On this Fifth Sunday of Easter, the music planned for the choral Masses highlights the images of the “precious cornerstone,” discipleship and service, and the exuberant praise which befits this Eastertide.
11:30am Mass Prelude, 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 century 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.
To hear a recording session with Chicago-based composer and conductor Paul French, click below.
Preparation of the Gifts 10am Mass, 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 more somber Phrygian mode. 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.
To hear a version, click below.
Preparation of the Gifts 11:30am Mass, 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 contains 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 section it 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.
To hear a Covid-19 inspired version by a virtual choir from Lake Forest Illinois, click below.
Communion 10am Mass, Phillippe, qui videt me - Thomas Crecquillon (c. 1505-1557)
This motet sets a single line of Christ’s words to Philippe from today’s 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.
To hear a version, click below.
Communion 11:30am Mass, Come My Way, My Truth - Harold Friedell (1905-1958)
The text of this motet is by the Metaphysical poet George Herbert (1593-1633), who, in addition to writing, 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. An early 20th century American composer, Friedell sets the text in a lush slowly harmonic language that 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.’
To hear a version, click below.