Holy Family of Jesus, Mary, and Joseph
Processional hymn: Once in Royal David’s City, 818
Recessional hymn: What Child Is This, 821
Credo IV, 780
Kyriale: Missa Quaeramus cum pastoribus, a5, Cristóbal de Morales (c. 1500–1553)
Offertory motet: Gaude Joseph, Chant
Communion motet: O Jesu mi Dulcissime, a8, Giovanni Croce (c. 1558–1609)
The motet sung at communion, O Jesu mi Dulcissime, is a double choir work composed by Giovanni Croce. The Cathedral of St. Mark’s in Venice, where Croce served, has maintained a strong musical tradition since the Renaissance. One favored technique was the use of cori spezzati. where multiple choirs sing the same motet but in different areas of the church. The communion motet will be sung by our choir split into two groups on either side of the choir loft.
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.
Sunday in the Octave of Christmas
Processional hymn: God Rest You Merry, Gentlemen, 807
Recessional hymn: Angels We Have Heard On High, 812
Credo IV, 780
Hymn of Thanksgiving: Te Deum, Simple Tone
Kyriale: Missa Quaeramus cum pastoribus, a5, Cristóbal de Morales (c. 1500–1553)
Offertory motet: O Magnum Mysterium, Johann Stadlmayr (c. 1580–1648)
Communion motet: Quaeramus cum pastoribus, Jean Mouton (c.1459–1522)
The Kyriale offered by the choir for the Christmas season is one composed by Cristóbal de Morales and is a parody Mass based off of the motet sung at communion by Jean Mouton. The text for Quaeramus cum pastoribus is of uncertain origin, apparently first being used by Mouton. This setting became so popular is has been found not only in the Vatican and throughout Europe, but even in Guatamalan churches.
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.
Vigil of Christmas
Processional hymn: O Come, O Come, Emmanuel, 796
Recessional hymn: Come, Thou Long-Expected Jesus, 801
Kyriale: Mass XVII, 762; Credo IV, 780
Offertory antiphon: Tollite portas, Giovanni Battista Martini (1706–1784)
Marian antiphon: Alma Redemptoris Mater, Solemn Tone
Communion antiphon: Revelabitur, Johann Joseph Fux (c.1660–1741)
Today’s propers focus intently in anticipation of tomorrow’s solemn feast. The communion antiphon is set by Johann Joseph Fux with the text taken from Isaiah 40:5: “The Glory of the Lord shall be revealed; and all flesh shall see the salvation of our God.” Fux staggers each voice’s entrance and when the fourth voice joins, the lower three voices unite rhythmically to convey the idea of revealing the Lord’s glory. He concludes the motet on the dominant chord, which has a sense of expectation rather than resolution.
Johann Joseph Fux (c.1660–1741) was an Austrian composer, music theorist and pedagogue of the late Baroque era. His most enduring work is his treatise on counterpoint, Gradus ad Parnassum, which has become the single most influential book on the Palestrinian style of Renaissance polyphony. His work greatly influenced composers such as Haydn, Beethoven, and Mozart.
3rd Sunday of Advent
Processional hymn: Savior of the Nations Come, 798
Recessional hymn: On Jordan’s Bank, 800
Kyriale: Mass XVII, 762; Credo IV, 780
Offertory: Ostende nobis Domine, Nicholas Lemme (b. 1978)
Hymn during communion: Veni, Veni, Emmanuel, Christoph Dalitz (b. 1993)
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. This Sunday, the offertory antiphon will be chanted and the verse is a new composition by Nicholas Lemme set for three part men’s voices. Lemme’s setting is anchored on two notes which are repeated often in the verse and droned as the original chant melody returns at the end. The text is from Psalm 84:8, “Show us Lord, your mercy and grant us Thy salvation.”
Nicholas Lemme (b. 1978) is a composer, singer, and professor of music based in Lincoln, NE. Mr. Lemme teaches sacred polyphony, and voice at Our Lady of Guadalupe Seminary, FSSP, Denton, NE and holds the position of Choir Master at St. Francis of Assisi Oratory, Lincoln, NE.
2nd Sunday of Advent
Processional hymn: Creator of the Stars of Night, 799
Recessional hymn: Hark! A Herald Voice is Calling, 795
Kyriale: Mass XVII, 762; Credo IV, 780
Motet at Offertory: Conditor Alme Siderum, 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 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.
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.