Music for OT-13-C (Jun 27)

Prelude:           Prelude # 2 in G: Mendelssohn
Introit:           400: God Is Here As We His People
Kyrie:             -spoken-
Gloria:            113: Glory To God: Andrews
Readings:          616
Psalm:             (OT-13-C Guimont p 113) You are my inheritance ...
Acclamation:       (OT-13-C Lassus sheet) Speak Lord your servant ...
Intercessions:     -spoken-
Offertory:         375: The Summons
                   (11) (NCAB p 10) Above all praise: Mendelssohn
Sanctus-Mem-Amen:  172-175-177: Community Mass: Proulx
Agnus Dei          189: Lamb Of God: Proulx
Communion:         361: This Is My Body
Final Hymn:        329: Beautiful Savior
Postlude:          Fugue # 2 in G: Mendelssohn

Music Notes:

Communion (Graduale Romanum Chant) (Ps 30:3ab) Inclina aurem tuam,
accelera, ut eruas nos (Lend your ear and make haste to rescue us).

The Mass Ordinary for the Summer, found in our Hymnals, was used
at the Christ The Light Cathedral Dedication Mass in Sep 2008;
it was composed by Richard Proulx (1937-2010), a prolific American
composer and editor of church music, who was long associated with
Holy Name Cathedral (Chicago).

Felix Mendelssohn (1809-1847) born in Hamburg Germany, was a child
prodigy with education strictly monitored by his father. String
Octet (1825) and Overture to Midsummer Night's Dream (1826) demonstrated
his brilliance. First to revive interest in J S Bach, directed St Matthew
Passion (Berlin 1829). Visited Scotland (1829); revisited Britain nine
times, toured as conductor, pianist, organist; held celebrity status
(invitations from Queen Victoria and Prince Albert). Conducted Leipzig
Gewandhaus Orchestra (1836-), founded Leipzig Conservatory (1843).
Composed oratorios, symphonies, overtures, operas, concertos, songs,
chamber, piano, organ works.

"Above all praise" is from his Six Anthems (Opus 79).

Three Preludes and Fugues (1837) was written in the space of one week
while not occupied with revivals of music by Bach (1685-1750), Mozart
(1756-1791), Beethoven (1770-1827).

Music for OT-12-C (Jun 20)

Prelude:           Sonata em La maior: Carlos Seixas
Introit:           284: Christ Is The King
Kyrie:             -spoken-
Gloria:            113: Glory To God: Andrews
Readings:          613
Psalm:             (OT-12-C Guimont p 110) My soul is thirsting ...
Acclamation:       (OT-12-C Lassus sheet) My sheep hear my voice ...
Intercessions:     -spoken-
Offertory:         384: Take Up Your Cross
                   (11) (NCAB p 112) Crux Fidelis: John IV of Portugal
Sanctus-Mem-Amen:  172-175-177: Community Mass: Proulx
Agnus Dei          189: Lamb Of God: Proulx
Communion:         470: O Lord With Wondrous Mystery
Final Hymn:        423: Lift High The Cross
Postlude:          Preludio: Jose Marques e Silva

Music Notes:


Communion (Graduale Romanum Chant): (Mt 16:24)
Qui vult venire post me, abneget semetipsum; et tollat
crucem suam, et sequatur me (If a man wishes to come after
me, let him deny himself and take up his cross and follow me).


John IV (1603-1656) was born at Vila Vicosa Portugal and
succeeded (1630) his father Teodosio II as Duke of Braganza.
Grandson of Duchess Catherine of Braganza who had in 1580
claimed the Portuguese crown and sparked the struggle for the
throne, John was acclaimed King by the voice of the people in
1640; a long war against Spain (Philip IV) ensued through 1668,
with fronts in Europe, Africa, Brazil. His son Afonso VI succeeded
him; his daughter Catherine of Braganza married King Charles II
of England. A patron of music and the arts, John collected a large
library (destroyed 1755, Lisbon earthquake). Among his writings is
a defense of Palestrina, and a Defense of Modern Music (1649).
His most famous composition is "Crux fidelis".


Carlos Seixas (1704-1742) born in Coimbra Portugal, assumed the
position of cathedral organist in his native town at age 14. From
1720 he was active at Santa Maria Cathedral and the court chapel
in Lisbon, where he was a highly regarded harpsichordist and a
keyboard teacher much sought after by the noble families of the capital.


