX, 731; Credo IV, 780
Motet at the offertory: Ave Maria, Reverend Jean Mouton
Hymn at the communion: Dixit Maria, Hans Leo Hassler (1564-1612)
This past Saturday was the feast of the Motherhood of the Blessed Virgin Mary and is again celebrated this Sunday as an External Solemnity for the Sung Mass. There are plentiful settings of the Ave Maria but today’s setting by Reverend Jean Mouton uses some notable variations to this perennial prayer. It begins with Hail Mary the Lord is with thee, as normal then adds, in your heart, and in your womb. Mouton lived prior to the Council of Trent, and as such the latter invocation had not become standard to the prayer. Yet in this setting to the final portion of the composition he adds, O Mary, bearer of God, pray for us.
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.
External Solemnity of Our Lady of the Rosary 2025
Processional hymn: O Sanctissima, 915
Recessional hymn: Daily, Daily, Sing of Mary, 912
Kyriale: Mass IX, 731; Credo IV, 780
Hymn at the offertory: Te gestiéntem gáudiis, Chant
Motet during communion: Ave Maria, a5, G.P. Palestrina (1525–1585)
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 (1695-1779) 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.