Easter Sunday
Processional Hymn: Jesus Christ is Ris’n Today, 843
Recessional hymn: At the Lamb’s High Feast We Sing, 848
Kyriale: Missa Brevis in G, K140, Wolfgang Amadeus Mozart (1756–1791)
Offertory Antiphon: Terra Tremuit, William Byrd (c. 1540–1623)
Motet after Offertory: Resurrexi, Msgr. Marco Frisina (b. 1954)
Communion Antiphon: Pascha Nostrum, William Byrd
Hymn at Communion: Ave Verum Corpus, Camille Saint-Saëns (1835–1921)
The Missa Brevis in G by W. A. Mozart has been given the title of the “Pastoral Mass” because of its lyrical and bright melodies throughout the work. As is common for Masses of this time, Mozart uses soloists in contrast to full choir to give variety to the composition and bring attention to the text of the prayer. For example in the Credo the full choir sings together until “descendit de cælis” at which point the music stops. Then a soprano soloist sings “Et incarnatus est” in a slower tempo with lighter accompaniment which emphasizes the solemnity of the Incarnation. The Agnus Dei is atypical for a Missa Brevi because it is uncharacteristically long. In some editions, Mozart cut about 25 measures from the “Dona nobis” portion of the movement. Today the choir will sing the movement in its entirety.
Wolfgang Amadeus Mozart (1756–1791) was a prolific and influential composer of the Classical period and perhaps the most widely celebrated in the history of Western music. Despite his short life, his rapid pace of composition resulted in more than 800 works including Masses, symphonies, operas, and chamber works.
Palm Sunday
Recessional hymn: O Sacred Head Surrounded, 837
Kyriale: Mass XVII, 762; Credo VI, 788
Hymn after Offertory: Vexilla Regis, Chant
Communion Antiphon: Pater, Si, Heinrich Isaac
During Passiontide and on September 14, the hymn Vexilla Regis is sung during Vespers. This hymn was written by Venantius Fortunatus (530-609) who wrote it in honor of the arrival of a large relic of the True Cross which had been sent to Queen Radegunda by the Emperor Justin II and his Empress Sophia.
Pater, Si, set to music by Heinrich Isaac, derives the melodic material directly from the Gregorian antiphon. In the musical tradition of singing the Passion narratives, as we hear at Mass today, Jesus has the lowest voice. In this motet, which takes the text from Our Lord in the Garden of Gethsemane, the voices are all set lower than an average Communio by Isaac—perhaps as a connection to this tradition.
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.
Passion Sunday
Processional hymn: How Hast Thou Offended, 836
Recessional hymn: O Sacred Head Surrounded, 837
Kyriale: Mass XVII, 762; Credo VI, 788
Hymn after Offertory: Stabat Mater, Chant Sequence
Communion Motet: Eripe Me, Deus, Orlandus Lassus
The Mass of Seven Sorrows of the Blessed Virgin Mary may be said on the Friday of Passion Week. During the Mass the sequence Stabat Mater is sung 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 is the proper chant, which is more ornate and the melody changes every two verses.
Eripe Me, Deus is a three voice Motet set by Orlandus Lassus and setting of the Offertory antiphon for the Monday of Holy Week. The translation is, “Deliver me Lord from my enemies O Lord I have fled to Thee, teach me to do Thy will for Thou art my God.” Psalm 142:9–10
Orlandus Lassus (c.1532–1594) is known for the mature polyphonic style in the Franco-Flemish school. He wrote over 2,000 works in Latin, French, Italian, and German both sacred and secular. Lassus along with Giovanni Pierluigi da Palestrina and Tomás Luis de Victoria are the most influential composers of the late Renaissance.
4th Sunday of Lent (Lætare)
Processional hymn: O Kind Creator, Bow Thine Ear, 832
Recessional hymn: Lift High the Cross, 835
Kyriale: Mass XVII, 762; Credo VI, 788
Offertory Antiphon: Ave Regina Coelorum, Antonio Lotti (1667–1740)
Communion Hymn: Audi Benigne Conditor, Orlandus Lassus
This Sunday’s processional is an English version of the hymn Audi Benigne Conditor. It is the Vespers Hymn during Lent and its Latin text is attributed to Pope St. Gregory the Great (540-604).
Orlandus Lassus set the same text for five voices and divided the motet into two parts. Both parts have two verses from the hymn while omitting the fifth verse. One notable moment in his motet occurs in the second part when the text says, “grant a remedy to the weak” and shifts the harmony on “weak” in a way that draws the ear as it moves a tone down from the key center.
Orlandus Lassus (c.1532–1594) is known for the mature polyphonic style in the Franco-Flemish school. He wrote over 2,000 works in Latin, French, Italian, and German both sacred and secular. Lassus along with Giovanni Pierluigi da Palestrina and Tomás Luis de Victoria are the most influential composers of the late Renaissance.
3rd Sunday of Lent
Processional hymn: Jesus, Meek And Lowly, 833
Recessional hymn: Forty Days and Forty Nights, 829
Kyriale: Mass XVII, 762; Credo VI, 788
Offertory Antiphon: Justitiæ Domine, G.P. Palestrina
Communion Hymn: Surge, Amica Mea, G.M. Asola (ca.1532–1609)
Part of G.P. Palestrina’s prolific compositional output includes the publication, Offertoria totius anni, which contains 68 five-voice choral settings of Offertory Antiphons for Sundays and major feasts. This Sunday’s Offertory is taken from this compilation.
Palestrina uses melodies and harmonies centered in a major key, giving the motet a bright color and conveying the joyful nature of the Psalm. The statutes of the Lord are right, and rejoice the heart his judgments sweeter also than honey, and the honey-comb. For thy servant keeps them. –Psalm 18:9,11-12
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.