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.
Christ the King 2025
Processional hymn: Crown Him with Many Crowns, 858
Recessional: Christus Vincit, Chant
Credo IV, 780; Kyriale: III, 705
Motet at Offertory: Rex gloriose martyrum, Tomás Luis de Victoria
Motet at Communion: Ave Maria, a5, G.P. Palestrina (1525–1585)
The Motet sung during the offertory is a setting of a hymn by Tomás Luis de Victoria. He composed the even verses of this hymn alternating with the ancient chant melody for the odd verses. During verse two, the Tenor voice retains the Gregorian melody in long tones, known also as the cantus firmus. In the final verse, the Holy Trinity is invoked and the music changes to groups of three, while all voices sing the text in rhythm together making for a very effective three-in-one quality in musical form; Victoria used this exact same verse in his setting of the Easter hymn Ad Cenam Agni Providi.
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.
19th Sunday after Pentecost 2025
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 IV, 780
Motet at the offertory: Ametur, a3, Fr. Tom Luby, MSC
Hymn at communion: Salve Mater, Carmelite Chant, arr. Paul Thomas May
Salve Mater is a hymn composed in the 11th century and exemplifies Mary’s role as Mother of all Christians. The hymn is structured with a refrain and verses. In today’s chant, the refrain was harmonized by St. Lawrence’s Music Director. Text of the refrain: Hail, Mother of mercy, Mother of God and Mother of pardon, Mother of hope and Mother of grace, Mother, full of holy gladness. O Mary!
Ametur, a3 was written by Fr. Tom Luby, who was a member of the Missionaries of the Sacred Heart. This three part motet is a setting of the Missionaries’s motto, “May the Sacred Heart of Jesus be loved everywhere!”