Notes About The Music

5th Resumed Sunday After Epiphany

Processional hymn: Hearken, Shepherd of the Sheep, 873
Recessional hymn: All People That On Earth Do Dwell, 925
Kyriale: Mass XI, 740; Credo III, 776

Motet after Offertory: Sicut Cervus, G.P. Palestrina (c. 1525–1594)
Communion antiphon: Amen, dico vobis, Heinrich Isaac (c. 1450–1517)

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. 

Though many recordings and performances end with the first verse, Palestrina composed an entire second part that includes verses 2 and 3 from the same Psalm: My soul thirsts for God, the living God. When can I enter and see the face of God? My tears have been my bread day and night, as they ask me every day, “Where is your God?

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.

23rd Sunday After Pentecost

Processional hymn: The King of Love, My Shepherd Is, 874
Recessional hymn: O Jesus Christ, Remember, 941
Kyriale: Mass XI, 740; Credo III, 776

Hymn at the offertory: Adoremus in æternum, Gregorio Allegri
Hymn at communion: Ave Verum Corpus, Chant

Adoremus in æternum is the hymn commonly sung following Benediction. Gregorio Allegri set the hymn refrain for four voices and alternates with plainchant for the verses and doxology (invocation of the Holy Trinity, i.e. Gloria Patri). The text of the refrain is: “Let us adore for ever the most holy Sacrament.”

The prayer Ave Verum Corpus is a short Eucharistic hymn dating from the 14th century and attributed to Pope Innocent VI (d. 1362). During the Middle Ages the prayer was sung at the elevation during the consecration at Mass.

Gregorio Allegri (c.1582–1652) was an Italian composer and vocalist. His compositions garnered the attention of Pope Urban VIII who appointed Allegri as a singer for the Sistine Chapel Choir in 1629. Among his published work, his setting of Miserere Mei (Psalm 50) is the most famous and is still sung at the Vatican every year.

Christ the King

Processional hymn: To Jesus Christ, Our Sovereign King, 856
Recessional hymn: Crown Him with Many Crowns, 858
Credo III, 776

Prelude: Christus Vincit, Ambrosian Chant (c. 700) 
Kyriale: Missa O quam gloriosum, Tomás Luis de Victoria (c.1548–1611)
Motet at Offertory: O quam gloriosum, Tomás Luis de Victoria
Motet at Communion: Jesu Rex, Admirabilis, G.P. Palestrina (c. 1525–1594)

 The hymn Christus Vincit is sung in Churches at solemn events, such as the inauguration of a pope or, in centuries past, at the coronation of the Holy Roman Emperor. It consists of sections invoking prayers for the Church, the Holy Father, our Bishop and is punctuated by the refrain, “Christ conquers! Christ reigns! Christ commands!”

Missa O quam gloriosum is a parody Mass by Tomás Luis de Victoria. This means that the musical foundation for the Mass setting is mirrored in various ways off of the motet of the same name, today sung after the Offertory chant. Victoria uses various motifs from the motet and “quotes” them to give added meaning to the Kyriale’s text. For example in the Benedictus, Victoria takes the melody from the motet where the voices sing, “they follow the Lamb wherever He goes” and repurposes it for the text, “blessed is He who comes in the name of the Lord.” 

 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

Processional hymn: O Jesus Christ Remember, 941
Recessional hymn: O God Our Help in Ages Past, 923
Kyriale: Mass IX, 731; Credo III, 776

Offertory Motet: Vir erat in terra Hus, G.P. Palestrina (c. 1525–1594)
Hymn at Communion: Ave Maria, Virgo Serena, Chant Sequence

In 1593, G.P. Palestrina (c. 1525–1594) 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 completely original composition—opposed to other works by Palestrina that may be use existing melodies.

The chant sequence Ave Maria, Virgo Serena is taken from the Cantus Selecti which is a compilation of chants released in 1957 by the Solesmes Abbey. This chant 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.