21st Sunday After Pentecost
Processional hymn: O Jesus Christ Remember, 941
Recessional hymn: O God Our Help in Ages Past, 923
Kyriale: Mass IX, 731; Credo III, 776
Offertory Motet: Vir erat in terra Hus, G.P. Palestrina (c. 1525–1594)
Hymn at Communion: Ave Maria, Virgo Serena, Chant Sequence
In 1593, G.P. Palestrina (c. 1525–1594) published 68 five voice settings of Offertory texts for Sundays and major feasts during the church year. This Sunday’s Offertory, which is from that publication set, is a completely original composition—opposed to other works by Palestrina that may be use existing melodies.
The chant sequence Ave Maria, Virgo Serena is taken from the Cantus Selecti which is a compilation of chants released in 1957 by the Solesmes Abbey. This chant highlights major events in the life of the Blessed Virgin Mary. It also inspired three major compositions in the late 1400s, most notably a setting by Josquin des Prez.
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.
Motherhood of the Blessed Virgin Mary
Processional hymn: O Glorious Maid, Exalted Far, 911
Recessional hymn: Daily, Daily Sing to Mary, 912
Kyriale: Mass IX, 731; Credo III, 776
Motet at the offertory: Omni die dic Mariae, Grzegorz Gerwazy Gorczycki (c.1667–1734)
Motet at communion: Ave Maris Stella, Tomás Luis de Victoria (c.1548–1611)
Omni die dic Mariae is sometimes referred to as “The Hymn of St. Casimir” for a copy was found inside his coffin and many have attributed the authorship to him. The full text of the prayer is very lengthy with 20 verses and intricate rhyme scheme and is the shorter second half of a hymn of praise to the Blessed Virgin Mary. Grzegorz Gerwazy Gorczycki (c.1667–1734) set the hymn to music in a way which mirrors the rhyme scheme and could theoretically be sung in its entirety if applied to each verse; though the choir will sing only four verses of the great hymn. This hymn is also translated and paraphrased in the recessional Daily, Daily Sing to Mary. The melody was first found in an Ingolstadt hymnal from 1613 and has since been associated with all German versions of the text. It adapts exactly to the form of the poem in terms of rhythm and style.
Grzegorz Gerwazy Gorczycki (c.1667–1734) is considered one of the greatest composers of Polish Baroque music. He was ordained a priest on 22 March 1692. Following his ordination, he lectured in rhetoric and poetry, as well as conducting orchestras and later was appointed conductor of the Kraków cathedral’s choir and orchestra. He remained in this position until his death on 30 April 1734.
19th Sunday After Pentecost
Processional hymn: On This Day, the First of Days, 945
Recessional hymn: My God, Accept My Heart This Day, 942
Kyriale: Mass IX, 731; Credo III, 776
Hymn at the offertory: Te gestiéntem gáudiis, Chant
Motet at communion: Tota Pulchra Es, Anonymous
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.
External Solemnity of Our Lady of the Rosary
Processional hymn: O Sanctissima, 915
Recessional hymn: Immaculate Mary, 906
Kyriale: Mass IX, 731; Credo III, 776
Motet at the offertory: Ave Maria, Jacobus Gallus (1550–1591)
Marian antiphon: Salve Regina, Chant (Solemn Tone)
To mark the beginning of October and celebration of the feast of Our Lady of the Holy Rosary, the music selections are Marian in theme. The choral motet Ave Maria by Jacobus Gallus (1550–1591) is widely recognized among those familiar with traditional Catholic music but under the attribution of Victoria. A prominent Spanish musicologist in 1913 had published the work in a group of Victoria’s motets and it was not disputed until 2001 when the work was contained in Gallus’s manuscripts.
The setting of the Angelic Salutation begins with the simple Gregorian incipit and elaborates on the melody initially in the Soprano voice and eventually moving to each voice throughout the motet. The clarity of the text, careful repetition, and clever use of harmony has made this work a favorite among chorister and listener alike.
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.
17th Sunday After Pentecost
Processional hymn: Love Divine All Loves Excelling, 943
Recessional hymn: Hail, Holy Queen, 908
Kyriale: Mass XI, 740; Credo III, 776
Hymn at the offertory: Salve Mater, Carmelite Chant, arr. Paul Thomas May
Hymn at communion: Ave Maris Stella - Tomás Luis de Victoria (c.1548–1611)
The hymn after the communion antiphon this week is another setting from Tomás Luis de Victoria. This famous text is from the Vespers hymn for feasts of the Blessed Virgin Mary. As with the other settings, the plainchant is sung for the even verses and the odd are through composed. In this motet, Victoria paraphrases the Gregorian melody in the Soprano and Tenor voices during each polyphonic verse. The final verse of the hymn is a doxology, which is a prayer of praise that invokes the Father, Son, and Holy Ghost. Victoria changes the meter from four to three for this final verse which gives a feeling of forward motion to the end and makes reference to the Most Holy Trinity.
Tomás Luis de Victoria (c.1548–1611), along with Palestrina and de Lassus, is one of the greatest composers of the 16th C., famous for its ethereal polyphony. Ordained a priest at age 27, he lived in Rome for years, and assisted St. Philip Neri as chaplain of San Girolamo della Carità.