Choral Highlights

Twenty-third Sunday in Ordinary Time
September 10, 2017

Prelude 11:30 AM, O Come Let Us Sing, Anthony Piccolo (b.1960)

Anthony Piccolo is an American born composer who writes in primarily an English/Anglican musical style. He studied at Peabody Conservatory in Baltimore, before living in England for almost a decade where he sang and played with several choirs including Canterbury Cathedral, St. Paul’s London, and St. Martin-in-the-Fields. Many of his choral compositions recall the works of Gerald Finzi with a rich harmonic palate and expressive use of the organ and voice. This setting of the 95th Psalm, employs a ‘perpetual motion’ accompaniment in the organ that gives the piece a light, fluttering quality. The choral parts are written in a standard English style, with some similarities to Walton. Piccolo composed the piece for the Royal School of Church Musicians Canterbury Festival in 1980, while he was in- residence there. The text is known as the Venite and is used each day as the introductory Psalm to the Office of Reading, in addition to appearing as today’s Responsorial Psalm.

Preparation of the Gifts, 10:00 AM, Oravi ad Dominum Deum Meum, Giovanni Pierluigi da Palestrina (1525-1594)

This text is assigned as the Offertorio proper for this Sunday. Palestrina brilliantly sets these three verses from the Book of Daniel in subtle but rich harmonic language, and with great appreciation to the meaning of the text. The first phrase ‘I prayed to the Lord’ is gently set in an arched phrase, and passes between the voices, always avoiding alignment in the text until the first homophonic entrance on the words ‘I Daniel said.’ While seeming a superfluous reminder of the text’s author, Palestrina links the revelation his identity with the musical resolution, while strengthening the harmonic foundation under the text, as though the words take on a more profound significance in the author’s ownership of the prayer. The second section constricts the phrase’s intervals, creating tense passages to carry the text ‘harken to the prayers of your servant.’ The third phrase alters the modal composition of the piece dramatically from d minor, through F major, and then into a minor, all within four measures, as we feel the music brighten as it proclaims: ‘let your face shine.’ It is to be a short lived brightening, though. The conclusion of this section with the words ‘on your sanctuary’ quickly returns the piece to opening d minor section, a sobering reminder that the Church is of this world, and we can still only see God’s face dimly, as if in a mirror. The only five voice homophonic section follows, emphasizing the depth with which Daniel felt for these words: ‘look with forgiveness.’ The final words of the motet ‘on the invocation of your people O God’ fluctuate between the tonic and dominant keys of the motet, building with each phrase, until a culmination in the final plagal cadence, often referred to as an “Amen cadence.”

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Preparation of the Gifts,  11:30 AM, If Ye Love Me, Richard DeLong (1951 - 1994)

Richard DeLong is an American composer who for many years worked as a Music Director in Plano, Texas. His harmonic language is diatonic with minor key inflections that place the works somewhere between Modal and Americana. His phrases are typically built on simple melodic constructions and frequent use of alternation between solo and choral voices. The text, taken from the King James translation of John’s Gospel, reminds us that our obligation to follow the law flows primarily from our love for God, not fear. By keeping the commandments, Christ promises the Apostles the arrival of the Holy Spirit (‘Comforter’ in this translation), the driving force for the foundation of the Church.

To hear a version, click below:

http://www.canticledistributing.com/audioplayer.php?n=4855.mp3 

Communion 11:30 AM, He Watching Over Israel, Felix Mendelssohn (1809-1847)

This anthem is taken from Mendelssohn’s Oratorio Elijah, and directly follows the trio Lift Thine Eyes, acting as a response to the favor that is sought in the trio. The text of the chorus is taken from Psalm 121, and acts as a commentary on today’s first reading where the ‘watchmen’ is replaced with a loving ever-watchful protector. The work utilizes triplet figures throughout. Mendelssohn’s contrapuntal genius shows through in the recapitulation of the first section where motivic material from both A and B sections overlap each other with graceful fluidity. The coda of the piece features some of the richest choral harmonic writing of the 19th century, and we can hear precursors of Mendelssohn’s unfinished oratorio Christus (opus 97), in both the treatment of text and the harmonic palate.

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Communion 10:00 AM, Venite, Exultemus, Jan Pieterszoon Sweelinck (1562-1621)

This motet is taken from Sweelinck Cantiones Sacrae, which was published in 1619 in Catholic Antwerp, and contains Latin sacred works for five voices. The text is taken from the first three verses of the 95th Psalm, which also appears as the Responsorial Psalm in today’s Liturgy. Sweelinck’s influence on later German organists and composers is without parallel. In the first passages we hear the motives leaping through the parts in the same way that Praetorius and Buxtehude would later imitate. The five voices are often grouped two against three, in order to echo text and motives. The light, jubilant passages of the first two verses are contrasted with the third verse, which lengthens the rhythmic timing, creating sense of finality.

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Solemnity of the Most Holy Body and Blood of Christ (Corpus Christi) 

June 18, 2017

Prelude 11:30 AM, Ave Verum, Francis Poulenc (1899-1963)

Poulenc was a turn of the last century French composer born of Parisian bourgeois parents. Although he was primarily self-taught, he studied piano with Ricardo Viñes beginning in 1914, and through Viñes was introduced to many contemporary musicians of his days, including other member of Les Six. He composed over multiple genres including opera, orchestral, chamber, and choral. This setting of the Ave Verum prayer was composed in 1952, around the same time as his Quatre motets pour le temps de Noël. The text, which is often attributed to Pope Innocent VI, speaks of Christ’s true presence in the eucharist, as well as connecting the sacramental sacrifice with Christ’s passion and death.

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Preparation 10:00 AM, Ego Sum Panis Vivum, Giovanni Pierluigi da Palestrina (1525-1594)

This work comes from the composer’s second book of four-voice motets (Motectorum quattuor vocibus, Liber Secundus), published in 1581. The text is taken from the Bread of Life discourse found in the sixth chapter of John’s gospel. In these verses, Christ declares himself to be bread provided by God and, unlike the manna in the wilderness, which only provided sustenance in this life, the bread Christ gives brings eternal life. The piece is set in a major tonality, which gives a sense of quiet peace to the listener. The voices utilize imitative entrances throughout the work, and some text-painting examples include the lengthy melisma on the word ‘desert’ suggesting our journey in this life, as well as a gentle descending motive on the word ‘from heaven’ to allude to Christ’s incarnation.

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Preparation 11:30 AM, Ave Verum, Edward Elgar (1857-1934)

Elgar was a English composer best known for his Enigma Variations. His choral repertoire, while modest, contains two large scale oratorios of significant merit: The Dream of Gerontius, op. 38, and The Apostles, op. 49. This small motet was written in 1887 following the death of a friend of the composer’s father. The intention of the piece to be used at a funeral can still be found in the additional text in the coda of the work; ‘O Clemens, O Pie, O Dulcis Jesu, Fili Mariae.’ Despite Elgar’s Catholicism, which occasionally becomes apparent in his text choices, the composition is firmly of the English choral repertoire in style.

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Communion 10:00 and 11:30 AM, I am the Living Bread, Leo Nestor

This work is framed in a Antiphon - Verses structure, with the text being taken from the sixth chapter of the Gospel of John - The Bread of Life Dialogue. The best element of the work is the text setting, which uses irregular meters throughout to facilitate a natural speech rhythm. The work is in an Aeolian modal color, with chromatics being used sparingly for dramatic effect. Following the final antiphon is a homophonic setting of a passage from St. Augustine’s Confessions, reflecting on the revitalizing and unifying process of the sacrament.

Post Communion 10:00, O Sacrum Convivium, James Biery (b. 1956)

James Biery is an American composer, organist, and choral director, and was Director of Music for the Cathedral in St. Paul Minnesota for over a decade. This motet uses a technique known a pedal point, in which the lowest voice sustains a single pitch for the duration of the work. The upper voices enter on this same pitch, but then expand into rich harmonies, culminating in a triumphant ‘Alleluia’ that then fades back into the stillness of the beginning. The text is a traditional Catholic prayer of unknown origin, though when it was added as a Magnificat Antiphon for the Solemnity of Corpus Christi, it was attributed to St. Thomas Aquinas.


Trinity Sunday 
June 11, 2017

Prelude 11:30 AM and Preparation of the Gifts 10:00 AM, Duo Seraphim, Jacob Handl (1550-1591)

The text of this motet is taken from the Book of Isaiah, and it is used as a Matins Response for the Feast of the Trinity. This verse speaks of the glory of heaven through Isaiah’s vision, and it is one of the few descriptions of the place in the entire bible. The thrice-declared ‘holy’ is both a triune reference, as well as an archaic from of the superlative. This text is sung at every Mass as the first part of the Preface Acclamation as heaven and earth are united in sung praise of the divine. The composer, Handl, was born in Slovenia (then the Austro-Hungarian empire.) He traveled with the Viennese Court extensively through the empire as a Cistercian monk. He was choir master for several years to the bishop of Olomouc (Czech Republic), and died in Prague. His was greatly influenced by the Venetian style of Polyphonic writing, which utilized double choirs and echo effects.

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Preparation of the Gifts 11:30 AM, God So Loved the World, Bob Chilcott (b. 1955)

Chilcott is an English singer and composer of choral works. He was trained as a child in the Choir of King’s College, Cambridge, and as an adult was a member of the King’s Singers for over a decade. This motet sets the famous John 3:16 text in a gentle and lush style. The Chilcott setting, while bearing some slight similarities to John Stainer’s more well known setting, nevertheless retains its individuality primarily through richer harmonies of a 20th century palate.

