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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

    Liturgical Round (“Canon”) in C-Major
    Those who direct children’s choirs are always on the lookout for repertoire that’s dignified, inspired, and pleasing—yet still within reach of young choristers. Such directors will want to investigate this haunting liturgical round (PDF download) which has been married to the KYRIE from Mass VI (EDITIO VATICANA). I have provided an accompaniment, but it’s only for use during rehearsal; i.e. when teaching this round to your choristers. I also provided an organ accompaniment for the KYRIE—which some know by its trope (Kyrie Rex Genitor)—so that your congregation can take part when this round is used as a choral extension during Mass.
    —Jeff Ostrowski
    Latin Liturgy Association
    We note with pleasure that Mrs. Regina Morris, president of the Latin Liturgy Association, has featured—on page 4 of Volume CXXIX of their official newsletter—the three (3) terrific versions of the Stations of the Cross found in the Brébeuf Hymnal. One of the main authors for the blog of the Church Music Association of America said (6/10/2019) about this pew book: “It is such a fantastic hymnal that it deserves to be in the pews of every Catholic church.”
    —Corpus Christi Watershed
    “Music List” • 28th in Ordinary Time (Year C)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for 12 October 2025, which is the 28th Sunday in Ordinary Time (Year C). If such a thing interests you, feel free to download it as a PDF file. As always, the Responsorial Psalm, Gospel Acclamation, and Mass Propers for this Sunday are conveniently stored at the dazzling feasts website alongside the official texts in Latin.
    —Jeff Ostrowski

Quick Thoughts

    New Bulletin Article • “12 October 2025”
    My pastor requested that I write short articles each week for our parish bulletin. Those responsible for preparing similar write-ups may find a bit of inspiration in these brief columns. The latest article (dated 12 October 2025) talks about an ‘irony’ or ‘paradox’ regarding the 1960s switch to a wider use (amplior locus) of vernacular in the liturgy.
    —Jeff Ostrowski
    “American Catholic Hymnal” (1991)
    The American Catholic Hymnal, with IMPRIMATUR granted (25 April 1991) by the Archdiocese of Chicago, is like a compendium of every horrible idea from the 1980s. Imagine being forced to stand all through Communion (even afterwards) when those self-same ‘enlightened’ liturgists moved the SEQUENCE before the Alleluia to make sure congregations wouldn’t have to stand during it. (Even worse, everything about the SEQUENCE—including its name—means it should follow the Alleluia.) And imagine endlessly repeating “Alleluia” during Holy Communion at every single Mass. It was all part of an effort to convince people that Holy Communion was historically a procession (which it wasn’t).
    —Jeff Ostrowski
    “Canonic” • Ralph Vaughan Williams
    Fifty years ago, Dr. Theodore Marier made available this clever arrangement (PDF) of “Come down, O love divine” by P. R. Dietterich. The melody was composed in 1906 by Ralph Vaughan Williams (d. 1958) and named in honor of of his birthplace: DOWN AMPNEY. The arrangement isn’t a strict canon, but it does remind one of a canon since the pipe organ employs “points of imitation.” The melody and text are #709 in the Brébeuf Catholic Hymnal.
    —Jeff Ostrowski

Random Quote

“Both priests and people in this country [viz. ENGLAND] were largely taken by surprise by the recent restoration of the Easter Vigil, by the changes in the laws of fasting for Holy Communion, and the advent of the Evening Mass.”

— Dom Oswald Sumner (1955)

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