The Assumption of the Blessed Wirgin Mary MATER ECCLESIAE ROMAN CATHOLIC CHURCH Nineteenth Annual Mass of Thanksgiving The Fifteenth of August, 2019 at 7:00 PM The Cathedral Basilica of Saints Peter & Paul Philadelphia, Pennsylvania PRAYER TO OUR LADY OF THE ASSUMPTION Immaculate Virgin, you are Mother of God and Mother ofall people. We believe with all the fervor of our faith in your triumphal Assumption, body and soul, into heaven where you are acclaimed as Queen by all the choirs of angels and all the legions of saints. We unite with them to praise and bless the Lord, Who has exalted you above all other pure creatures, and we offer you the tribute of our devotion andlove... And from this earth, over which we tread as pilgrims, comforted by our faith in future resurrection, we look to you, our life, our sweetness, and our hope. Draw us onward with the sweetness of your voice that one day, after our exile, you may show us Jesus, the blessed fruit of your womb. O clement, O loving, O sweet Virgin Mary. Amen. Prayer of Pope Pius XII, who proclaimed the dogma of the Assumption of the Blessed Virgin Mary, in his Apostolic Constitution, “Munificentissimus Deus (Most Beautiful God), on November 1, 1950. From the Rector. I have been a member of the Church Music Association of America (CMAA) for 29 years. The CMAA is the oldest Catholic Music organization in the United States. For the last nine years, I have also been the Chaplain. Many moons before I became a member, I discovered the journal of the CMAA, “Sacred Music” in the seminary library. One day, an older seminarian saw me reading it and called measide. He said, “If you want to be ordained don’t let anybody see you reading that. I’d advise that you find a hiding place back in the book stalls and read it there. Be careful.” Can you imagine such an admonition just because I was reading a journal that championed what the Church taught about Sacred Music? And this was in a seminary that was considered conservative. My musical formation in the seminary, from 1974 through 1982, was nonexistent, when it wasn’t downright horrendous. It was the CMAA and Sacred Music Magazine that taught me what the Church says she wants (not what is actually done in most places). The great Monsignor Schuler, Pastor of Saint Agnes in Saint Paul, MN, Liturgical Scholar, Father Robert Skeris, Father Ralph March, O.Cist., and Dr. Peter Salamonovich and manyothers, opened my eyes, ears and heart to the beauty and immense volume of Sacred Music that I could never have imagined. What we pray and hear tonight is a small portion of that overflowing treasury. The Holy Mass, of course, is the august re-presentation of the Sacrifice of Calvary.It is the ultimate act of adoration and worship. Whether it is a quiet morning Low Mass, a Mass on the back of a jeep in the midst of war, or a Pontifical Mass in a great Cathedral, the Mass is what is most important. The Church, however, tells us that Sacred Music is the art most closely related to the Sacred Liturgy. It tells us that Sacred Music is integral to the Sacred Liturgy. What does this mean? Let me give an example. Your arm is integral to your body. You can live withoutit, but you will not be able to function at your fullest. The Mass can be said, and is most often said, without Sacred Music, but it is at its fullest expression when Gregorian chant (which hasfirst place), polyphony and sacred concerted music are used. This is what you will experience tonight. Many years ago, God led me to discover the CMAA. Over the years I absorbed what I experienced and cherished what I was taught. Each year, after having attended the CMAA Colloquium, floating on a spiritual cloud, while driving home I would think, “Why are you torturing yourself with all this? You will never use it. Nobody wantsit. All this glorious music is just a frustrating reminder of what we’ve lost and will never use again.” And here we are. Doesn’t God have a sense of humor? Whocould ever understand His ways? How very blessed we are. Laudate Dominum! Gaude Maria! (0) (e) ¢ THE ASSUMPTION OF THE BLESSED VIRGIN MARY ( Belief in the Assumption of Our Lady goes back, to early Christian tradition. It found 6 expression gradually in the writings of the Fathers and in various liturgies (at | Jerusalemfrom the 6 century, at Rome from the 7*) | At Jerusalem, early evidence of the feast is to befoundin the pilgrimages made to what is believed to have been Our Lady's tomb. A Benedictine monastery was built near it and, later, another near the place where she died (the “Dormition”). At Constantinople, a procession was also held on the feast of the “Falling Asleep of the Mother of God”. At Rome until the 16" century, the papal cortége went from the Lateran basilica to ( that ofSt. Mary Major and, like other stational processions (e.g. on Rogation days). ¢ In the 18** century, Pope Benedict XIV