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Communion 10:00 AM, Honor, Virtus, et Potestas, Thomas Crecquillon (c. 1505 - 1557)

The text is taken from a Matins response for the Solemnity of Trinity, and may also have been used for the Solemnity of All Saints. Thiemo Wind, in his essay ‘Musical Participation in Sixteenth-Century Triumphal Entries in the Low Countries,’ cites this motet, among other Crecquillon compositions, as likely being used for ceremonial entries by Charles V. The motet is typically of the Franco-Flemish style of polyphony, and contains frequent chant motives and quotations.

Communion 11:30 AM, I Bind unto Myself Today, C.V. Stanford (1852-1924)

Charles Villiers Stanford was an Irish composer of Anglican Church music. He is most well known for his Magnificat and Nunc Dimittis settings, which are still sung to this day in many Episcopal and Anglican churches for evening prayer. He set C. F. Alexander’s masterful poetic version of this prayer in 1902, utilizes two pre-existing Irish hymn tunes; St. Patrick and Gartan. Due to the irregular stanzas present in the text, the hymn utilizes three separate metric schemes, making this hymn unique among the hymnic repertoire. Though we are not able to sing all the verses in its placement at this Mass, the thematic outline of the full hymn begins in the first verse by invoking the Trinity in a circular manner: we invoke the Trinity, through he power of the trinity - i. e. we allow ourselves to participate in it’s continuous act of participatory existence. The second verse details the acts of the mediator between us and the Trinity - i. e. the second person, Jesus - listing his actions as revealed through scripture. The third verse will recall the Te Deum prayer to many listeners, as the heavenly hosts, from Angels through Apostles, Patriarchs and Prophets, draw a picture of the hierarchies of heaven. The fourth verse, in brilliantly colored language, praises the natural as creation participates in the Trinitarian collective through its very being. The fifth verse is paean of God’s mercy and love to his children. The sixth and seventh verse utilize the second tune of the hymn, and the text is often known as the Lorica or Deer’s Cry. The eighth and final verse is a culmination of the previous verses, beginning with a repetition of the first verse, a detour to mention creation, (both natural and eternal), and finally a focusing in on the second person, by whom we participate in the Trinitarian Mystery, with a firm declaration: Salvation is of Christ the Lord.

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Sunday June 4, 2017 
Solemnity of Pentecost

Preparation of the Gifts 10:00 AM - Dum Complerentur, Palestrina (c. 1525-1594)

Palestrina resists setting this motet in the strict imitative polyphony for which he is typically known, and instead uses homophonic phrases alternating between different groupings of the choir sections. This technique gives the piece a gentle undulating quality, calling to mind the wind blowing into the room at Pentecost. The text is from the book of Acts, and recounts the descent of the Holy Spirit with ‘Alleluias’ dispersed throughout the piece - often in more standard imitative polyphony, particularly at the end.

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Preparation of the Gifts 11:30 AM - Veni, Creator Spiritus, Michael John Trotta (b. 1978)

Opening with a single voice on the motive of the Veni Creator chant, the piece then gently adds voices, always continuing in the chant rhythm. Although the melody of the chant is not preserved entirely, having the motives traded throughout the vocal parts gives the effect of the chant hymn being sung in its entirety. Two texts are spliced together for this motet: The first being the Veni Creator, Spiritus, which we hear in the beginning (often attributed to Rabanus Maurus (9th century), and Veni Sancte Spiritus (not the sequence by the same name), a short prayer found in a Proper from the liturgy. The text sings of the works of the Holy Spirit, and implores for the Spirit to reside in the hearts of the faithful. Michael John Trotta is a New York based choral conductor and composer.

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Communion 10:00 AM - Factus est Repente, Crecquillon (c. 1505-1557)

The text is taken from the Book of Acts and is the Communion Proper for Pentecost Sunday. The Franco-Flemish composer, Crecquillon, sets the text in a solemn polyphonic style, emphasizing the significance of the event, as well as the dramatic occurrence of the Spirit’s descent. The opening line of the motet is written to give the effect of wind entering the room. The piece continues its dramatic drive through imitation and multi-voice entrances to conclude with a triumphant ‘Alleluia’ in a major tonality, perhaps to signify, for Crecquillon and us, the beginning of the Church and a new age.

To listen to an instrumental version, click below and begin at 1:06:

Communion 11:30 AM - O Lord, Give Thy Holy Spirit, Thomas Tallis (1505-1585)

This motet was written during the reign of Elizabeth I, and is one of the later and most expressive motets from Tallis oeuvre. It is set in a homophonic style with slightly delayed entrances and rhythmic deviation. The work’s mode is continuously at question, as accidentals are negated quickly as they travel through the voice parts. The text for this motet is taken from a 16th century Protestant prayer book called ‘Lidley’s Prayers,’ published following Elizabeth’s ascension to the throne and the reinstatement of the Edward IV prayer book. The prayer beseeches the Holy Spirit to send forth two of its seven gifts: understanding and fear of the Lord.

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Fifth Sunday of Easter
May 14, 2017

Prelude 11:30am - The Stone Which the Builders Rejected, Gail Gillispie

Gillispie is a singer, composer, and lutenist based in the Chicago area, where she has conducted numerous choral groups specializing in music from the Renaissance. Her music is stylistically aligned with Palestrina and other Catholic polyphonic motet composers, with lines of text oscillating between homophonic and polyphonic textures, all framed within 16th contrapuntal theory. The text of this motet is from Psalm 118, which is the Psalm for Easter Sunday, and alludes to today's second reading from 1 Peter.

Preparation of the Gifts 10:00am - Jubilate Deo Universa Terra a 5, G. P. da Palestrina (c. 1525-1594)

This motet is taken from Palestrina’s Offertorio totius anni, from 1593, and is a setting of the Offertory text for either Epiphany II or Easter V. The text is from Psalm 65, and speaks of both discipleship and praise for the goodness of God. The opening section - the joyful proclamation ‘Jubilate Deo universa terra’ - is curiously set in the Phrygian mode, more typically felt as somber in tone. The motet moves between polyphonic and homophonic sections, with fluid melismatic phrases, creating the effect of many voices ‘universa terra’ joining in the chorus of praise.

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Preparation of the Gifts 11:30am - Sing Aloud unto God our Strength, Daniel Nelson

Daniel Nelson (not to be confused with the Swedish composer of the same name) was born in Colorado, and studied music at Bethany College and Indiana University. The motet sets text from the first three verses of Psalm 81, which is an exuberant acclamation of praise to God. The harmonic writing remains diatonically E minor in the first section, while in the second second section shifts into G sharp minor, a tertiary relationship that comes on rather abruptly before the third verse begins. The final portion of the piece resets material from the first section, but alters the tonality to provide for a more joyful ending in E major.

Communion 10:00am - Phillippe, qui videt me, Thomas Crecquillon (c. 1505-1557)

This motets sets a single line of Christ’s words to Philippe from todays Gospel with Alleluias dispersed throughout. The motet stays in simple meter for its duration, and employs imitative writing typical of the Flemish/Lowlands polyphonic style.

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Communion 11:30am - Come My Way, My Truth, Harold Friedell (1905-1958)

The text of this motet comes from the Metaphysical poet George Herbert (1593-1633), who, in addition to writing, also served as a member of parliament and as rector for a small country parish near Salisbury. The text has also been set by Vaughan Williams for his Five Mystical Songs, from which the well-known hymn The Call originates, and the first line of the poem comes from today’s Gospel reading. The early 20th century American composer, Friedell, sets the text in a lush slowly harmonic language, which evokes both pleading and contemplation. While the first verse reflects on the words of Christ, the second focuses on the Eucharist, and the third envisions the soul transformed by this sacrament - ‘Such a heart as joys in love.’ 


Fourth Sunday of Easter
May 7, 2017

Prelude 11:30am - God is Love, His the Care, arr. Andrew Carter (b. 1939)

The tune PERSONET HODIE is taken from the Scandinavian collection of hymns, Pies Cantiones, which was published in the 16th century, though the tune may have originated in Bavaria two hundred years earlier. It wasn't until the mid-19th century that the tunes found their way to John Mason Neale, and subsequently the English Hymnals. This arrangement was chorally set by the English composer, Andrew Carter, with text by the Anglican priest, poet, and pedagogue, Percy Dearmer. The text depicts God as the Good Shepherd whose evident grace and care for us is a model of the way we should treat one another.

To hear a festive hymn version of this piece from Liverpool R.C. Cathedral click below:

Preparation of the Gifts 10:00am - Deus, Deus Meus, G. P. da Palestrina (c. 1525-1594)

This motet is taken from Palestrina’s Offertoria totius anni of 1593, and is designated for the Offertory chant of the fourth Sunday after Easter. It is striking as being one of the few motets from this collection to begin the motive in the Bass, which creates a much more subdued and somber affect, giving the impression of night just before the dawn. The phrase ‘ad te’ (to you) is set in an ascending fifth, as if raising our eyes in prayer. All phrases in this motet have the lower two voices drop out at points, removing the momentum of the line and creating a tranquility to reflect on the text. The setting of the extended concluding Alleluias retains the placid character of the preceding section - a marked contrast from the more typical treatment of motets of this period where the “Alleluia” conclusion is more an acclamation achieved through the use of changing meter and quicker pace.

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Preparation of the Gifts - 11:30am Surrexit Pastor bonus, Michael Haller (1840-1915)

Michael Haller, a German composer from the Bavarian region, was known as “the 19th century Palestrina.” He was a member of the Cecilian movement, which attempted to revive the Palestrina form of ecclesiastical music within a Germanic style. The text is set simply with little use of melisma and mostly homophonic writing.

