Exaltation of the Holy Cross 2025
Processional hymn: When I Survey the Wondrous Cross, 838
Recessional hymn: Christ In the Highest, 867
Kyriale: Mass IV, 710; Credo IV, 780
Motet after Offertory: Christus Factus Est, a3, Rev. Giovanni Matteo Asola
Hymn during Communion: Vexilla Regis, with harmonization by Anon.
The feast of the Exaltation of the Holy Cross, which is observed this Sunday, shares proper texts with that of Holy Thursday. Namely, the Introit (Nos Autem) and the Gradual (Christus Factus Est). The men of the choir will sing a three voice setting of the Gradual by Rev. Giovanni Matteo Asola. The text is taken from Philippians 2:8–9: Christ became obedient for us even unto death, death on the cross. Therefore God exalted Him and gave Him the name which is above all names.
Rev. Giovanni Matteo Asola (c. 1532–1609) was ordained a parish priest in 1569 and held numerous music posts in Italy. In 1577 became maestro di cappella for Treviso Cathedral and subsequently moved to Venice directing at San Servio until his death. Despite living in Venice, Asola’s compositional style is closer to the Roman school.
13th Sunday after Pentecost 2025
Processional hymn: Alleluia, Sing to Jesus, 936
Recessional hymn: Soul of My Savior, 938
Kyriale: Mass XI, 740; Credo IV, 780
Motet after Offertory: Ave Maris Stella, Rev. Guillaume Dufay (c. 1397–1474)
Communion Antiphon: Panem de Cœlo, Heinrich Isaac
The communion antiphon is a setting by Heinrich Isaac. The text of the antiphon is: Thou hast given us bread from heaven, O Lord, having in it all that is delicious, and every taste of sweetness. This passage taken from Wisdom 16:20 is a slight variation of the verse and response just prior to Benediction of the Blessed Sacrament. Isaac’s setting retains the original Gregorian melody in the Tenor voice.
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.
12th Sunday after Pentecost 2025
Processional Hymn: O God, Our Help in Ages Past, 923
Recessional Hymn: O Sacrament Most Holy, 903
Kyriale: Mass XI, 740; Credo II, 772
Motet at Communion: Benedicam Domine, Rev. Giovanni Croce
The motet sung during communion is set by Rev. Giovanni Croce. The verse taken from Psalm 33:2 is translated: I will always give thanks unto the Lord: his praise shall ever be in my mouth. This text is sung by the schola as the gradual at Sunday’s Mass. The short composition is based on a descending line motif that begins with the Tenor line and is echoed by each voice in a cascade until an arrival point in the middle of the piece. The voices then sing in pairs before the final cadence on the text…his praise shall be ever in my mouth.
Rev. Giovanni Croce (c. 1558–1609) was an Italian priest and composer of the late Renaissance from Venice and contemporary of Monteverdi and Andrea Gabrieli. He was ordained to the priesthood in 1585. He was appointed to the prestigious position of maestro di cappella at the famous St. Mark’s cathedral from 1603 until his death.
11th Sunday after Pentecost 2025
Processional Hymn: O Glorious Maid Exalted Far, 911
Recessional Hymn: Daily, Daily, Sing of Mary, 912
Kyriale: Mass XI, 740; Credo II, 772
Offertory Antiphon: Exaltabo Te, Rev. Giovanni Croce
Marian Hymn: Omni Die, Dic Mariae, Chant
The Offertory Antiphon this week is sung chorally set by Rev. Giovanni Croce. The text is from Psalm 29:2-3: I will magnify thee, O Lord, for thou hast set me up: and not made my foes to triumph over me.O Lord my God, I cried unto thee: and thou hast healed me. Croce’s sets each line of text in short sections with pairs or trios of voices that are followed soon by any remaining voices. He also makes use of the harmonic minor scale which creates a more brighter mood as the melodies rise and darker as they descend.
Rev. Giovanni Croce (c. 1558–1609) was an Italian priest and composer of the late Renaissance from Venice and contemporary of Monteverdi and Andrea Gabrieli. He was ordained to the priesthood in 1585. He was appointed to the prestigious position of maestro di cappella at the famous St. Mark’s cathedral from 1603 until his death.
10th Sunday after Pentecost 2025
Processional hymn: O Sanctissima, 915
Recessional hymn: Hail, Holy Queen, 908
Kyriale: Mass XI, 740; Credo II, 772
Motet after Offertory: Surge Amica Mea, Rev. Giovanni Matteo Asola
Marian Antiphon: Salve Regina, Solemn Chant
The text of Surge, Amica Mea is taken from the Song of Solomon 2:14: Arise, my love, my fair one, and come away. O my dove, who is in the clefts of the rock, in the secret places of the stairs, let me see your countenance, let me hear your voice; for sweet is your voice, and your countenance is beautiful. The setting by Rev. Giovanni Matteo Asola is for three voices and cleverly uses the text...secret places...to create a layered effect where the listener cannot distinguish when one voice leaves and another enters. At the climax of the work all the voices sing...let me hear your voice...together in major tones in a striking moment of text painting.
Rev. Giovanni Matteo Asola (c. 1532–1609) was ordained a parish priest in 1569 and held numerous music posts in Italy. In 1577 became maestro di cappella for Treviso Cathedral and subsequently moved to Venice directing at San Servio until his death. Despite living in Venice, Asola’s compositional style is closer to the Roman school, like that of G.P. Palestrina in contrast to Monteverdi or Gabrielli.