Music Notes for Sunday Masses
28 March 2021
Palm Sunday
Choral Prelude
Gloria, laus et honor – W. Brouwers (b. 1957)
Wilko is my dear, Dutch friend and colleague, of whose music I have previously waxed eloquent. The text is that of one of the optional processional chants for Palm Sunday, the verses sung by each of our five singers in turn.
Glory, praise, and honor to Thee, O King Christ, the Redeemer: to Whom children poured their glad and sweet Hosanna’s song. (Graduale Romanum)
The Procession
Hosanna filio David
At the beginning of Mass today, we sing the prescribed Entrance Chant Hosanna filio David. Because of its brevity, we are adding to it by singing a setting of the same text by Sir Richard Runciman Terry (1864-1938), the great restorer of Church Music at Westminster Cathedral in London.
Hosanna to the son of David; blessed is he who comes in the name of the Lord.
O King of Israel: Hosanna in the highest!
Offertory Motet
Hosanna to the Son of David – T. Weelkes (1576-1623)
Here we have an English language setting of the Hosanna filio David, which we offer today because of its great beauty. Here is a wonderful recording – you can even watch the score to see if we’re singing the right notes :)
Hosanna to the Son of David, Blessed be the King that cometh in the name of the Lord, Hosanna. Thou that sittest in the highest heav’ns, Hosana in excelsis Deo.
Communion Antiphon
Pater, si non potest – Gregorian chant, Mode VIII
This tiny chant, sung at the beginning of Communion, is remarkable in its ability to convey profound sadness and acquiescence within its 30 seconds of length. Honestly, Mother Church, in Her wisdom, chose wisely when She told us all to sing Gregorian chant at Mass!
Father, if this cup cannot pass away unless I drink it, thy will be done. (Mt. 26:42)
Communion Motets
Tenebrae factae sunt – M. Haydn (1737-1806)
The younger brother of the very famous Franz Joseph Haydn (1732-1809), Michael and his brother were boy choristers in the choir of the colossal St. Stephen’s Cathedral in Vienna. They both flourished there and became active musicians even as teens. The rest is history! Joseph said of his younger brother that Michael’s church music was always better than his own!
There was darkness over the earth when the Judaeans crucified Jesus: and about the ninth hour Jesus cried with a loud voice: My God, my God, why hast thou forsaken me? And he bowed his head and gave up the ghost. Jesus cried with a loud voice and said, Father, into thy hands I commend my spirit. And he bowed his head and gave up the ghost. (Matthew 27:45-46; John 19:30; Luke 23:46.)
O Crux ave – R. Dering (1580–1630)
Dering was an English composer of the late Tudor period, a convert to the Faith, living and working in exile on the European continent. Our motet today, composed in Rome, is an impassioned portrait of the whole text. Sweet the Wood! Sweet the Nails! A verse from the famous Vexilla regis, there is an oft-used Cross depicting the incipit of this verse found at the bottom of this note: Hail, O Cross (O Crux Ave) forming the vertical, and Only Hope (Spes Unica) forming the horizontal.
Hail, O Cross, the only hope, Which alone was worthy to carry the price of the world. Sweet wood, sweet nails, bearing that sweet burden. Save that flock assembled here today to sing thy praises. (From the Vexilla regis, St. Venantius Fortunatus)
Closing Hymn
O Sacred Head, Surrounded – St. Michael Hymnal 679
Tune: Passion Chorale
I think the term “iconic” might be overused today, but truly “O Sacred Head” is the iconic hymn of Lent, Palm Sunday and Holy Week. Also known as The Passion Chorale, the text is reworked from Salve caput cruentatum, attributed to St. Bernard of Clairvaux (1091-1153). It is harmonized by Bach. For me, to sing it at the end of the Palm Sunday Mass is to hold back tears. Here is a beautiful recording.
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