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Music Suggestions
Twenty-fourth Sunday in Ordinary Time (B)

Liturgical Music

Official texts

  • Entrance Antiphon [Introit]:
    1. Da pacem, Domine [Graduale Romanum, p.336]
    2. Da pacem, Domine [Gregorian Missal, p.547]
    3. Choose one Antiphona ad introitum and Psalmus from any of the eight Masses for Ordinary Time [Graduale simplex, pp.215-252]
    4. Grant peace to those who are waiting for you [Simple English Propers, p.296 (Adam Bartlett)]
    5. Give peace, Lord, to those who wait for you [Simple Choral Gradual, p.221 (Richard Rice) CMAA]
    6. Grant Peace to Those Who Wait for You [tune: Breslau] from Introit Hymns 61 (Christoph Tietze)
  • Gradual (Responsorial Psalm):
    1. Lætatus sum [Graduale Romanum, p.336]
    2. Lætatus sum [Gregorian Missal, p.548]
    3. Lætatus sum (Alois Bauer, Grzegorz Gerwazy Gorczycki, Claudio Monteverdi, Alessandro Scarlatti, Tomás Luis de Victoria)
    4. I Was Glad When They Said unto Me (Charles Hubert Hastings Parry, Henry Purcell)
    5. Choose one Psalmus responsorius from any of the eight Masses for Ordinary Time [Graduale simplex, pp.215-252]
    6. Chabanel Psalmody
  • Alleluia (Gospel Acclamation):
    1. Timebunt gentes [Graduale Romanum, p.337]
    2. Timebunt gentes [Gregorian Missal, p.549]
    3. Timebunt gentes (Josef von Eybler)
    4. Choose one Alleluia or Psalmus alleluiaticus from any of the eight Masses for Ordinary Time [Graduale simplex, pp.215-252]
  • Offertory:
    1. (A/B) Sanctificavit Moyses [Graduale Romanum, p.338]
    2. (A/B) Sanctificavit Moyses [Gregorian Missal, p.549]
    3. Sanctificavit Moyses (Giovanni Pierluigi da Palestrina)
    4. Choose one Antiphona ad offertorium and Psalmus from any of the eight Masses for Ordinary Time [Graduale simplex, pp.215-252]
    5. (A/B) Moses consecrated an altar [Simple English Propers, p.297 (Adam Bartlett)]
    6. (A/B) Moses consecrated an altar [Simple Choral Gradual, p.222 (Richard Rice) CMAA]
  • Communion:
    1. (B) Qui vult venire [Graduale Romanum, p.484]
    2. (B) Qui vult venire [Gregorian Missal, p.486]
    3. Qui vult venire (Orlando di Lasso)
    4. (B) Qui vult venire [Communio, p.220 (Richard Rice) CMAA]
    5. Choose one Antiphona ad communionem and Psalmus from any of the eight Masses for Ordinary Time [Graduale simplex, pp.215-252]
    6. (B) If a man wishes to come [Simple English Propers, p.300 (Adam Bartlett)]
    7. (B) Whoever wishes to follow after me [Choral Communio, p.130 (Richard Rice) Hostia Laudis Co]
    8. O God, how much we value your mercy [Simple Choral Gradual, p.223 (Richard Rice) CMAA]
    9. The cup that we bless [Simple Choral Gradual, p.224 (Richard Rice) CMAA]
  • Mass settings:
    1. Latin Chant Masses VIII (De angelis) & XI (Orbis factor)
    2. Latin Gregorian Chant Masses XI (Orbis factor) & VIII (De angelis)
    3. Latin Missa sanctorum angelorum (Calvert Shenk)
    4. Latin Mass of Saint Jerome (Christopher Bord)
    5. Mass of Our Lady, Help of Christians (Richard Connolly)
    6. Mass of Saint Agnes (B. Andrew Mills)
    7. Mass of the Angels (Richard J. Clark)
    8. Mass of the Redemption (Calvert Shenk / Adam Taylor)
    9. Modal Mass (Calvert Shenk / Adam Taylor)

