14th Sunday after Pentecost 2026
Processional hymn: O God, Almighty Father, 877
Recessional hymn: Jesus, My Lord, My God, My All, 899
Kyriale: Mass XI, 740; Credo II, 772
Hymn after Offertory: Ave Maria, Virgo Serena, Chant Sequence
Communion Antiphon: Primum quaerite, Heinrich Isaac
The chant sequence Ave Maria, Virgo Serena is taken from the Cantus Selecti which is a compilation of chants released in 1957 by the Solesmes Abbey. This chant highlights major events in the life of the Blessed Virgin Mary. It also inspired three major compositions in the late 1400s, most notably a setting by Josquin des Prez. The sequence was originally composed for the feast of the Annunciation.
The communion antiphon Primum quaerite is a setting by Heinrich Isaac. The text of the antiphon is: Seek first the kingdom of God, and all things shall be added unto you, says the Lord. This passage taken from St. Matthew’s Gospel 6:33. Isaac’s setting uses a stylized version of the Gregorian melody in the Soprano voice.
Heinrich Isaac (c.1450–1517) was a Renaissance composer from the South Netherlandish region. His output was rivaled only by Orlandus Lassus in number and variety of composition. Most notable of his collections is Choralis Constantinus which contains nearly 400 Gregorian chant based motets of propers for the Mass.
13th Sunday after Pentecost 2026
Processional hymn: Alleluia, Sing to Jesus, 936
Recessional hymn: Lord, Enthroned in Heavenly Splendor, 939
Kyriale: Mass XI, 740; Credo II, 772
Introit Antiphon: Respice, Domine, Heinrich Isaac (c.1450–1517)
Offertory Antiphon: In Te Speravi, Orlandus Lassus (c.1532–1594)
Motet after Offertory: Surge Amica Mea, Giovanni Matteo Asola (c. 1532–1609)
Communion Antiphon: Panem de Cœlo, Heinrich Isaac
Surge, Amica Mea is text taken from the Song of Solomon 2:14: Arise, my love, my fair one, and come away. O my dove, who is in the clefts of the rock, in the secret places of the stairs, let me see your countenance, let me hear your voice; for sweet is your voice, and your countenance is beautiful.
The communion antiphon is a setting by Heinrich Isaac. The text of the antiphon is: Thou hast given us bread from heaven, O Lord, having in it all that is delicious, and every taste of sweetness. This passage taken from Wisdom 16:20 is a slight variation of the verse and response just prior to Benediction of the Blessed Sacrament. Isaac’s setting retains the original Gregorian melody in the Tenor voice.
Heinrich Isaac (c.1450–1517) was a Renaissance composer from the South Netherlandish region. His output was rivaled only by Orlandus Lassus in number and variety of composition. Most notable of his collections is Choralis Constantinus which contains nearly 400 Gregorian chant based motets of propers for the Mass.
External Solemnity of St. Lawrence 2026
Processional Hymn: O Thou, the Martyrs’s Glorious King, 872
Hymn of Thanksgiving: Te Deum, music sheets found in back of church
Recessional hymn: Praise to the Holiest in the Height, 922
Kyriale: Missa Brevis in D, KV64, Wolfgang Amadeus Mozart
Motet after Offertory: Ave Verum Corpus, Wolfgang Amadeus Mozart
Motet during communion: Laudate Dominum, a8 (II), Claudio Monteverdi (1567–1643)
Hymn at Communion: Deus Tuorum Militum, Claudio Monteverdi
The Mass in d (KV 65) by W. A. Mozart is the only Missa Brevis he set in a minor key and was only 12 at the time of its composition. Masses from this time period are rich with the use of text painting, which is where the composer will write the melody, rhythm, or chords to mirror the literal meaning or emotional intent of the words. This is heard clearly during the Credo when voices on the word descendit (meaning descended) have a falling phrase.
Claudio Monteverdi’s setting of the shortest Psalm, Laudate Dominum, also uses text painting in a grand way. The initial two voices enter with the words praise the Lord then all the voices enter on all ye peoples and similarly on the next line of text for praise the Lord, all ye nations.
Wolfgang Amadeus Mozart (1756–1791) was a prolific and influential composer of the Classical period and perhaps the most widely celebrated in the history of Western music. Despite his short life, his rapid pace of composition resulted in more than 800 works including Masses, symphonies, operas, and chamber works.
11th Sunday after Pentecost 2026
Processional hymn: Maiden, Yet A Mother, 913
Recessional hymn: Daily, Daily Sing to Mary, 912
Kyriale: Mass XI, 740; Credo II, 772
Offertory Antiphon: Exaltabo Te, Giovanni Croce (1557–1609)
Communion hymn: Omni die dic Mariae, Chant
The Offertory Antiphon this week is sung chorally set by Giovanni Croce. The text is from Psalm 29:2-3: I will magnify thee, O Lord, for thou hast set me up: and not made my foes to triumph over me.O Lord my God, I cried unto thee: and thou hast healed me. Croce’s sets each line of text in short sections with pairs or trios of voices that are followed soon by any remaining voices. He also makes use of the harmonic minor scale which creates a more brighter mood as the melodies rise and darker as they descend.
Omni die dic Mariae is sometimes referred to as “The Hymn of St. Casimir” for a copy was found inside his coffin and many have attributed the authorship to him. The full text of the prayer is very lengthy with 20 verses and intricate rhyme scheme and is the shorter second half of a hymn of praise to the Blessed Virgin Mary.
10th Sunday after Pentecost 2026
Processional hymn: O Sanctissima, 915
Recessional hymn: O Glorious Maid Exalted Far, 911
Kyriale: Mass XI, 740; Credo II, 772
Offertory antiphon: Ad Te Levavi, Reverend Franz Xaver Witt
Communion antiphon: Acceptabis, Nobuaki Izawa (b. 1972)
The Offertory antiphon assigned for this Sunday is shared with the First Sunday of Advent taken from Psalm 24:1-2 “Unto thee, O Lord, will I lift up my soul; my God, I have put my trust in thee: O let me not be confounded, neither let mine enemies triumph over me. For all they that hope in thee shall not be ashamed.” Reverend Franz Xaver Witt sets this antiphon in a mostly homophonic style and the only repetition of text—“shall not be ashamed”—he uses is the final portion of the text in three different musical iterations creating tension and resolving with a major chord.
Reverend Franz Xaver Witt (1834–1888) was ordained as a priest in 1856 and taught Gregorian chant at the seminary at Regensburg. In 1868 Fr. Witt founded the Caecilia Society in order to revive the use of Gregorian chant and polyphony, and to promote the composition of new liturgical music in an older style in Catholic churches. Pope Pius IX recognized his society in 1870.