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Communion motet 10:00am - Surrexit Pastor Bonus, Orlando de Lassus (c. 1532 – 1594)

The Franco-Flemish composer Lassus was one of the most famous composers of the Polyphonic era. In his motet writing, frequent use of text painting occurs: The opening phrase in each part ascends on the first line as it speaks of the Good Shepherd’s resurrection. The mode becomes brighter on mentioning the sheep of the flock; a nod to the simpler character of the redeemed sheep versus the more theologically dense lines of the motet. The third lines uses repeated notes to create momentum for the text that implies the motivation of the Shepherd’s actions. The final line is repeated three times – both for emphasis on Christ’s act of love, and possibly a reference to the Trinity. The Alleluia retains some of the pastoral style found earlier in the motet, and is densely imitated through the various voices before joyfully cadensing.

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Communion motet 11:30am - Paschal Lamb, Carl Schalk (b. 1929)

This motet takes an Easter themed text by J. Michael Thompson and sets it as a gentle lullaby. The poem alludes to Christ as the Shepherd and guardian of the sheep in the first verse, and then pleads for his grace and guidance in the second verse. The hymn-like structure of the motet is interrupted at the end with a repletion of the final few words in a growing and ascending choral cadence. The music is by the Lutheran author and composer Charles Schalk, who studied at Eastman School of Music in Rochester, NY, and taught at Concordia College in Chicago.

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Third Sunday of Easter
April 30, 2017

Choral Introit 11:30 am - Now the Green Blade Riseth, John Hirten (b. 1956) 

John Hirten is a San Francisco based organist and composer of both sacred and secular music. The pairing of John M. C. Crum’s (1872-1958) poem with this anonymous French Carol has appeared in hymnals before, and it is now becoming popular to arrange in anthems. The text creates an analogy between the buried and risen Christ, and the dead wheat from which green blades grow. In the second verse, we hear of the doubt of the disciples ‘thinking that he’d never wake to life again.’

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Preparation of the Gifts 10:00 am - Jubilate Deo omnis terra for Five Voices, G. P. da Palestrina (c. 1525-1594)

This motet is taken from Palestrina’s Offertorio totius anni, from 1593, and is a setting of the Offertory text for Epiphany. The setting is rather subdued for such a joyful text, with frequent employment of Hypo-Aeolian mode, giving a slight minor and unresolved quality to the motet, though the middle section is in a very striking major tonality. The text continues the Eastertide themes of rejoicing which characterize the season.

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Preparation of the Gifts 11:30 am - Draw Us in the Spirit’s Tether, Harold Friedell (1905-1958)

This poem was written by Percy Dearmer (1867-1936), an Anglican priest and publisher of the 1906 English Hymnal in collaboration with Ralph Vaughan Williams. The text petitions the Holy Spirit to be present when two or more are gathered – today, a reference to the two disciples on the road to Emmaus. The Gospel imagery continues in the allusions to the Eucharist in the final verse – “they knew him through the breaking of the bread.” Harold Friedell was a teacher at Juilliard and Union Seminary, as well as a renowned organist and composer. He wrote in a dense contrapuntal style that utilized modern yet frequently diatonic harmonies.

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Communion 10:00 am - Alleluia! Cognoverunt Discipuli, William Byrd (c. 1543-1623)

This motet by the Tudor-era William Bryd is taken from the composer’s 1607 Gradualia II, written for the clandestine Catholic community of England. Bryd frequently employs text painting in his works and this motet is no exception. The word ‘fractione’ (break) is treated in an abrupt and jagged manner. The second line ‘caro mea vero est cibus, et sanguis meus vero est potus’ (my flesh is true food, and my blood is true drink), is set in three voices and creates more intimacy with the theological text. The word ‘manet’ (remain) is stretched over a long melisma of notes.

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Communion 11:30 am Jubilate Deo, László Halmos (1909-1997)

László Halmos was a 20th century Hungarian composer and choir director for the Cathedral of Gyór, as well as a teacher at the State Conservatory. In addition to choral music, he was a reputable violinist and one of the early members of the Hungarian Quartet. This motet, which sets three verses from Psalm 65, is composed in a ternary form, frequently alternating between women and men in a canon, giving the piece a buoyant and joyful effect.

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Second Sunday of Easter
April 23, 2017

Introit 11:30am and Communion 10:00am - Alleluia - Pawel Lukaszewski (b. 1968)

Pawel Lukaszewski is a well-known Polish composer. This motet sets the single hebrew word - which roughly translates as ‘Praise God’ - in a three part structure that gently undulates with harmonic and rhythmic color. The jubilant nature of the text reminds us of that we remain with this Sunday within the octave of Easter.

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Preparation of the Gifts 10:00am and 11:30am - Quia vidisti me, Thoma - Luca Marenzio (1556-1599)

One of many themes associated with this Sunday in all three cycle of readings, is the theme of doubt and faith as demonstrated by the apostle Thomas in today’s Gospel. Christ’s words to Thomas are set in a joyful texture, which takes advantage of the bright major tonality with use of parallel sixths and tenths throughout the motet. The final Alleluia section is set in triple meter, and takes on a dance like character. The Italian composer Marenzio was most well known as a composer of madrigals and motets, and prior to Monteverdi was the greatest of the Italian madrigal composers.

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Communion 11:30am - This Joyful Eastertide, Dutch Carol

The melody for this carol comes from a popular Dutch love song ‘De liefde, voortgebracht door reyn geloof’ and found its way into the Dutch hymnals in the late 17th century (See David’s Psalmen, 1685, Amsterdam). The new text ‘Hoe groot de vruchten zijn,’ was written for this tune by the poet Joachim Oudaen. The pairing of text and music is quite well matched, particularly in the final line where the word ‘arisen’ is repeated four times on an ascending motive.

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Music for Holy Thursday Mass of the Lord’s Supper: Evening Mass with Cardinal Wuerl
April 13, 2017

Prelude: Ubi Caritas 

Ola Gjeilo Ola Gjeilo (pronounced yay-lo), is a contemporary Norwegian composer. He has written primarily choral music, most of it based on sacred texts, including ‘Sunrise Mass’ based on the Mass ordinary texts as well as a setting of O Magnum Mysterium. This prelude motet seems to be inspired by the much-loved Duruflé setting composed a half century earlier, including chant-like phrases, homophonic part writing, and dense harmonic structures. The text is taken from one of the proper antiphons for the Washing of Feet rite for this first liturgy of the Paschal Triduum.

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Washing of the Feet: Mandatum Novum

Luke Mayernik Also known as ‘A Troparion for Holy Thursday’ the contemporary American composer Luke Mayernik sets this proper antiphon in an undulating, eastern-inspired choral framework, with English verses interspersed between each Latin antiphon. The chant-like verses take their text from the words of Christ to his disciples in tonight’s Gospel.

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Washing of the Feet: In the Heart Where Love is Abiding

John Barnard John Barnard is a contemporary English composer of choral motets and anthems as well as dozens of hymn tunes. This motet sets the Ubi Caritas chant, alternating between sopranos and full choir, as well as between unison and harmonic writing.

Preparation of the Gifts: Ubi Caritas and Meditation: Tantum Ergo
Maurice Duruflé

Despite being one of the greatest French composers of organ and choral music of the 20th century, Maurice Duruflé left behind a strikingly small output of music, mostly due to his rigorous perfectionism in the compositional process. He was Louis Vierne’s assistant organist at the Cathedral of Notre Dame in Paris until being appointed titular organist of St. Étienne-du-Mont, a position he held until his death. This motet is taken from his set Quatre motets sur des thèmes grégoriens, Op. 10, and was published in 1960. The motets are dedicated to Auguste le Guennant, a Gregorian chant scholar, and as the title implies, all are based, either through motive or phrase, on Gregorian chants. Both the Ubi Cartias and Tantum Ergo motets utilize the chant in its entirety, with the former employing alternation between subgroups of the choir in a homophonic texture, and the latter written in an imitative form with the women leading the chant and each voice subsequently entering into the harmonic texture.

To hear a version of Ubi Caritas, click below:

To hear a version of Tantum Ergo, click below:

Communion Motet: Verbum Caro, Panem Verum

Paul French Paul French is an American composer and choral director, best known for conducting the William Ferris Chorale, as well as being Director of Music for Our Lady of Mount Carmel Church in Chicago. This modest motet sets one verse of Thomas Aquinas’ Pange Lingua hymn - a paean to the true presence of Christ in the Eucharist Sacrament. The motet is largely chant inspired, with references to ‘organum’ (a technique in which the chant is doubled at the fifth or other intervals), scattered throughout the work.

Transfer of the Sacrament: Jesu Dulcis Memoria - Tomás Luis de Victoria

Jesu Dulcis Memoria is a hymn, very likely composed by St. Bernard of Clairvaux, a 12th century Cistercian and Doctor of the Church. The Spanish polyphonic composer, Victoria, sets the first verse in an intensely harmonically interwoven structure, expressing the poignancy of this text. The choral writing frequently utilizes chromatics and extended suspensions to create an intimate prayer to Jesus.

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Music for Passion Sunday
April 9, 2017

Introit 10:00am - Hosanna to the Son of David - Thomas Weelkes (1576 – 1623)

This intricately written motet for six voices oscillates between major and minor tonalities and utilizes various form of part-writing imitation throughout, moving between homophony and imitative writing at the half-measure, as well as double choir effect, where multiple voices imitate each other in succession. The English composer Thomas Weelkes was organist of Chichester Cathedral, and composed several books of anthems and madrigals. The text is the antiphon proper for this Sunday, and repeats the text uttered by the Jews as Jesus triumphantly entered Jerusalem. The Hebrew word ‘Hosanna’ roughly translates to ‘we beg you to save,’ so in using it, the Jews were acknowledging Jesus as the Messiah and their savior.

