3rd Sunday of Advent 2025
Processional hymn: Savior of the Nations, Come, 798
Recessional hymn: On Jordan’s Bank, 800
Credo III, 776; Kyriale XVII, 762
Offertory Antiphon: Ostende nobis Domine, Nicholas Lemme (b. 1978)
Communion motet: Veni Redemptor Gentium, Cristóbal de Morales
The hymn Veni, redemptor gentium was composed by St. Ambrose of Milan and two stanzas were set to music by Cristóbal de Morales. Only partial manuscripts remain for Morales’s setting and the score sung today was reconstructed by the chair of Boston College’s Music Department, Dr. Michael Noone. Some religious orders use the hymn during Christmastide while many areas in Germany traditionally sing it during Advent. The English-poetic translation of this hymn is this Sunday’s processional hymn, Savior of the Nations, Come.
Cristóbal de Morales (c.1500–1553) was an organist and composer regarded as the first Spanish composer of international renown. He sang and composed for the Papal choir in Rome for which he wrote many Mass settings. His compositions consist almost entirely of sacred vocal motets.
2nd Sunday of Advent 2025
Processional hymn: Creator of the Stars of Night, 799
Recessional hymn: Hark! A Herald Voice is Calling, 795
Kyriale: Mass XVII, 762; Credo III, 776
Motet at Offertory: Conditor Alme Siderum, Rev. Guillaume Dufay
Communion Antiphon: Jerusalem Surge, Heinrich Isaac (c.1450–1517)
The Vespers hymn for Advent, Conditor alme siderum, dates to the 7th-century. It alludes both to Christ’s coming at Christmas for our salvation, and to His final return in glory. Sunday’s Mass will include the English chanted version for the procession and one of the earliest choral settings by Rev. Guillaume Dufay. Dufay’s compositions often use the technique of fauxbordon, where the original melody is retained with some embellishment while the other voices harmonize in a fixed parallel structure.
Reverend Guillaume Dufay (c. 1397–1474) was a priest, composer, and music theorist of early Renaissance music, who is variously described as French or Franco-Flemish. He was ordained to the priesthood in 1428 and spent his life directing and composing for papal and cathedral choirs. Dufay was among the most influential composers of the fifteenth century, and his music was copied, distributed and sung everywhere that polyphony had taken root.
1st Sunday of Advent 2025
Processional hymn: The Almighty King of All Men Born, 802
Recessional hymn: Come, Thou Long Expected Jesus, 801
Credo III, 776; Kyriale XVII, 762
Offertory antiphon: Ad Te Levavi, Reverend Franz Xaver Witt (1834–1888)
Communion antiphon: Dominus Dabit, Heinrich Isaac
The offertory this Sunday will be sung as a choral setting by Reverend Franz Xaver Witt with a verse taken from the Offertoriale which–as mentioned last week–provides an elongation of the offertory antiphon by composing music for the verses which follow from the prescribed text.
Similarly, the communion antiphon will be sung chorally set to music by Heinrich Isaac. This setting differs from Isaac’s normative style as he sets all the voices to sing collectively for the whole antiphon with no rhythmic variations or independent melodies.
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.
24th & Final Sunday after Pentecost 2025
Processional hymn: O God, Almighty Father, 877
Recessional hymn: Holy God, We Praise Thy Name, 881
Kyriale: Mass XI, 740; Credo IV, 780
Communion Antiphon: Amen, Dico Vobis, John Mason
In 1935 Karl Ott published the Offertoriale, which is a book that provides verses for the offertory chants of Sundays and Feasts throughout the year which are not otherwise provided in schola chant scores. When the verses are used, the offertory resembles the form of a responsory where a marked section is repeated rather than singing the entire antiphon from the beginning. This type of chant is most often used in the Office of Matins following the lessons.
For this Sunday’s offertory, which is from Psalm 130, the respond is: Out of the depths have I cried unto thee, O Lord.
Additional verse 1: Lord, hear my voice: let thine ears be attentive to the voice of my supplications.
Additional verse 2: If thou, Lord, shouldest mark iniquities, O Lord, who shall stand?
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.