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.
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.