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Preparation of the Gifts - Pueri Hebraeorum - Tomás Luis de Victoria (c. 1548 - 1611)

Victoria was the finest composer of sacred polyphony of the Iberian Peninsula. This gentle motet takes its text from the antiphons for the distribution of palm branches, and tells of the ‘Children of the Hebrews’ casting their cloaks on the ground to lay a carpet before Jesus as he entered triumphantly into Jerusalem. The opening motive contains a flutter of eighth notes, perhaps as of a vestment or cloak caught in the air as it falls to earth. The motet has as an almost glib character - possibly suggesting the fickleness of the faith of the people of Jerusalem, who at first hail Jesus as the Messiah, but soon allow him to be helplessly led to his unjust death.

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Communion 11:30 - The Mocking of Christ - Thomas Tallis (c. 1505 -23  - 1585)

The music (Third Tune) is taken from Tallis’ Bishop Parker’s Psalter, which was written to provide vernacular settings of the Psalter in the reformed English liturgy. The tune originally set the 2nd psalm (Why fum’th in fight). The music was later used as the source material for Vaughan Williams’ Fantasia on a Theme by Thomas Tallis. The Mocking of Christ is a poem by the English hymn writer and minister Fred Pratt Green. The poem is in three parts, and reflects on an aspect of the Mocking: the crown of the thorns, the purple cloak, and the scepter reed. A common line in each stanza, “They could not know, as we do now….” echoes Christ’s plea for forgiveness from the cross: “Father, forgive them, for they know not what they do.”

To hear a version with the original words, click below:

Post-Communion Motet - Vexilla Regis - Anton Bruckner (1824 – 1896)

Vexilla Regis is a hymn written by Venantius Fortunatus in 569 to commemorate a relic of the true cross being brought to Poitiers in France; the hymn has been suggested for Good Friday, as well as The Exaltation of the Cross, throughout the ecclesiastical calendar’s history. The German Romantic composer, Anton Bruckner, sets the text in a highly emotive and chromatic atmosphere. The motet is loosely based in the phrygian mode, though it fluctuates frequently with its harmonic language.

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Music for the Fifth Sunday of Lent
April 2, 2017

Prelude 11:30am - O Christ You Wept - John Bell

This gentle funeral motet sets Bell’s tune, Palmer, as a homophonic hymn with a brief interlude between each verse. The text, by Graham Maule and the composer, tells us of Christ’s love for Lazarus and for all who pass away. The text also reminds us of the Resurrection to come, and, while mourning, to hope towards the eternal life.

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Kyrie 10:00am - Mass for Four Voices – William Byrd

This Mass was written in 1590s for the underground Catholic aristocratic community in England during the reign of Queen Elizabeth. The setting employs closely aligned voice imitation, similar to the contemporary style of Continental Europe. An interesting motive within the Mass is the setting of the text ‘Christe Eleison’ with the majority of the voice entrances employing downward melodic fragments, suggesting perhaps the Christ’s willingness to humble himself in order to reach out to us in mercy.

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Preparation of the Gifts 10:00am - Confitebor Tibi Domine – Giovanni Pierluigi da Palestrina

Palestrina sets the Offertory Proper for this Sunday in a typical Italian-Polyphonic-Post-Tridentine style. The text, taken from Psalm 119, is noteworthy for its two references with the word ‘life,’ which while not explicitly referring to the resurrection do add to the general theme of this Mass and the coming Great feast of Easter.

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Preparation of the Gifts 11:30am - Lazarus – Paul Nicholson

This text is taken from the Office of Matins for “Lazarus Saturday” in the Orthodox calendar, and was translated by J. Michael Thompson. Besides retelling the Gospel story, the text reminds us how much Lazarus was loved by Christ, and that the theme of raising the beloved is echoed in today’s Collect prayer that describes Christ’s sacrifice as motivated by love of the world. The motet is homophonically set with mild harmonic eccentricities through out, particularly toward the end.

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Communion 10:00am/11:30am - So Fahr ich hin zu Jesu Christ – Heinrich Schütz

This motet is taken from Schütz’s Geistliche Chormusik collection, which was published in Desden in 1648. Although Schütz was German, he studied under Gabrieli in Venice, and there is a strong Italian influence on his style. The text is a calm prayer of desire for Jesus, and the peace found within. It speaks of being awakened by Christ’s call and being led to heaven after a period of sleep, much like Christ referred to the deceased child in Matthew 9:24, as ‘not dead, but asleep.’

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Fourth Sunday of Lent (Year A) -  Laetare Sunday
March 26, 2017

Introit 10am Mass - Laetare Jerusalem

This entrance chant in the 5th mode takes its text from Isaiah 66:10-11 and Psalm 122:1. The joyful character of the text hints at the joy of Easter soon to come. The opening motive on the word ‘Laetare’ is the same as the final motive on the Alleluia at the Easter Vigil, connecting the minor joy of this feast with the great joy of Easter.

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Prelude 11:30am Mass - Rejoice in the Lord – Anonymous

Rejoice in the Lord, Alway - This anonymously composed motet from mid-16th century England has been a standard of the English liturgical choral repertoire. The text from the 4th chapter of Philippians (KJV) shares the first word with today’s Introit text ‘rejoice’ or ‘Laetare’ from which this Sunday is named. While its authorship remains uncertain, the clarity of its counterpoint and textually sensitive use of interplay between polyphony and monophony suggests a well-trained Tudor-era composer on the level of Tallis or Byrd.

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Preparation of the Gifts 10am Mass – Erravi Sicut Ovis – Thomas Crecquillon (c. 1505 - 1557)

This simple and gentle setting of Psalm 196:176, recalls today’s responsorial Psalm 23, where God’s goodness and mercy are compared with that of a shepherd. The motet uses imitative counterpoint throughout for each successive vocal entrance, and prefigures the Palestrina polyphonic style. Crecquillon was a Franco-Flemish composer of the Lowlands and was a priest in the court of Charles V, though whether he ever ascended to the position of Chapel Master remains uncertain.

Preparation of the Gifts 11:30am Mass – Illumine the Eyes of Our Hearts – Brent Weiland Weiland (1963 – 2015)

Brent Weiland was a Chicago based composer and music director. This motet uses an imitative technique between the men’s and women’s voice of the choir. The text speaks of Christ as the light of the world, and his healing of the blind man from today’s Gospel.

Post-Communion Motet 10am Mass – Ave Verum – Francis Poulenc (1899 – 1963)

Poulenc was a French composer and pianist. Although primarily self-taught, he studied piano with Ricardo Viñes beginning in 1914, and through Viñes was introduced to many contemporary musicians of his day, including the other members of Les Six . He composed over multiple genres including opera, orchestral, chamber, and choral. This setting of the Ave Verum prayer was composed in 1952, around the same time as his Quatre motets pour le temps de Noël.

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Post- Communion Motet 11:30am Mass – Open Thou Mine Eyes – John Rutter (b. 1945)

This motet is based on a poem by Lancelot Andrewes, who was bishop of Chichester in the 16th century. It was set in 1980 by the English composer John Rutter as a commission by the Texas Choral Director’s Association. It is written in a very gentle and simple style, with an opening motive being explored by various vocal arrangements with limited harmonic interaction.

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Third Sunday of Lent (Year A) - The First Scrutiny
March 19, 2017

Prelude 11:30am Mass - Restless is the Heart – Bernadette Farrell (b. 1956)

This motet, by the British Catholic composer Bernadette Farrell, takes its text from two sources; the antiphon being a prayer of St. Augustine, and the verses from Psalm 90. The motet has become a popular selection for Catholic funerals and Remembrance Services with its calm emphasis on finding rest in God and on the transitory nature of life. Augustine’s prayer is dramatized by the Samaritan woman’s interaction with Christ at the well, as depicted in today’s Gospel. Christ promises that her longing will be satisfied when she discovers and drinks from the source of the life-giving water that will never run dry.

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Kyrie 10am Mass - Missa Quarti Toni – Tomás Luis de Victoria (1548 – 1611)

Although the Spanish counter-reformation composer Victoria wrote numerous Mass settings based on chants, secular tunes, and even his own compositions, this Mass setting uses original motivic elements. The name – Quarti Toni or Fourth Tone – is derived from the Ecclesiastical modes of chant, in which the Hypo-Phrygian scale (B, C, D, E, F, G, A) is the fourth in number following the two Dorian modes and Phrygian. The flatted second degree of the scale in this mode gives the mode its uniquely dark and twisted sound, and can be heard throughout in this setting of the Kyrie.

Preparation of the Gifts and Communion 10am Mass - Sicut Cervus / Sitivit Anima Mea– G.P. da Palestrina (1524-1594)

This setting of the first verse of Psalm 42, demonstrates the post-Trent musical style of the Italian Renaissance composer Palestrina. It was published in 1584 in the 2nd Book of Four Voice Motets. “As the deer longs for living waters, so my soul thirsts for you, O God.” The imagery of the deer longing for a running stream is presented as a reflection on today’s Gospel. The second part of this motet, which is not often sung, sets verses 2 and 3 from Psalm 42 and continues the idea expressed in the Communion Antiphon of the water of Christ which satisfies. “My soul thirsts for God, for the living God: when shall I come and appear before God? My tears have been my meat day and night, they continually say to me, ‘Where is your God?’”

