Calendar of Sacred Music
For Lent and Passiontide 2016
The Tenth of February through the Twenty-Seventh of March
Anno Domini MMXVI
Ash Wednesday through the Easter Sunday
Rev. Luke C. Marquard, M. Ed., M. Div.
Pastor
Samuel R. Backman, M. Mus.
Organist & Director of Music
____________________________________________________________
This issue features an excerpt from Archbishop Alexander K. Sample’s Pastoral Letter on Sacred
Music entitled “Rejoice in the Lord Always.”
“W” refers to the Worship Hymnal, 4th Edition
“G” refers to the Gather Hymnal, 2nd Edition
February 10th
Ash Wednesday
Introit
Hymn
Kyrie
Psalm 51
Acclamation
Motet
Hymn
Eucharistic Acclamations
Agnus Dei
Communion Antiphon
Communion Motets
Hymn
Miserere omnium, Domine
Again We Keep This Solemn Fast
Tonus Simplex
“Be merciful, O Lord, for we have sinned.”
Glory to you, O Word of God, Lord Jesus Christ
Miserere Mei, Deus
Forgive Our Sins
Mass XVIII, ICEL
Mass XVIII, ICEL
Qui meditabur in lege Domini
Parce Domine
Call To Remembrance, O Lord
Lord Who Throughout These Forty Days
February 13th and 14th
The First Sunday of Lent
Introit
Hymn
Kyrie
Psalm 91
Acclamation
Motet
Hymn
Eucharistic Acclamations
Agnus Dei
Communion Antiphon
Communion Motets
Hymn
Invocabit me
Fr. Samuel Weber, OSB
Lord, Who Throughout These Forty Days
ST. FLAVIAN, W 461
Tonus Simplex
Mode II
“Be with me, Lord, when I am in trouble.”
Plainchant
Glory to you, O Word of God, Lord Jesus Christ
Richard Proulx
Stabat Mater Dolorosa
G.B. Pergolesi (1710-1736)
Praise To You, O Christ Our Savior
G 360
Mass XVIII, ICEL
Mode IV
Mass XVIII, ICEL
Mode IV
Non in pane solo vivet homo
Fr. Samuel Weber, OSB
Miserere, H 157
Marc-Antoine Charpentier (1643-1704)
Jesus, Tempted In The Desert
EBENEZER, W 459
February 20th and 21st
The Second Sunday of Lent
Introit
Hymn
Kyrie
Psalm 27
Acclamation
Motet
Hymn
Eucharistic Acclamations
Agnus Dei
Communion Antiphon
Communion Motets
Hymn
Gregorian Missal, Mode I
ERHALT UNS HERR W 474
Mode II
Royce Nickel
Richard Proulx
Gregorio Allegri (1582-1652)
DETROIT, W 967
Mode IV
Mode IV
Fr. Samuel Weber, OSB
Mode I, Gregorian
Richard Farrant (1525-1580)
ST. FLAVIAN, W 461
Tibi dixit cor meum
How Good, Lord, To Be Here
Tonus Simplex
“The Lord is my light and my salvation.”
Glory to you, O Word of God, Lord Jesus Christ
Hide Not Thou Thy Face
Transform Us
Mass XVIII, ICEL
Mass XVIII, ICEL
Hic est Filius meus dilectus
Lord, For Thy Tender Mercy’s Sake
The Glory of These Forty Days
Fr. Samuel Weber, OSB
SWABIA, W 881
Mode II
Richard Proulx
Richard Proulx
Richard Farrant (1525-1580)
PICARDY, W 880
Mode IV
Mode IV
Fr. Samuel Weber, OSB
Richard Farrant (1525-1580)
ERHALT UNS HERR, W 467
LENT AND PASSIONTIDE 2016
CHURCH OF THE GOOD SHEPHERD
February 27th and 28th
The Third Sunday of Lent
Introit
Hymn
Kyrie
Psalm 103
Acclamation
Anthem
Hymn
Eucharistic Acclamations
Agnus Dei
Communion Antiphon
Communion Motet
Hymn
Oculi Mei
I Heard The Voice of Jesus Say
Tonus Simplex
“The Lord is kind and merciful.”
