5th Sunday after Easter 2025
Processional hymn: Praise, My Soul, the King of Heaven, 933
Recessional hymn: Love’s Redeeming Work Is Done, 850
Kyriale: Mass I, 696; Credo III, 776
Hymn at the offertory: Ad cænam agni providi, Thomás Luis de Victoria
Ad Cænam Agni Providi by Thomás Luis de Victoria is a setting of the Vespers hymn during Eastertide dating back to the 500s. Victoria composed the even verses of this hymn alternating with the ancient chant melody for the odd verses—a technique he often employed for other hymns. In verse six, Victoria only composed for the Tenor, Alto, and Soprano voices as the text describes Christ rising from the grave and opening paradise so our ears hear only high tones. 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. This final verse in it’s entirety is shared with Rex gloriose martyrum, his setting for Martyr’s feasts.
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.
Votive Mass for the Coronation of Leo XIV
Processional hymn: Blessed Are the Sons of God, 870
Recessional hymn: Christ is Made the Sure Foundation, 944
Credo III, 776
Kyriale: Mass for Four Voices, William Byrd (c.1540–1623)
Motet after Offertory: Oremus Pro Pontifice, Edgar Pierre Joseph Tinel (1845–1912)
Communion Antiphon: Tu Es Petrus, Heinrich Isaac
For the occasion of the coronation of the Pope, the Mass prescribed is that of the Chair of Peter (observed on February 22). This Mass uses the text Tu Es Petrus extensively in the proper chants. For the Communio, Heinrich Isaac takes inspiration from the original Gregorian melody. Isaac begins with the incipit from the chant and each voice enters individually; the bass voice has keeps the melody throughout. Isaac illustrates building—“…I will build my church.”—by having each voice stack on top of one another and form the only static chord in the middle of this short motet.
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.
3rd Sunday after Easter 2025
Processional hymn: Be Joyful Mary, Heavenly Queen, 847
Recessional hymn: Come, Ye Faithful, Raise the Strain, 844
Kyriale: Mass I, 696; Credo III, 776
Marian Antiphon: Regina Cœli, Antonio Lotti (1667–1740)
Communion Motet: Cantate Domino, Giuseppe Ottavio Pitoni
The motet Cantate Domino is a setting of Psalm 149:1–2 by Baroque Italian composer Giuseppe Ottavio Pitoni. O sing unto the Lord a new song: let the congregation of saints praise him. Let Israel rejoice in him that made him: and let the children of Sion be joyful in their King. 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. This form allows for restating of the initial text and for contrast in dynamic (how strong or quiet the music becomes).
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.
2nd Sunday after Easter
Processional Hymn: On This Day, the First of Days, 945
Recessional hymn: The King of Love, My Shepherd Is, 874
Kyriale: I, 696; Credo III, 776
Offertory Motet: O quam metuendus est, Tomás Luis de Victoria
Communion Antiphon: Ego Sum Pastor, Heinrich Isaac (c.1450–1517)
The motet O quam metuendus est by Tomás Luis de Victoria is a setting of the Magnificat antiphon for the dedication of a church. This past week marked the 107th anniversary of St. Lawrence’s dedication. 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.
Low Sunday 2025
Processional hymn: Come, Ye Faithful, Raise the Strain, 844
Recessional hymn: Praise, My Soul, the King of Heaven, 933
Credo III, 776
Kyriale: Mass for Four Voices, William Byrd (c. 1543–1623)
Motet after Offertory: Hæc Dies, Jacques Arcadelt (1507–1568)
Motet during communion: Sicut Cervus, G.P. Palestrina (c. 1525–1594)
The motet Sicut Cervus by G.P. Palestrina is one of his most well known works and is regarded as the culminating example of Sacred Roman Polyphony. The text is taken from Psalm 41: As a deer longs for flowing streams, so my soul longs for you, O God. It is also the text that precedes the baptismal rite which takes place at the Paschal Vigil.
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.