External Solemnity of Corpus Christi 2025
Processional hymn: Let All Mortal Flesh Keep Silence, 900
Hymn of Thanksgiving: Adoremus in Æternum, 970
Kyriale: III, 705; Credo: II, 772
Hymn at Offertory: Ave Verum Corpus, William Byrd
Communion Motet: Sicut cervus, Giovanni Pierluigi da Palestrina (c.1525–1594)
The prayer Ave Verum Corpus is a short Eucharistic hymn dating from the 14th century and attributed to Pope Innocent VI (d. 1362). During the Middle Ages the prayer was sung at the elevation during the consecration at Mass. Next to Mozart, the setting by William Byrd is perhaps the most famous setting of the Eucharistic themed text. In his setting, Byrd doubles the latter portion of the prayer which says: “O sweet, O gentle, O Jesus, son of Mary, have mercy on me.”
William Byrd (c. 1543–1623) became Catholic in the 1570s and he composed much music for the church against government ordinances. In 1605 the first volume of the Gradualia, which are settings of the propers of the Mass, was banned in England under penalty of imprisonment along with all of his Catholic music. By the time of his death he was seen favorably as a composer by both Anglican and Catholic alike.
Trinity Sunday 2025
Processional hymn: Holy, Holy, Holy, 929
Recessional hymn: O God, Almighty Father, 977
Kyriale: III, 705; Credo II, 772
Responsory: Tibi laus, Orlandus Lassus
Communion antiphon: Benedicimus Deum, John Mason
Following the offertory chant the Responsory Tibi Laus by Orlandus Lassus will be sung. Those who have assisted at Tenebræ will recall that office is a combination of Matins and Lauds which are the first two hours of the Divine Office. During Matins, each of the nine readings are followed by a responsory. Tibi Laus is the refrain portion of the fifth Responsory from Matins today. The responsory is usually in two parts: a respond (or refrain) which is often split in two, and a verse. In the second half of Lassus’s setting, the words O beáta Trinitas are sung three times with three of the four voices in rhythmic unison which emphasizes the “three in one.”
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.
Pentecost 2025
Hymn prior to Mass: Veni Creator Spiritus, 956
Recessional hymn: Come Down, O Love Divine, 887
Kyriale: I, 696; Credo: III, 776
Marian antiphon: Regina Cœli, Solemn Chant
Communion antiphon: Factus Est Repente, Jacobus Gallus
The communion antiphon takes its text from Acts 2: “Suddenly there came a sound from heaven, as of a mighty wind coming where they were sitting, alleluia; and they were all filled with the Holy Spirit, speaking the wonderful works of God, alleluia, alleluia.” Jacobus Gallus uses wide intervals in each voice to make the sound from heaven followed by pairs of voices creating the mighty wind. The whole motet ends with rhythmic two fold repeat of Alleluias.
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.
Sunday after Ascension 2025
Processional hymn: Hail The Day That Sees Him Rise, 852
Recessional hymn: Alleluia, Sing to Jesus, 936
Kyriale: Mass I, 696; Credo III, 776
Offertory Antiphon: Ascendit Deus, Christoph Dalitz (b.1967)
Hymn after Offertory: Triasagion, Bortniansky (1751–1825)
Communion Hymn: Jesu nostra redemptio, Tomás Luis de Victoria
Jesu nostra redemptio by Tomás Luis de Victoria is a setting of the an older form of the Vespers hymn during Ascensiontide. As with the other settings, the Gregorian melody is sung for the odd verses and the even are through composed. That melody is the cantus firmus where in verse two the Soprano voice sings the tune in a very elongated fashion which spans the entire choral verse, likewise the tenors do the same in the fourth verse. Those who sing the Divine Office regularly will recognize that the Gregorian melody is the same as the current Ascensiontide Vespers hymn, Salútis humánæ Sátor.
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.
5th Sunday after Easter 2025
Processional hymn: Praise, My Soul, the King of Heaven, 933
Recessional hymn: Love’s Redeeming Work Is Done, 850
Kyriale: Mass I, 696; Credo III, 776
Hymn at the offertory: Ad cænam agni providi, Thomás Luis de Victoria
Ad Cænam Agni Providi by Thomás Luis de Victoria is a setting of the Vespers hymn during Eastertide dating back to the 500s. Victoria composed the even verses of this hymn alternating with the ancient chant melody for the odd verses—a technique he often employed for other hymns. In verse six, Victoria only composed for the Tenor, Alto, and Soprano voices as the text describes Christ rising from the grave and opening paradise so our ears hear only high tones. In the final verse, the Holy Trinity is invoked and the music changes to groups of three, while all voices sing the text in rhythm together making for a very effective three-in-one quality in musical form. This final verse in it’s entirety is shared with Rex gloriose martyrum, his setting for Martyr’s feasts.
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.