Glory to you, O Word of God, Lord Jesus Christ
“O God, Have Mercy Upon Me,” from St. Paul
Return to God
Mass XVIII, ICEL
Mass XVIII, ICEL
Qui biberit aquam
“Kyrie” from Messe Cum Jubilo
There’s A Wideness In God’s Mercy
The Fourth Sunday of Lent, “Lætare”
Voluntaries
Introit
Hymn
Kyrie
Psalm 34
Acclamation
Motet
Hymn
Eucharistic Acclamations
Agnus Dei
Communion Antiphon
Communion Motets
Hymn
Voluntary
March 5th and 6th
Three Settings of Wer nur den lieben Gott last walten
J.S. Bach (1685-1750)
BWV 790; BWV 647, from the Schubler Chorales; BWV 791
Laetare Ierusalem
Gregorian Missal, Mode V
Christ Is The World’s Light
CHRISTE SANCTORUM, W 602
Tonus Simplex
Mode II
“Taste and see the goodness of the Lord.”
Richard Proulx
Glory to you, O Word of God, Lord Jesus Christ
Richard Proulx
Commit Your Way to the Lord
Liebhold, 18th Century
What Wondrous Love Is This
WONDROUS LOVE, W 641
Mass XVIII, ICEL
Mode IV
Mass XVIII, ICEL
Mode IV
Oportet te fili Gaudere
Fr. Samuel Weber, OSB
O Taste and See
Ralph Vaughan-Williams (1872-1958)
Sicut Cervus
G. Pierluigi da Palestrina (1524-1594)
Sing, My Tongue, The Glorious Battle
FORTUNATUS NEW, W 491
Fugue in E Minor, “The Wedge,” BWV 548
J. S. Bach (1685-1750)
The Fifth Sunday of Lent, Beginning of Passiontide
Introit
Hymn
Kyrie
Psalm 126
Acclamation
Motet
Hymn
Eucharistic Acclamations
Agnus Dei
Communion Antiphon
Communion Anthem
Hymn
Fr. Samuel Weber, OSB
KINGSFOLD, W 707
Mode II
Mode VII
Richard Proulx
F. Mendelssohn (1809-1847)
G 283
Mode IV
Mode IV
Fr. Samuel Weber, OSB
Maurice Duruflé (1902-1986)
IN BABILONE, W 645
March 12th and 13th
Iudica me, Deus
Fr. Samuel Weber, OSB
Lift High The Cross
CRUCIFER W 885
Tonus Simplex
Mode II
“The Lord has done great things for us.”
Richard Proulx
Glory to you, O Word of God, Lord Jesus Christ
Richard Proulx
Vexilla Regis Prodient
Giacomo Puccini (1858-1924)
Take Up Your Cross
ERHALT UNS HERR, W 761
Mass XVIII, ICEL
Mode IV
Mass XVIII, ICEL
Mode IV
Nemo te condemnavit mulier
Fr. Samuel Weber, OSB
“Mache dich, Mein Herze, rein,” from St. Matthew Passion
J.S. Bach (1685-1750)
When I Survey The Wondrous Cross
ROCKINGHAM, W 494
LENT AND PASSIONTIDE 2016
CHURCH OF THE GOOD SHEPHERD
Palm Sunday of the Passion of the Lord
Entrance Antiphon
Hymn
Psalm 22
Acclamation
Motet
Hymn
Eucharistic Acclamations
Agnus Dei
Communion Antiphon
Communion Motet
Hymn
Hosanna To The Son Of David
HOSANNA FILIO DAVID
All Glory, Laud, and Honor
ST. THEODULPH, W 483
“My God, my God, why have you abandoned me?”
