Low Sunday 2025
Processional hymn: Come, Ye Faithful, Raise the Strain, 844
Recessional hymn: Praise, My Soul, the King of Heaven, 933
Credo III, 776
Kyriale: Mass for Four Voices, William Byrd (c. 1543–1623)
Motet after Offertory: Hæc Dies, Jacques Arcadelt (1507–1568)
Motet during communion: Sicut Cervus, G.P. Palestrina (c. 1525–1594)
The motet Sicut Cervus by G.P. Palestrina is one of his most well known works and is regarded as the culminating example of Sacred Roman Polyphony. The text is taken from Psalm 41: As a deer longs for flowing streams, so my soul longs for you, O God. It is also the text that precedes the baptismal rite which takes place at the Paschal Vigil.
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.
Easter Sunday 2025
Processional Hymn: Jesus Christ is Ris’n Today, 843
Recessional hymn: At the Lamb’s High Feast We Sing, 848
Kyriale: Mass in B-flat major, K275, Wolfgang Amadeus Mozart
Offertory Antiphon: Terra Tremuit, William Byrd (c. 1540–1623)
Motet after Offertory: Resurrexi, Msgr. Marco Frisina (b. 1954)
Communion Antiphon: Pascha Nostrum, William Byrd
Hymn at Communion: Ave Verum Corpus, Camille Saint-Saëns (1835–1921)
The Missa in B-flat major by W. A. Mozart was likely composed in 1777 first sung in the Salzburg Cathedral that year. As is common for Masses of this time, Mozart uses soloists in contrast to full choir to give variety to the composition and bring attention to the text of the prayer. One example heard in the Gloria: the full choir sings the Holy Name then the soloists echo that at a quieter dynamic and the full choir returns at a strong dynamic for “cum Sancto Spiritu”. The Agnus Dei is atypical for because it is uncharacteristically long. It shifts character for the “dona nobis pacem” with a fast a vibrant extended treatment while again alternating with soloists and full choir.
Wolfgang Amadeus Mozart (1756–1791) was a prolific and influential composer of the Classical period and perhaps the most widely celebrated in the history of Western music. Despite his short life, his rapid pace of composition resulted in more than 800 works including Masses, symphonies, operas, and chamber works.
Palm Sunday 2025
Recessional hymn: O Sacred Head Surrounded, 837
Kyriale: Mass XVII, 762; Credo VI, 788
Hymn after Offertory: Vexilla Regis, Chant
Communion Antiphon: Pater, Si, Heinrich Isaac
During Passiontide and on September 14, the hymn Vexilla Regis is sung during Vespers. This hymn was written by Venantius Fortunatus (530-609) who wrote it in honor of the arrival of a large relic of the True Cross which had been sent to Queen Radegunda by the Emperor Justin II and his Empress Sophia.
Pater, Si, set to music by Heinrich Isaac, derives the melodic material directly from the Gregorian antiphon. In the musical tradition of singing the Passion narratives, as we hear at Mass on Sunday, Jesus has the lowest voice. In this motet, which takes the text from Our Lord in the Garden of Gethsemane, the voices are all set lower than an average communio by Isaac—perhaps as a connection to this tradition.
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.
Passion Sunday 2025
Processional hymn: How Hast Thou Offended, 836
Recessional hymn: O Sacred Head Surrounded, 837
Kyriale: Mass XVII, 762; Credo VI, 788
Hymn after Offertory: Stabat Mater, Chant Sequence
Communion Motet: Eripe Me, Deus, Orlandus Lassus
The Mass of Seven Sorrows of the Blessed Virgin Mary may be said on the Friday of Passion Week. During the Mass the sequence Stabat Mater is sung prior to the Gospel. This sequence is often used as a devotional hymn for praying the Stations of the Cross and is sung to a simple tune. The chant sung today is the proper chant, which is more ornate and the melody changes every two verses.
Eripe Me, Deus is a three voice Motet set by Orlandus Lassus and setting of the Offertory antiphon for the Monday of Holy Week. The translation is, “Deliver me Lord from my enemies O Lord I have fled to Thee, teach me to do Thy will for Thou art my God.” Psalm 142:9–10
Orlandus Lassus (c.1532–1594) is known for the mature polyphonic style in the Franco-Flemish school. He wrote over 2,000 works in Latin, French, Italian, and German both sacred and secular. Lassus along with Giovanni Pierluigi da Palestrina and Tomás Luis de Victoria are the most influential composers of the late Renaissance.
4th Sunday of Lent 2025
Processional hymn: O Kind Creator, Bow Thine Ear, 832
Recessional hymn: Praise to the Holiest in the Height, 922
Kyriale: Mass XVII, 762; Credo VI, 788
Marian Antiphon: Ave Regina Coelorum, Antonio Lotti (1667–1740)
Communion Antiphon: Jerusalem, Quæ Ædificatur, Heinrich Isaac
The communion antiphon is another set by Heinrich Isaac from his Choralis Constantinus. The antiphon’s text is from Ps 121(122):3-4: “Jerusalem, built as a city, with compact unity: to it the tribes go up, the tribes of the Lord, to give thanks to Your Name, O Lord.”
There are three striking uses of text painting in this composition: After the Gregorian incipit the voices are literally built…in unity as each voice enters on the same note. Then the voices move in a compact unity as Isaac uses the technique of fauxbourdon where they move in strict parallel motion close together. This is followed by each voice singing from low to high for the tribes go up.
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.