Immaculate Conception of the BVM 2024
Processional hymn: The Immaculate Conception, 907
Recessional hymn: Immaculate Mary, 906
Kyriale: Mass IX,731; Credo V, 784
Motet after Offertory: Alma Redemptoris Mater, G.P. Palestrina
Communion antiphon: Ave Maris Stella, Guillaume Dufay (c. 1397–1474)
During Advent and Christmastide until February 2 the proper Marian antiphon sung at compline and for other occasions is Alma Redemptoris Mater. G.P. Palestrina set this text three times and this Sunday the choir will sing one version set for double choir. This motet is one of Palestrina’s most famous aside from Sicut Cervus and Jesu Rex. The motet begins with the incipit from the simple chant and the full choir continues from “redemptoris…” Unlike his other settings, this composition is entirely original in melody and has a mostly homophonic texture. This means that the choir moves mostly together rhythmically instead of as individual voices.
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.
1st Sunday of Advent 2024
Processional hymn: Savior of the Nations, Come, 798
Recessional hymn: Come, Thou Long Expected Jesus, 801
Credo V, 784; Kyriale XVII, 762
Offertory motet: Ad Te Levavi, Reverend Franz Xaver Witt (1834–1888)
Communion motet: Veni Redemptor Gentium, Cristóbal de Morales
The hymn Veni, redemptor gentium was composed by St. Ambrose of Milan and two stanzas were set to music by Cristóbal de Morales. Only partial manuscripts remain for Morales’s setting and the score sung today was reconstructed by the chair of Boston College’s Music Department, Dr. Michael Noone. Some religious orders use the hymn during Christmastide while many areas in Germany traditionally sing it during Advent. The English-poetic translation of this hymn is this Sunday’s processional hymn, Savior of the Nations, Come.
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 he wrote many Mass settings. His compositions consist almost entirely of sacred vocal motets.
24th & Final Sunday after Pentecost 2024
Processional hymn: O God, Almighty Father, 877
Recessional hymn: Holy God, We Praise Thy Name, 881
Kyriale: Mass XI, 740; Credo III, 776
Offertory Antiphon: Ave Verum Corpus, Chant
Communion Antiphon: Amen, Dico Vobis, John Mason
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. The text of the prayer is Hail, true Body, truly born Of the Virgin Mary mild Truly offered, wracked and torn, On the Cross for all defiled, From Whose love pierced, sacred side Flowed Thy true Blood’s saving tide: Be a foretaste sweet to me In my death’s great agony. O my loving, Gentle One, Sweetest Jesus, Mary’s Son. Amen.
6th Resumed Sunday after Epiphany 2024
Processional hymn: Lord, Enthroned in Heavn’ly Splendor, 939
Recessional hymn: Now Thank We All Our God, 937
Kyriale: Mass XI, 740; Credo I, 768
Antiphon after Offertory: Salve Regina, Solemn Tone Chant
Communion Antiphon: Amen, Dico Vobis, Heinrich Isaac
This Sunday’s setting of Amen, Dico Vobis by Heinrich Isaac makes use of the original Gregorian melody in the soprano voice with very little variation. In this short setting, the only time Isaac sets all the voices to sing the same words at the same time is immediately following the incipit which says, “Whatsoever you ask when pray.” All the voices only reunite again on the final note of the composition.
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.
5th Resumed Sunday after Epiphany 2024
Processional hymn: Hearken, Shepherd of the Sheep, 873
Recessional hymn: All People That On Earth Do Dwell, 925
Kyriale: Mass XI, 740; Credo III, 776
Chant after Offertory: Languentibus in Purgatorio, Chant
Motet at 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. Though many recordings and performances end with the first verse, Palestrina composed an entire second part that includes verses 2 and 3 from the same Psalm: My soul thirsts for God, the living God. When can I enter and see the face of God? My tears have been my bread day and night, as they ask me every day, “Where is your God?
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.