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Pope Saint Paul VI (3 April 1969): “Although the text of the Roman Gradual—at least that which concerns the singing—has not been changed, the Entrance antiphons and Communions antiphons have been revised for Masses without singing.”

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Views from the Choir Loft

“What Shall I Render to the Lord…”

Dr. Peter Kwasniewski · July 24, 2014

HEN ABOUT TO RECEIVE the Precious Blood in the traditional Latin Mass, the priest utters the verse from the Psalm: “What shall I render to the Lord for all that He hath rendered to me? I will take the chalice of salvation, and I will call upon the Name of the Lord. Praising I will call upon the Lord, and I shall be saved from my enemies.”

In the Summa theologiae (IIa-IIae, q. 80, a. 1), Saint Thomas quotes the first verse―“What shall I render to the Lord for all that He hath rendered to me?”―as a perfect illustration of the virtue of religion, whereby we give what we can to the Lord but can never give enough, never give a gift equal to what He has given us.

Reading this years ago made me see that the placing of that verse right at the climactic point when the Lord’s Blood is drunk emphasizes the aspect of justice in the Mass: that man strives to make a return, but the best return he can make is actually to receive Jesus Christ into his own body and allow Jesus to thank the Father in and through him, through his own finite freedom.

That is why the prayer immediately continues: “I will take the chalice of salvation, and I will call upon the Name of the Lord.” The infinitely just and holy God comes, in mercy, to dwell within, so that man might be able to offer himself, joined to Christ, as a worthy oblation to God. The mercy of God, entering into the soul, makes it possible for man to be justly related to God―for the Christian incorporated into Christ has “God from God, Light from Light” within him, and between the Father and Son there is the most exalted love and the most sublime exemplar of justice, as if each were eternally giving to the other his perfect due. The Father not only generates the Son, but “takes” the Son, receives Him back, in an eternal reciprocal love. Holy Communion places one into this reciprocal love. That is why the chalice is spoken of as “calicem salutis perpetuae.”

This little prayer fittingly concludes: “Praising I will call upon the Lord, and I shall be saved from my enemies.” What a cause of praise―to receive the Lord himself, the very one upon whom we are calling! What a cause of protection from our enemies! The Lord will save us, for He has come to dwell within us and to increase the abiding presence of His grace.

Please visit THIS PAGE to learn more about Dr. Kwasniewski’s Sacred Choral Works and the audio CDs that contain recordings of the pieces.

Opinions by blog authors do not necessarily represent the views of Corpus Christi Watershed.

Filed Under: Articles Last Updated: January 1, 2020

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About Dr. Peter Kwasniewski

A graduate of Thomas Aquinas College (B.A. in Liberal Arts) and The Catholic University of America (M.A. and Ph.D. in Philosophy), Dr. Peter Kwasniewski is currently Professor at Wyoming Catholic College. He is also a published and performed composer, especially of sacred music.

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Corpus Christi Watershed

President’s Corner

    PDF Download • “For Pentecost Sunday”
    Yesterday morning, I recorded myself singing the ENTRANCE CHANT for Pentecost Sunday while simultaneously accompanying myself on the pipe organ. Click here to see how that came out. At the end of the antiphon, there’s a triple Allelúja and I just love the chord at the end of the 2nd iteration. The organ accompaniment—along with the musical score for singers—can be downloaded free of charge at the flourishing feasts website. For the record, the antiphon on Pentecost Sunday doesn’t come from a psalm; it comes from the book of Wisdom.
    —Jeff Ostrowski
    PDF Download • “Organ Accompaniment”
    Over the past few years, I’ve been harmonizing all the vernacular plainsong Introit settings by the CHAUMONOT COMPOSERS GROUP. This coming Sunday—10 May 2026—is the 6th Sunday of Easter (Year A). The following declaration will probably smack of “blowing my own horn.” However, I’d rank this accompaniment as my best yet. In this rehearsal video, I attempt to sing it while simultaneously accompanying myself on the pipe organ. The musical score [for singers] as well as my organ accompaniment can be downloaded free of charge from the flourishing feasts website.
    —Jeff Ostrowski
    “Gregorian Chant Quiz” • 4 May 2026
    A few days ago, the CORPUS CHRISTI WATERSHED Facebook page posted this Gregorian Chant quiz regarding a rubric for the SEQUENCE for the feast of Corpus Christi: “Lauda Sion Salvatórem.” There is no audience more intelligent than ours—yet surprisingly nobody has been able to guess the rubric. Drop me an email with the right answer, and I’ll affirm your brilliance to everyone I encounter!
    —Jeff Ostrowski

Quick Thoughts

    “Thee” + “Thou” + “Thine”
    Few musicians realize that various English translations of Sacred Scripture were granted formal approval by the USCCB and the Vatican for liturgical use in the United States of America. But don’t take my word for it! Here are four documents proving this, which you can examine with your own eyes. Some believe the words “Thine” and “Thou” and “Thee” were forbidden after Vatican II—but that’s incorrect. For example, they’re found in the English translation of the ‘Our Father’ at Mass. Moreover, the Revised Standard Version (Catholic Edition) mentioned in those four documents employs “Thine” and “Thou” and “Thee.” It was published with a FOREWORD by Westminster’s Roman Catholic Archbishop (John Cardinal Heenan).
    —Jeff Ostrowski
    “Reminder” — Month of May (2026)
    On a daily basis, I speak to people who don’t realize we publish a free newsletter (although they’ve followed our blog for years). We have no endowment, no major donors, no savings, and refuse to run annoying ads. As a result, our mailing list is crucial to our survival. It couldn’t be easier to subscribe! Just scroll to the bottom of any blog article and enter your email address.
    —Jeff Ostrowski
    Simplified Version • “Canon in D” (Pachelbel)
    I published an article on 11 November 2023 called Wedding March For The Lazy Organist, which rather offhandedly made reference to a simplified version I created in 2007 for Pachelbel’s Canon. I often use it as a PROCESSIONAL for weddings and quinceañeras. Many organists say they “hate” Pachelbel’s Canon. But I love it. I think it’s bright and beautiful. I created that ‘simplified version’ for musicians coming to grips with playing the pipe organ. It can be downloaded as a free PDF if you visit Andrea Leal’s article dated 15 August 2022: Manuals Only: Organ Interludes Based on Plainsong. Specifically, it is page 84 in that collection—generously offered as a free PDF download. Johann Pachelbel (d. 1706) was a renowned German organist, violinist, teacher, and composer of over 500 works. A friend of Bach’s family, he taught Johann Christoph Bach (Sebastian Bach’s eldest brother) and lived in his house. Those who read Pachelbel’s biography will notice his connection to two German cities adopted as famous hymn tune names: EISENACH and ERFURT.
    —Jeff Ostrowski

Random Quote

“The revision of the liturgical books must carefully attend to the provision of rubrics also for the people’s parts.”

— The Second Vatican Council (SC §31)

Recent Posts

  • “Thee” + “Thou” + “Thine”
  • PDF Download • “For Pentecost Sunday”
  • “Reminder” — Month of May (2026)
  • “Englished” Gregorian Chant • 5 Considerations
  • Simplified Version • “Canon in D” (Pachelbel)

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