Juventutum NJ inaugurates itself with the Solemn High Mass, the Feast of the Blessed Apostles Peter and Paul, at St. Anthony of Padua Church at 7:00 PM. St. Anthony?s is at the intersection of Monmouth and Sixth Street.
Per the Charter of Juventutem,[4] the commitments of each individual who joins Juventutem are:

? to pray the psalm Judica me or some other prayer each day for the sanctification of youth
? to visit a church and adore Our Lord, once a week (can be before or after Sunday Mass)
? to attend the Traditional Latin Mass (TLM) at least once a year
? to go to confession at least once a year
? to participate in at least one Juventutem event per year
? to annually support the International Juventutem Federation head office with prayer and funds (10?)

The Feast of Saints Peter and Paul or Solemnity of Saints Peter and Paul is a liturgical feast in honour of the martyrdom in Rome of the apostles Saint Peter and Saint Paul, which is observed on 29 June. The celebration is of ancient origin, the date selected being the anniversary either of their death or of the translation of their relics. In the East, the day marks the end of the Apostles Fast.
The Men?s Schola will sing the propers from the Liber Usualis. Motets Include Palestrina?s Tue Es Petrus for Six Voices. https://www.youtube.com/watch?v=KDEfQq56ebcOther motets include Bone Pastor by Tallis and Exsultate Justi Ludovico Grossi da Viadano.

The Ordinary is Haydn?s Missa brevis Sancti Joannis de Deo, Hob. XXII:7, Novello 8, is a mass in B-flat major by Joseph Haydn. The missa brevis (short mass) was written around 1775 for the order of the Barmherzige Br?der(Brothers Hospitallers) in Eisenstadt, whose patron saint was St. John of God. Scored modestly for soprano, four-part mixed choir, two violins, organ and bass, it is known as the Kleine Orgelsolomesse (Little Organ Mass) due to an extended organ solo in the Benedictus movement.
The mass was written for the order of the Barmherzige Br?der, also called Brothers of Mercy, in Eisenstadt, Hungarian Kingdom (now Austria), whose founder and patron saint was St. John of God. Haydn lived in Eisenstadt, working for the court ofNikolaus II, Prince Esterh?zy. The date of the composition is not certain because the autograph score bears no date. A year of 1778 or earlier in the 1770s seems likely. Because of an extensive Organ solo in the Benedictus, it is known as the Kleine Orgelsolomesse (Little Organ Mass), referring to the Gro?e Orgelsolomesse (de) (Great Organ Mass), a colloquial name for the Missa in honorem Beatissimae Virginis Mariae, Haydn's fourth mass in E-flat major. An organ solo in the Benedictus was common practice at the time.]
Haydn played the organ in the first performance in the hospital chapel of the Brethren in Eisenstadt. "Kleine" (little) may refer to the composition as well as to the organ, because the instrument there was a positive with six stops without pedal.]
The setting of the Latin mass is structured in six movements. It was originally scored for a solo soprano, a four-part choir (SATB), the socalled Wiener Kirchentrio (Vienna church trio) of two violins and bass, with an organ which has a solo function in the Benedictus. Kyrie[edit]
The Kyrie shows, according to the musicologist John Hsu "brilliant instrumental idioms and choral declamation.]
Credo[edit]

The Credo is structured in three parts, the center being formed by an Adagio for the birth, suffering and death of Jesus, delivered by the choir mostly in homophony, accompanied by broken chords in the violins and repetition in the bass. The third section recapitulates music from the Gloria.

Sanctus[edit]
Sanctus is called by the voices in a fast sequence of entries, some as bell-like long notes, other in flowing triplets. For the Osanna, the voices enter from the lowest to the highest, only one measure apart. The instruments play colla parte with the voices, violins with soprano and alto, cello and violone with the bass.
Benedictus[edit]

The Benedictus, the longest movement, is a dialogue of soprano soloist and organ, described as "expressive, elegant, and ornate melodic lines". It is followed by a repeat of the Osanna

Agnus Dei[edit]
Haydn marked the Agnus Dei carefully for dramatic contrast in dynamics, setting "Agnus Dei" (Lamb of God) as a fortissimo homophonic call versus a pianissimo prayer "Dona nobis pacem" (Give us peace).[6] The end is marked "perdendosi, senza organo" (dying away, without organ), with a pizzicato bass.]
A reviewer of the Oxford edition summarized: "The work is accessible to most choirs. The music is not xcessively difficult, but the solid musical structure and the many passages requiring expressive singing make the work a rewarding pleasure for any size choir.2]H. C. Robbins Landon, an editor of the composition, ascribed to the work a "quiet spirit of devotion, even of mysticism, that is most appealing"]
Versions

While the mass was originally scored for choir, strings and organ, later versions include with trumpets and timpani, and clarinets.[3]
The mass was also used in Salzburg where the textual compression was deemed "unacceptable", therefore the composer's brother Michael Haydn expanded the Gloria, from 31 measures to 118.[9] Very few performances however, use this expansion. However, the Oxford edition presents Michael Haydn's prolongation in the main body of the text and Joseph's short original as an appendix.[2][10][11] Johann Georg Albrechtsberger wrote an alternate Benedictus.[3]