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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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President’s Corner

    Music List • (5th Sund. Ordinary Time)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for this coming Sunday, 8 February 2026, which is the 5th Sunday in Ordinary Time (Year A). If such a thing interests you, feel free to download it as a PDF file. You will probably notice it isn’t as ‘complete’ or ‘spiffy’ as usual, owing to some difficulties which took place this week.
    —Jeff Ostrowski
    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

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

“…it would be a very praiseworthy thing and the correction would be so easy to make that one could accommodate the chant by gradual changes; and through this it would not lose its original form, since it is only through the binding together of many notes put under short syllables that they become long without any good purpose when it would be sufficient to give one note only.”

— Zarlino (1558) anticipating the Medicæa

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