Other liturgical music

Hymns

  • Creator of the Earth and Skies (HH #86)
  • Faith of Our Fathers (WIII #571, ICEL #186, HPSC #152, CH #634, PMB #149, CBW #603, AH #603, CHB #183, SMH #294, EH #393)
  • Jesus, Lead the Way (WIII #611, EH #425)
  • Jesus, Lover of My Soul (AH #604, EH #415)
  • Lift High the Cross (WIII #704, HPSC #207, CD #847, PMB #56, HH #268, CBW #545, CH #542, AH #606, SMH #398)
  • My Song Is Love Unknown (CH #258, HH #90, WIII #439, CHB #65, SMH #421)
  • O Christ, Our Hope (ICEL #107, HH #269, CH #509, SMH #435)
  • O God, beyond All Praising (WIII #579, HH #199, SMH #444)
  • O Spirit of the Living God (CH #640)
  • Take Up Your Cross (WIII #634, ICEL #51, HPSC #309, CD #927, PMB #44, HH #68, CBW #485, CH #651, SMH #544)
  • Worship the Lord in the Beauty of Holiness (ICEL #247, HH #59)
AH = The Adoremus Hymnal, Ignatius Press
CBW = Catholic Book of Worship II / Canadian Conference of Catholic Bishops
CD = Cantate Domino / Hymnal Supplement, GIA Publications, Inc.
CH = The Collegeville Hymnal, The Liturgical Press
CHB = The Catholic Hymn Book [London Oratory], Gracewing Publishers
EH = The Hymnal 1940 (Episcopal), used by many Anglican Use Roman Catholic parishes
HH = Hymnal of the Hours, GIA Publications, Inc.
HPSC = Hymns, Psalms & Spiritual Canticles, out of print but excellent
ICEL = ICEL Resource Collection, GIA Publications, Inc.
PMB = People's Mass Book, World Library Publications, Inc.
SMH = The Saint Michael Hymnal, 3rd Edition, Saint Boniface Church, Lafayette IN
WIII = Worship, 3rd Edition, GIA Publications, Inc.

Choral Music

Organ Music

  • Adagio (Tommaso Albinoni)
  • Ciacone in F (Johann Pachelbel)
  • Echo Fantasia (J.P. Sweelinck)
  • Fantasia in b minor (J.S. Bach)
  • Grave (G.B. Martini)
  • Lift High the Cross (Paul Manz, Charles Ore)
  • Prelude on Crucifer (Paul Manz, Charles Ore, Donald Busarow)
  • Prelude on Down Ampney (Wilbur Held, Ronald Arnatt)
  • Prelude on Saint Catherine (Burton Isaac, James Konkel)
  • Toccata in g minor (Pasquet)
  • Vitrail (Henri Mulet)

Liturgical Hints & Ideas

During Ordinary Time in Year B we will highlight passages from the new General Instruction on the Roman Missal (GIRM) that pertain to music during the liturgy. The GIRM contains rubrics and instructions (some of them new) for the celebration of the Mass. The first section below is a direct quote from the English translation of the document. The second section is a commentary on the passage.

Particular Ministries (GIRM #104)

It is fitting that there be a cantor or choir director to direct and support the people's singing. Indeed, when there is no choir, it is up to the cantor to direct the different chants, with the people taking the part proper to them.

Commentary: This paragraph has, in my opinion, been grossly overemphasized to the detriment of congregational singing. Its sense seems to be that the cantor should lead the people in singing by alternating with them on the proper parts. The current practice is not implied wherein the cantor feels the need to sing every congregational part (hymns, through-composed Mass settings, acclamations) into a microphone. One HUGELY AMPLIFIED voice, over-powering everyone else, can produce enough sound to more than carry the music. In that unfortunate circumstance, there's simply no invitation (or reason) for anyone else to even attempt singing.

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