1st Sunday of Advent 2025
Processional hymn: The Almighty King of All Men Born, 802
Recessional hymn: Come, Thou Long Expected Jesus, 801
Credo III, 776; Kyriale XVII, 762
Offertory antiphon: Ad Te Levavi, Reverend Franz Xaver Witt (1834–1888)
Communion antiphon: Dominus Dabit, Heinrich Isaac
The offertory this Sunday will be sung as a choral setting by Reverend Franz Xaver Witt with a verse taken from the Offertoriale which–as mentioned last week–provides an elongation of the offertory antiphon by composing music for the verses which follow from the prescribed text.
Similarly, the communion antiphon will be sung chorally set to music by Heinrich Isaac. This setting differs from Isaac’s normative style as he sets all the voices to sing collectively for the whole antiphon with no rhythmic variations or independent melodies.
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.
24th & Final Sunday after Pentecost 2025
Processional hymn: O God, Almighty Father, 877
Recessional hymn: Holy God, We Praise Thy Name, 881
Kyriale: Mass XI, 740; Credo IV, 780
Communion Antiphon: Amen, Dico Vobis, John Mason
In 1935 Karl Ott published the Offertoriale, which is a book that provides verses for the offertory chants of Sundays and Feasts throughout the year which are not otherwise provided in schola chant scores. When the verses are used, the offertory resembles the form of a responsory where a marked section is repeated rather than singing the entire antiphon from the beginning. This type of chant is most often used in the Office of Matins following the lessons.
For this Sunday’s offertory, which is from Psalm 130, the respond is: Out of the depths have I cried unto thee, O Lord.
Additional verse 1: Lord, hear my voice: let thine ears be attentive to the voice of my supplications.
Additional verse 2: If thou, Lord, shouldest mark iniquities, O Lord, who shall stand?
23rd Sunday after Pentecost
Processional hymn: Hearken, Shepherd of the Sheep, 873
Recessional hymn: The King of Love, My Shepherd Is, 874
Kyriale: Mass XI, 740; Credo IV, 780
Hymn after Offertory: Languentibus in Purgatorio, chant
Communion Antiphon: Amen, Dico Vobis, Heinrich Isaac
The hymn Languentibus in Purgatorio is an excerpt from a fifty stanza poem—each ending with O Mary—attributed to Dom Juan IV de Langoueznou, abbot of the Benedictine monastery of Landevenec in the mid-fourteenth century. The chant sung at Mass only has seven verses from the greater work. Here is the first verse translated to English: The suffering souls in Purgatory, Who are being purified in excessive heat, And are tormented by severe punishment, Assist them, in your compassion, O Mary!
This Sunday’s setting of Amen, Dico Vobis by Heinrich Isaac makes use of the original Gregorian melody in the soprano voice with very little variation.
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.
The Dedication of the Archbasilica of the Most Holy Savior 2025
Processional hymn: Praise to the Lord, the Almighty, 927
Recessional hymn: Lift Up Your Heads, Ye Mighty Gates, 931
Credo IV, 780
Kyriale: Missa O quam gloriosum est regnum, Tomás Luis de Victoria
Offertory Motet: O quam metuendus est, Tomás Luis de Victoria
Communion Motet: Locus Iste, Anton Bruckner (1824–1896)
November 9th the Church marks the Anniversary of the Dedication of the Archbasilica of the Most Holy Savior, for which the proper texts are taken from the Dedication of a Church. The motet O quam metuendus est by Tomás Luis de Victoria is a setting of the Magnificat antiphon for the dedication of a church. 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.
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.