The Schola Cantorum marks Gaudete Sunday, December 15, with music reflecting the joyful anticipation of the Incarnation and Mary’s role as Theotokos – “God-bearer.”
10am Mass Preparation of the Gifts, “Benedixisti Dominum” - G. P. da Palestrina (1525 – 1594)
This motet is taken from Palestina’s “Offertoria totius anni secundum Sanctae Romanae Ecclesiae consuetudinem” for five voices, published in Rome in 1593. The text, is the prescribed Offertory text for this Sunday. It is an excerpt of the 85th Psalm. Despite the hopeful language of God’s mercy and forgiveness, Palestrina sets it in the rather somber, aeolian mode. Despite the darker tone color, the motet is filled with rich text-painting. The opening motive, which speaks of God’s blessing on the earth, is a gentle descending line in each of the voices. The second section, which concerns the captivity of Jacob, is abundant in using the minor second interval, seeking to emphasize a trapped feeling. Finally, he reserves major tones for the final phrase, and on the text “remisisti” (Latin for “released/forgotten”), one feels a relaxation and resolution of the tension in from the beginning of the motet.
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11:30am Mass Preparation of the Gifts, “Rejoice in the Lord Alway” (Anonymous)
This anonymously composed motet from mid-sixteenth century England has been a mainstay of English liturgical choral repertoire. The text, from the fourth chapter of Paul’s letter to the Philippians, appears as the introit today and as the second reading on this Sunday in Year A. It is from the first word of this introit, “gaudete”, (Latin for “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.
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10am Mass, Communion Motet “Gaudete Omnes” - Jan Pieterszoon Sweeklinck (1562 – 1621)
Dutch composer Jan Pieterszoon Sweelinck published this motet in 1619 in his collection “Cantiones sacrae”. The leading motive of fluttering eighth notes is repeated in each voice, setting a joyful tone and character to his composition. When the text calls on us to ‘enter his presence with singing’ the meter becomes compound and imitates a dance. The final alleluia section, with its plethora of acclamations and imitation/echo effect, may suggest the performing choir being joined by the heavenly multitude of angels singing.
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11:30am Mass Communion Motet, “Angelus Ad Virginem” - Andrew Carter (b.1939)
This anthem is by British composer, Andrew Carter. The setting is based on a popular medieval carol. The text is a poetic version of the Hail Mary and the Annunciation to the Virgin Mary. Probably Franciscan in origin, it was brought to England by French friars in the 13th century. It is said to have originally consisted of 27 stanzas, each stanza beginning with the next consecutive letter of the alphabet. Surviving manuscripts may be found in a c.1361 Dublin Troper (a liturgical book for use at Mass) and a thirteenth or fourteenth 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.
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