External Solemnity of Our Lady of the Rosary 2025
Processional hymn: O Sanctissima, 915
Recessional hymn: Daily, Daily, Sing of Mary, 912
Kyriale: Mass IX, 731; Credo IV, 780
Hymn at the offertory: Te gestiéntem gáudiis, Chant
Motet during communion: Ave Maria, a5, G.P. Palestrina (1525–1585)
There are four hymns which were assigned for the Divine Office on the Feast of the Holy Rosary by Pope Leo XIII in 1888. Originally composed by Fr. Augustine Thomas Ricchini, OP (1695-1779) for the Dominican breviary, the subject of all four hymns are the fifteen mysteries of the Holy Rosary. The first three hymns deal with each set of Mysteries: the Joyous, the Sorrowful, and the Glorious. The fourth hymn which will be sung at Sunday’s Mass, Te gestiéntem gáudiis, is a short summary of the first three hymns. The melody for these hymns is also used for many different texts on feasts of the Blessed Virgin; one of the most famous texts being Maria Mater Gratiae.
Fr. Augustine Thomas Ricchini, OP (1695-1779) was a native of Cremona, Italy, he held several ecclesiastical offices and was a friend of Pope Benedict XIV. Father first held the office of the Secretary of the Congregation of the Index, and then was the Master of the Sacred Palace. He was also an adviser to the Master General of the Dominicans from 1759 to 1778.
16th Sunday after Pentecost 2025
Processional hymn: Jesus, Meek And Lowly, 833
Recessional hymn: Come Down, O Love Divine, 887
Kyriale: Mass XI, 740; Credo IV, 780
Offertory Antiphon: Domine in Auxilium, G.P. Palestrina
Communion Hymn: Stabat Mater, Chant Sequence
This Sunday’s Offertory is taken from G.P. Palestrina’s Offertoria totius anni, which contains 68 five-voice choral settings of Offertory Antiphons for Sundays and major feasts. In this motet, he uses a minor key mixed with a raised third to create a complex combination of minor and major feelings in the same work. Palestrina restates the same music as at the beginning because the text repeats itself: Deign, O Lord, to rescue me; let all be put to shame and confusion who seek to snatch away my life. Deign, O Lord, to rescue me. –Psalm 39:14-15
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.
15th Sunday after Pentecost 2025
Processional hymn: Most Ancient of All Mysteries, 884
Recessional hymn: Lift Up Your Heads, Ye Mighty Gates, 931
Kyriale: Mass XI, 740; Credo IV, 780
Marian Antiphon: Salve Regina, Rev. Francesco Soriano (c.1548–1621)
Communion Antiphon: Panis Quem Ego, Heinrich Isaac
The communion antiphon is set by Heinrich Isaac with the text taken from John 6:52: The bread that I will give is my flesh for the life of the world. Isaac composes pieces of the melody in both the Tenor and Soprano voices in a quasi-canon in the same way as many of his communion settings. Panis Quem Ego has one of the clearest quotations of the source melody in the Soprano voice with very little ornamentation.
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.
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.