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Preparation of the Gifts 11:30am Mass - Like as the Hart – Herbert Howells (1892-1983)

This motet is the most famous of Howells’ Four Anthems published in 1943, and a standard of the English choral repertoire. His rich and lush harmonic palate subtly expresses these first two verses of Psalm 42: the longing and thirst of the deer or ‘hart’ as it was translated in the 1928 Book of Common Prayer, with its double-entendre alluding to our own ‘hearts.’ The anthem is in a ternary form with verses 1 and 2 of the psalm depicting the thirsting soul that longs for God and wonders when it will be satisfied. The 2nd section of the anthem speaks of the soul considering its own sadness and despair. The first section is then brought back with a descant characteristic of Howells, accompanying the primary motive. The setting of the final word God may be the most poignant, as the peaceful E major sonority is pierced repeatedly by a flatted 6th, evoking a sense of transformation, until the final cadential progression reinforces the celestial E major in a faint foreshadowing of the soul’s home in heaven.

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Communion Motet 11:30am Mass - There’s A Wideness in God’s Mercy – Music: Calvin Hampton (Setting: Ken Berg) Text: Frederick Faber

Two themes in today’s scriptures are called to mind in this relatively modern hymn tune setting paired with a text by the prolific 19th c. English poet Frederick Faber. The text speaks of the immeasurable mercy of God and likens it to the “wideness of the sea.” That same bountiful mercy is revealed in the Gospel for this Sunday. Jesus approaches the woman at the well with compassion and offers her life-giving water that will never be exhausted. We will sing only four of the original thirteen stanzas of this poem found in Faber’s Hymns (London, 1862). This hymn is a staple of Christian worship, but is most often sung to the Dutch folk tune In Babilone. Calvin Hampton (1938 -1984) took up the challenge to create a fresh rendering of the hymn, composing a new tune with an undulating accompaniment that effectively evokes the movement of waves at sea. The tune name St. Helena is given in honor of a community of Episcopalian women active in his parish church (Calvary Episcopal, Gramercy Park, NYC) called the Order of St. Helena. Ken Berg, of Birmingham, AL, composed the choral setting heard in today’s liturgy.

To hear a version with the original unison setting, click below:


Second Sunday of Lent
March 12, 2017

The Gospels for the second Sunday of Lent in all three synoptic Gospel cycles of the Lectionary tell the story of the Transfiguration. The related themes are the source for many of the choral choices for the two morning choral Masses at the Cathedral this week.

Prelude 11:30am Mass – Tabor’s Light - Ken Macek and J. Michael Thompson

LINDEN is a hymn tune composed by Ken Macek, who leads a contemporary group of Catholic musicians at Atlanta’s Christ the King Cathedral. It was arranged chorally by fellow Georgian native, Paul Tate, with a keyboard setting by Keith Kalemba, Westminster Choir College alumnus, and WLP senior editor. J. Michael Thompson’s text is a poetic retelling of the Transfiguration narrative from today’s Gospel, and the title ‘Tabor’s Light both refers to the Mountain Tabor where the Transfiguration took place, as well the concept of ‘Uncreated Light’ which manifested both to the apostles James and Peter, as well during the conversion of Paul.

Kyrie 10am Mass – Mass for Five Voices - William Byrd

Along with the Masses for Three and Four voices, the Five Voice Mass was composed in the 1590s for the clandestine Catholic community during the reign of Queen Elizabeth. Along with the Gradualia from the early 1600s, these choral works allowed the celebration of the Roman Rite Mass, as it would have been understood by the continental missionary priests that were journeying to England. The Mass is set in a polyphonic Tudor style featuring imitative entrances, often spaced in close adjacencies.

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Preparation of the Gifts 10am Mass - Meditabor in Mandatis - Giovanni Pierluigi da Palestrina

This setting of the offertory text for the 2nd Sunday of Lent by Palestrina was published in his collection Offertoria Totuis Anni in 1593, and set the standard for continental Catholic composers following the liturgical reforms of the Council of Trent. The text, taken from Psalm 119, while not reflecting the scriptures of the day, does echo the collect for this Mass: “We have been commanded to listen to the words of Christ, may those words feed us and purify our sight, so that we may see His true glory. “

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Preparation of the Gifts - 11:30am Mass - Before Your Crucifixion, O Lord - Paul Nicholson

This motet by the Chicago-based composer Paul Nicholson uses a Transfiguration text from the Byzantine Rite. The setting alternates between Mixolydian and Dorian modes, and predominantly features open fifths in its part-writing, giving an Eastern character to the choral sound.

Communion 11:30am Mass - Be Thou my Vision - William Culverhouse

This text is a poetic translation by Eleanor Hull for the 1912 English Hymnal, based on the Irish hymn ‘Rop tú mo baile.’ The text was paired with the Irish tune SLANE, in 1919 and continues to be sung to that tune. The arranger of this setting, William Culverhouse, is a graduate of Oberlin Conservatory and the University of Maryland, and was director of the Schola Cantorum at the Cathedral from 2000 to 2008. He now heads the Choral Music Department of Earlham College in Richmond, IN

Post-Communion 11:30am Mass - O Nata Lux - Morten Lauridsen

Morten Lauridsen is a contemporary American composer, primary of choral music. This motet is taken from his work Lux Aeterna, which was composed during the illness and death of the composer’s mother. His compositional technique is one that reduces harmonic language to chordal structures that contain unresolved 7th and 9th suspensions, which creates for many an effect of tranquility. The text comes from an office hymn at Lauds for the Feast of the Transfiguration.

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First Sunday of Lent
March 5, 2017

Prelude 10am and 11:30am Masses – Schaffe in Mir Gott - Johannes Brahms

The late-German Romantic composer Johannes Brahms composed this setting of three verses from Martin Luther’s translation of Psalm 51 (this Sunday’s Responsorial Psalm) in 1860 as part of his Opus 29, Zwei Motetten (Two Motets). The work is divided into three unique sections, each one corresponding to a verse of the Psalm. The first section, which speaks of our desire for forgiveness and redemption, is set in rich, enveloping harmonic texture that captures the peaceful, yet eternal longing for the infinite goodness and mercy of the Creator. The second section is more animated, expressed in a chromatic fugal section. The notion of being abandoned by God, is ominously suggested. The third section, not performed this Sunday because of its length, reassures the soul by beginning with the word troeste (comfort), and initiates a harmonic and textual intermezzo that leads into an uplifting finale, where the light-hearted choral treatment rejoices in the freudige Geist (joyful Spirit) that God sends to uphold his people.

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Preparation of the Gifts Motet 10am Mass

“The Lord will overshadow you with his pinions, and you will find refuge under his wings. His faithfulness will encompass you with a shield.” Psalm 91, verse 4-5. The First Sunday of Lent is unique in that the text for both the Offertory and Communion chants use the identical verses of Psalm 91. This unusual choice is even more noteworthy as it is the same citation used by the devil in today’s Gospel to tempt Jesus to test God’s constancy and steadfastness. 10:00am G.P. da Palestrina (1525 -1594) was an Italian Renaissance composer of principally sacred music and the best-known 16th century representative of the Roman School of musical composition. He had a lasting influence on the development of church music, and his work has often been considered the epitome of the genre. His setting is taken from the collection Offertoria Totuis Anni from 1593. This polyphonic motet uses lengthy phrasal imitation and weakened cadential arrangements, creating an uninterrupted effect through the text.

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Communion Motet 11:30am Mass – Scapulis Suis 

Robert Kreutz (1922-1996) was a 20th century American composer of liturgical music. Mr. Kreutz studied composition at the American Conservatory in Chicago and at the University of California, Los Angeles. He is best known for his hymn collaboration with Omer Westendorf in their Gift of Finest Wheat, composed for the Eucharistic Congress in Philadelphia during the US Bicentennial celebration in 1976. Kreutz sets these two verses of Psalm 91 in a modern aesthetic with expressive word painting as in the opening gesture where voices are successively layered, one upon the other, as feathers are layered to create a bird’s wing.

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Preparation of the Gifts Motet 11:30am Mass – Hide Not Thou Thy Face - Richard Farrant

Richard Farrant was a 16th century English composer, and member of the Chapel Royal for twelve years before taking the position of organist for St. George’s Chapel, Windsor. This motet quotes verses of Psalm 27, and is set in a declamatory/homophonic style in which the text is sung at the same moment in all parts, as opposed to a polyphonic style, such as that heard in the Palestrina selection at the 10:00am Mass today. The text pleads to God that he might reveal his merciful face toward us, even as we expose ours sin and selfishness and admit to our unworthiness to receive his mercy.

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Post-Communion 10am Mass – Miserere Mei, Deus - Alonso de Tejeda

De Tejeda was a 16th century Spanish composer, and succeeded Alonso Lobo at the Cathedral of Toledo as its Chapel Master. His setting of Miserere, unlike Gregorio Allegri’s more famous setting, uses only the first three verses of Psalm 51. It bears similarities to Antonio Lotti’s setting written a century later. The part writing is closely imitative, to the degree that one part may still be on one syllable of a word while another part begins the imitation. The text is taken from this Sunday’s responsorial Psalm, and reminds us of the redemptive power of God’s mercy for the sinner.

 

Post-Communion Motet 11:30am Mass – Adam Lay Ybounden - Joel Martinson

Joel Martinson (b. 1960) is a contemporary American composer and currently serves as Director of Music and Organist for Transfiguration Episcopal Church in Dallas, Texas. The anonymous 15th century carol ‘Adam Lay Ybounden’ has become associated with the Service of Lessons and Carols as it is traditionally paired with the first lesson from the Book of Genesis, which is today’s first reading. The text speaks of the curse that befell humans from Adam’s fall “four thousand years” before Christ’s coming. The carol is also an exposition of the notion of the ‘felix Culpa’ or ‘happy fault’ relating to the early Christian understanding of the fall and curse of Adam as a cause for joy, for without them, the redemption that Christ brings would have been superfluous. Martinson composes with a rich harmonic palate, and the motet recalls Warlock’s setting of this carol.