T. Attwood
Glory to you, O Word of God, Lord Jesus Christ
Richard Proulx
Christus Factus Est
Felice Anerio (1560-1614)
You, Lord, Are Both Lamb And Shepherd
PICARDY, W 626
Mass XVIII, ICEL
Mode IV
Mass XVIII, ICEL
Mode IV
Pater, si non potest
Fr. Samuel Weber, OSB
O Vos Omnes
Thomas Louis de Victoria (1548-1611)
O Sacred Head Surrounded
Harmonized J.S. Bach (1685-1750)
Sing. My Tongue, the Glorious Battle
FORTUNATUS NEW, W 491
The Holy Thursday of the Lord’s Supper
Voluntary
Introit
Hymn
Kyrie
Gloria
Psalm 116
Acclamation
Washing of the Feet
Motet
Eucharistic Acclamations
Agnus Dei
Communion Antiphon
Motet
Hymns
March 24th, 7:00 pm
Schmüke dich, o meine Seele, BWV 654
J.S. Bach (1685-1750)
Nos autem gloriari oportet
Gregorian Missal, Mode IV
Lord, Who At Your First Eucharist
UNDE ET MEMORES, W 954
Tonus Simplex
Mode II
New Mass For Congregations
W 320
“Our blessing cup is a communion with the blood of Christ.”
R. Nickel
Glory to you, O Word of God, Lord Jesus Christ
Richard Proulx
Ubi Caritas
Ola Gjeilo (b. 1978)
In Monte Oliveti
M.A. Ingenieri (1547-1592)
Mass XVIII, ICEL
Mode IV
Mass XVIII, ICEL
Mode IV
Hoc corpus
Fr. Samuel Weber, OSB
Ave Verum Corpus
William Byrd (1540-1623)
Hidden Here Before Me
ADORE TE DEVOTE, 556
Hail Our Savior’s Glorious Body
PANGE LINGUA GLORIOSI, W 1056
Good Friday of the Passion of the Lord
Psalm 31
Acclamation
Motet
Hymns
Chant
Communion Procession
Communion Motets
March 19th and 20th
March 25th, 3:00 pm
“Father, into your hands I commend my spirit.”
J. Ostrowski
Glory to you, O Word of God, Lord Jesus Christ
Richard Proulx
Popule Meus
Thomas Louis de Victoria (1548-1611)
O Sacred Head Surrounded
Traditional German/arr. J.S. Bach
Crux Fidelis
Gregorian Missal
Were You There
African-American Spiritual
God So Loved The World
John Stainer (1840-1901)
LENT AND PASSIONTIDE 2016
CHURCH OF THE GOOD SHEPHERD
March 26th, 8:30 pm
The Great Vigil of Easter
Exsultet
Psalm 104
Gradual
Canticle: Exodus 15
Gradual
Canticle: Isaiah 12
Psalm 19
Gradual
Gloria
Gospel Acclamation
Litany of the Saints
Asperges
Anthem
Eucharistic Acclamations
Agnus Dei
Communion Antiphon
Hymn
Motet
Hymn
Choral Voluntary
Rejoice, O Heavenly Powers
Roman Missal
“Lord, send out your Spirit, and renew the face of the Earth”
Qui confidunt
Gregorian Missal, Mode VIII
“Let us sing to the Lord, he has covered himself in glory.”
Laudate Dominum, omnes gentes
Gregorian Missal, Mode VIII
“You will draw water joyfully from the springs of salvation.”
“Lord, you have the words of everlasting life.”
Sicut cervus desiderat ad fontes
G.P. da Palestrina (1524-1594)
Coronation Mass, KV. 317
W.A. Mozart (1756-1791)
Alleluia
Mode VIII
Roman Missal
Vidi Aquam
Roman Missal
Ye Choirs Of New Jerusalem
Charles V. Stanford (1852-1924)
Mass for the City
Richard Proulx
Mass for the City
Richard Proulx
Pascha nostrum immolatus est
Fr. Samuel Weber, OSB
O Sons And Daughters
O FILII ET FILIAE, W 507
Surrexit Pastor Bonus
Orlando de Lassus (1532-1594)
Jesus Christ Is Risen Today
EASTER HYMN, W 516
Hallelujah Chorus, from The Messiah
G.F. Handel (1685-1759)
Easter Sunday of the Resurrection of the Lord
Voluntary
Introit
Hymn
Kyrie
Gloria (8:30)
Gloria (10:30)
Psalm 118
Sequence
Acclamation
Asperges
Hymn
Anthem
Eucharistic Acclamations
Agnus Dei
Communion Antiphon
Hymn
Motet
Hymn
Organ Voluntary (8:30)
Choral Voluntary (10:30)
March 27th
Organ Concerto in B-Flat Major
G.F. Handel (1685-1750)
Resurrexi, et adhuc tecum sum, alleluia
Gregorian Missal, Mode IV
The Strife Is O’er
VICTORY, W 511
Tonus Simplex
Mode II
New Mass For Congregations
W 320
Coronation Mass, KV. 317
W.A. Mozart (1756-1791)
“This is the day the Lord has made, let us rejoice and be glad.”
