9th Sunday after Pentecost 2026
Processional hymn: O Food of Men Wayfaring, 893
Recessional hymn: Lift Up Your Heads, Ye Mighty Gates, 931
Kyriale: Mass XI, 740; Credo II, 772
Motet after Offertory: Tollite portas, Giovanni Battista Martini (1706–1784)
Communion Antiphon: Qui Manducat, Heinrich Isaac
The communion antiphon is a setting by Heinrich Isaac. The text of the antiphon is: He who eats My Flesh, and drinks My Blood, abides in Me, and I in him, says the Lord. In this composition the Tenor voice retains the Gregorian melody with only slight ornamentation throughout. Unlike the settings from the past two weeks, all the voices enter immediately following the incipit and maintain homophony (all voices moving as one voice) for the text, “and drinks My Blood.” Then each voice enters at different times weaving in and out, cross, and occasionally meet on the same tone and move apart—this movement between voices portrays “abide in Me and I in him” musically.
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.
8th Sunday after Pentecost 2026
Processional hymn: O God, Our Help in Ages Past, 923
Recessional hymn: O God of Loveliness, 881
Kyriale: Mass XI, 740; Credo II, 772
Hymn at the offertory: Salve Mater, Carmelite Chant, arr. Paul Thomas May
Hymn at communion: Gustate et videte, Heinrich Isaac (c.1450–1517)
Salve Mater is a Carmelite hymn composed in the 11th century and exemplifies Mary’s role as Mother of all Christians. The hymn is structured with verses that lead to a refrain. The text of the refrain is: Hail, Mother of mercy, Mother of God and Mother of pardon, Mother of hope and Mother of grace, Mother, full of holy gladness. O Mary!
The communion antiphon is a setting by Heinrich Isaac. The text of the antiphon is from Psalm 33:9: O taste, and see, how gracious the Lord is: blessed is the man that trusteth in him. As was the case from last week, the Soprano and Tenor voices have ornamented versions of the Gregorian melody which is common from his communio settings.
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.
7th Sunday after Pentecost 2026
Processional hymn: Blessed Lamb on Calvary’s Mountain, 864
Recessional hymn: Soul of My Savior, 938
Kyriale: Mass XI, 740; Credo II, 772
Hymn after Offertory: Anima Christi (II), Chant
Communion Antiphon: Inclina Aurem Tuam, Heinrich Isaac
The communion antiphon is a setting by Heinrich Isaac. The text is from Psalm 31:3, “Bow down thine ear, make haste to deliver us.” The Soprano and Tenor voices retain the Gregorian melody in this short setting.
The prayer Anima Christi dates to the early 14th century and is often referenced by St. Ignatius in his spiritual exercises. A chanted version will be sung at the after the Offertory Chant and the closing hymn is a metrical English version of the same prayer.
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 Ss. Peter & Paul 2026
Processional hymn: Come, Holy Ghost, Creator Blest, 833
Recessional hymn: Who Are These, Like Stars Appearing, 869
Kyriale: Mass III, 705; Credo II, 772
Motet after Offertory: Tu Es Petrus, Rev. Michael Haller (1840–1915)
Communion Antiphon: Tu Es Petrus, Heinrich Isaac
Both choral works for this Sunday use the text Tu Es Petrus, which is the communion antiphon for the Feast of Ss. Peter & Paul. Rev. Michael Haller sets the text in a simple four part hymn style. While the setting by Heinrich Isaac takes its inspiration from the original Gregorian melody. Isaac begins with the incipit from the chant and each voice enters individually; the bass voice has keeps the melody throughout. Isaac illustrates building—“…I will build my church.”—by having each voice stack on top of one another and form the only static chord in the middle of this short motet.
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.
5th Sunday after Pentecost 2026
Processional hymn: My God, Accept My Heart This Day, 942
Recessional hymn: Lord, Enthroned in Heav’nly Splendor, 939
Kyriale: XI, 740; Credo: II, 772
Antiphon after Offertory: Da Pacem Domine, Chant
Hymn during Communion: Adoro Te Devote, Chant
The antiphon Da Pacem Domine is designated as an antiphon to beg for peace and shares the same text with the introit for the votive Mass for peace. The text 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: Grant us peace, O Lord, in our days For there is none other Who will fight for us Save but You, Our God. The antiphon has also been used as a refrain during processions.
Adoro Te Devote is a chant hymn written by St. Thomas Aquinas along with many other texts he composed for the institution of the feast of Corpus Christi in 1264 at the request of Pope Urban IV. The hymn is published in the Roman Missal in 1570 as a prayer of thanksgiving after Mass following the Council of Trent. The final verse encapsulates the main focus of the poem: Jesus, whom now I see hidden, I ask You to fulfill what I so desire: That the sight of Your Face being unveiled I may have the happiness of seeing Your glory.