Ash Wednesday
March 1, 2017 ~ 12:10pm Mass

The choral motets 
The themes reflect the readings of the day and the season of Lent. We hope that their use in the liturgy inspires the assembly to a more profound entrance into this season of charity, fasting and penance.

Ash Wednesday marks the end of the Winter Ordinary Time hiatus for the Schola Cantorum. The Cathedral’s principal choir will sing each Sunday from the first Sunday of Lent through June 18, the Feast of The Body and Blood of Christ.

Distribution of Ashes: Emendemus in Melius – William Byrd
This motet is from the collection Cantiones Sacrae, 1575. The motets in this set were composed by Byrd and Thomas Tallis and dedicated to Queen Elizabeth. Emendemus in Melius is unique in Byrd’s catalogue for its ubiquitous homophonic part writing. The first part of the motet is conservative in its harmonic language, with minor flourishes at the ends of phrases interrupting the calmness. Near the end of part one, the lines become more declamatory, as the singers sing Hear O Lord, and have mercy. The second part, whose text implores God to help us and deliver us, permits more dissonance than in the first, including an extremely modern moment on the word nominis (name) where the partial harmonies of A minor and B flat major occur at once. The text is taken from the Matin’s Responsory for Lent I, and also appears as an option for the Distribution of Ashes in the Missal.

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Preparation Motet: Wash Me Through and Through - Peter Hallock
Peter Hallock is an American composer and organist, and was the Choirmaster/Organist for Seattle’s St. Mark’s Cathedral from 1951-1991. His musical style is strongly reminiscent of mid-century English composers such Benjamin Britten and Vaughan Williams, though without the pastoral ‘shire-esque’ sound of Gerald Finzi or Percy Granger. This processional piece alternates verses of two psalms: 130 (Out of the depths I cry to Thee…)and 51 (Have mercy on me, O God, in your loving compassion…). Psalm 130 appears in a simple chant form scattered throughout the piece, while Psalm 51 is set harmonically and alternates between speech rhythm and metered sections, evoking Gregorio Allegri’s famous setting of Psalm 51, Miserere.

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Communion Motet: Peccantem Me – Cristobal Morales
The Spanish composer Morales was the most highly regarded composer of the Iberian Peninsula prior to Tomás Luis de Victoria. This motet is taken from a collection of ‘freely composed’ pieces, that is, not based on a pre-existing motive. The text is from the Office for the Dead, and is the Response to the seventh reading from the book of Job.:

“Sinning daily and not repenting, the fear of death disturbs me. For in hell there is no redemption. Have mercy on me, O God, and save me. God, by your name save me, deliver me in your strength.”

Just prior to this text’s appearance, Job has lamented the abyss of his sinfulness and reflects on chastisement and hopelessness:

15:13-15 “If I wait, the grave is my house; I have made my bed in the darkness. I have said to corruption, ‘You are my father’; to the worm, ‘You are my mother and my sister.’ And where is now my hope? As for my hope, who shall see it? It shall go down to the bars of the pit, when our rest together is in the dust.”

Morales’ text painting should be noted in two instances. First, the opening two voices on the word peccantem (sin) devolve from a consonant octave into a dissonant minor seventh, creating an impression of the darkly confining nature of sin. Second, despite the austere text and musical setting, Morales closes the piece on a major chord, perhaps expressing confidence in the hopeful response to the entreaty salva me (save me).

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Fourth Sunday of Advent
December 18, 2016

The motets for the Fourth Sunday of Advent are the same for the Mass in Latin at 10am and the Mass in English at 11:30am (see below).

Of additional musical interest this weekend, the Cathedral Parish of St. Matthew the Apostle commissioned J. Michael Thompson to create a new hymn text (below) on the occasion of the Commemoration of the 50th Anniversary of Ordination to the Priesthood of His Eminence Donald Cardinal Wuerl at the 11:30am Mass. This new text was written with references to the following scripture passages Acts 20:17-18. 28-32.36; II Corinthians 4: 1-2, 5-7; II Timothy 1 6-11; and I Peter 4: 7-11. The tune assigned for the text is DARWALL’S 148th, also sung with the text Rejoice! The Lord is King. The Washington Symphonic Brass will be joining the Schola Cantorum to enhance the music for the festivities.

Preparation Motet: Rorate Caeli
This lush setting the Introit text for the Fourth Sunday of Advent, was primarily inspired by the Quatre Motets Sur Des Thèmes Grégoriens, by Maurice Duruflé. Like the Duruflé settings, the chant melody is given prominent position in the work, with original music given secondary and complimentary roles. The opening word of this Introit gives the name to this Sunday, and the text source is from the book of Isaiah. It is also used as a versicle in the Liturgy of the Hours during Advent. Leo Nestor's setting is in a romantic idiom, with a broad scheme of variety in color and choral texture. The primary allusion of the text is of the arid land depicting a people parched waiting for the clouds to open and provide life-giving water, just as their souls desiccated with sin and despair wait for the long-foretold Savior.

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Communion Motet: Ecce Virgo Concipiet
As with many texts assigned to liturgies in the final days of Advent, the original source is the book of the prophet Isaiah. William Byrd's musical treatment reflects the simplicity and innocence of Mary, and reserves harmonic color for the word Emmanuel, either reflecting the paradox of 'God with us' or foreshadowing his suffering and death on a cross. The motet is from his collection Gradualia I (1605), which was likely written for the beleaguered Catholic community still attempting to express its faith in Protestant England during the reign of James I.

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Third Sunday of Advent
December 11, 2016

The 10am Preparation Motet: Benedixiste Domine

This motet is taken from Palestina’s Offertoria totius anni secundum Sanctae Romanae Ecclesiae consuetudinem, 5vv, published in Rome in 1593. The text, which is the prescribed Offertory text for this Sunday, comes from the 85th psalm, and despite the hopeful language of God’s mercy and forgiveness, Palestrina sets it in the rather somber aeolian mode. Despite the darker color of tone, the motet is filled with rich text-painting. The opening motive, which speaks of God’s blessing on the earth, is a gentle descending line in each of the voices. The 2nd section, which concerns the captivity of Jacob, is abundant in using the minor 2nd interval, emphasizing a feeling of being trapped. Finally, he reserves major tones for the final phrase, and on the text remisisti - released/forgotten, one feels a relaxation and resolve of the tension present in the first two/thirds of the motet. To hear a version, click below:

The 11:30am Preparation Motet: Rejoice in the Lord, Alway 

This anonymously composed motet from mid-16th century England has been a standard of the English liturgical choral repertoire. The text, from the 4th chapter of Philippians, appears as the Introit today and as the second reading on this Sunday in Year C. It is from the first word of this Introit (gaudete - rejoice) that Gaudete Sunday receives its name. While its authorship remains uncertain, the clarity of its counterpoint, and textual sensitive use of interplay between polyphony and monophony suggests a well-trained Tudor-era composer, on the level of Tallis or Byrd. To hear a version, click below:

The 10am Post-communion motet: Gaudete Omnes

This motet was composed by the Dutch composer Jan Pieterszoon Sweelinck, and published in 1619 in his collection Cantiones sacrae. The very opening motive with its flutter of 8th notes which is then repeated in each voice, set the joyful tone and character of this motet. When the text calls on us to ‘enter his presence with singing’ the meter becomes compound and imitates a dance. The final alleluia section with its plethora of acclamations and imitation/echo effect, can give the impression of the limited voices of a choir being joined by the heavenly multitude. To hear a version, click below:

The 11:30am Post-communion anthem: Angelus ad Virginem

This anthem is by the British composer Andrew Carter (b. 1933.) The setting is based on a popular medieval carol, whose text is a poetic version of the Hail Mary and the Annunciation to the Virgin Mary. Probably Franciscan in origin, it was brought to Britain by French friars in the 13th century. It is said to have originally consisted of 27 stanzas, with each following stanza beginning with the consecutive letter of the alphabet. Surviving manuscripts may be found in a c. 1361 Dublin Troper (a music book for use at Mass) and a 13th or 14th century vellum Sequentiale that may have been connected with the Church of Addle, Yorkshire. Its lyrics also appear in the works of John Audelay (perhaps a priest, he definitely spent the last years of his life at Haughmond Abbey, where he wrote for the monks), in a group of four Marian poems. It appears in Geoffrey Chaucer's Miller's Tale, where the scholar Nicholas sings it in Latin to the accompaniment of his psaltery: And over all there lay a psaltery Whereon he made an evening's melody, Playing so sweetly that the chamber rang; And Angelus ad virginem he sang; And after that he warbled the King's Note: Often in good voice was his merry throat. To hear a version, click below:


Sunday, November 20, 2016
Thirty-fourth Sunday in Ordinary Time 

This weekend marks the confluence of many liturgical streams. It is the 34th and final Sunday of Ordinary Time and therefore the end of the Church year. Additionally, it is the Feast of Christ the King and the conclusion of the extraordinary Year of Mercy. This weekend also will see the annual White Mass for those who are differently-abled, celebrated by Auxiliary-Bishop Mario Dorsonville at 10am Mass in English. The Rector of the Cathedral will celebrate the closing Mass for the Year of Mercy at the 5:30pm Sunday Evening Mass, with Rev. Thomas Kesicki, S.J. as the homilist. At this Mass, our RCIA candidates also will be anointed.

The Hymn for the Year of Mercy will be sung as the communion hymn at all musical Masses this weekend. The text of the refrain is also the motto of the Year of Mercy: Misericordes Sicut Pater – Merciful, as the Father is Merciful.” Each of the verses includes the same recurring response: “In aeternum misericordia eius – his mercy is forever.” To discover more about this hymn and to hear a version, click here.

