Thirty-first Sunday in Ordinary Time (B)
- Entrance Antiphon [Introit]:
- Ne derelinquas me, Domine Deus meus [Graduale Romanum, p.360]
- Ne derelinquas me, Domine Deus meus [Gregorian Missal, p.581]
- Choose one Antiphona ad introitum and Psalmus from any of the eight Masses for Ordinary Time [Graduale simplex, pp.215-252]
- (A/B) Abandon me not, O Lord my God [Simple English Propers, p.329 (Adam Bartlett)]
- Do not abandon me, Lord [Simple Choral Gradual, p.249 (Richard Rice) CMAA]
- (A/B) Forsake Me Not, My Lord and God [tune: McKee] from Introit Hymns 69 (Christoph Tietze)
- Gradual (Responsorial Psalm):
- Alleluia (Gospel Acclamation):
- Benedic anima mea Domino [Graduale Romanum, p.362]
- Benedic anima mea Domino [Gregorian Missal, p.584]
- Benedic, anima mea, Domino (Orlando di Lasso, Claudin de Sermisy)
- Bless the Lord, O My Soul (Edward John Hopkins, Mikail Ippolitov-Ivanov)
- Choose one Antiphona ad offertorium and Psalmus from any of the eight Masses for Ordinary Time [Graduale simplex, pp.215-252]
- Bless the Lord, O my soul [Simple English Propers, p.331 (Adam Bartlett)]
- My soul, give thanks to the Lord [Simple Choral Gradual, p.250 (Richard Rice) CMAA]
- Notas mihi fecisti vias vitæ [Graduale Romanum, p.362]
- Notas mihi fecisti vias vitæ [Gregorian Missal, p.585]
- Notas mihi fecisti vias vitæ [Communio, p.166 (Richard Rice) CMAA]
- Choose one Antiphona ad communionem and Psalmus from any of the eight Masses for Ordinary Time [Graduale simplex, pp.215-252]
- You have made known unto me [Simple English Propers, p.332 (Adam Bartlett)]
- You have made known unto me [Choral Communio, p.180 (Richard Rice) Hostia Laudis Co]
- Lord, you will show me the path of life [Simple Choral Gradual, p.251 (Richard Rice) CMAA]
- As the living Father sent me [Simple Choral Gradual, p.252 (Richard Rice) CMAA]
- Mass settings:
- Latin Chant Masses VIII (De angelis) & XI (Orbis factor)
- Latin Gregorian Chant Masses XI (Orbis factor) & VIII (De angelis)
- Latin Missa sanctorum angelorum (Calvert Shenk)
- Latin Mass of Saint Jerome (Christopher Bord)
- Mass of Our Lady, Help of Christians (Richard Connolly)
- Mass of Saint Agnes (B. Andrew Mills)
- Mass of the Angels (Richard J. Clark)
- Mass of the Redemption (Calvert Shenk / Adam Taylor)
- Modal Mass (Calvert Shenk / Adam Taylor)
Other liturgical music
- Gospel Acclamation for Ordinary Time (Gary Penkala)
- Serve God in Love from Seven Roman Basilica Processionals (Gary Penkala)
- You Will Not Be Strangers (Alex Hill)
- As a Chalice Cast of Gold (CH #443)
- Beloved, Let Us Love (WIII #601)
- Joyful, Joyful, We Adore Thee (CH #581, HPSC #203, WIII #525, SMH #386, EH #281)
- Love Consecrated the Humblest Act (PMB #144)
- Love Divine, All Loves Excelling (ICEL #152, WIII #588, AH #470, CH #454, CHB #242, SMH #409, EH #479)
- Not for Tongues of Heaven's Angels (WIII #589, SMH #427)
- O Jesus, King Most Wonderful (CH #534, SMH #451)
- Sing Praise to God Who Reigns Above (WIII #528, ICEL #246, HPSC #301, HH #203, SMH #527)
- The Stars Declare His Glory (WIII #506)
- This Is My Commandment (WIII #603, CH #473)
- Those Who Love and Those Who Labor (CH #481, WIII #632)
- 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.
- Complete Thy Work, O Lord (Calvert Shenk)
- Exaudi Domine (G.P. Cima)
- For Love of Us (Lisa Stafford/Stephen McManus)
- I Have Set God Alway before Me (John Goldwin)
- I Set the Lord Still in My Sight (John Arnold)
- I Strive Each Action to Approve (Charles William Hempel)
- Let All the Just to God with Joy (Hugh Bond)
- Misericordia Domini (G.O. Pitoni)
- O Lord, How Manifold Are Thy Works (Joseph Barnby)
- Rejoice in the Lord, O Ye Righteous (John Wainwright)
- Remember Your Love for Me, O God (Eugene Englert)
- This Is My Command to You / canon [PMB #729]
- Ubi caritas (Gregorian chant) from Booklet of Chant, Volume 3 [or Liber usualis p.664, WIII #598, AH #390, ICEL #60]
- Ubi caritas Maurice Duruflé)
- You Shall Love the Lord Your God (Eugene Englert) [World Library Publications]
- Cantabile (Charles-Marie Widor)
- Concerto for Organ and Strings (Michael Starke)
- Fugue II (Felix Mendelssohn)
- Intonation and Canzona in d minor (Michael Starke)
- Prelude and Fugue in B-flat Major (J.S. Bach)
- Prelude on Hyfrydol (Healey Willan, Paul Manz, Ralph Vaughan Williams)
- Prelude on Mit freuden zart (William Ross, Charles Ore)
- Tuba Tune in D Major (C.S Lang)
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.
The Arrangement and Ornamentation of the Church for the Celebration of the Eucharist (GIRM #294, 312)
The faithful and the schola cantorum (choir) shall have a place that facilitates their active participation.
The schola cantorum (choir) should be so positioned with respect to the arrangement of each church that its nature may be clearly evident, namely, as part of the assembled community of the faithful undertaking a specific function. The positioning should also help the choir to exercise this function more easily and allow each choir member full sacramental participation in the Mass in a convenient manner.
There is a certain tension here.
The choir is a part of the assembly — must it sit with the assembly?
The choir's position should assist the exercise of its duties — must it be in a loft?
In a standard rectangular church with a loft, the choir does best musically to sing from there.
I've seen contemporary churches with the choir at the front facing the same way as the congregation — this may be highly symbolic, but it devastates the practical functioning of the choir.
I think the choir is not meant so much to be a visual symbol as it is to be an aural symbol. Placement should maximize that principle. Use lofts, if you have them. If not, be sure the choir can function musically from its position. Too much late-twentieth-century church architecture overemphasized the choir's visual "solidarity" with the congregation, leaving the group musically handicapped.