I. Algernon-Atkins
Christians, Praise The Paschal Victim
VICTIMAE PASCHALI LAUDES, W 1080
Alleluia
Mode VI
Vidi Aquam
Roman Missal
That Easter Day With Joy Was Bright
PUER NOBIS, W 514
Ye Choirs Of New Jerusalem
Charles V. Stanford (1852-1924)
Mass for the City
Richard Proulx
Mass for the City
Richard Proulx
Pascha nostrum immolatus est
Fr. Samuel Weber, OSB
O Sons And Daughters
O FILII ET FILIAE, W 507
Surrexit Pastor Bonus
Orlando de Lassus (1532-1594)
Jesus Christ Is Risen Today
EASTER HYMN, W 516
Fanfare in D Major
Jacques-Nicolas Lemmens (1823-1881)
Hallelujah Chorus
G.F. Handel (1685-1759)
LENT AND PASSIONTIDE 2016
CHURCH OF THE GOOD SHEPHERD
An excerpt from Rejoice in the Lord Always.
Promulgated January 2013 by His Excellency, the Most Reverend Alexander K. Sample
Some history and the nature and purpose of Sacred Music
Questions concerning the place of music in divine worship can be traced back to the earliest days of the Church. At
around the time of the Edict of Milan (313 A.D.) and the legalization of Christianity, the question of the inclusion of
music in sacred worship was raised and much debated. Did it have a place at all in the Church’s worship? Since the
psalms, part of Sacred Scripture, were meant to be sung, music was seen, ultimately, to be part of the very integrity of the
Word of God. Furthermore, since Christian worship was moored to the Sacred Scriptures, music was seen as necessarily
worthy of being preserved and fostered in the public worship of the Church.
Therefore, in the tradition of all the apostolic Churches, sacred music has been considered integral to the Sacred Liturgy.
This means that the music proper to the Mass is not merely an addendum to worship, i.e. something external added on to
the form and structure of the Mass. Rather, sacred music is an essential element of worship itself. It is an art form which
takes its life and purpose from the Sacred Liturgy and is part of its very structure.
The musical tradition of the universal Church is a treasure of inestimable value, greater even than that of
any other art. The main reason for this pre-eminence is that, as sacred song united to the words, it forms a
necessary or integral part of the solemn Liturgy. (Vatican Council II: Sacrosanctum Concilium 112)
This understanding would preclude the common notion that we take the Mass and simply “tack on” four songs (the
opening hymn, offertory hymn, communion hymn and recessional hymn), along with the sung ordinary of the Mass
(Gloria, Sanctus, etc...). We must come to see that, since sacred music is integral to the Mass, the role of sacred music is
to help us sing and pray the texts of the Mass itself, not just ornament it.
With this understanding of the essential nature of sacred music, what might be said of its purpose?
Sacred music, being a complementary part of the solemn liturgy, participates in the general scope of the
liturgy, which is the glory of God and the sanctification and edification of the faithful.
(Pope Saint Pius X: Tra le sollecitudini)
The following statement from the Second Vatican Council in 1962 is drawn from the moto proprio, Tra le sollecitudini of
Pope St. Pius X in the year 1903, just quoted above:
Accordingly, the Sacred Council, keeping to the norms and precepts of ecclesiastical tradition and discipline,
and having regard to the purpose of sacred music, which is the glory of God and the sanctification of the
faithful, decrees as follows…
(Sacrosanctum Concilium 112)
The Church solemnly teaches us, then, that the very purpose of sacred music is twofold: the glory of God and the
sanctification of the faithful. This understanding of the essential nature and purpose of sacred music must direct and
inform everything else that is said about it. This essential nature and purpose will also have important and serious
implications regarding its proper place within our divine worship.
