3rd Sunday of Advent
Processional hymn: Savior of the Nations Come, 798
Recessional hymn: On Jordan’s Bank, 800
Kyriale: Mass XVII, 762; Credo IV, 780
Offertory: Ostende nobis Domine, Nicholas Lemme (b. 1978)
Hymn during communion: Veni, Veni, Emmanuel, Christoph Dalitz (b. 1993)
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. This Sunday, the offertory antiphon will be chanted and the verse is a new composition by Nicholas Lemme set for three part men’s voices. Lemme’s setting is anchored on two notes which are repeated often in the verse and droned as the original chant melody returns at the end. The text is from Psalm 84:8, “Show us Lord, your mercy and grant us Thy salvation.”
Nicholas Lemme (b. 1978) is a composer, singer, and professor of music based in Lincoln, NE. Mr. Lemme teaches sacred polyphony, and voice at Our Lady of Guadalupe Seminary, FSSP, Denton, NE and holds the position of Choir Master at St. Francis of Assisi Oratory, Lincoln, NE.
2nd Sunday of Advent
Processional hymn: Creator of the Stars of Night, 799
Recessional hymn: Hark! A Herald Voice is Calling, 795
Kyriale: Mass XVII, 762; Credo IV, 780
Motet at Offertory: Conditor Alme Siderum, Guillaume Dufay
Communion Antiphon: Jerusalem Surge, Heinrich Isaac (c.1450–1517)
The Vespers hymn for Advent, Conditor alme siderum, dates to the 7th-century. It alludes both to Christ’s coming at Christmas for our salvation, and to His final return in glory. Sunday’s Mass will include the English chanted version for the procession and one of the earliest choral settings by Guillaume Dufay. Dufay’s compositions often use the technique of fauxbordon, where the original melody is retained with some embellishment while the other voices harmonize in a fixed parallel structure.
Guillaume Dufay (c. 1397–1474) was a priest, composer, and music theorist of early Renaissance music, who is variously described as French or Franco-Flemish. He was ordained to the priesthood in 1428 and spent his life directing and composing for papal and cathedral choirs. Dufay was among the most influential composers of the fifteenth century, and his music was copied, distributed and sung everywhere that polyphony had taken root.
1st Sunday of Advent
Processional hymn: Savior of the Nations Come, 798
Recessional hymn: Come, Thou Long-Expected Jesus, 801
Kyriale: Mass XVII, 762; Credo IV, 780
Motet after Offertory: Alma Redemptoris Mater, G.P. Palestrina
Communion antiphon: Rorate Cœli De Super, Christoph Dalitz (b. 1967)
During Advent and Christmastide until February 2 the proper Marian antiphon sung at compline and for other occasions is Alma Redemptoris Mater. G.P. Palestrina set this text three times and this Sunday the choir will sing one version set for double choir. This motet is one of Palestrina’s most famous aside from Sicut Cervus and Jesu Rex. The motet begins with the incipit from the simple chant and the full choir continues from “redemptoris…” Unlike his other settings, this composition is entirely original in melody and has a mostly homophonic texture. This means that the choir moves mostly together rhythmically instead of as individual voices.
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.
24th & Last Sunday After Pentecost
Processional hymn: O God, Almighty Father, 877
Recessional hymn: Holy God, We Praise Thy Name, 881
Kyriale: Mass XI, 740; Credo III, 776
Offertory Antiphon: De Profundis, Estêvão Lopes Morago
Communion Antiphon: Amen, Dico Vobis, John Mason
De Profundis is the Offertory Antiphon which repeats for the final Sundays after Pentecost. The text is from the beginning two verses of Psalm 129 and today’s setting is composed by Estêvão Lopes Morago. Though the motet does not have overt rhythmic or harmonic complexities, it conveys the message of the Psalm effectively by other means. One technique Morago employs is that each time a voice sings clamavi (cry) a neighboring voice sings the same phrase a little higher or stronger. Another intriguing aspect of the composition is how even though it does not use any melody from the Gregorian Antiphon, it is clearly in the same ancient melodic mode as the original chant.
Estêvão Lopes Morago (c.1575–c.1630) was a Spanish-born composer who studied, lived, worked and died in Portugal. He was a canon and choirmaster of Viseu Cathedral. Morago composed motets, responsories, psalms, Magnificats, and a Requiem. His work is considered to be highly innovative in the Iberian Peninsula.
6th Resumed Sunday After Epiphany
Processional hymn: Praise to the Holiest In the Height, 922
Recessional hymn: Now Thank We All Our God, 937
Kyriale: Mass XI, 740; Credo III, 776
Antiphon after Offertory: Ubi Caritas, Chant harmonized by Craig Kingsbury (b. 1952)
Communion Antiphon: Amen, Dico Vobis, John Mason
The chant Ubi Caritas is the 8th and final antiphon that is sung during the washing of feet on Holy Thursday. The text of the refrain is: Where charity and love are, there is God. The choir will sing the original Gregorian melody with a choral refrain harmonized by Craig Kingsbury.
This Sunday’s setting of Amen, Dico Vobis is a world premier written by John Mason, a composer who is a member of the St. Lawrence Choir. The text of this antiphon is from Mark’s Gospel 11:24: Amen, I say to you, whatsoever you ask when you pray, believe that you shall receive, and it shall be done to you. The antiphon is alternated with Psalm 130 and followed by a Gloria Patri.