Sunday in the Octave of Christmas 2024
Processional hymn: God Rest You Merry, Gentlemen, 807
Recessional hymn: Angels We Have Heard On High, 812
Credo V, 784
Kyriale: Mass for 3 Voices, William Byrd
Offertory hymn: Crudele Herodes, Chant
Communion hymn: Puer Natus in Bethlehem, Chant
The Mass for 3 Voices is one of William Byrd’s three settings of the Ordinary of the Latin Mass were published in undated editions, without title-pages, sometime between 1592 and 1595. Though the standard choral arrangement for composition is four voices, Byrd’s setting manages to convey a full texture even with one fewer voice.
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.
4th Sunday of Advent 2024
Processional hymn: Creator of the Stars of Night, 799
Recessional hymn: O Come, O Come, Emmanuel, 796
Kyriale: Mass XVII, 762; Credo V, 784
Motet at the offertory: Ave Maria, Reverend Jean Mouton
Hymn at communion: Rorate Cœli De Super, Christoph Dalitz (b. 1967)
There are plentiful settings of the Ave Maria but today’s setting by Reverend Jean Mouton uses some notable variations to this perennial prayer. It begins with Hail Mary the Lord is with thee, as normal then adds, in your heart, and in your womb. Mouton lived prior to the Council of Trent, and as such the latter invocation had not become standard to the prayer. Yet in this setting to the final portion of the composition he adds, O Mary, bearer of God, pray for us.
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 of Advent 2024
Processional hymn: Hark! A Herald Voice is Calling, 795
Recessional hymn: On Jordan’s Bank, 800
Kyriale: Mass XVII, 762; Credo V, 784
Offertory: Ostende nobis Domine, Nicholas Lemme (b. 1978)
Hymn during communion: Conditor Alme Siderum, Guillaume Dufay (c. 1397–1474)
In 1935 Karl Ott published the Offertoriale, which is a book that provides verses for the offertory chants of Sundays and Feasts throughout the year which are not otherwise provided in schola chant scores. This Sunday, the offertory antiphon will be chanted and the verse is a contemporary composition by Nicholas Lemme set for three part men’s voices. Lemme’s setting is anchored on two notes which are repeated often in the verse and droned as the original chant melody returns at the end. The text is from Psalm 84:8, “Show us Lord, your mercy and grant us Thy salvation.”
Nicholas Lemme (b. 1978) is a composer, singer, and professor of music based in Lincoln, NE. Mr. Lemme teaches sacred polyphony, and voice at Our Lady of Guadalupe Seminary, FSSP, Denton, NE and holds the position of Choir Master at St. Francis of Assisi Oratory, Lincoln, NE.
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.