Prelude 11:30am Mass, “Lift up your Heads, O Gates” – Richard Proulx (1937-2010)
This brief motet for the Ascension is taken from a collection of introits by the American composer Proulx. The setting of a verse from Psalm 24 resides in an implied pentatonic (Dorian) mode during the first section before cadencing to a bright aeolian color. The second section continues in aeolian, with frequent use of imitation and planing at the fifth before an exuberant melisma on the word 'glory' leads to the final triumphant plagal cadence, beseeching the Lord to enter (these gates) into glory.
Preparation of the Gifts 10am Mass. “Ascendit Deus” – Giovanni Pierluigi da Palestrina (c. 1525-1594)
This motet was published in the composer’s 'Offertoria totius anni' in 1593, and like the other motets in the opus, it is a setting of the day’s Offertory Proper text. The opening motive demonstrates today’s theme by having a rising melisma with the range of an octave sung through the five voices on the word ‘ascends.’ Other noteworthy text paintings are the delicate and lively passing notes on the word ‘joy’ and the angular triadic writing on the ‘voice of the trumpet.’
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Preparation of the Gifts 11:30am Mass, “Jubilate Deo” – Benjamin Britten (1913-1976)
Britten’s exuberant setting of Psalm 95 was commissioned by St. George’s Chapel, Windsor in 1963, at the request of Prince Philip, Duke of Edinburgh. The work features frequent call and response between the upper voices and lower voices of the choir, with minor ornamentations creating light dissonances throughout. A softer middle section is followed by the return of the joyful first section for the doxology text. The organ part is delicate and playful, with frequent birdcall melodies through the various registers of the instrument.
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Post Communion 10am Mass, “Regina Caeli” – Gregor Aichinger (c. 1565-1628)
Aichinger’s popular setting of the Paschal season’s Compline Marian Antiphon frequently borrows motivic material from the Gregorian Chant version which is sung prior to the homophonic setting. Notable examples are the soprano’s first entrance, and the imitative entrances of the voices on the text ‘Quia quem meruisti.’ Although the prayer is not antiphonic, Aichinger sets the motet in ABA (de capo), which was beginning to become common practice in many early Baroque motets and arias. Aichinger was born in Regensburg and was ordained prior to working for the Fugger family in Augsburg, where, except for two trips to Italy, he remained the rest of his life.
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Post Communion 11:30 am, “God is Gone up” – Ned Rorem (b. 1923)
Ned Rorem is an American composer, primarily of vocal and choral music. He is also a noted diarist, the most famous of which is his Paris Diary, which recorded his young life in the city, and his interactions with many prominent musicians including Leonard Bernstein, Samuel Barber and Virgil Thompson. This brief and delicate motet sets verses from Psalm 47. The writing is in a chromatic yet tonally centered style, which is typically for much of Rorem writing.
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