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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

    Luis Martínez Must Go!
    Sevilla Cathedral (entry dated 13 December 1564): The chapter orders Luis Martínez, a cathedral chaplain, to stay away from the choirbook-stand when the rest of the singers gather around it to sing polyphony—the reason being that “he throws the others out of tune.” [Excerpt from “The Life of Father Francisco Guerrero.”]
    —Jeff Ostrowski
    Urgent! • We Desperately Need Funds!
    A few days ago, the president of Corpus Christi Watershed posted this urgent appeal for funds. Please help us make sure we’re never forced to place our content behind a paywall. We feel it’s crucial that 100% of our content remains free to everyone. We’re a tiny 501(c)3 public charity, entirely dependent upon the generosity of small donors. We have no endowment and no major donors. We run no advertisements and have no savings. We beg you to consider donating $4.00 per month. Thank you!
    —Jeff Ostrowski
    “Booklet of Eucharistic Hymns” (16 pages)
    I was asked to create a booklet for my parish to use during our CORPUS CHRISTI PROCESSION on 22 June 2025. Would you be willing to look over the DRAFT BOOKLET (16 pages) I came up with? I tried to include a variety of hymns: some have a refrain; some are in major, others in minor; some are metered, others are plainsong; some are in Spanish, some are in Latin, but most are in English. Normally, we’d use the Brébeuf Hymnal—but we can’t risk having our congregation carry those heavy books all over the city to various churches.
    —Jeff Ostrowski

Quick Thoughts

    Pope Pius XII Hymnal?
    Have you ever heard of the Pope Pius XII Hymnal? It’s a real book, published in the United States in 1959. Here’s a sample page so you can verify with your own eyes it existed.
    —Corpus Christi Watershed
    “Hybrid” Chant Notation?
    Over the years, many have tried to ‘simplify’ plainsong notation. The O’Fallon Propers attempted to simplify the notation—but ended up making matters worse. Dr. Karl Weinmann tried to do the same in the time of Pope Saint Pius X by replacing each porrectus. You can examine a specimen from his edition and see whether you agree he complicated matters. In particular, look at what he did with éxsules fílii Hévae.
    —Corpus Christi Watershed
    Antiphons Don’t Match?
    A reader wants to know why the Entrance and Communion antiphons in certain publications deviate from what’s prescribed by the GRADUALE ROMANUM published after Vatican II. Click here to read our answer. The short answer is: the Adalbert Propers were never intended to be sung. They were intended for private Masses only (or Masses without music). The “Graduale Parvum,” published by the John Henry Newman Institute of Liturgical Music in 2023, mostly uses the Adalbert Propers—but sometimes uses the GRADUALE text: e.g. Solemnity of Saints Peter and Paul (29 June).
    —Corpus Christi Watershed

Random Quote

“It is when they are practicing that large groups stop in order to sleep; they don’t give themselves a new impetus after a pause (even if it is minimal) and singers pause when they should not (quarter-bar, half-bar)—everything provides temptation to go to sleep! It is thus not a question of rhythm but of musical integrity.”

— Justine Ward (20 July 1952)

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