10am Mass of Thanksgiving, Archbishop Gregory

Prelude 10am Mass, “Messenger of Christ” – Richard Proulx (1937-2010)

This brief motet, subtitled “Acclamation for Welcoming a New Pastor,” was composed in 1991 by Chicago based composer Richard Proulx. The text is taken from an ancient Celtic Prayer, which was adapted by the composer, and speaks of the joy a flock of faithful have in welcoming their new Shepherd. Proulx economizes rhythmic and melodic material through canon and planing (parallel movement). The harmony, while reminiscent of pentatonic idioms of early American songs, frequently features the planing 7th and 9th chords, giving the piece a modern quasi-jazz effect.

Prelude 10am Mass, “Éste es el Día” – Pablo Sosa

Sosa was born in Chivilcoy, Argentina, and studied at Westminster Choir College (Princeton), Hochschule fur Musik (Berlin), and Union Theological Seminary (New York). He is a Methodist pastor and resides in Buenos Aires. His music exhibits a strong influence of Argentinian folk melodies and rhythms. This particular motet is based on the ‘Chaya’ which is popular in the northern Argentina and has festive associations with harvest and new life.

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Processional 10am Mass, “We Rely on the Power of God” – Richard Hillert (1923-2010)

This processional borrows much of its text from Paul’s second letter to Timothy. The text also reminds us of the Holy Spirit’s presence in our lives of public ministry, ‘a spirit of strength, and of love, and of wisdom.’ The work was commissioned by the Worship Commission of the Diocese of Pittsburgh for the installation of its 10th Bishop in 1983. Hillert was a Chicago based composer, hymnologist, author, and scholar. He is also the composer of the well-beloved hymn, ‘Festival Canticle; Worthy is the Lamb.’

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Psalm 10am Mass, “Proclaim His Deeds to Nations” - Richard Proulx (1937-2010)

Proulx wrote this piece for the occasion of Archbishop Wilton Gregory’s Episcopal Ordination as an Auxiliary Bishop of Chicago. The text speaks of the missionary call of Christ to the disciples before the Ascension, as well as the duty to praise the goodness of God. The refrain is set in a familiar style, reminiscent of his well-loved Community Mass. The verses depart dramatically into a gentle blues setting with an evocative and expressive jazz inspired vocal line, honoring the musical heritage of Black Americans, and the traditions of Spirituals and Gospel music.

Preparation of the Gifts 10am Mass, “The Call” - Leo Nestor (b. 1947)

The text of this motet setting is from Paul’s letter to the Ephesians, today’s second reading at the 11:30am Mass as we celebrate the Patronal Feast of St. Matthew the Apostle. The work is a popular selection for ordinations and was dedicated to Bishop Lori, on the occasion of his Episcopal Ordination. Nestor’s musical style is a mixture of French part writing, (particularly Duruflé and Poulenc), with American harmonic language, creating dense and often richly moving choral works. The composer’s detail to text scansion is also noteworthy, as meters change frequently to accommodate irregular texts. The conclusion of the work sets the Latin text of the final verse in a chant accompaniment reminiscent of the composers Four Motets on Gregorian Themes. The text is reflected of the soul’s disposition towards God’s salvation, like the workers from today’s Gospel.

Communion 10am Mass, “There is a Balm in Gilead” – William Dawson (1899 – 1990)

William Dawson was born in Anniston, Alabama, and studied music at the Horner Institute of Fine Arts, the Chicago Musical College and the American Conservatory of Music. After briefly teaching in the Kansas City school system, he accepted a tenured position with the Tuskegee Institute, where he composed and led the choir. Dawson found much inspiration in Negro Spirituals and African Folk melodies, and almost all of his works draw upon these sources for musical motives and harmonies. With the notable exception of “Negro Folk Symphony” from 1934, nearly his entire oeuvre is choral music, many performed by the Choir at Tuskegee. This setting of the Spiritual “There is a Balm” alternates the choral refrain with the verses sung by a soloist. Like many of the composer’s works, the choral parts, while written in classical four-part texture, employ frequent passing tones, and pedal point, which gives the work its unique style - a hybrid of Spiritual and Classical music. The motet is dedicated to his Tuskegee colleague, Dr. G. Lake Imes.

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Communion 11:30am Mass, “Alleluia” – Randall Thompson (1899-1984)

Likely the most well-known of Thompson's choral works, this sublime motet was commissioned by Serge Koussevitzky, (Director of Music for the Boston Symphony) in 1940. Thompson was perturbed by the recent German invasion of France, and this sadness took shape in composing this work. Writing not out of joy or festivity, but of quiet reflection, and praise of God, even in defeat. Randall Thompson studied at the Eastman School of Music and went on to teach at the Curtis institute of Music, University of Virginia and Harvard University. While known primarily as a choral composer, he also wrote three symphonies and two string quartets. He is buried in Mount Auburn Cemetery in Massachusetts.

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