declared the Assumption to be a truth that no one is permitted to doubt, but it was not then defined as a dogma. The First Vatican ¢ Council (1869-1870) was adjourned before reaching this item on its agenda. Finally, on November 1, 1950, Pope Pius XII proclaimed solemnly, as a part of divine é revelation, that “the Blessed Virgin Mary, the Immaculate Mother of God, at the close her 6 | of earthly career was taken up into heaven, body and soul”. The time, the place or other circumstances of the Assumption are neither included in the definition nor < alluded to in the Mass composed for the feast; it only emphasizes the fact of the corporal glorification and its necessary connection with the two preceding privileges o ¢ Mary: her Immaculate Conception and her divine Maternity. This Mass sees the glorified Virgin, in the person of the Woman clothed with the sun ‘ (Apoc., Introit), in the King’s Daughter in golden robes (Ps. 44, Gradual), in the Woman who, with her Son, will be victorious over the serpent (Gen., Offertory): it applies to her the praise given to Judith (Epistle); it recognizes in Mary’s Assumption ‘ the fulfilling of her own prophecy in the Magnificat (Gospel). The Prayers ask, that, after Mary's example, we may long for heaven (Collect, Secret) obtain the glorious ¢ resurrection (Post Communion) and enjoy everlasting bliss (Collect). 6 There is to be NO applause at any time. ( neither before, during or after Mass ! (e) (e) La THE SOLEMN HIGH MASS OF THE ASSUMPTION a The Mass Theresienmesse Franz |Josef Haydn (1732- 1809) | (or | | | gg Celebrant The Reverend Robert C. Pasley, KCHS Rector ofMater Ecclesiae Roman Catholic Church Berlin, New Jersey | 4 AAPAPAPAPPAPLPLPAPPAADPAAGS, Deacon The Reverend Caleb Kick, FSSP Parochial Vicar, Saint Mary Church Conshohocken,+ Pennsylvania on Su bdeacon Mr. ohn Rotondi Acolyte, Mater Ecclesiae Roman Catholic Church Berlin, New Jersey | T | Preacher The Reverend Carl Gismondi, FSSP no Pastor, Saint Mary Church PPP Conshohocken, Pennsylvania |0oo SSeSe) Altar Servers Martin Howlett, Coordinator Master of Ceremonies Master In Choir Thurifer Luke Rossino Martin Howlett John Rossino Patrick Byrne Crucifer Acolyte Acolyte Joseph Meissner Ken Leary, Jr. Leo Smith Torch Bearers Rich Dixon Blaise Kurtz Timothy Rossino Joseph Fahy Ambrose Pagano Christopher Verrecchia Banner Bearers Servers in Choir Lou Rossino Brandon Konopka Peter Horvath Timothy Kozikowski Benedict Kurtz Sacristan Emeritus Sacristans A Special Note of Mr. Robert Parker Mr. John Frank Appreciation to Mr. Bill Gedgard Dr. John Lilley For Providing Vestments The Blessed Imelda Lambertini Society Megan Maher, Coordinator Gianna Cooper Monica Pagano Madison Cooper Marcelina Pagano Julianna Fleming Marea Rossino Jada Fleming Mary Elizabeth Sevold Zelie Hasson Isabella Zima Anastasia O'Donnell Guests & Membersof the Procession The Knights and Ladies of the Equestrian Orderof the Holy Sepulchre of Jerusalem The Sovereign Military Hospitaller Order of Saint John of Jerusalem of Rhodes and of Malta The Knights of Columbus Council 12833 Louis DiLoreto, Grand Knight The Knights of Columbus Assembly Anima Christi No. 3294 Color Guard Our Lady of Mount Carmel Society of Mater Ecclesiae The Federation of North-American Explorers 1st North Star Group Saint John the Baptist Roman Catholic Church Diocese of Trenton Celebration of the Traditional Latin Mass Altar Servers Saint John the Baptist Roman Catholic Church Diocese of Trenton Celebration of the Traditional Latin Mass Maidensof the Miraculous Medal Saint Mary Church Archdiocese of Philadelphia Conshohocken, Pennsylvania Altar Servers IIITISISIAISISI IIIS IAISISISIAISISISISIISIIISISI III dd The Music idJ Theresienmesse dd dd Franz Josef Haydn dd da (1732-1809) da 42 Music Director 4 # Dr. Timothy McDonnell 4 dJ dd dd Chorus iJ dd Sopranos Tenors dJ da Alicia Brozovich (Soloist) Dugan Morgridge (Soloist) dd da Rachel Garrepy Daniel De Kok da Sarah Stine Guillermo Pasarin 4 Lauren Walters J Altos Bass d M Gallagher (Soloist80 Michael G Soloist 4 da eae olly Hartline’ . Groary Hating dd dd Miranda Smith Thomas Kane dd 2 Nicole Paige Uvenio Frederick Proulx adJ add Orchestra dd Violin 1 Viola Trumpet 1 4 Catherine Kei Fukuda z 2 Joseph Kauffman Frank Ferraro dd Violin 2 Cello Trumpet 2 2dd Shelley Matthews Meredith Bates Tom Cook add Contrabass Timpani Organ add John Shank Dennis Walter Peter Carter add Clarinet 1 Clarinet 2 a _.. da Amy ——— da myChristmChristmas Suzuki Huebner Rie da % z @ JISIIIAISIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIITIIIIIIIIIIIT ~ GadadadIOID NOTESASIII MUSIC . 3 The of the Mass of the. Assumption 2019 is Franz Josef (1732-1809) so | centerpiece Haydn’s dd g¥@ -called ““Theresienmesse”, nicknamed for its unofficial dedicatee, the empress Maria Theresa of dd the Two Sicilies, the consort of the last Holy RomanIIIAEmperor, Francis II.