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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

Christ The King Sunday (5th in October)

Jeff Ostrowski · October 26, 2017

These musical programs are for FSSP.la, the new FSSP Apostolate in Los Angeles. Bring your family to the High Mass (SAINT VICTOR, 8634 Holloway Dr, West Hollywood, CA 90069) at 7:00pm every Sunday.


PROCESSIONAL

Organist.


ASPERGES

PDF Score (Singer)   •   Practice Audio (Singer)   •   Organist

We also add a polyphonic section, which is #4550.


INTROIT   •   Sometimes the ladies sing this.

PDF Score (Singer)   •   Practice Audio (Singer)


KYRIE ELEISON

We are singing #5294 (KYRIE “Iste Sanctus” by Guerrero)


GLORIA IN EXCELSIS

We will sing #5612.


GRADUAL & ALLELUIA

Psalm Tone Version

Eventually, we might learn this version—but that decision will come later.


CREDO IV   •   Alternatim

We may sing #5984 by Machaut.

We also sometimes sing this version: #3445.   But sometimes we sing in unison.


OFFERTORY ANTIPHON

PDF Score (Singer)


OFFERTORY OTHER

Organist will play.


SANCTUS & HOSANNA

We will sing the Palestrina #6962 (“Te saeculorum”)

Sometimes we sing #3496 paired with #2999.

Sometimes we sing Sanctus from Mass XIII. The complete “Kyriale” (Ordinarium Missae) can be found at St. Antoine Daniel.


BENEDICTUS & HOSANNA

We will sing #6926 Palestrina (Te Sæculorum).


AGNUS DEI

We will sing #7554.

Before long we will begin work on a setting by Giovanni Gabrieli.


COMMUNION ANTIPHON

This will be sung by chosen soloists.


COMMUNION ORGAN

Organist.


COMMUNION OTHER

O Sanctissima is #4456, and we’re trying to learn the SATB sections.


RECESSIONAL HYMN   •   #858 Crown Him With Many Crowns

From the Campion Hymnal.


CHOIR PRAYER (from CAMPION HYMNAL) happens after attendance is taken:

Reflection by Archbishop Fulton J. Sheen

Pilate, finding the Prisoner still silent, was full of wrath, for he was accustomed to seeing the accused crawling in dread before him. “What?” said Pilate, “hast Thou no word for me? Dost Thou not know that I have power to crucify Thee and power to release Thee?” (John 19:10) Pilate spoke of his power to release or to condemn. But if the Prisoner before him were innocent, Pilate had no power to crucify; if he were guilty, he had not power to release. The judge is judged. Our Blessed Lord spoke at once, reminding Pilate that any judicial authority which he had came not from Caesar but from God. Pilate had boasted of the arbitrariness of his power, but Christ referred him to a power that is delegated to men. “Thou wouldst not have any power over Me at all, if it had not been given thee from above.” (John 19:11) The power that Pilate boasted was “given”. Whether a governor, king or ruler knows it or not, all earthly authority is derived from on high. “By Me kings reign”, said the Book of Proverbs.

This bold rebuke of Pilate, reminding him of his dependence upon God, stirred his efforts more than ever toward “releasing Him”. Pilate went outside to meet the mob and reaffirm the innocence of the Prisoner. But the mob had their clever answer ready: “Thou art no friend of Caesar, if thou dost release Him; the man Who pretends to be a King is Caesar’s rival.” (John 19:12) It was very strange that the mob who despised Caesar for his massacres, for all the harm that he had done them, and for his prostitution of the temple, now proclaimed that they had no king but Caesar. By proclaiming Caesar as their king, they renounced the idea of a Messias and made themselves vassals of the Empire, thus preparing for the Roman armies that swallowed up Jerusalem within a generation. The terrors of Tiberius seemed more real to Pilate than the denying of justice to Christ. But in the end, those who fear men rather than God lose that which they hoped men would preserve for them.

