Music for OT-26-C (Sep 26)

Prelude:           Aria: Peeters
Introit:           412: Jerusalem My Happy Home
Kyrie:             -spoken-
Gloria:            113: Glory To God: Andrews
Readings:          655
Psalm:             (OT-26-C Guimont p 153) Praise the Lord ...
Acclamation:       (OT-26-C Lassus sheet) Though our Lord ...
Intercessions:     -spoken-
Offertory:         388: God Whose Purpose Is To Kindle
                   (11) (ESM p 431) Super flumina Babylonis: Lassus
Sanctus-Mem-Amen:  172-175-177: Community Mass: Proulx
Agnus Dei          189: Lamb Of God: Proulx
Communion:         387: The Harvest of Justice
Final Hymn:        847: Immortal Invisible
Postlude:          Festival Voluntary: Peeters

Music Notes:


Communion Antiphon (Graduale Romanum Chant) (Ps 118:49,50):
Memento verbi tui servo tuo, Domine in quo mihi spem dedisti:
haec me consolata est in humilitate mea (Be mindful of your
word to your servant, O Lord, in which you caused me to hope;
this has been my comfort in my affliction).


Roland de Lassus (c1530-1594), born in Mons Belgium, worked
for several patrons from age eight, giving rise to the legend
that he was three times abducted for his beautiful voice. In
Italy he adopted the name by which he is best known, Orlando
di Lasso, and obtained his first post as choirmaster at St John
Lateran Rome. The bulk of his career was spent in Munich
(1556/7-, 1560- head of chapel) in service of Duke Albrecht V
of Bavaria. He set the text of the Offertory Antiphon
(Graduale Romanum) (Ps 136:1) Super flumina Babylonis,
illic sedimus, et flevimus, dum recordaremur tui, Sion
(Upon the rivers of Babylon, there we sat down and we wept,
as we remembered you, O Zion).


Franciscus Florentinus (Flor) Peeters (1903-1986), born in Tielen
(near Antwerp) Belgium, graduated Lemmens Institute, organist at
St Rumoldus Cathedral (Mechelen), taught at Lemmens Institute and
Royal Conservatory (Antwerp). Composed for keyboard, voice (songs,
masses), orchestra, chamber instruments. Aria (1945, opus 51) has
a lyrical melody supported by repeated chords; Festival Voluntary
(1957, opus 87) is a joyous piece featuring tonal ambiguity,
syncopated rhythms, chordal fanfares.