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.
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.