3rd Sunday of Lent 2025
Processional hymn: Jesus, Meek And Lowly, 833
Recessional hymn: Forty Days and Forty Nights, 829
Kyriale: Mass XVII, 762; Credo VI, 788
Offertory Antiphon: Justitiæ Domine, G.P. Palestrina
Communion Hymn: Attende Domine, Chant arr. Catuí Côrte-Real Suarez
Part of G.P. Palestrina’s prolific compositional output includes the publication, Offertoria totius anni, which contains 68 five-voice choral settings of Offertory Antiphons for Sundays and major feasts. This Sunday’s Offertory is taken from this compilation.
Palestrina uses melodies and harmonies centered in a major key, giving the motet a bright color and conveying the joyful nature of the Psalm. The statutes of the Lord are right, and rejoice the heart his judgments sweeter also than honey, and the honey-comb. For thy servant keeps them. –Psalm 18:9,11-12
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.
2nd Sunday of Lent 2025
Processional hymn: Thy Grace, O Holy Ghost, Impart, 885
Hymn prior to Confirmation: Veni Creator Spiritus, 956
Recessional hymn: Crux Fidelis, 840; Credo VI, 788
Confirmation Antiphon: Confirma Hoc, John Mason
Kyriale: Mass for Four Voices, William Byrd (c. 1543–1623)
Offertory Antiphon: Meditabor in, G.P. Palestrina (c. 1525–1594)
Motet after Offertory: Sicut Cervus, G.P. Palestrina
Communion Hymn: Audi Benigne Conditor, Orlandus Lassus
The hymn, Audi Benigne Conditor, is the Vespers Hymn during Lent and its Latin text is attributed to Pope St. Gregory the Great (540-604). Orlandus Lassus set the same text for five voices and divided the motet into two parts.
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.
1st Sunday of Lent
Processional hymn: Forty Days and Forty Nights, 829
Recessional hymn: When I Survey the Wondrous Cross, 838
Kyriale: Mass XVII, 762; Credo VI, 788
Chant after Offertory: Parce, Domine, Gregorian Chant
Marian Antiphon: Ave Regina Cœlorum, Solemn Chant
On Ash Wednesday, Joel 2:17 is sung in the second antiphon during the imposition of ashes. The translation is: Spare, O Lord, spare thy people; and give not thine inheritance to perdition.
The simple chant sung today after the Offertory Antiphon uses the same verse as a refrain which is sung in alternatum with verses from a Lenten hymn attributed to St. Ambrose. The first verse of the hymn says: Let us appease His wrath, Beg for mercy from our Judge; Cry to Him in supplication, Let us all prostrate and say.
A manuscript from the Tours sacramentary—which dates from the 9th Century—illustrates the long association of this verse of scripture with the season of Lent and penitential occasions.
Quinquagesima 2025
Processional hymn: Soul of My Savior, 938
Recessional hymn: Jesus, My Lord, My God, My All, 899
Kyriale: Mass XI, 740; Credo V, 784
Offertory Antiphon: Benedictus es Domine, Orlandus Lassus
Chant after Offertory: Ubi Caritas, Chant
Motet at Communion: Anima Christi, Msgr. Marco Frisina (b. 1954)
The Offertory antiphon this Sunday is a choral setting by Orlandus Lassus with text from Psalm 118:12-13: Blessed are You, O Lord; teach me Your statutes. With my lips I declare all the ordinances of Your mouth.
The motet after the communion chant is perhaps the most famous setting of the prayer Anima Christi by Msgr. Marco Frisina. Monsignor’s setting can be accompanied with either strings or organ and alternates full choir with a solo voice.
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.
Sexagesima 2025
Processional hymn: O God Of Loveliness, 930
Recessional hymn: O Thou the Martyrs’ Glorious King, 872
Kyriale: Mass XI, 740; Credo V, 784
Marian Antiphon: Ave Regina Cœlorum, Solemn Chant
Communion Antiphon: Introibo Ad, Heinrich Isaac
The communion antiphon is another set by Heinrich Isaac from his Choralis Constantinus. The antiphon’s text is taken from Psalm 42(43):4, “And I will go in to the altar of God: to God who giveth joy to my youth.” In this short antiphon he ornaments the Gregorian melody and uses it as the musical foundation in the Soprano and Tenor voices. The schola sings the Gregorian antiphon first and between each iteration of the antiphon, verses from Psalm 42(43) are sung.
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.