For a story on some of our sung Alleluia settings, click here!
We leave the land of Solemnities for a time and take you to the land of Ordinary Time, or Ordered Time, or as the Roman Missal calls it in Latin, the "Time of the Year". The Latin version of the Missal (in the Ordinary Form, that is, the most current Missal) calls this Sunday (translated) the Tenth Sunday of the Year, while the English and French versions call it the Tenth Sunday of Ordinary Time.
We leave the land of Solemnities for a time and take you to the land of Ordinary Time, or Ordered Time, or as the Roman Missal calls it in Latin, the "Time of the Year". The Latin version of the Missal (in the Ordinary Form, that is, the most current Missal) calls this Sunday (translated) the Tenth Sunday of the Year, while the English and French versions call it the Tenth Sunday of Ordinary Time.
But anyhoo, we're in the "green season" now, but two weeks from now, there will be another Sunday solemnity, that of the Nativity of St. John the Baptist.
But for now, let's go to this weekend's music, that is, for the Tenth Sunday of the Year, or "Sunday X".
MUSIC FOR HOLY MASS
Ordinary of the Mass: Laus Tibi Christe (Caudana)
Entrance hymn: Praise, my soul, the King of heaven (Worship hymnal, #530)
Psalm 130: With the Lord there is mercy, and fullness of redemption (Sam Schmitt) (PDF)
Alleluia Pange Lingua (BMP) (PDF)
Offertory hymn: Your hands, O Lord, in days of old (Worship hymnal, #750)
Communion music:
- (with singers): Dear Lord, and Father of mankind ("Repton", C.H.H. Parry)
- (w/o singers): Whoever does the will of my Father in heaven (BMP) (PDF)
Meditation hymn: To Christ, the Prince of Peace (Worship hymnal, #491)
Recessional hymn: Tell out, my soul, the greatness of the Lord (Worship hymnal, #534)
WHERE DID YOU GET THAT ALLELUIA?
A couple of weeks ago, I got a question that is not a surprising one, as most people mainstream parishes with the "greatest hits" repertoire (read: not necessarily music with good taste, but merely music that tastes good) will visit and not hear certain things.
Well, this question came from a regular mass-going parishioner, and was a very good question: "Where did the Alleluia that we sang come from?" The short answer, it's partially original. The long answer, which explains the short answer, is that just over a month ago, I finished creating a comprehensive project called Psalm 151, which consists of original settings of the Proper of the Mass, not just your typical Responsorial Psalm and Alleluia verses, but Introits, Offertories, and Communions as well, and then some. Most of the Alleluias in the projects are based on various chants sung during the church year and are also included in a subset I devised, called Alleluias and Gospel Acclamations. While four of those melodies are completely original, a few were based on, or adapted from, different chants. Those are as follows:
- Alleluia "Conditor Alme" (which we've used here at Sacred Heart), from Conditor Alme Siderum, or Creator of the stars of night, an Advent hymn.
- Alleluia "Divinum Mysterium" (which we've also used), from the tune Divinum Mysterium, the tune most commonly used with the Christmas chant hymn, Of the Father's love begotten.
- Gospel Acclamation "Vexilla Regis" (Glory and praise to you, Lord Jesus Christ) (which we've also used), is based on the Passion hymn Vexilla Regis Prodeunt, or The royal banners forward go.
- Alleluia "O Filii et Filiae", probably the most obvious. Several composers have come up with some kind of arrangement of this Alleluia, and I too decided to jump on the bandwagon. This alleluia is from the Easter hymn O filii et filiae, or O sons and daughters.
- Alleluia "Pange Lingua" (the Alleluia of which I received the question, which we introduced on Trinity Sunday) is a setting I wrote with verses for the "June Solemnities" (Trinity included, albeit that fell in May this year) and the 10th-12th Sundays of the Year. I wrote it with Corpus Christi in mind, using the Eucharistic hymn Pange lingua gloriosi, or Sing, my tongue, the Savior's glory, as its base.
