3rd Sunday After Epiphany
Processional hymn: O Lord, I Am Not Worthy, 902
Recessional hymn: As With Gladness Men of Old, 819
Credo IV, 780, Kyriale IV, 710
Marian Antiphon: Alma Redemptoris Mater, Solemn Chant
Communion Antiphon: Miribantur Omnes, Heinrich Isaac
The communion antiphon set by Heinrich Isaac is taken from the Gospel of Luke 4:22, “They were all amazed at the things which proceeded from the mouth of God.” The motet is taken from his famous Choralis Constantinus, which is a collection of choral settings of the proper chants of the Mass.
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.
2nd Sunday After Epiphany
Processional hymn: Praise to the Lord, 927
Recessional hymn: Come Down, O Love Divine, 887
Credo IV, 780, Kyriale IV, 710
Offertory motet: Alma Redemptoris Mater, GP Palestrina (c. 1547–1580)
Communion motet: O Admirabile Commercium, Fabio Constantini (c. 1575–1644)
O Admirabile Commercium, is a motet by Fabio Constantini and setting of the first Antiphon from Vespers on the Octave of Christmas. The translation is: O admirable exchange: the creator of human-kind, taking on a living body was worthy to be born of a virgin, and, coming forth as a human without seed, has given us his deity in abundance.
Fabio Constantini (c. 1575–1644) was an Italian music editor and composer. He sang under Palestrina at St Peter’s, Rome (until 1610), and held posts as maestro di cappella, notably at Orvieto Cathedral (1610-14, 1618-22), Santa Casa, Loreto, Ancona and Ferrara Cathedral.
Holy Family of Jesus, Mary, and Joseph
Processional hymn: Once in Royal David’s City, 818
Recessional hymn: What Child Is This, 821
Credo IV, 780
Kyriale: Missa Quaeramus cum pastoribus, a5, Cristóbal de Morales (c. 1500–1553)
Offertory motet: Gaude Joseph, Chant
Communion motet: O Jesu mi Dulcissime, a8, Giovanni Croce (c. 1558–1609)
The motet sung at communion, O Jesu mi Dulcissime, is a double choir work composed by Giovanni Croce. The Cathedral of St. Mark’s in Venice, where Croce served, has maintained a strong musical tradition since the Renaissance. One favored technique was the use of cori spezzati. where multiple choirs sing the same motet but in different areas of the church. The communion motet will be sung by our choir split into two groups on either side of the choir loft.
Giovanni Croce (c. 1558–1609) was an Italian priest and composer of the late Renaissance from Venice and contemporary of Monteverdi and Andrea Gabrieli. He was ordained to the priesthood in 1585. He was appointed to the prestigious position of maestro di cappella at the famous St. Mark's cathedral from 1603 until his death.
Sunday in the Octave of Christmas
Processional hymn: God Rest You Merry, Gentlemen, 807
Recessional hymn: Angels We Have Heard On High, 812
Credo IV, 780
Hymn of Thanksgiving: Te Deum, Simple Tone
Kyriale: Missa Quaeramus cum pastoribus, a5, Cristóbal de Morales (c. 1500–1553)
Offertory motet: O Magnum Mysterium, Johann Stadlmayr (c. 1580–1648)
Communion motet: Quaeramus cum pastoribus, Jean Mouton (c.1459–1522)
The Kyriale offered by the choir for the Christmas season is one composed by Cristóbal de Morales and is a parody Mass based off of the motet sung at communion by Jean Mouton. The text for Quaeramus cum pastoribus is of uncertain origin, apparently first being used by Mouton. This setting became so popular is has been found not only in the Vatican and throughout Europe, but even in Guatamalan churches.
Cristóbal de Morales (c.1500–1553) was an organist and composer regarded as the first Spanish composer of international renown. He sang and composed for the Papal choir in Rome for which he wrote many Mass settings. His compositions consist almost entirely of sacred vocal motets.
Vigil of Christmas
Processional hymn: O Come, O Come, Emmanuel, 796
Recessional hymn: Come, Thou Long-Expected Jesus, 801
Kyriale: Mass XVII, 762; Credo IV, 780
Offertory antiphon: Tollite portas, Giovanni Battista Martini (1706–1784)
Marian antiphon: Alma Redemptoris Mater, Solemn Tone
Communion antiphon: Revelabitur, Johann Joseph Fux (c.1660–1741)
Today’s propers focus intently in anticipation of tomorrow’s solemn feast. The communion antiphon is set by Johann Joseph Fux with the text taken from Isaiah 40:5: “The Glory of the Lord shall be revealed; and all flesh shall see the salvation of our God.” Fux staggers each voice’s entrance and when the fourth voice joins, the lower three voices unite rhythmically to convey the idea of revealing the Lord’s glory. He concludes the motet on the dominant chord, which has a sense of expectation rather than resolution.
Johann Joseph Fux (c.1660–1741) was an Austrian composer, music theorist and pedagogue of the late Baroque era. His most enduring work is his treatise on counterpoint, Gradus ad Parnassum, which has become the single most influential book on the Palestrinian style of Renaissance polyphony. His work greatly influenced composers such as Haydn, Beethoven, and Mozart.