Tag: Mass settings

The liturgical color on this day is violet. That calls to mind several things:

• There will not be flowers on the altar

• We will not hear the organ

• We will sing Mass XVII (for the Sundays of Advent and Lent)

• We will not sing the Gloria

There are two versions of the Kyrie for Mass XVII. We arbitrarily chose the first. We paired the Kyriale with Credo I.

For the processional, we sang O Come, O Come, Emmanuel.

At the Offertory, yet again, we sang Stella Coeli Extirpavit, imploring Our Lady to obtain for us relief from the current pestilence.

This being the Sunday on which the men of the Holy Name Society make their observances at Holy Mass, we sang the Vespers hymn from the Feast of the Holy Name, Jesu Dulcis Memoria at the Communion. Having thus honored Our Lord, in honor of Our Lady, we chanted Ave Maris Stella with a very pretty harmony underneath the chant.

To conclude, we sang the Holy Name Anthem (We Stand for God) for the recessional.

The picture is the statue of Our Lady Star of the Sea (Stella Maris) venerated in the church of Sliema, Malta.

The liturgical color on this day is violet. That should immediately call to mind Mass XVII (for the Sundays of Advent and Lent), and indeed, that is what we sang. There are two versions of the Kyrie for Mass XVII. We arbitrarily chose the second version. We paired that with Credo I.

Something else to notice when the priest wears violet: The organ is silent. And so, all the music of the day was sung a cappella – unaccompanied.

Perhaps you noticed that the Introit was preceded by a bit of chant that is not in your missal, referred to as a trope. A trope, in liturgical music, is a musical text written for the purpose of amplifying and embellishing an otherwise complete liturgical text. In this instance, the trope was used to introduce the day’s Introit, and, in effect, to introduce the entire liturgical year of Gregorian Chant. Here is a translation of the words:

When the most holy Gregory poured out prayers to the Lord that He might surrender to him from above a musical gift in song, then the Holy Spirit descended upon him in the form of a dove and enlightened his heart to such a degree that at last he began to sing saying thus:

We then continued directly singing the introit: Ad te levavi…

For the processional, we sang O Come, O Come, Emmanuel, rather a staple for the season.

At the Offertory, yet again, we sang Stella Coeli Extirpavit, imploring Our Lady to obtain for us relief from the current pestilence.

But wait! At the Communion – the Dies Irae? But, isn’t that for the Requiem Mass! Why would we sing it during Advent!?

As Father pointed out in his homily, the season of Advent, and thus also the new Liturgical year, begin with the theme of the end times. This is from the Gospel of the day:

At that time Jesus said to His disciples: There shall be signs in the sun, and in the moon, and in the stars; and upon the earth distress of nations, by reason of the confusion of the roaring of the sea and of the waves: men withering away for fear and expectation of what shall come upon the whole world. For the powers of heaven shall be moved. And then they shall see the Son of Man coming in a cloud with great power and majesty. But when these things begin to come to pass, look up and lift up your heads, because your redemption is at hand. … So you also, when you shall see these things come to pass, know that the kingdom of God is at hand.

The Dies Irae speaks exactly to those same themes. This is how it begins:

Day of wrath! O day of mourning!

See fulfilled the prophets’ warning,

Heaven and earth in ashes burning!

Oh, what fear man’s bosom rendeth,

When from heaven the Judge descendeth,

On whose sentence all dependeth.

Wondrous sound the trumpet flingeth;

Through earth’s sepulchres it ringeth;

All before the throne it bringeth.

For the recessional, we sang that other staple of the season, Hark a Herald Voice is Calling.

There can be as few as 23 and as many as 28 Sundays after Pentecost. It all depends, of course, on the date of Easter, which can vary by as much as 5 weeks. This year, as it turns out, there were 26 Sundays after Pentecost, and this was the 26th, and thus the last. Regardless how many there are, the Mass said for the last of these Sundays is always the same, and it is referred to in missals as Dominica XXIV et ultima post Pentcosten, or the 24th and Last Sunday after Pentecost.

The five propers sung by the Schola for the Mass of the Last Sunday after Pentecost (Introit, Gradual, Alleluia, Offertory, and Communion) are taken from the 23rd Sunday after Pentecost.

As a simple Sunday after Pentecost, the Sunday was a second-class feast, thus Father and the altar were wearing green, and so, we sang Mass IV (for Ordinary Feasts). And as is usually the case, we paired that with Credo IV.

