Music for Lent-2-C (Mar 4)

Prelude:           -none-during-Lent--SILENCE--
Processional Hymn: 413: Tis Good Lord To Be Here
Kyrie:             Missa XI (Orbis factor) Kyrie: chant
Gloria:            -none-during-Lent-
Readings:          507
Intercessions:     138: Lord hear our prayer
Offertory:         (5) 232: Somebody's Knocking
                   (11) Nolo mortem peccatoris: Morley
Acclamations:      (5) 185: Missa XVIII Sanctus: chant
                   (5) 104-105: Mass of Creation: Haugen
                   Missa XI (Orbis factor) Sanctus: chant
Agnus Dei:         (5) 187: Missa XVIII Agnus Dei: chant
                   Missa XI (orbis factor) Agnus Dei: chant
Communion Hymn:    (5) Firmly I Believe And Truly
                   329: Beautiful Savior
Final Hymn:        423: Lift High The Cross
Postlude:          -none-during-Lent--SILENCE--

Music Notes:


The Lenten rubrics indicate that the organ is to remain silent except on Laetare Sunday and Solemnities and Festive days and at any time to accompany singing, hence there are no preludes or interludes or postludes. The purpose of the silent time before and after Mass remains the same: it is meant to be used to prepare for the Sacred Mysteries, and to give proper thanks afterward. Please help others to pray during Lent!


This weekend at the 5 pm Vigil Mass, Lectors are from Grades K and 4 and the Music is led by the School Choir (directed by Rebecca Monson).


Thomas Morley (1577/8-1602) was born in Norwich East Anglia England, the son of a brewer. In his boyhood he was probably a singer in Norwich Cathedral. In the 1570s he studied with William Byrd, the great Elizabethan composer of sacred music. In 1583 he became the Norwich Cathedral master of the choristers. In 1588 he received his bachelor's degree from Oxford, and shortly thereafter was employed as organist at St Paul's in London. He lived for a time in the same parish as Shakespeare, and a connection between the two has long been speculated, though never proven (he did compose a setting of "It was a lover and his lass" from "As You Like It"). His principal contribution to music history is eleven collections of madrigals; he also published instrumental consort music, and keyboard pieces.