11th Sunday after Pentecost 2024
Recessional Music: Carillon de Westminster, Opus 54, No. 6, Louis Vierne (1870–1937)
Kyriale: Mass XI, 740; Credo IV, 780
Offertory Antiphon: Exaltabo Te, Giovanni Croce (1557–1609)
Communion Motet: Cantate Domino, Giuseppe Ottavio Pitoni
The Offertory Antiphon this week is sung chorally set by Giovanni Croce. The text is from Psalm 29:2-3: I will magnify thee, O Lord, for thou hast set me up: and not made my foes to triumph over me.O Lord my God, I cried unto thee: and thou hast healed me. Croce’s sets each line of text in short sections with pairs or trios of voices that are followed soon by any remaining voices. He also makes use of the harmonic minor scale which creates a more brighter mood as the melodies rise and darker as they descend.
The motet Cantate Domino is a setting of Psalm 149:1–2 by Baroque Italian composer Giuseppe Ottavio Pitoni. Pitoni’s work, like much of late Baroque music, is tightly structured in small phrases with two main sections and follows the general format of “A-B-A.”, also called ternary form.
Giuseppe Ottavio Pitoni (1657–1743) was an Italian vocalist, organist and composer. He studied voice from the age of five and became a maestro di cappella (choirmaster) at Santa Maria Maggiore, Monterotondo, a historic church near Rome by sixteen. Pitoni held director positions at many parishes in Rome and was a prominent church musician during the late Baroque era.
10th Sunday after Pentecost 2024
Processional hymn: Praise to the Lord, the Almighty, 927
Recessional hymn: God of Mercy God of Grace, 932
Kyriale: Mass XI, 740; Credo IV, 780
Offertory Antiphon: Ad te Domine, Levavi, Alessandro Scarlatti (1660–1725)
Motet at Communion: Anima Christi, Msgr. Marco Frisina
The Offertory antiphon this Sunday is a choral setting by Alessandro Scarlatti with text from Psalm 24:1-2: Unto thee, O Lord, will I lift up my soul; my God, I have put my trust in thee: O let me not be confounded, neither let mine enemies triumph over me. For all they that hope in thee shall not be ashamed. This passage of scripture is shared in common with the Introit from the First Sunday of Advent.
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.
Msgr. Marco Frisina (b. 1954) is an Italian priest who was ordained in 1982. Msgr. Frisina graduated with a degree in composition from the Conservatory of Santa Cecilia and obtained his license in Sacred Scripture from the Pontifical Biblical Institute. He began directing sacred music in Rome in 1984 when he founded the Choir of the Diocese of Rome and has held numerous other music positions in service to the Vatican.
9th Sunday after Pentecost 2024
Processional hymn: Lift Up Your Heads, Ye Mighty Gates, 931
Recessional hymn: Soul of My Savior, 938
Kyriale: Mass XI, 740; Credo IV, 780
Motet after Offertory: Tollite portas, Giovanni Battista Martini (1706–1784)
Communion Antiphon: Qui Manducat, Heinrich Isaac (c.1450–1517)
The communion antiphon sung this Sunday is another a setting by Heinrich Isaac: He who eats My Flesh, and drinks My Blood, abides in Me, and I in him, says the Lord. In this composition the Tenor voice retains the Gregorian melody with only slight ornamentation throughout. Unlike the setting heard last week, all the voices enter immediately following the incipit and maintain homophony (all voices moving as one voice) for the text, “and drinks My Blood.” Then each voice enters at different times weaving in and out, cross, and occasionally meet on the same tone and move apart—this movement between voices portrays “abide in Me and I in him” musically.
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.
8th Sunday after Pentecost 2024
Processional hymn: O God, Our Help in Ages Past, 923
Recessional hymn: O God of Loveliness, 881
Kyriale: Mass XI, 740; Credo IV, 780
Hymn at the offertory: Salve Mater, Carmelite Chant, arr. Paul Thomas May
Communion antiphon: Gustate et videte, Heinrich Isaac (c.1450–1517)
Salve Mater is a Carmelite hymn composed in the 11th century and exemplifies Mary’s role as Mother of all Christians. The hymn is structured with verses that lead to a refrain. The text of the refrain is: Hail, Mother of mercy, Mother of God and Mother of pardon, Mother of hope and Mother of grace, Mother, full of holy gladness. O Mary!
The communion antiphon is a setting by Heinrich Isaac. The text of the antiphon is from Psalm 33:9: O taste, and see, how gracious the Lord is: blessed is the man that trusteth in him. This short composition the Soprano and Tenor voices have ornamented versions of the Gregorian melody.
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.
7th Sunday after Pentecost 2024
Processional hymn: Blessed Lamb on Calvary’s Mountain, 864
Recessional hymn: Soul of My Savior, 938
Kyriale: Mass XI, 740; Credo IV, 780
Hymn after Offertory: Anima Christi, Chant
Motet at communion: Caro mea, Andrea Gabrieli (c. 1532–1585)
Caro Mea by Andrea Gabrieli (c. 1532–1585) is a setting of John 6:56–57 composed for the feast of Corpus Christi: “My flesh is meat indeed, and my blood is drink indeed. Whoever eats my flesh and drinks my blood abides in me, and I in him.” Gabrieli’s motet is an excellent example of a Renaissance motet containing short a motive that is repeated by all voices in their respective ranges, imitative lines throughout and reaching the climax about two thirds through the work and ending with a final major chord, though the work was in minor throughout.
Andrea Gabrieli (c. 1532–1585) was an Italian composer and organist of the late Renaissance. The uncle of the somewhat more famous Giovanni Gabrieli and contemporary of Orlandus Lassus. From 1566 until his death he held the post as organist at St. Mark’s in Venice, which was one of the most prominent music positions in Italy. His works include over a hundred motets and madrigals, as well as a smaller number of instrumental works.