According to the cycle of Sundays (the Temporal Cycle), this was the last Sunday after Pentecost. According to the calendar date (from the Sanctoral Cycle), this date, November 21st, is the feast of the Presentation of the Blessed Virgin Mary in the Temple. In many cultures, this feast (which was added to the Church’s calendar before the feast of the Holy Name of Mary was added), is celebrated as the name day of those named Mary. Thus, we chose as the processional hymn, I’ll Sing a Hymn to Mary, which twice promises to love and bless the name of Mary.

At the Offertory, we once again implored Our Lady for relief from the current pestilence, singing Stella Coeli Extirpavit.

At the Communion, with the Holy Souls in mind, the mixed choir sang Francis X. Witt’s setting of the De Profundis. Given the limited remaining time, the schola managed two verses of Languentibus in Purgatorio.

And at the recessional, again, with the Holy Souls in mine, we sang Help, Lord, the Souls.

Finally, to conclude, the schola sang the simple Gregorian setting of the Salve Regina.

There was considerably less head scratching among the Faithful this Sunday morning! Having been through the confusion of last Sunday, most people now understood that Father would be saying the Mass for the ***Resumed Sunday ***for the 6th Sunday after Epiphany.

The various readings change for each of the last several Sundays after Pentecost, but the five propers sung by the Schola (Introit, Gradual, Alleluia, Offertory, and Communion) do not change, and are taken from the 23rd Sunday after Pentecost.

As a simple Sunday after Pentecost, the Sunday was a second-class feast, thus Father and the altar were wearing green, and so, we sang *Mass IV *(for Ordinary Feasts). And as we do, we paired that with *Credo IV*.

It’s always the intent to have a solid rationale for making a particular musical selection. It must be admitted that in this instance, the motive was a bit slender. Earlier in the week, we had had the feast of the Dedication of the Pope’s Cathedral, St. John Lateran. This church is formally known as the Archbasilica of the Holy Savior. So, for the feast of the Dedication of the Archbasilica of the Holy Savior, we sang *Soul of My Savior *as the processional.

The Alleluia for the 23rd Sunday after Pentecost is noteworthy.

In the Alleluia itself, there is a very clear wailing, as of the Holy Souls in purgatory. Toward the end, this dissipates and resolves into a very beautiful and peaceful melody. The same thing then occurs again in the alleluiatic verse:

> ℣. De profundis clamavi ad te, Domine: Domine exaudi orationem meam.

> ℣. Out of the depths I have cried unto thee, O Lord: Lord, hear my prayer.

You can hear it at the link, below.

At the Offertory, we once again implored Our Lady for relief from the current pestilence, singing *Stella Coeli Extirpavit*.

At the Communion, again with the Holy Souls in mind, we sang *Languentibus in Purgatorio*.

And at the recessional, *Help, Lord, the Souls*.

There was a lot of head scratching among the Faithful this Sunday morning! It was the 24th Sunday after Pentecost. What Mass will Father be saying? Fifth Sunday after Epiphany? What? Epiphany was 43 Sundays ago! Why is that!? Here is the explanation:

The liturgical year is divided into two broad cycles. The first is the Incarnation Cycle, and it is centered around Christmas, the date of which is fixed. The Incarnation Cycle begins on the first Sunday of Advent and continues through the Sundays after Epiphany.

The other cycle is the Paschal Cycle, and it is centered around Easter, which date can vary by as much as 5 weeks. Easer can be as early as March 22 and as late as April 25. The Paschal Cycle follows the Incarnation Cycle and begins on Septuagesima Sunday, which, correspondingly, can vary by 5 weeks.

Epiphany is, of course, always January 6. Given the 5-week variance in the date of Septuagesima Sunday, there can be as few as one and as many as six Sundays after Epiphany.

The date of Pentecost is a fixed number of days (50) after Easter, and so it, too, varies by 5 weeks. There can thus be as few as 23 and as many as 28 Sundays after Pentecost.

Note that the number of Sundays after Epiphany plus those after Pentecost will always sum to 29. So, for example, this year, 2021, Easter was on April 4th, in the middle of the range, and there were three Sunday after Epiphany. Thus, there will be 26 Sundays after Pentecost.