José Marques e Silva (1778-1837) was a member of the Barnabite monastery
in Lisbon Portugal, and perhaps the most influential Portuguese musician
of the early nineteenth century in his dual capacity as teacher at the
Lisbon Cathedral music school and, from 1808, master of the court chapel.

Music for OT-11-C (Jun 13)

Prelude:           Slow March: Shephard
Introit:           465: Forgive Our Sins As We Forgive
Kyrie:             -spoken-
Gloria:            113: Glory To God: Andrews
Readings:          610
Psalm:             (OT-11-C Guimont p 107) Lord forgive the ...
Acclamation:       (OT-11-C Lassus sheet) God first loved us ...
Intercessions:     -spoken-
Offertory:         348: There's A Wideness In God's Mercy
                   (11) (NCAB p 116) Drop Drop Slow Tears: Gibbons
Sanctus-Mem-Amen:  172-175-177: Community Mass: Proulx
Agnus Dei          189: Lamb Of God: Proulx
Communion:         301: Praise My Soul The King Of Heaven
Final Hymn:        312: Sing Of The Lord's Goodness
Postlude:          Pastorale: Shephard

Music Notes:


This weekend we return to the Season of Ordinary Time,
which will continue through November.


Communion (Graduale Romanum Chant): (Ps 26:4)
Unam petii a Domino, hanc requiram; ut inhabitem in domo
Domini omnibus diebus vitae meae (One thing have I asked
of the Lord, this will I seek after; that I may dwell in
the house of the Lord all the days of my life).


Orlando Gibbons (1583–1625) was born in Oxford England,
played virginal (precursor to harpsichord) and organ, and
was a leading composer of his day. His score for five voices
(S,A,A,T,B) is joined to the Phineas Fletcher (1582-1650) text:
Drop, drop, slow tears / And bathe those beauteous feet /
Which brought from heav'n / The news and Prince of Peace: /
Cease not, wet eyes, / His mercies to entreat; /
To cry for vengeance / Sin doth never cease: /
In your deep floods / Drown all my faults and fears; /
Nor let his eye see sin, / but through my tears.

Music for OT-10-C (Jun 6) Corpus Christi

Prelude:           Ecce Panis (Opus 65 Book 6): Guilmant
Introit:           256: At The Lambs High Feast We Sing
Kyrie:             Deutsche Messe: Schubert
Gloria:            Deutsche Messe: Schubert
Readings:          577
Psalm:             (Corp-C Guimont p 183) You are a priest ...
Sequence:          Sequence "Lauda Sion" (see pew-sheet)
Acclamation:       (Corp-C Lassus sheet) I am the living ...
Intercessions:     115: Lord hear our prayer
Offertory:         432: Shepherd Of Souls In Love Come Feed
                   (11) (NCAB p 38) Ave Verum Corpus: William Byrd
Sanctus-Mem-Amen:  Deutsche Messe: Schubert
Agnus Dei          Deutsche Messe: Schubert
Communion:         850: Adoro Te Devote
Final Hymn:        306: Holy God We Praise Thy Name
Postlude:          Deo Gratias (Opus 65 Book 10): Guilmant

Music Notes:


This weekend the Solemnity of Corpus Christi
supersedes the Sunday Vigil/Day of Ordinary Time (Week 10).


Communion (Graduale Romanum Chant) (1 Cor 11:24,25)
Hoc corpus, quod pro vobis tradetur; hic calix novi
testamenti est in meo sanquine, dicit Dominus; hoc
facite, quotiescumque sumitis, in meam commemorationem.
(This is my body which is given up for you; this is
the cup of the new covenant in my blood", says the Lord.
"Each time that you partake thereof, do it in memory of me.")


William Byrd (1534-1623) was born in England, and
remained Catholic during the religious turbulence under
Henry VIII, Edward VI, Mary I, Elizabeth I. The last,
ignoring his religion, granted him a monopoly of printing
music-paper and music.


The 1300s text ("Ave verum corpus, natum de Maria Virgine,
vere passum, immolatum in cruce pro homine, cujus latus
perforatum unda fluxit sanguine: esto nobis praegustatum in
mortis examine. O dulcis, O pie, O Jesu fili Mariae, miserere
mei. Amen.")(Hail true body born of the Virgin Mary, truly
suffered, sacrificed on the cross for man, from whose pierced
side blood and water flowed: be our food in our final trial.
O sweet, O kind, O Jesus, son of Mary, have mercy on me. Amen.)
was a source of meditation for Byrd; he reflected on "the very
sentences" as he composed "diligently and earnestly turning them
over in his mind"; he revised his music at least twice before
his final 1605 version.