Passion Sunday
Processional hymn: How Hast Thou Offended, 836
Recessional hymn: O Sacred Head Surrounded, 837
Kyriale: Mass XVII, 762; Credo VI, 788
Hymn after Offertory: Stabat Mater, Chant Sequence
Communion Motet: Eripe Me, Deus, Orlandus Lassus
The Mass of Seven Sorrows of the Blessed Virgin Mary may be said on the Friday of Passion Week. During the Mass the sequence Stabat Mater is sung prior to the Gospel. This sequence is often used as a devotional hymn for praying the Stations of the Cross and is sung to a simple tune. The chant sung today is the proper chant, which is more ornate and the melody changes every two verses.
Eripe Me, Deus is a three voice Motet set by Orlandus Lassus and setting of the Offertory antiphon for the Monday of Holy Week. The translation is, “Deliver me Lord from my enemies O Lord I have fled to Thee, teach me to do Thy will for Thou art my God.” Psalm 142:9–10
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.
4th Sunday of Lent (Lætare)
Processional hymn: O Kind Creator, Bow Thine Ear, 832
Recessional hymn: Lift High the Cross, 835
Kyriale: Mass XVII, 762; Credo VI, 788
Offertory Antiphon: Ave Regina Coelorum, Antonio Lotti (1667–1740)
Communion Hymn: Audi Benigne Conditor, Orlandus Lassus
This Sunday’s processional is an English version of the hymn Audi Benigne Conditor. It is the Vespers Hymn during Lent and its Latin text is attributed to Pope St. Gregory the Great (540-604).
Orlandus Lassus set the same text for five voices and divided the motet into two parts. Both parts have two verses from the hymn while omitting the fifth verse. One notable moment in his motet occurs in the second part when the text says, “grant a remedy to the weak” and shifts the harmony on “weak” in a way that draws the ear as it moves a tone down from the key center.
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.
3rd Sunday of Lent
Processional hymn: Jesus, Meek And Lowly, 833
Recessional hymn: Forty Days and Forty Nights, 829
Kyriale: Mass XVII, 762; Credo VI, 788
Offertory Antiphon: Justitiæ Domine, G.P. Palestrina
Communion Hymn: Surge, Amica Mea, G.M. Asola (ca.1532–1609)
Part of G.P. Palestrina’s prolific compositional output includes the publication, Offertoria totius anni, which contains 68 five-voice choral settings of Offertory Antiphons for Sundays and major feasts. This Sunday’s Offertory is taken from this compilation.
Palestrina uses melodies and harmonies centered in a major key, giving the motet a bright color and conveying the joyful nature of the Psalm. The statutes of the Lord are right, and rejoice the heart his judgments sweeter also than honey, and the honey-comb. For thy servant keeps them. –Psalm 18:9,11-12
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.
2nd Sunday of Lent
Processional hymn: Lord, Who Throughout These Forty Days, 828
Recessional hymn: Crux Fidelis, 840
Kyriale: Mass XVII, 762; Credo VI, 788
Motet after Offertory: O Domine, Jesu Christe, G.P. Palestrina
Communion Hymn: Attende Domine, Chant arr. Catuí Côrte-Real Suarez
O Domine Jesu Christe is the second verse of a hymn attributed to Pope St. Gregory I (ca. 540–604). The verse was popular among Renaissance composers and there are at least 20 settings including settings by Victoria, Hassler, Guerrero, and two by G.P. Palestrina. The choir this Sunday will sing Palestrina’s setting for four voices which also uses a variation in the last line of text:
Lord Jesus Christ, I worship you, who was wounded on the cross and given gall and vinegar to drink: I pray that your wounds (may be a remedy for my soul.) In the original hymn the last line says: (and your death may give me life.)
G.P. Palestrina (ca. 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 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 being sung during the season of Lent and for penitential occasions.