Of the ones we have not used yet:
- Alleluia "Adoremus in Aeternum" is based on the Benediction chant, Adoremus in aeternum Sanctissimum Sacramentum, or We adore for ever the Most Holy Sacrament. You may have heard me chant the Adoremus in aeternum during Tuesday night Marian Devotions, when the Blessed Sacrament is being returned to the Tabernacle.
- Alleluia "O Clemens", based on the last lines of the Salve Regina, contains verses for the Assumption and the Sundays surrounding it.
- Alleluia "Lux Aeterna", based on the Communion chant of the same name, used for Masses of the Dead (including All Souls and Funeral Masses), contains verses for All Saints, All Souls, and Sundays leading up to it.
By the way, putting my compositional skills to work, I'm building on the Psalm 151 project too, this one dubbed The Christus Vincit Gradual.
WHERE DID YOU GET THAT ALLELUIA?
A couple of weeks ago, I got a question that is not a surprising one, as most people mainstream parishes with the "greatest hits" repertoire (read: not necessarily music with good taste, but merely music that tastes good) will visit and not hear certain things.
Well, this question came from a regular mass-going parishioner, and was a very good question: "Where did the Alleluia that we sang come from?" The short answer, it's partially original. The long answer, which explains the short answer, is that just over a month ago, I finished creating a comprehensive project called Psalm 151, which consists of original settings of the Proper of the Mass, not just your typical Responsorial Psalm and Alleluia verses, but Introits, Offertories, and Communions as well, and then some. Most of the Alleluias in the projects are based on various chants sung during the church year and are also included in a subset I devised, called Alleluias and Gospel Acclamations. While four of those melodies are completely original, a few were based on, or adapted from, different chants. Those are as follows:
- Alleluia "Conditor Alme" (which we've used here at Sacred Heart), from Conditor Alme Siderum, or Creator of the stars of night, an Advent hymn.
- Alleluia "Divinum Mysterium" (which we've also used), from the tune Divinum Mysterium, the tune most commonly used with the Christmas chant hymn, Of the Father's love begotten.
- Gospel Acclamation "Vexilla Regis" (Glory and praise to you, Lord Jesus Christ) (which we've also used), is based on the Passion hymn Vexilla Regis Prodeunt, or The royal banners forward go.
- Alleluia "O Filii et Filiae", probably the most obvious. Several composers have come up with some kind of arrangement of this Alleluia, and I too decided to jump on the bandwagon. This alleluia is from the Easter hymn O filii et filiae, or O sons and daughters.
- Alleluia "Pange Lingua" (the Alleluia of which I received the question, which we introduced on Trinity Sunday) is a setting I wrote with verses for the "June Solemnities" (Trinity included, albeit that fell in May this year) and the 10th-12th Sundays of the Year. I wrote it with Corpus Christi in mind, using the Eucharistic hymn Pange lingua gloriosi, or Sing, my tongue, the Savior's glory, as its base.
Of the ones we have not used yet:
- Alleluia "Adoremus in Aeternum" is based on the Benediction chant, Adoremus in aeternum Sanctissimum Sacramentum, or We adore for ever the Most Holy Sacrament. You may have heard me chant the Adoremus in aeternum during Tuesday night Marian Devotions, when the Blessed Sacrament is being returned to the Tabernacle.
- Alleluia "O Clemens", based on the last lines of the Salve Regina, contains verses for the Assumption and the Sundays surrounding it.
- Alleluia "Lux Aeterna", based on the Communion chant of the same name, used for Masses of the Dead (including All Souls and Funeral Masses), contains verses for All Saints, All Souls, and Sundays leading up to it.
By the way, putting my compositional skills to work, I'm building on the Psalm 151 project too, this one dubbed The Christus Vincit Gradual.
Quod scripsi, scripsi!
BMP