When Pilate heard the threat to inform Caesar of his partiality to a man whom they accused of being an enemy of Caesar, Pilate sat down in his judgement seat. Pointing to the Prisoner robed in dried blood, crowned with thorns and a scarlet cloak, he said to the people: “See, here is your King.” But they cried out, “Away with Him; away with Him, crucify Him.” (John 19:14-15) Pilate asked: “What, shall I crucify your King?” The chief priests answered: “We have no King but Caesar.” (John 19:15)

And the king took them at their word!   “Thereupon Pilate gave Jesus up into their hands, to be crucified.” (John 19:16)


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 Jeff Ostrowski

Jeff Ostrowski holds his B.M. in Music Theory from the University of Kansas (2004). He resides with his wife and children in Michigan. —(Read full biography).

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Corpus Christi Watershed

President’s Corner

    PDF • “Communion” (5th Sunday in Ordin.)
    The COMMUNION ANTIPHON for this coming Sunday, 8 February 2026—which is the 5th Sunday in Ordinary Time (Year A)—is truly delightful. You can download the musical score completely free of charge. This text will be familiar to altar boys, because it’s PSALM 42. The Feder Missal makes the following claim about that psalm: “A hymn of a temple musician from Jerusalem: he is an exile in a heathen land, and he longs for the holy city and his ministry in the Temple there. The Church makes his words her own.”
    —Jeff Ostrowski
    Funeral Music “Template” • For Families
    Many have requested the MUSICAL TEMPLATE for funerals we give to families at our parish. The family of the deceased is usually involved in selecting Number 12 on that sheet. This template was difficult to assemble, because the “Ordo Exsequiarum” has never been translated into English, and the assigned chants and hymns are given in different liturgical books (Lectionary, Gradual, Order of Christian Funerals, and so on). Please notify me if you spot errors or broken links. Readers will be particularly interested in some of the plainsong musical settings, which are truly haunting in their beauty.
    —Jeff Ostrowski
    “To Cover Sin With Smooth Names”
    Monsignor Ronald Knox created several English translations of the PSALTER at the request of the Cardinal Archbishop of Westminster. Readers know that the third edition of the Saint Edmund Campion Missal uses a magnificent translation of the ROMAN CANON (and complete Ordo Missae) created in 1950 by Monsignor Knox. What’s interesting is that, when psalms are used as part of the Ordo Missae, he doesn’t simply copy and paste from his other translations. Consider the beautiful turn of phrase he adds to Psalm 140 (which the celebrant prays as he incenses crucifix, relics, and altar): “Lord, set a guard on my mouth, a barrier to fence in my lips, lest my heart turn to thoughts of evil, to cover sin with smooth names.” The 3rd edition of the CAMPION MISSAL is sleek; it fits easily in one’s hand. The print quality is beyond gorgeous. One must see it to believe it! You owe it to yourself—at a minimum—to examine these sample pages from the full-color section.
    —Jeff Ostrowski

Quick Thoughts

    “Reminder” — Month of Febr. (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
    PDF Chart • “Plainsong Rhythm”
    I will go to my grave without understanding the lack of curiosity so many people have about the rhythmic modifications made by Dom André Mocquereau. For example, how can someone examine this single sheet comparison chart and at a minimum not be curious about the differences? Dom Mocquereau basically creates a LONG-SHORT LONG-SHORT rhythmic pattern—in spite of enormous and overwhelming manuscript evidence to the contrary. That’s why some scholars referred to his method as “Neo-Mensuralist” or “Neo-Mensuralism.”
    —Jeff Ostrowski
    PDF • “O Come All Ye Faithful” (Simplified)
    I admire the harmonization of “Adeste Fideles” by David Willcocks (d. 2015), who served as director of the Royal College of Music (London, England). In 2025, I was challenged to create a simplified arrangement for organists incapable of playing the authentic version at tempo. The result was this simplified keyboard arrangement (PDF download) based on the David Willcocks version of “O Come All Ye Faithful.” Feel free to play through it and let me know what you think.
    —Jeff Ostrowski

Random Quote

“The conciliar norms regarding reform of the liturgy have given the choir’s function greater prominence and importance. The choir is responsible for the correct performance of the parts that belong to it…”

— “Musicam Sacram” (5 March 1967)

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  • Funeral Music “Template” • For Families
  • “To Cover Sin With Smooth Names”
  • Heretical Hymns

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