External Solemnity of Our Lady of the Rosary, 2026
Processional hymn: O Sanctissima, 915
Recessional hymn: Daily, Daily Sing to Mary, 912
Kyriale: Mass XI, 740; Credo IV, 780
Hymn at offertory: Te gestiéntem gáudiis, Chant
Marian Antiphon: Salve Regina, Rev. Francesco Soriano (c.1548–1621)
There are four hymns which were assigned for the Divine Office on the Feast of the Holy Rosary by Pope Leo XIII in 1888. Originally composed by Fr. Augustine Thomas Ricchini, OP for the Dominican breviary, the subject of all four hymns are the fifteen mysteries of the Holy Rosary. The first three hymns deal with each set of Mysteries: the Joyous, the Sorrowful, and the Glorious. The fourth hymn which will be sung at Sunday’s Mass, Te gestiéntem gáudiis, is a short summary of the first three hymns. The melody for these hymns is also used for many different texts on feasts of the Blessed Virgin; one of the most famous texts being Maria Mater Gratiae.
Fr. Augustine Thomas Ricchini, OP (1695-1779) was a native of Cremona, Italy, he held several ecclesiastical offices and was a friend of Pope Benedict XIV. Father first held the office of the Secretary of the Congregation of the Index, and then was the Master of the Sacred Palace. He was also an adviser to the Master General of the Dominicans from 1759 to 1778.
18th Sunday after Pentecost
Processional hymn: All Ye Who Seek A Comfort Sure, 862
Recessional hymn: Let All Mortal Flesh Keep Silence, 900
Kyriale: Mass IX, 740; Credo IV, 780
Chant at Offertory: Ubi Caritas, Chant harmonized by Craig Kingsbury (b. 1952)
Motet at Communion: Da Pacem Domine, Costanzo Festa (c. 1490–1545)
The words for the votive antiphon for peace Da Pacem, Domine dates from the 6th or 7th century and is based on biblical verses 2 Kings 20:19, 2 Chronicles 20:12,15 and Psalms 72:6–7. The first words of the antiphon are shared in common with the Introit for this Sunday’s Mass: Grant peace, Lord, in our time; for there is none else who would fight for us if not you, our God. Costanzo Festa sets this antiphon for four voices retaining the Gregorian melody as a Cantus Firmus in the Tenor voice and in canon with the Bass voice.
Costanzo Festa (c. 1490–1545) was the first Italian polyphonic composer of international renown. Festa was one of only a few Italians in the Papal Choir during his generation and was hailed as, “a most excellent musician and eminent singer” by Pope Paul III. His compositional style focused less on imitation and complex counterpoint for its own sake, and often wrote purely homophonic passages.
17th Sunday after Pentecost 2026
Processional hymn: The Seven Sorrows of Our Lady, 917
Recessional hymn: Remember Me Before the Lord, 918
Kyriale: Mass XI, 740; Credo IV, 780
Hymn at Offertory: Stabat Mater, Chant Sequence
Motet at Communion: Ave Maris Stella, Rev. Guillaume Dufay
The month of September is dedicated to the Seven Sorrows of the Blessed Virgin Mary, and the feast itself was this past Friday. During the Mass the sequence Stabat Mater is said prior to the Gospel. This sequence is often used as a devotional hymn for praying the stations of the cross and is sung to a simple tune. The chant sung today, which is the proper chant, is more ornate and the melody changes every two verses.
The Vespers hymn for many feasts of the Blessed Virgin is Ave Maris Stella, which dates to the 9th-century and sung today is a setting by Reverend Tomás Luis de Victoria. As is common for his hymn settings, he composed alternating verses and retained a ornamented version of the melody as the foundation for the polyphony.
Reverend Tomás Luis de Victoria (c.1548–1611), along with Palestrina and de Lassus, is one of the greatest composers of the 16th C., famous for its ethereal polyphony. Ordained a priest at age 27, he lived in Rome for years, and assisted St. Philip Neri as chaplain of San Girolamo della Carità.
16th Sunday after Pentecost 2026
Processional hymn: Jesus, Meek and Lowly, 833
Recessional hymn: Come Down, O Love Divine, 887
Kyriale: Mass XI, 740; Credo IV, 780
Offertory motet: Cantate Domino, Giuseppe Ottavio Pitoni
Communion antiphon: Domine memorabor, Nobuaki Izawa (b. 1972)
The motet Cantate Domino is a setting of Psalm 149:1–2 by Baroque Italian composer Giuseppe Ottavio Pitoni. O sing unto the Lord a new song: let the congregation of saints praise him. Let Israel rejoice in him that made him: and let the children of Sion be joyful in their King. Pitoni’s work, like much of late Baroque music, is tightly structured in small phrases with two main sections and follows the general format of “A-B-A.”, also called ternary form. This form allows for restating of the initial text and for contrast in dynamic (how strong or quiet the music becomes).
Giuseppe Ottavio Pitoni (1657–1743) was an Italian vocalist, organist and composer. He studied voice from the age of five and became a maestro di cappella (choirmaster) at Santa Maria Maggiore, Monterotondo, a historic church near Rome by sixteen. Pitoni held director positions at many parishes in Rome and was a prominent church musician during the late Baroque era.
15th Sunday after Pentecost 2026
Processional hymn: Most Ancient of All Mysteries, 884
Recessional hymn: When I Survey the Wondrous Cross, 838
Kyriale: Mass XI, 740; Credo IV, 780
Offertory Motet: Bonus Est, G.P. Palestrina (c. 1525–1594)
Communion Antiphon: Panis Quem Ego, Heinrich Isaac
Bonus Est by G.P. Palestrina is a setting of Lamentations 3:24-26. This passage appears during Tenebrae for Holy Saturday. Written for three men’s voices, the motet encapsulates theme of hopeful expectation for the Lord, who is all good.
The communion antiphon is set by Heinrich Isaac with the text taken from John 6:52: The bread that I will give is my flesh for the life of the world. Isaac composes pieces of the melody in both the Tenor and Soprano voices in a quasi-canon in the same way as many of his communion settings. Panis Quem Ego has one of the clearest quotations of the source melody in the Soprano voice with very little ornamentation.
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.