Septuagesima 2025
Processional hymn: Man To Christ’s Sacred Wound, 827
Recessional hymn: Thee, O Christ, the Prince of Ages, 859
Kyriale: Mass XI, 740; Credo V, 784
Offertory Motet: Bonus Est, G.P. Palestrina (c. 1525–1594)
Motet at Communion: Simile est regnum, Cristóbal de Morales
The Gospel for Septuagesima Sunday is from Matthew 20 where Our Lord imparts the parable of the vineyard laborers. Cristóbal de Morales set this parable to music and it was published while he directed music at the Cathedral in Toledo near the end of his life. The motet is in two parts, and the first part ends with a very dramatic rendering of verse four: the music has a grand pause and strong tutti entrance on, “Go ye into the vineyard…” Morales skips over a few verses and finishes the second part with the end of the parable, “…many be called, but few chosen.”
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 wrote many Mass settings. His compositions consist almost entirely of sacred vocal motets.
5th Sunday after Epiphany 2025
Processional hymn: Hail, True Victim, Life and Light, 904
Recessional hymn: God of Mercy, God of Grace, 932
Credo V, 784, Kyriale VIII, 727
Offertory Antiphon: Dextera Domini, Orlandus Lassus
Communion Antiphon: Miribantur Omnes, Heinrich Isaac
As two weeks ago, the propers this week are one of two sets that repeat each Sunday until the liturgical season changes next week. The communion antiphon for this Sunday’s Mass is set by Heinrich Isaac and is mostly original in composition. The text is taken from the Gospel of Luke 4:22, “They were all amazed at the things which proceeded from the mouth of God.”
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.
Purification of the Blessed Virgin Mary (Candlemas) 2025
Recessional hymn: Immaculate Mary, 906
Credo V, 784
Antiphon during distribution of candles: Lumen ad revelationem, John Mason
Kyriale: Mass for 4 Voices, William Byrd
Offertory motet: Ave Maris Stella, Claudio Monteverdi (1567–1643)
Communion motet: Quaeramus cum pastoribus, Reverend Jean Mouton
Lumen ad revelationem is the antiphon that is sung as candles are distributed to the faithful just prior to the procession. The Gregorian chant will be sing prior to a setting for five voices by a St. Lawrence Choir member. The antiphon alternates with verses from the Gospel Canticle Nunc Dimittis—the canticle of Simeon. Mason composed out each of these verses for pairs, trios, and quartet and is concluded with a grand Gloria Patri sung by the full choir just prior to the last iteration of the antiphon.
The text for Quaeramus cum pastoribus—most famously set by Reverend Jean Mouton—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. The poem has four distinct sections punctuated with the refrain of Noe or Noel meaning Christmas and meditates on the stable, shepherds, and the conditions Our Lord was in when He was first born.
Reverend Jean Mouton (c. 1459–1522) was a French priest and composer of the Renaissance. He was famous both for his motets, which are among the most refined of the time, and for being the teacher of the famous composer Adrian Willaert, one of the founders of the Venetian School. Over 100 of his compositions survive today and Pope Leo X rewarded him with the honorary title, apostolic notary on the occasion of a motet he composed for the pope in 1515.
3rd Sunday after Epiphany 2025
Processional hymn: O Lord, I Am Not Worthy, 902
Recessional hymn: As With Gladness Men of Old, 819
Credo V, 784, Kyriale VIII, 727
Offertory Antiphon: Dextera Domini, Orlandus Lassus
Communion Antiphon: Miribantur Omnes, A. Jones
This Sunday’s propers are one of two sets that repeat each Sunday until the liturgical season changes. Both the Offertory and Communion antiphons will be sung as choral settings. The original chant for Dextera Domini is in mode 2 and Orlandus Lassus uses the original mode for his composition while composing entirely original music for the antiphon. The setting of Mirabantur Omnes is a new composition by a member of the choir and is a world premiere.
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.
2nd Sunday after Epiphany 2025
Processional hymn: Praise to the Lord, 927
Recessional hymn: Come Down, O Love Divine, 887
Credo V, 784, Kyriale VIII, 727
Marian Antiphon: Alma Redemptoris Mater, Solemn Chant
Communion antiphon: Dicit Dominus, Heinrich Isaac
The communion antiphon for this Sunday’s Mass is set by Heinrich Isaac and is taken from the Gospel of John describing Our Lord’s first public miracle. Isaac has the soprano voice sing a stylized version of the Gregorian melody sometimes in canon with the tenor. He deviates from this structure during the passage where the chief steward proclaims they have kept the good wine until now; Isaac musically ornaments this in two voices with many moving notes.
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.