4th Sunday of Lent 2026
Processional hymn: O Kind Creator, Bow Thine Ear, 832
Recessional hymn: Lift High the Cross, 835
Credo VI, 788
Kyriale: Missa Puisque J’ai Perdu, Orlandus Lassus
Offertory Antiphon: Ave Regina Coelorum, Antonio Lotti (1667–1740)
Communion Hymn: Audi Benigne Conditor, Orlandus Lassus
This Sunday’s processional is an English version of the hymn Audi Benigne Conditor. It is the Vespers Hymn during Lent and its Latin text is attributed to Pope St. Gregory the Great (540-604).
Orlandus Lassus set the same text for five voices and divided the motet into two parts. Both parts have two verses from the hymn while omitting the fifth verse. One notable moment in his motet occurs in the second part when the text says, “grant a remedy to the weak” and shifts the harmony on “weak” in a way that draws the ear as it moves a tone down from the key center.
Orlandus Lassus (c.1532–1594) is known for the mature polyphonic style in the Franco-Flemish school. He wrote over 2,000 works in Latin, French, Italian, and German both sacred and secular. Lassus along with Giovanni Pierluigi da Palestrina and Tomás Luis de Victoria are the most influential composers of the late Renaissance.
3rd Sunday of Lent 2026
Processional hymn: Jesus, Meek And Lowly, 833
Recessional hymn: The Glory of These Forty Days, 831
Kyriale: Mass XVII, 762; Credo VI, 788
Offertory Antiphon: Justitiæ Domine, G.P. Palestrina
Chant after Offertory: Exaudi Nos Domine, Antiphon from Cantus Selecti
Communion Hymn: Attende Domine, Chant arr. Catuí Côrte-Real Suarez
Part of G.P. Palestrina’s prolific compositional output includes the publication, Offertoria totius anni, which contains 68 five-voice choral settings of Offertory Antiphons for Sundays and major feasts. The translation for this week is: The statutes of the Lord are right, and rejoice the heart his judgments sweeter also than honey, and the honey-comb. For thy servant keeps them. –Psalm 18:9,11-12 In this setting, Palestrina uses melodies and harmonies centered in a major key, giving the motet a bright color and conveying the joyful nature of the Psalm.
G.P. Palestrina (c. 1525–1594) is highly regarded for his contributions of Sacred Polyphony and development of counterpoint in the late 16th Century. In the post-Tridentine period he earned the reputation of the ideal Catholic composer for his success in reconciling the functional and aesthetic aims of Catholic church music. Palestrina wrote over 105 Masses and 250 sacred motets in addition to many other works.
2nd Sunday of Lent 2026
Processional hymn: Lord, Who Throughout These Forty Days, 828
Recessional hymn: Crux Fidelis, 840
Kyriale: Mass XVII, 762; Credo VI, 788
Offertory Antiphon: Meditabor in mandatis tuis, G.P. Palestrina
Motet after Offertory: Ecce Quomodo, Jacobus Gallus (1550–1591)
Communion Hymn: Sicut Cervus, G.P. Palestrina
Part of G.P. Palestrina’s prolific compositional output includes the publication, Offertoria totius anni, which contains 68 five-voice choral settings of Offertory Antiphons for Sundays and major feasts. This and next Sunday’s Offertories are taken from this compilation.
The translation for this week is: I will meditate on thy commandments, which I have loved exceedingly: and I will lift up my hands to thy commandments, which I have loved. –Psalm 119:47-48
G.P. Palestrina (c. 1525–1594) is highly regarded for his contributions of Sacred Polyphony and development of counterpoint in the late 16th Century. In the post-Tridentine period he earned the reputation of the ideal Catholic composer for his success in reconciling the functional and aesthetic aims of Catholic church music. Palestrina wrote over 105 Masses and 250 sacred motets in addition to many other works.
1st Sunday of Lent 2026
Processional hymn: Forty Days and Forty Nights, 829
Recessional hymn: When I Survey the Wondrous Cross, 838
Kyriale: Mass XVII, 762; Credo VI, 788
Chant after Offertory: Parce, Domine, Gregorian Chant
Marian Antiphon: Ave Regina Cœlorum, Solemn Chant
On Ash Wednesday, Joel 2:17 is sung in the second antiphon during the imposition of ashes. The translation is: Spare, O Lord, spare thy people; and give not thine inheritance to perdition.
The simple chant sung today after the Offertory Antiphon uses the same verse as a refrain which is sung in alternatum with verses from a Lenten hymn attributed to St. Ambrose. The first verse of the hymn says: Let us appease His wrath, Beg for mercy from our Judge; Cry to Him in supplication, Let us all prostrate and say.
A manuscript from the Tours sacramentary—which dates from the 9th Century—illustrates the long association of this verse of scripture with the season of Lent and penitential occasions.
Quinquagesima 2026
Processional hymn: Soul of My Savior, 938
Recessional hymn: Jesus, My Lord, My God, My All, 899
Kyriale: Mass XI, 740; Credo III, 776
Offertory Antiphon: Benedictus es Domine, Orlandus Lassus
Marian Chant following Offertory: Memorare, Plainchant
Motet at Communion: Anima Christi, Msgr. Marco Frisina (b. 1954)
The Offertory antiphon this Sunday is a choral setting by Orlandus Lassus with text from Psalm 118:12-13: Blessed are You, O Lord; teach me Your statutes. With my lips I declare all the ordinances of Your mouth.
The motet after the communion chant is perhaps the most famous setting of the prayer Anima Christi by Msgr. Marco Frisina. Monsignor’s setting can be accompanied with either strings or organ and alternates full choir with a solo voice.
Orlandus Lassus (c.1532–1594) is known for the mature polyphonic style in the Franco-Flemish school. He wrote over 2,000 works in Latin, French, Italian, and German both sacred and secular. Lassus along with Giovanni Pierluigi da Palestrina and Tomás Luis de Victoria are the most influential composers of the late Renaissance.