Regardless how many Sundays after Pentecost there will be, there is a specific Mass to be said for the ***Last ***Sunday after Pentecost. And the 23rd Sunday after Pentecost has its own Mass. The problem comes in when there are more than 24 Sundays after Pentecost. We need some extra Masses. Where do they come from?

There are six separate Masses for the Sundays after Epiphany. When there are fewer than six Sundays after Epiphany, those Masses are paused until the need arises for them between the 23rd and the Last Sunday after Pentecost. At that point, the paused Sundays are resumed. In fact, these are referred to as Resumed Sundays. You can need as many as four. Which ones do you use? The table below shows the 6 possibilities. (Note that you will find a similar table in your Missal.)

As it turns out, this year, we will need to use two Resumed Sundays, and so, this Sunday, we used the 5th and next Sunday we will use the 6th, and then the following Sunday, we will use the specific Mass for the Last Sunday after Pentecost.

Interestingly, while the various readings change for each of the six Sundays (from 23rd to 28th), the five propers sung by the Schola (Introit, Gradual, Alleluia, Offertory, and Communion) do not change.

As a simple Sunday after Pentecost, this Sunday Sunday was a second-class feast. Thus Father and the altar were wearing green, and so, we sang Mass IV (for Ordinary Feasts). And as we do, we paired that with Credo IV.

November is the month of the Holy Souls and so we sang Help, Lord, the Souls as the processional. This is an extraordinary hymn, the lyrics of which are essentially a catechism of Catholic teaching on Purgatory.

At the Offertory, we once again implored Our Lady for relief from the current pestilence, singing Stella Coeli Extirpavit.

At the Communion, again with the Holy Souls in mind, we sang Languentibus in Purgatorio.

This was the first Sunday of the month so the men of the Holy Name Society made their observances and we sang the rousing Holy Name Anthem (We stand for God) as the recessional.

And finally, as a meditative piece after Mass, again in honor of the Holy Name, we sang Jesu Dulcis Memoria, Vespers hymn from the Feast of the Holy Name.

Wait! The liturgical calendar said that the liturgical color for this Sunday’s feast of Christ the King is white! So why is the altar in gold? Gold is permitted as a substitute for white on solemn feasts such as this, and so you can imagine that when you see gold on the altar, the likely choice for the commons will be Mass II, designated for solemn feasts. And that, in turn, implies the use of Credo III, which works nicely with Mass II.

This is a big day, liturgically, one of only a few days throughout the year with a prescribed liturgical procession. Others include Candlemas, Corpus Christi, and Palm Sunday.

Clearly, the theme of the Mass is the Kingship of Christ and so we began with Hail, Jesus, Hail as the processional hymn. And of course, at the Offertory, we once again implored Our Lady’s intercession to end the current pestilence, singing Stella Coeli Extirpavit.

At the Communion, we sang the Vespers hymn for the Feast of Christ the King, Te Saeculorum.

Father had previously exposed the Blessed Sacrament on the altar after the Communion. When a procession immediately follows Mass, rather than sing Ite Missa Est, father sings Benedicamus Domino, there is no last Gospel nor a recessional hymn. Father went immediately to the sedilla to put on the cope and returned to the altar to incense the Blessed Sacrament exposed as we sang O Salutaris Hostia. He then sang, Procedamus in pace (let us proceed in peace) and the procession began. As is conventional, we started with the first four verses of Pange Lingua, and followed that in procession with To Christ the Prince of Peace. We went in procession to the outdoor altar and then sang verses five and six of the Pange Lingua, a version of the Tantum Ergo, in preparation for the first benediction.

After the first benediction, returning in procession to the church, we sang To Jesus Christ Our Sovereign King. As the congregation filed back into the church, we sang Hail Holy Queen Enthroned Above in honor of the corresponding Queenship of Our Lady. As soon as everyone was settled, we sang the prayer for the Pope, Oremus pro Pontifice, and followed that with a different version of Tantum Ergo, in preparation for the second benediction. After the Divine Praises, we chanted the Litany of the Sacred Heart, which is prescribed for the feast.

We concluded with Adoremus in Aeternum – or we intended to. A minor delay at the altar gave us a reason to hastily add on Holy God we Praise thy Name, which is a common enough way to end Benediction of the Most Blessed Sacrament.

After all the fanfare Sunday, Monday, one of the greatest feasts throughout the year, was rather anticlimactic. Of course, All Saints Day is a Holy Day of Obligation, but we live in a post-Christian and anti-Catholic world and the world does not care about our Holy Days, so, today was a workday, and thus, attendance was somewhat reduced for this Mass. We were also shorthanded musically, having only two singers and not having an organist. Rather subdued, it was.

You will have noticed that we did not have a processional hymn, as such. Why not? The Asperges is only sung on Sundays, and it is sung before the Introit is chanted. Thus, on Sundays, the processional hymn comes before the Asperges and before the Introit. During the week, since there is no Asperges, it is desirable to sing the Introit as the processional.

Once again, we are celebrating a solemn feast and so once again, we sang Mass II and Credo III. At the Offertory, we sang our customary Stella Caeli Extirpavit.

At the Communion, we sang the Magnificat, and preceded that with the Antiphon proper to the feast of All Saints. We should also have sung it afterwards as well, but ran out of time! We concluded with the Gloria Patri of the Magnificat.

As Our Lady is Queen of All Saints, we concluded with Hail Holy Queen Enthroned Above as the recessional.

This was once again a rather straight-forward Sunday, musically. The priest was wearing green, which is called for on the Sundays after Pentecost, and that makes Mass IV and Credo IV suitable. We are still in the month of the Holy Rosary so we again sang O Queen of the Holy Rosary, this time for the processional.

Once again, at the Offertory, we sang Stella Coeli Extirpavit.

At the Communion, the mixed choir did the four-part Dixit Maria by Hans Leo Hassler, the lyrics of which are particularly appropriate in this month of the Rosary.

Dixit Maria ad angelum: Ecce ancilla Domini; fiat mihi secundum verbum tuum.

Mary said to the Angel: Behold the handmaid of the Lord; be it done unto me, according to thy word.

This was also the feast of the Archangel Raphael, so we sang Dear Angel Ever at my Side at the recessional.

And once again, after Mass, we sang the full Angelus, continuing with the theme of the earlier Dixit Maria.

This was a fairly straight-forward Sunday, musically. The overall theme was for Our Blessed Lady, but it was not a Marian feast, per se, so we did not do Mass IX, but rather chose Mass IV, and with that, Credo IV.

For the processional, we did I’ll sing a Hymn to Mary; at the offertory, Stella Coeli Extirpavit.

We had the feast of Our Lady’s Maternity last week, so we sang Salve Mater at the Communion.

And for the recessional, we sang O Queen of the Holy Rosary, fitting during this month of the Rosary.

We concluded after Mass with the Angelus, which commemorates that event in Scripture that gives us the first words of the Hail Mary.

Recall that there is a general principle that says that if a reasonable number of the Faithful are unable to attend Mass on a given feast, the Mass for that feast can also be celebrated on the following Sunday. This provision is referred to as an external solemnity.

Universally, there are two feasts which may always be solemnized in this way, simply at the discretion of the priest. They are the Feast of the Holy Rosary and the Feast of the Sacred Heart. Naturally, we chose to solemnize the Feast of the Holy Rosary, which had occurred in the previous week, which means that we sang the propers of that feast. Thus, Father wore white vestments, rather than the green that is characteristic of the period post Pentecost.

In honor of Our Lady, we sang the commons of Mass IX (with a minor exception, noted below), and Credo III.

For the processional, we chose O Queen of the Holy Rosary and at the Offertory, Stella Coeli Extirpavit.

We sang Ave Verum Corpus for Our Lord, as is fitting at communion. Our original intent was to also sing the Magnificat, which is the perfect hymn to sing for the feast. An interesting and happy consequence of the COVID crisis and the Traditionis Custodes crisis is that our ranks have swelled and our little chapel was quite full this day. We had very many people who would receive communion, and so we made a last-minute change to not only sing the Magnificat, but to also sing the antiphon of the Magnificat that is proper to the feast – and of course, that means both before and after the Magnificat itself.

As noted, the commons were from Mass IX (for feasts of the Blessed Mother). As it turns out, our delightful visiting priest has a predilection for Mass VIII, and so, notwithstanding that we intoned the Ite Missa Est from Mass IX, he sang the one from Mass VIII, and, of course, we responded in kind.

We had the feast of Saint Francis earlier in the week, and so, for the recessional, we sang Blessed Francis Father. We concluded after Mass with the Angelus, which commemorates that event in Scripture that gives us the first words of the Hail Mary.