The text of the 10am Preparation Motet: O Rex Gloriae, by Giovanni Pierluigi da Palestrina (c. 1525 –1594) was traditionally ascribed as the Magnificat antiphon for second vespers on the Feast of the Ascension: “O King of glory, Lord of all power, Who ascended to heaven on this day triumphant over all; Do not leave us as orphans, But send us the Father’s promise, The spirit of truth. Alleluia.” This text makes clear references to the Ascension themes and scriptures, but also has obvious resonance with today’s feast. The 10am and 11:30am postcommunion motet: Let all the World in Every Corner Sing is the fifth of the Five Mystical Songs by English composer Ralph Vaughan Williams (1872–1958), written between 1906 and 1911. The final "Antiphon" is very different from the first four songs. It is a triumphant hymn of praise sung either by the chorus alone or by the soloist alone. To hear a version, click below:


Sunday, November 6, 2016
Thirty-second Sunday in Ordinary Time  

The 10am Preparation Motet: O Quam Gloriosum takes its text from the Book of Revelation, and was traditionally ascribed as the Magnificat antiphon for vespers on the solemnity of All Saints. The motet was so popular in its lifetime,  that the Spanish composer, Tomás Luis de Victoria (c.1548-1611), composed an entire 'imitation Mass' (Missa O Quam Gloriosum) based on its motives. The text relates to the Gospel in testifying against the Sadducees, that there is indeed a heaven, where the saints follow the lamb in glory. One can also hear in the words, quocumque ierit, a resonance with the first reading of today’ Mass in which we find the story of the mother and her seven sons who were led like lambs to be slaughtered for their beliefs. 

To hear a version, click below:

The 11:30am Preparation Motet: From the Ends of the Earth, was composed by the prolific American composer Alan Hovhaness (1911-2000). The text, from Psalm 61, speaks of the believer’s prayer towards God, and the depth of trust in the creator. The musical style of the piece is a unique blend with French harmonic language, English choral writing, and occasional hints of Armenian exoticism.  

To hear a version, click below:

The 10am Post-communion motet: Beatus Vir by the German Hans Leo Hassler (1564-1612), sets the first three verses of the first Psalm and speaks of the reward of the righteous man. Although not overtly resurrection or afterlife in tone, one can infer the line 'bear fruit in due season' to the afterlife. There is also a nod towards the concept of eternity in the line 'like a leaf that shall not wither.' The motet comes from Hassler's Cantiones Sacrae, published in 1591.  

To hear a version, click below:

The 11:30am Post-communion anthem: The Lord is My Shepherd, is by the American composer Thomas Matthews (1915-1999). Matthews was born in Utica, NY, and began his musical studies under Norman Coke-Jephcott, before continuing to St. John the Divine where he found himself in the tutelage of T. Tertius Noble, Channing Lefevre, and Lynwood Franam. This motet is probably the most well known of his nearly thirty choral anthems. Like the Victoria O Quam Gloriosum, Psalm 23 expresses one of the recurring themes associated with the November feasts that call to mind those who have gone before us in death but look with confidence to everlasting life.


Sunday, October 30, 2016
Thirty-first Sunday in Ordinary Time 

The Preparation Motet for the 10:00am Mass in Latin, Laudate Dominum by Giovanni Pierluigi da Palestrina (c. 1525 –1594), comes from a collection of works the Italian composer published in 1593 entitled: Offertoria totius anni secundum Sanctae Romanae Ecclesiae consuetudinem. The text of this motet from Psalm 134, resonates with the themes of today’s first reading from the book of Wisdom, especially in these lines: “For you love all things that are and loathe nothing that you have made; for what you hated, you would not have fashioned. The verses of the motet take up the same themes with the lines: omnia quaecumque voluit, fecit in coelo et in terra, For whatever he wished, He has made in heaven and on earth.” The text is also prescribed for Lent IV, whose Gospel in Year B is the source of today’s Gospel Acclamation. 

To hear a version click below:  

The Preparation Motet for the 11:30amMass, God So Loved the World, takes its text from the Gospel Acclamation this day, John 3:14. The words remind of us the depth of God's love for us, and the degree to which God desires that we be reconciled and saved. Bob Chilcott (b. 1955) is an English composer, who sang at King's College as a boy treble, before attending university there. He was a tenor member of the King's Singer for twelve years, and currently resides in England.  

To hear a version, click below: 

The Communion Motets at the 10:00am and 11:30am Masses, Justorum Animae, both quote the text, from the book of Wisdom, “The souls of the just are in the in hands of God, and no torment shall touch them.” This text is usually used as the Offertory on All Saints, celebrated on Tuesday of this week. The setting at the 10:00 Mass is by the Franco-Flemish composer Orlande de Lassus (1530 – 1564), and is written in the later polyphonic style, similar to Palestrina. The 11:00am Mass setting is by the Irish born, English composer Charles Villiers Stanford (1852 - 1924), and comes from this collection of three motets, Op 38. This set was composed in the 1890s, and dedicated to Allan Grey and the Choir of Trinity College, Cambridge.  

For a version of the Lassus, click here:

For a version of the Stanford: click below:


Sunday, October 23, 2016
Thirtieth Sunday in Ordinary Time 

The prelude at the 11:30am Mass is one of Ralph Vaughan Williams (1872 – 1958) most beloved motets, and one of the most famous choral pieces of the last century. It was written for the Coronation of Queen Elizabeth the II, and received its premiere in 1953 at Westminster Abbey. It bears all the striking characteristics of Vaughan William's music; folk inspired melodies, economical use of motivic material, and harmonic choral writing inspired from the Anglican tradition. The text is from Psalm 34, today's responsorial psalm. The prayer encourages us to trust in God's grace and goodness, as did the tax collector in today’s Gospel.  

The 10am Mass motet at the Preparation of the Gifts, Laetentur Caeli, quotes Psalm 96, which is also heard as the responsorial psalm at Midnight Mass of Christmas, with its text speaking of the advent of a just judge, and of creation rejoicing. The German composer Hans Leo Hassler (1564 – 1612) frequently utilizes a technique known as text painting. Notable examples in this motet are the sparcity of voices on the word for heaven, suggesting something ethereal and weightless, while all voices are used when speaking of the earth, creating something heavier. Later these elements are interposed as Christ the mediator unites heaven and earth together. Another example occurs when the motet describes the sea, with each voice entering in a stepwise succession, creating the effect of waves;  likewise,  when depicting fields, the 16th note flurries leave a feeling of the wind blowing through the grass. 

The 11:30am Mass motet at the Preparation of the Gifts is the fourth movement from Johannes Brahms (1833 -1897)  Ein Deutsches Requiem. The text, psalm 84, speaks of the joy of heaven, the peace of praising God in his dwelling place, and the soul’s longing for its return. The first section and recapitulation of the piece written in a lilting three, with gently descending chromatics, creates a tone that is dreamy, and otherworldly, at times. In the middle section, when speaking of the longing of the soul for heaven, the tone becomes more urgent, only to resolve again as we hear the descending melody from the beginning (God's grace being poured on earth), ushering us back into our contemplation of God's dwelling place.  

The 10am Mass Communion motet, Domine non sum Dignus, sets the words of the good centurion, who out of humility and faith, requested that Jesus not enter his house, but to only say the word for healing. These words are also said at every Mass before the reception of communion, reminding us to take on the attitude of the humble tax collector, who understood that we can never merit God’s grace and mercy, but must simply accept the free gift.  For the second part of the piece, Tomás Luis da Victoria (1540 - 1613)  adds the lines:  Have mercy on me, for I am weak; heal me, O Lord, and I shall be healed.  

The 11:30am Mass Communion motet, O How Amiable, is the second piece this morning from the English composer Ralph Vaughan Williams. It was composed for the 1934 Abinger Pageant and quotes Psalms 84 and 90.  It speaks of our longing for the courts of the Lord, a place of shelter, safety and rest. It also asks God to bless and prosper the work we do in His name.  In the tradition of a German cantata, the piece ends with a verse of the hymn St. Anne, which may have likely been sung by all present as a closing song of  the pageant. 


Sunday, October 16, 2016
Twenty-ninth Sunday in Ordinary Time

The 10am motet for the preparation of the gifts, Ad Te Levavi Oculos, by G.P. da Palestrina takes it’s text from the 122nd Psalm; I lift up my eyes to you, who dwells in heaven. This action, of lifting one’s eyes, is reflected in the opening ascending motive of the chant, and continues to create a lithe and dance-like polyphony for the first section of the piece. The second part begins with the 3rd verse of the psalm, have mercy on us, O Lord, and the character of the piece dramatically becomes more solemn and penitential in nature. Besides recalling the text of today’s Responsorial Psalm today, I lift up my eyes to the mountains, whence shall help come to me, the theme also reminds us of the widow in the Gospel who persevered in her petition to the judge, and set an example of our own prayer lives; constantly directly toward God.

To hear a setting, click below: 

The 11:30am motet at the preparation of the gifts, The Eyes of All, by the German born Jean Berger, sets verses 15 and 16 of the 145th psalm. Berger fled Nazism in the 1930s, and settled in the U.S., teaching at various universities during the 50s-70s. His music is an eclectic style, with French sensibilities, German techniques, and American influences. The text continues the theme of today’s Responsorial Psalm and Gospel, with those who look towards the Lord, having their prayers answered in due season.  

The 10am Communion motet is one of the cornerstones of the English polyphonic tradition. Thomas Tallis' Salvator Mundi creates a dark and sombre web of interlocking voices, reminding us of the perseverance and depth of our savior's love for us; as Christ endure the Passion and Cross, how long do we endure in prayer to him. 