LENT AND PASSIONTIDE 2016
CHURCH OF THE GOOD SHEPHERD
The qualities of Sacred Music
With a proper understanding of the nature and purpose of sacred music and its relationship to the Holy Mass, it is
necessary to next discuss the essential qualities of sacred music. These qualities are not arbitrary or subjective. Rather
they objectively flow from the essential nature and purpose of sacred music itself.
Church teaching emphasizes that the music proper to the Sacred Liturgy possesses three qualities: sanctity, beauty, and
universality. Only music which possesses all three of these qualities is worthy of the Mass.
Sacred music should consequently possess, in the highest degree, the qualities proper to the liturgy, and in
particular sanctity and goodness of form, which will spontaneously produce the final quality of universality.
(Tra le sollecitudini I:2)
a. The sanctity of sacred music.
Turning once again to the teaching of Pope St. Pius X, which has had a significant impact on the teaching of the Second
Vatican Council in this regard, we read:
[Sacred music] must be holy, and must, therefore, exclude all profanity not only in itself, but in the manner
in which it is presented by those who execute it. (Ibid.)
Vatican II emphasized the sanctity of sacred music in these terms:
Sacred music is to be considered the more holy in proportion as it is more closely connected with the
liturgical action, whether it adds delight to prayer, fosters unity of minds, or confers greater solemnity upon
the sacred rites.
(Sacrosanctum Concilium 112)
b. The intrinsic beauty (artistic goodness) of sacred music.
Since everything associated with the Mass must be beautiful, reflecting the infinite beauty and goodness of the God we
worship, this applies in a special way to the music which forms an essential and integral part of our divine worship. In the
words of Pope Benedict XVI:
Certainly, the beauty of our celebrations can never be sufficiently cultivated, fostered and refined, for
nothing can be too beautiful for God, Who is Himself infinite Beauty. Yet our earthly liturgies will never be
more than a pale reflection of the liturgy celebrated in the Jerusalem on high, the goal of our pilgrimage on
earth. May our own celebrations nonetheless resemble that liturgy as closely as possible and grant us a
foretaste of it!
(Benedict XVI to priests at the Cathedral of Notre Dame, Paris 2008)
Pope St. Pius X spoke of the artistic value of sacred music, another way of considering its intrinsic beauty:
[Sacred music] must be true art, for otherwise it will be impossible for it to exercise on the minds of those
who listen to it that efficacy which the Church aims at obtaining in admitting into her liturgy the art of
musical sounds.
(Tra le sollecitudini I:2)
LENT AND PASSIONTIDE 2016
CHURCH OF THE GOOD SHEPHERD
c. The universality of sacred music.
Finally, the third essential quality of sacred music must be considered, i.e. its universality. This quality means that any
composition of sacred music, even one which reflects the unique culture of a particular region, would still be easily
recognized as having a sacred character. The quality of holiness, in other words, is a universal principle that transcends
culture.
While every nation is permitted to admit into its ecclesiastical compositions those special forms which may
be said to constitute its native music, still these forms must be subordinate in such a manner to the general
character of sacred music, that nobody of any nation may receive an impression other than good on hearing
them.
(Ibid.)
This articulation of the essential qualities of sacred music is necessary because there is often a lack of understanding or
confusion as to what music is proper to the Mass and worthy of its inclusion in divine worship. Not every form or style of
music is capable of being rendered suitable for the Mass.
One often gets the impression that, as long as the written text of the music or song speaks about God, then it qualifies as
“sacred music.” Given what has been articulated here, this is clearly not the case. As an example, the Gloria of the Mass
set to a Polka beat or in the style of rock music is not sacred music. Why not? Because such styles of music, as delightful
as they might be for the dance hall or a concert, do not possess all three of the intrinsic qualities of sanctity, artistic
goodness (beauty) and universality proper to sacred music.
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