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.
External Solemnity of Our Lady of the Rosary
Processional hymn: O Sanctissima, 915
Recessional hymn: Immaculate Mary, 906
Kyriale: Mass IX, 731; Credo III, 776
Motet at the offertory: Ave Maria, Jacobus Gallus (1550–1591)
Marian antiphon: Salve Regina, Chant (Solemn Tone)
To mark the beginning of October and celebration of the feast of Our Lady of the Holy Rosary, the music selections are Marian in theme. The choral motet Ave Maria by Jacobus Gallus (1550–1591) is widely recognized among those familiar with traditional Catholic music but under the attribution of Victoria. A prominent Spanish musicologist in 1913 had published the work in a group of Victoria’s motets and it was not disputed until 2001 when the work was contained in Gallus’s manuscripts.
The setting of the Angelic Salutation begins with the simple Gregorian incipit and elaborates on the melody initially in the Soprano voice and eventually moving to each voice throughout the motet. The clarity of the text, careful repetition, and clever use of harmony has made this work a favorite among chorister and listener alike.
Jacobus Gallus (1550–1591), was a late-Renaissance composer of presumed Slovene ethnicity. Born in Carniola, which at the time was one of the Habsburg lands in the Holy Roman Empire, he lived and worked in Moravia and Bohemia during the last decade of his life. His output was both sacred and secular, and hugely prolific: over 500 works have been attributed to him.
17th Sunday After Pentecost
Processional hymn: Love Divine All Loves Excelling, 943
Recessional hymn: Hail, Holy Queen, 908
Kyriale: Mass XI, 740; Credo III, 776
Hymn at the offertory: Salve Mater, Carmelite Chant, arr. Paul Thomas May
Hymn at communion: Ave Maris Stella - Tomás Luis de Victoria (c.1548–1611)
The hymn after the communion antiphon this week is another setting from Tomás Luis de Victoria. This famous text is from the Vespers hymn for feasts of the Blessed Virgin Mary. As with the other settings, the plainchant is sung for the even verses and the odd are through composed. In this motet, Victoria paraphrases the Gregorian melody in the Soprano and Tenor voices during each polyphonic verse. The final verse of the hymn is a doxology, which is a prayer of praise that invokes the Father, Son, and Holy Ghost. Victoria changes the meter from four to three for this final verse which gives a feeling of forward motion to the end and makes reference to the Most Holy Trinity.
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.
16th Sunday After Pentecost
Processional hymn: Jesus, Meek and Lowly, 833
Recessional hymn: Come Down, O Love Divine, 887
Kyriale: Mass XI, 740; Credo III, 776
Motet after offertory: Cantate Domino, Giuseppe Ottavio Pitoni (1657–1743)
Chant during communion: Stabat Mater, Chant Sequence
The motet Cantate Domino is a setting of Psalm 149:1–2 by Baroque Italian composer Giuseppe Ottavio Pitoni (1657–1743). The initial text of Sing to the Lord a new song is shared at the beginning of today’s alleluia verse which is taken from Psalm 97:1. Pitoni’s work, like much of late Baroque music, is tightly structured in small phrases with two main sections and follows the general format of “A-B-A.”, also called ternary form.
The month of September is dedicated to the Seven Sorrows of the Blessed Virgin Mary, and the feast itself was this past Friday. During the Mass the sequence Stabat Mater is said prior to the Gospel. This sequence is often used as a devotional hymn for praying the stations of the cross and is sung to a simple tune. The chant sung today, which is the proper chant, is more ornate and the melody changes every two verses.
Giuseppe Ottavio Pitoni (1657–1743) was an Italian vocalist, organist and composer. He studied voice from the age of five and became a maestro di cappella (choirmaster) at Santa Maria Maggiore, Monterotondo, a historic church near Rome by sixteen. Pitoni held director positions at many parishes in Rome and was a prominent church musician during the late Baroque era.