The 11:30am Communion motet calls to mind today’s Gospel in which Jesus expresses to his disciples the necessity for them to pray always.  Of all the prayers that come to the lips of Christians of every ecclesial community, the Lord’s Prayer is by far the most common. Notre Père is Parisian composer and organist Maurice Duruflé’s final composition. It was originally commissioned as a piece for the assembly, but later modified to include a four-part unaccompanied mixed choir. 

To hear a setting, click below:


Sunday, October 9, 2016
Twenty-eighth Sunday in Ordinary Time

10am Mass

Estote Fortes

This rarely performed motet by the late renaissance Italian composer Luca Marenzio (1553 – 1599) quotes a text associated with feasts of Apostles and Martyrs. It call upon believers to be courageous when confronting evil, and thereby gain eternal life. Marenzio is most famous for his madrigals, and his influence among composers throughout Europe, especially England, was quite significant.

Laudate Nomen Domini

This general motet of praise taken from Psalm 112 is set by English renaissance composer Christopher Tye (c. 1500-1572.)

To hear a setting, click below:

11:30am Mass

Sing Joyfully

This exuberant anthem based on Psalm 81 is one of the last anthems of the English renaissance composer William Byrd (1543-1623.)  This jubilant hymn of praise is now, and at the time, was one of his most popular, especially for its vivid word painting, illustrated most convincingly in the treatment of the phrase “Blow the trumpet in the new moon.”  Byrd remained Catholic even throughout the turbulent English history when his family was subject to intermittent persecution.  He was a student and later business partner of the Thomas Tallis and taught many other composers, including Thomas Morley and Peter Philips.

To hear a setting by a Washington based ensemble, click below:

I Know the Lord ‘s Laid His Hands on Me

This African-American Spiritual by Richard Kent is a confession of faith in the power of the Lord’s touch. It captures the acknowledgement of the Samaritan leper who was cleansed by Jesus in today’s Gospel.  Of the ten who were cleansed, only one returned to thank Jesus and glorify God in his amazement and gratitude. 


Sunday, October 2, 2016
Twenty-seventh Sunday in Ordinary Time

10am Mass, Annual Red Mass

Much of the music for the Red Mass supports and interprets the principal theme of the Mass; the invocation of the Holy Spirit to dwell in our hearts and to inspire those in the legal community to be imbued with the gifts of the Holy Spirit.

We Rely on the Power of God

The first Choral Introit by Richard Hillert, borrows much of its text from Paul’s letter to Timothy which we hear as today’s second reading. Paul's exhortation to proclaim the faith with courage, in cooperation with God’s grace, is given a triumphant treatment by Hillert. The text also reminds us of the Holy Spirit’s presence in our lives of public ministry, ‘a spirit of strength, and of love, and of wisdom’ - virtues which are highlighted in this Red Mass.

To hear a setting, click below. 

 

Spiritus Domini Replevit Orbem Terrarum

The second Choral Introit is taken from the Solemnity of Pentecost. This chant, based on Wisdom 1: 7, reminds us that Christ’s promise to send an advocate has been fulfilled, and the Spirit of God knows and understands the deliberations of people in every culture and language.

Veni Creator Spiritus

The motet at the Preparation of the Gifts has two textual sources, the hymn of the church (Veni Creator Spiritus) attributed to Rabanus Maurus (776-856 AD) and the sequence for Pentecost, (Veni, Sancte Spiritus). Both prayers are paeans to the power and works of the Holy Spirit in our lives, but also invocations, inviting the Spirit further into our works both public and private.  Michael J Trotta isolates the opening line of the chant, before developing the chant motives through a warm harmonic texture.

The Sequence of Pentecost

J Michael Thompson sets Peter J Scagnelli’s translation of the Golden Sequence, in a piece which combines western Gregorian chants, with Eastern chant inspired homophonic sections. The piece alternates the men and women of the ensemble between these two styles as they sing through the sequence which praises the Spirit's actions in our world, and in our lives. 

O Come, Let us Sing unto the Lord

As a hymn of thanksgiving, Psalm 95 is given a joyful setting in Anthony Piccolo’s exuberant anthem. The organ accompaniment, which flutters in quick and virtuosic passages, contrasts the linear and legato lines of the choral parts.

11:30am Mass, 27th Sunday in Ordinary Time

O Lord, Increase my Faith

The Communion Motet for this Mass, which quotes the Gospel, was for many years attributed to Orlando Gibbons, but is now believed to be the work of Henry Loosemore (d.1670.)

To hear a setting, click below.

 


Sunday, September 25, 2016
Twenty-sixth Sunday in Ordinary Time

10am Mass, Preparation of the Gifts

Super Flumina quotes Psalm 136 and recalls the Babylonian captivity of the Israelites, and their despair while along the river remembering their homeland. The text also emphasizes the plight of those without a home or homeland, such as Lazarus in Gospel, whose “home” was the outside the door of the rich man. Palestrina’s setting of the text is hauntingly minor in tonality and evocative in describing the plight of  those who long to be free and at home.

11:30am Mass, Preparation of the Gifts

Ubi Caritas is a chant from the Washing of Feet ritual on Holy Thursday. The text bids us to live a life that cares for one another with sincere hearts, and thereby invite Christ to dwell among us as we imitate his selfless and unconditional love. This setting is by contemporary liturgical composer, James Biery.

10am Mass, Post-Communion Motet

Beati Quorum Via is taken from Stanford’s three motets, op. 38. It captures a gentle ambulatory movement in its successive lines of quarter notes that are so characteristic of this piece. The peaceful quality of this setting of Psalm 119, characterizes the inner peace of those, who, unlike the rich man, seek the law of the Lord and put the needs of others ahead of their own earthly gains. To hear a setting, click below.

 

11:30am Mass, Post-Communion Motet

O Frondens Virga is a contemporary setting of a chant by St. Hildegard of Bingenwhose feast was celebrated on September 17.The text prays that we may be free of evil habits (such as ignoring the plight of the poor among us). This setting by Drew Collins takes Hildegard’s monophonic chant, and sets it within both homophonic and polyphonic musical elements. To experience another setting of this same chant, click below.

  


Sunday, September 18, 2016
Twenty-fifth Sunday in Ordinary Time

10am Mass

Preparation of the Gifts:  Salvator Mundi, G. P. da Palestrina

Communion Motet:  Jesu, Meine Freude, J. S. Bach

Sunday, September 18, 2016
Solemnity of St. Matthew, Patronal  Feast Observed at 11:30am and 1pm Masses 

11:30am Mass 

Prelude  and Psalm
Even though the Church will celebrate St. Matthew’s feast next Wednesday, the Cathedral also celebrates its patron saint at this Sunday Mass (as well as at the 1pm Spanish Mass). The Choral prelude at this Mass is a particularly festive setting of Psalm 47.  ‘O Clap your Hands’ by Ralph Vaughan Williams is an acclamation of praise to God, especially today, in thanksgiving for Matthew’s willingness to accept Christ’s invitation to come and follow him. The celebration of an Apostle (such as St. Matthew) carries with it an aspect of discipleship as Christ gave the instructions to ‘Go and teach all nations’ before ascending to Heaven. This commission is affirmed in the Psalm for today ('Their message goes out through all the earth'). For a recorded version of the Vaughan Williams, click below.

Preparation of the Gifts
The epitome of the Cecilian movement in 19th century Germany, Bruckner’s Os Justi is an incredibly dramatic and emotive motet which economically utilizes minimal material and resources. The lydian mode piece is without accidentals throughout, an aspect of the Cecilian attempt to return to an earlier style of composition. The opening a section breathlessly builds toward a celestially bright and suspension-rich cadence which leads into secondary fugal section before the recapitulation. The text, taken from Psalm 36 with a verse added from Psalm 89, praises the attributes of a saint such as the apostle, and patron of civil servants, who we honor today: his mouth speaks wisdom, his tongue speaks justice, God’s law is in his heart. For a recorded version of the Bruckner, click below. 

Post-Communion Motet
The communion motet was composed by local composer Leo Nestor, former head of Sacred Music at the Catholic University in DC. It is an emotive and harmonically lush style. The text is taken from the first chapter of Ephesians, and is Paul’s command to the people of Ephesus, and to us, as to how we are to lead our lives. It also recollects the Gospel of this day, when Christ called St. Matthew to be his disciple. 


Sunday, September 11, 2016
Twenty-fourth Sunday in Ordinary Time

The motets for the 10am and 11:30am Masses on Sunday, September 11, sung by the Schola Cantorum, emphasize the mercy of God toward a penitent sinner.  

The 10am Communion motet expounds God's love and desire for the return and salvation of the sinner. The Spanish composer Alonso Lobo utilizes subtle suspensions, giving the impression of the ever-longing father's desire for the reunion. 

The 11:30am chorale prelude 'Have Mercy on me O God' by the late Tudor composer Thomas Tomkins, sets the text of psalm 51, which the psalmist composed after his transgression (II Samuel, 11). 

This theme of contrition and return is re-echoed in the Gospel parable of the prodigal son. The 10am Offertory motet by the Flanco-Flemish Thomas Crecquillon, sets the text of the petition of the penitent son towards his merciful father, in a liltingly humble line of choral writing.  

The 11:30am Offertory from the Polish composer Felix Nowowiejski is a romantic setting of the tradition lenten antiphon: 

Parce, Domine, parce populo tuo: ne in aeternum irascaris nobis.
Spare, O Lord, spare your people: do not hold your anger towards us eternally.

This text, adapted from the book of Joel, appeals toward the penitent's petition to a merciful father in a harmonically rich and profound musical setting. To listen to a recorded version of this motet, click below.