Notes About The Music

Christ the King

Processional hymn: To Jesus Christ, Our Sovereign King, 856
Recessional hymn: Crown Him with Many Crowns, 858
Credo III, 776

Prelude: Christus Vincit, Ambrosian Chant (c. 700) 
Kyriale: Missa O quam gloriosum, Tomás Luis de Victoria (c.1548–1611)
Motet at Offertory: O quam gloriosum, Tomás Luis de Victoria
Motet at Communion: Jesu Rex, Admirabilis, G.P. Palestrina (c. 1525–1594)

 The hymn Christus Vincit is sung in Churches at solemn events, such as the inauguration of a pope or, in centuries past, at the coronation of the Holy Roman Emperor. It consists of sections invoking prayers for the Church, the Holy Father, our Bishop and is punctuated by the refrain, “Christ conquers! Christ reigns! Christ commands!”

Missa O quam gloriosum is a parody Mass by Tomás Luis de Victoria. This means that the musical foundation for the Mass setting is mirrored in various ways off of the motet of the same name, today sung after the Offertory chant. Victoria uses various motifs from the motet and “quotes” them to give added meaning to the Kyriale’s text. For example in the Benedictus, Victoria takes the melody from the motet where the voices sing, “they follow the Lamb wherever He goes” and repurposes it for the text, “blessed is He who comes in the name of the Lord.” 

 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

Processional hymn: O Jesus Christ Remember, 941
Recessional hymn: O God Our Help in Ages Past, 923
Kyriale: Mass IX, 731; Credo III, 776

Offertory Motet: Vir erat in terra Hus, G.P. Palestrina (c. 1525–1594)
Hymn at Communion: Ave Maria, Virgo Serena, Chant Sequence

In 1593, G.P. Palestrina (c. 1525–1594) 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 completely original composition—opposed to other works by Palestrina that may be use existing melodies.

The chant sequence Ave Maria, Virgo Serena is taken from the Cantus Selecti which is a compilation of chants released in 1957 by the Solesmes Abbey. This chant 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.

Motherhood of the Blessed Virgin Mary

Processional hymn: O Glorious Maid, Exalted Far, 911
Recessional hymn: Daily, Daily Sing to Mary, 912
Kyriale: Mass IX, 731; Credo III, 776

Motet at the offertory: Omni die dic Mariae, Grzegorz Gerwazy Gorczycki (c.1667–1734)
Motet at communion: Ave Maris Stella, Tomás Luis de Victoria (c.1548–1611) 

Omni die dic Mariae is sometimes referred to as “The Hymn of St. Casimir” for a copy was found inside his coffin and many have attributed the authorship to him. The full text of the prayer is very lengthy with 20 verses and intricate rhyme scheme and is the shorter second half of a hymn of praise to the Blessed Virgin Mary. Grzegorz Gerwazy Gorczycki (c.1667–1734) set the hymn to music in a way which mirrors the rhyme scheme and could theoretically be sung in its entirety if applied to each verse; though the choir will sing only four verses of the great hymn. This hymn is also translated and paraphrased in the recessional Daily, Daily Sing to Mary. The melody was first found in an Ingolstadt hymnal from 1613 and has since been associated with all German versions of the text. It adapts exactly to the form of the poem in terms of rhythm and style.

Grzegorz Gerwazy Gorczycki (c.1667–1734) is considered one of the greatest composers of Polish Baroque music. He was ordained a priest on 22 March 1692. Following his ordination, he lectured in rhetoric and poetry, as well as conducting orchestras and later was appointed conductor of the Kraków cathedral’s choir and orchestra. He remained in this position until his death on 30 April 1734.

19th Sunday After Pentecost

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 III, 776

Hymn at the offertory: Te gestiéntem gáudiis, Chant
Motet at communion: Tota Pulchra Es, Anonymous 

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.