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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

4th Sunday of Lent (“Laetare Sunday”)

Jeff Ostrowski · March 8, 2018

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 will play.


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 will sing the new Kyrie, #3595 .

We also know #5294 (KYRIE “Iste Sanctus” by Guerrero)


GLORIA IN EXCELSIS

When Holy Thursday arrives, we will sing the Gloria again: #5612.


GRADUAL & ALLELUIA

No Alleluia during Lent, but a Gradual & Tract.

Psalm Tone Version

When Easter arrives, we’ll once more use ALLELUIA by Fr. Cristóbal de Morales: #3982.


CREDO IV   •   When we sing Plainsong Credo IV, we use alternatim

#5984 • CREDO after Guillaume de Machaut (Chaumonot)


OFFERTORY ANTIPHON

PDF Score (Singer)


OFFERTORY OTHER

Organist will play.


SANCTUS & HOSANNA

#6962 • SANCTUS “Te saeculorum” (Palestrina)


AGNUS DEI

We will sing #90719 by Giovanni Gabrieli.


COMMUNION ANTIPHON

This will be sung by chosen soloists.


COMMUNION ORGAN

Organist will play.


COMMUNION OTHER

#90206 • “Stabat Mater”—Gustaaf Nees (d. 1965)


RECESSIONAL HYMN   •   #828 Throughout These Forty Days

From the Campion Hymnal.


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

TENTH STATION • Jesus is stripped of his garments

V. We adore Thee, O Christ, and we praise Thee.

R. Because by Thy holy cross Thou has redeemed the world.

Jesus is stripped of his garments. Clothing gives a man his social position; it gives him his place in society, it makes him someone. His public stripping means that Jesus is no longer anything at all, he is simply an outcast, despised by all alike. The moment of the stripping reminds us of the expulsion from Paradise: God’s splendour has fallen away from man, who now stands naked and exposed, unclad and ashamed. And so Jesus once more takes on the condition of fallen man. Stripped of his garments, he reminds us that we have all lost the “first garment” that is God’s splendour. At the foot of the Cross, the soldiers draw lots to divide his paltry possessions, his clothes. The Evangelists describe the scene with words drawn from Psalm 22:19; by doing so they tell us the same thing that Jesus would tell his disciples on the road to Emmaus: that everything takes place “according to the Scriptures”. Nothing is mere coincidence; everything that happens is contained in the Word of God and sustained by his divine plan. The Lord passes through all the stages and steps of man’s fall from grace, yet each of these steps, for all its bitterness, becomes a step towards our redemption: this is how he carries home the lost sheep. Let us not forget that John says that lots were drawn for Jesus’s tunic, “woven without seam from top to bottom” (Jn 19:23). We may consider this as a reference to the High Priest’s robe, which was “woven from a single thread”, without stitching (Fl. Josephus, a III, 161). For he, the Crucified One, is the true High Priest.


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

    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

“The Church has always kept, and wishes still to maintain everywhere, the language of her Liturgy; and, before the sad and violent changes of the 16th century, this eloquent and effective symbol of unity of faith and communion of the faithful was, as you know, cherished in England not less than elsewhere. But this has never been regarded by the Holy See as incompatible with the use of popular hymns in the language of each country.”

— Pope Leo XIII (1898)

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