Gloria 10am “Missa Brevis” - G. P. da Palestrina (c. 1525-1594)
This work was first published in 1570 in the composer’s Third Book of Masses. Unlike many other Masses at this time, which employed either parody technique, or alternatum with the Gregorian Chant melodies, the Missa Brevis is a through composed setting in the free style. Throughout the Gloria, Palestrina uses tempo changes to reflect the different aspects of the sacred text. With the exception of the Benedictus and final Agnus Dei trope, the Mass is for four voices, alternating between homophonic and polyphonic textures.
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Preparation of the Gifts 10am Mass, “Dum Complerentur” - G. P. da Palestrina (c. 1525-1594)
Palestrina resists setting this motet in the strict imitation polyphony for which he is typically known, and instead uses homophonic phrases alternating between different grouping of the choir sections. This technique gives the piece a gentle undulating quality, similar to a wind blowing through the room at Pentecost. The text is from the book of Acts, and recounts the event with ‘Alleluia’ dispersed throughout the piece - often in more standard imitation polyphony, particularly at the end.
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Preparation of the Gifts 11:30 am Mass, “Veni, Creator Spiritus” - Michael John Trotta (b. 1978)
Opening with a single voice on the motive of the Veni Creator Chant, the piece then gently adds voices, always continuing in the chant rhythm. Although the melody of the chant is not preserved entirely, having the motives traded throughout the vocal parts gives the effect of the chant hymn being sung in its entirety. Two texts are spliced together for this motet: The first being the Veni Creator, Spiritus which we hear in the beginning (often attributed to Rabanus Maurus (9th century), and Veni Sancte Spiritus, (not the sequence by the same name), a short prayer found in a proper from the liturgy. The text sings of the good works of the Holy Spirit, and implores the Spirit to reside in the hearts of the faithful. John Michael Trotta is an American choral conductor and collaborative composer, who has worked principally in the New York and Philadelphia music communities.
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Communion Motet 10am Mass, “Alleluia, Emitte Spiritum” - William Byrd (1538-1623)
The text of this motet comes from today's Gradual and is found in Psalm 103. The text is framed by joyful Alleluia's dividing the phrases of the motet. The contrapuntal writing is imitative and densely interwoven between the parts. William Byrd was an English composer and contemporary of Thomas Tallis. This motet is taken from his collection Gradualia, seu Cantionum Sacrarum, 2nd book published in 1607.
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Communion Motet 11:30am Mass, Be Present, “Spirit of the Lord” - REPTON, arr. John Ferguson (b. 1941)
John Ferguson is an American composer and organist known for his choral compositions and hymn arrangements. This motet joins Hubert Parry’s hymn REPTON (Dear Lord and Father of Mankind, and He Comes to Us as One Unknown) with a recent text by English poet and bishop, Timothy Dudley-Smith. The text is inspired by the characteristics and actions of the Holy Spirit as described in today's sequence, Veni Sancte Spiritus. Ferguson uses reharmonizations, descants, and contrapuntal writing of the hymn tune for this choral arrangement.