Quinquagesima
Processional hymn: Soul of My Savior, 938
Recessional hymn: Jesus, My Lord, My God, My All, 899
Kyriale: Mass XI, 740; Credo IV, 780
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.
Ubi Caritas is the 8th and final antiphon that is sung during the washing of feet on Holy Thursday. The text of the refrain is: Where charity and love are, there is God. The choir will sing the original Gregorian melody with a choral refrain harmonized by Craig Kingsbury.
The motet after the Communion chant might be 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
Processional hymn: O God Of Loveliness, 930
Recessional hymn: Faith Of Our Fathers, 928
Kyriale: Mass XI, 740; Credo IV, 780
Marian Antiphon: Ave Regina Cœlorum, Solemn Chant
Communion Antiphon: Introibo Ad, Heinrich Isaac
The communion antiphon set by Heinrich Isaac 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
Processional hymn: Man To Christ's Sacred Wound
Recessional hymn: God of Mercy, God of Grace
Kyriale: Mass XI, 740; Credo IV, 780
Offertory Motet: Bonus Est, G.P. Palestrina (c. 1525–1594)
Hymn at Communion: Adoro Te Devote, Chant harm. Mark Emerson Donnelly (b. 1960)
The offertory motet was composed by G.P. Palestrina (c. 1525–1594) and published in his second anthology of vocal works for ad lib church use. The text is taken from Lamentations 3:25 and Psalm 30:1-2: The Lord is good to those who hope in Him, to the soul that seeks him. In Thee, O Lord, have I hoped, let me never be confounded: deliver me in Thy justice. Bow down thy ear to me: make haste to deliver me. It was written for three voices and repeats for each verse listed above.
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.
3rd Sunday After Epiphany
Processional hymn: O Lord, I Am Not Worthy, 902
Recessional hymn: As With Gladness Men of Old, 819
Credo IV, 780, Kyriale IV, 710
Marian Antiphon: Alma Redemptoris Mater, Solemn Chant
Communion Antiphon: Miribantur Omnes, Heinrich Isaac
The communion antiphon set by Heinrich Isaac is taken from the Gospel of Luke 4:22, “They were all amazed at the things which proceeded from the mouth of God.” The motet is taken from his famous Choralis Constantinus, which is a collection of choral settings of the proper chants of the Mass.
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.
2nd Sunday After Epiphany
Processional hymn: Praise to the Lord, 927
Recessional hymn: Come Down, O Love Divine, 887
Credo IV, 780, Kyriale IV, 710
Offertory motet: Alma Redemptoris Mater, GP Palestrina (c. 1547–1580)
Communion motet: O Admirabile Commercium, Fabio Constantini (c. 1575–1644)
O Admirabile Commercium, is a motet by Fabio Constantini and setting of the first Antiphon from Vespers on the Octave of Christmas. The translation is: O admirable exchange: the creator of human-kind, taking on a living body was worthy to be born of a virgin, and, coming forth as a human without seed, has given us his deity in abundance.
Fabio Constantini (c. 1575–1644) was an Italian music editor and composer. He sang under Palestrina at St Peter’s, Rome (until 1610), and held posts as maestro di cappella, notably at Orvieto Cathedral (1610-14, 1618-22), Santa Casa, Loreto, Ancona and Ferrara Cathedral.