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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

13th Sunday after Pentecost (Extraordinary Form)

Jeff Ostrowski · August 15, 2018

These musical programs are for Saint Vitus Parish, which belongs to the Archdiocese of Los Angeles. The Parish is staffed by the Priestly Fraternity of Saint Peter. Bring your family to the 10:30am High Mass 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 will sing #89425, a Kyrie by Victoria.


GLORIA IN EXCELSIS

We will sing GLORIA X; that means go HERE and find the Gloria under Mass X.

We also know Guerrero’s Gloria based on “Iste Sanctus” • #5612


GRADUAL & ALLELUIA

We will sing #3982 (an Alleluia by Father Morales).

As always, the verses are found in our Goupil Gradual books.


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

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


OFFERTORY ANTIPHON

PDF Score (Singer)


OFFERTORY OTHER

Organist will play.


SANCTUS & HOSANNA

We will sing #88751, a Sanctus by Victoria.

We will also sing #88749 Benedictus by Victoria.


AGNUS DEI

We will sing the 13th century Worcester AGNUS DEI.

AGNUS DEI (1310AD)   (score)

We also know #90719 by Giovanni Gabrieli.


COMMUNION ANTIPHON

This will be sung by chosen soloists.


COMMUNION ORGAN

Organist will play.


RECESSIONAL HYMN   •   #908 Hail, Holy Queen Enthroned Above

From the Campion Hymnal.


CHOIR PRAYER (usually taken from CAMPION HYMNAL) after attendance:

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

    Season’s End Repertoire
    Looking at the REPERTOIRE SHEET until the end of the choral season, I see that I’ve fallen behind schedule. (The last three months have been extraordinarily busy.) As you know, I have been providing organ harmonies for all the ENTRANCE CHANTS—as well as rehearsal videos—and you can see I’m behind where I planned to be. Now I must make up lost ground. However, the choir picks up the ENTRANCE CHANT with ease, so I’m sure it will all work out. My ‘unofficial’ harmonizations are being posted each week at the flourishing feasts website.
    —Jeff Ostrowski
    PDF Download • “Funeral Procession”
    From a mediæval Book of Hours, I was sent this glorious depiction of a Roman Catholic funeral procession by Simon Bening (d. 1561). The image resolution is extremely high. I’m not sure I know of a more beautiful illustration of a mediæval church. And I love how the servers are wearing red and pink cassocks!
    —Jeff Ostrowski
    Simplified Accomp. • Schubert’s “Ave Maria.”
    Sometimes the organist must simultaneously serve as the CANTOR. (Those who work in the field of church music know exactly what I’m talking about.) One of our contributors composed this simplified keyboard accompaniment for Franz Schubert’s “Ave Maria,” a piece which is frequently requested for Catholic funerals and weddings. In terms of the discussion about whether that piece is too theatrical (‘operatic’) for use in Church, I will leave that discussion to others. All I know is, many church musicians out there will appreciate this simplified version.
    —Jeff Ostrowski

Quick Thoughts

    PDF Download • “Anima Christi”
    I received a request for an organ accompaniment I created way back in 2007 for the “Anima Christi” Gregorian Chant. You can download this PDF file which has the score in plainsong followed by a keyboard accompaniment. Many melodies have been paired with “Anima Christi” over the centuries, but this is—perhaps—the most common one.
    —Jeff Ostrowski
    PDF • “Liturgical Law” (467 Pages)
    On Good Friday during the middle ages, the pope privately recited THE ENTIRE PSALTER. If you don’t believe me, see for yourself by reading this passage by Dom Charles Augustine Bachofen (d. 1943). His famous book—called “Liturgical Law: A Handbook Of The Roman Liturgy”—was published by the Benjamin Herder Book Company, which was the American arm (operating out of St. Louis, Missouri) of one of the world’s most significant Catholic publishers. Dom Charles Augustine Bachofen was born in Switzerland but spent his career between the Benedictine monasteries at Conception (Missouri) and Mount Angel (Oregon). His 1931 masterpiece, Liturgical Law can be downloaded as a PDF file … 467 pages!
    —Jeff Ostrowski
    “Gregorian Chant Quiz” • 24 March 2026
    How well do you know your Gregorian hymns? Do you recognize the tune inserted into the bass line on this score? For many years, we sang the entire Mass in Gregorian chant—and I mean everything. As a result, it would be difficult to find a Gregorian hymn I don’t recognize instantly. Only decades later did I realize (with sadness) that this skill cannot be ‘monetized’… This particular melody is used for a very famous Gregorian hymn, printed in the LIBER USUALIS. Do you recognize it? Send me an email with the correct words, and I promise to tell everybody I meet about your prowess!
    —Jeff Ostrowski

Random Quote

“I prefer to say nothing, or very little, about the new calendar, the handiwork of a trio of maniacs who suppressed—with no good reason—Septuagesima and the Octave of Pentecost and who scattered three quarters of the Saints higgledy-piddledy, all based on notions of their own devising!”

— ‘Fr. Bouyer, Consilium member appointed by Pope Paul VI’

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