22nd Sunday after Pentecost 2024
Processional hymn: My God, Accept My Heart This Day, 942
Recessional hymn: Praise to the Holiest In the Height, 922
Kyriale: Mass IX, 731; Credo I, 768
Offertory antiphon: Recordare, Jeffery Quick
Hymn at the communion: Adoremus in Aeternum, Gregorio Allegri (c.1582–1652)
This Sunday the Offertory antiphon is a choral setting by living composer Jeffery Quick. The translation of the text is: Remember me, O Lord, you who dominate all authority; put the right words on my lips, so that my speech may be convincing in the presence of the King. Mr. Quick’s short motet makes use of a five note phrase that is repeated in each voice throughout the composition.
Jeffery Quick (b. 1956) is a composer, music editor, and director based in Ohio. He received a BM in music history from the University of Michigan, and a MM in composition from Cleveland State University. He was assistant music librarian at Case Western Reserve University for 22 years, and presently directs the schola cantorum of St. Mary Church in Akron OH.
External Solemnity of the Motherhood of the Blessed Virgin Mary 2024
Recessional hymn: Daily, Daily Sing to Mary, 912
Kyriale: Mass IX, 731; Credo I, 768
Motet at the offertory: Ave Maria, Reverend Jean Mouton
Hymn at the communion: Ave Maris Stella, Guillaume Dufay (c. 1397–1474)
This past Friday was the feast of the Motherhood of the Blessed Virgin Mary and is again celebrated this Sunday as an External Solemnity for the Sung Mass. There are plentiful settings of the Ave Maria but today’s setting by Reverend Jean Mouton uses some notable variations to this perennial prayer. It begins with Hail Mary the Lord is thee, as normal then adds, in your heart, and in your womb. Fr. Mouton lived prior to the Council of Trent, and as such the latter invocation had not become standard to the prayer. Yet in this setting to the final portion of the composition he adds, O Mary, bearer of God, pray for us.
Reverend Jean Mouton (c. 1459–1522) was a French priest and composer of the Renaissance. He was famous both for his motets, which are among the most refined of the time, and for being the teacher of the famous composer Adrian Willaert, one of the founders of the Venetian School. Over 100 of his compositions survive today and Pope Leo X rewarded him with the honorary title, apostolic notary on the occasion of a motet he composed for the pope in 1515.
External Solemnity of Our Lady of the Rosary 2024
Processional hymn: O Sanctissima, 915
Recessional hymn: Immaculate Mary, 906
Kyriale: Mass IX, 731; Credo I, 776
Motet at the offertory: Omni die dic Mariae, Grzegorz Gerwazy Gorczycki
Hymn at the communion: Te gestiéntem gáudiis, Chant
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 Reverend 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.
Reverend 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.
Michaelmas 2024
Processional hymn: Holy, Holy, Holy, 929
Recessional hymn: Praise, My Soul, the King of Heaven, 933
Kyriale: Mass IX, 740; Credo IV, 780
Motet at Offertory: Michael, Coeli Signifer, Jacobus Gallus (1550–1591)
Hymn at Communion: Christe sanctorum decus Angelorum, Chant
The feast of the Dedication of St. Michael the Archangel, also referred to as Michaelmas, falls on Sunday this year. Motets written for this feast often refer to each of the three Archangels named in the Bible whenever one is mentioned. This is true for Jacobus Gallus’s motet Michael, Coeli Signifer: Michael, standard-bearer of heaven. Gabriel, the light-bringer of the world. Raphael—the three archangels of Christ and all the angels, the beloved ones: through all the ages they protect our bodily purity from the snares and treacheries of our enemies. May they always guard us, and after death may they receive us. Let us sing the praise of the angels to the Lord Most High. Gallus’s setting is quick and energetic and features a lot of “off-beat” rhythms.
Jacobus Gallus (1550–1591), was a late-Renaissance composer of presumed Slovene ethnicity. Born in Carniola, which at the time was one of the Habsburg lands in the Holy Roman Empire, he lived and worked in Moravia and Bohemia during the last decade of his life. His output was both sacred and secular, and hugely prolific: over 500 works have been attributed to him.
18th Sunday after Pentecost 2024
Processional hymn: All Ye Who Seek A Comfort Sure, 862
Recessional hymn: Let All Mortal Flesh Keep Silence, 900
Kyriale: Mass IX, 740; Credo IV, 780
Motet at Offertory: Da Pacem Domine, Costanzo Festa (c. 1490–1545)
Chant at Communion: Ubi Caritas, Chant harmonized by Craig Kingsbury (b. 1952)
The text for the votive antiphon for peace Da Pacem, Domine date from the 6th or 7th century and are based on biblical verses 2 Kings 20:19, 2 Chronicles 20:12,15 and Psalm 72:6–7. The first words of the antiphon are shared in common with the Introit for this Sunday’s Mass: Grant peace, Lord, in our time; for there is none else who would fight for us if not you, our God. Costanzo Festa sets this antiphon for four voices retaining the Gregorian melody as a Cantus Firmus in the Tenor voice and in canon with the Bass voice.
Costanzo Festa (c. 1490–1545) was the first Italian polyphonic composer of international renown. Festa was one of only a few Italians in the Papal Choir during his generation and was hailed as, “a most excellent musician and eminent singer” by Pope Paul III. His compositional style focused less on imitation and complex counterpoint for its own sake, and often wrote purely homophonic passages.