Preparation of the Gifts 10am Mass and Post-Communion 11:30am Mass, “Angelus ad Virginem” – Andrew Carter (b. 1939)

This anthem is by the British composer Andrew Carter. The setting is based on a popular medieval carol, whose text is a poetic version of the Hail Mary and the Annunciation to the Virgin Mary. Probably Franciscan in origin, it was brought to Britain by French friars in the 13th century. It is said to have originally consisted of 27 stanzas, with each following stanza beginning with the consecutive letter of the alphabet. Surviving manuscripts may be found in a c. 1361 Dublin Troper (a music book for use at Mass) and a 13th or 14th century vellum Sequentiale that may have been connected with the Church of Addle, Yorkshire. Its lyrics also appear in the works of John Audelay (perhaps a priest, he definitely spent the last years of his life at Haughmond Abbey, where he wrote for the monks), in a group of four Marian poems. It appears in Geoffrey Chaucer's Miller's Tale, where the scholar Nicholas sings it in Latin to the accompaniment of his psaltery: And over all there lay a psaltery Whereon he made an evening's melody, Playing so sweetly that the chamber rang; And Angelus ad virginem he sang; And after that he warbled the King's Note: Often in good voice was his merry throat.

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Preparation of the Gifts 11:30 am Mass, “Rejoice in the Lord Always” - Anonymous

This anonymously composed motet from mid-16th century England has been a standard of the English liturgical choral repertoire. The text, from the 4th chapter of Philippians, appears as the Introit today and as the second reading on this Sunday in Year C. It is from the first word of this Introit (gaudete - rejoice) that Gaudete Sunday receives its name. While its authorship remains uncertain, the clarity of its counterpoint, and textual sensitive use of interplay between polyphony and monophony suggests a well-trained Tudor-era composer, on the level of Tallis or Byrd.

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Post-Communion 10am Mass, “Magnificat” – Orland di Lassus (1532-1594)

Orlando di Lassus was born in Hainaut and at a young age entered choirs as a boy treble. He eventually joined the entourage of General Ferdinand Gonzaga and traveled to Italy where he remained for ten years, when he was, for a time, Chapel master for St. John Lateran, Rome. He later settled in Bavaria and died in Munich. Many of his works were published in Nuremburg, including this Magnificat. As was customary with Magnificat settings during the Renasaince, Lassus sets the text alternating between the Gregorian Chant tones, and choral verses. While mostly homophonic in writing, there are brief moments of polyphonic text painting, and call and echo effects.

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