Mass for the 50th Anniversary of Ordination of Cardinal Wuerl

Fourth Sunday of Advent
December 18, 2016

The motets for the Fourth Sunday of Advent are the same for the Mass in Latin at 10am and the Mass in English at 11:30am (see below).

Of additional musical interest this weekend, the Cathedral Parish of St. Matthew the Apostle commissioned J. Michael Thompson to create a new hymn text (below) on the occasion of the Commemoration of the 50th Anniversary of Ordination to the Priesthood of His Eminence Donald Cardinal Wuerl at the 11:30am Mass. This new text was written with references to the following scripture passages Acts 20:17-18. 28-32.36; II Corinthians 4: 1-2, 5-7; II Timothy 1 6-11; and I Peter 4: 7-11. The tune assigned for the text is DARWALL’S 148th, also sung with the text Rejoice! The Lord is King. The Washington Symphonic Brass will be joining the Schola Cantorum to enhance the music for the festivities.

Preparation Motet: Rorate Caeli
This lush setting the Introit text for the Fourth Sunday of Advent, was primarily inspired by the Quatre Motets Sur Des Thèmes Grégoriens, by Maurice Duruflé. Like the Duruflé settings, the chant melody is given prominent position in the work, with original music given secondary and complimentary roles. The opening word of this Introit gives the name to this Sunday, and the text source is from the book of Isaiah. It is also used as a versicle in the Liturgy of the Hours during Advent. Leo Nestor's setting is in a romantic idiom, with a broad scheme of variety in color and choral texture. The primary allusion of the text is of the arid land depicting a people parched waiting for the clouds to open and provide life-giving water, just as their souls desiccated with sin and despair wait for the long-foretold Savior.

To hear a version, click below:

Communion Motet: Ecce Virgo Concipiet
As with many texts assigned to liturgies in the final days of Advent, the original source is the book of the prophet Isaiah. William Byrd's musical treatment reflects the simplicity and innocence of Mary, and reserves harmonic color for the word Emmanuel, either reflecting the paradox of 'God with us' or foreshadowing his suffering and death on a cross. The motet is from his collection Gradualia I (1605), which was likely written for the beleaguered Catholic community still attempting to express its faith in Protestant England during the reign of James I.

To hear a version, click below: