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.
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.