St. Aelred Catholic Church
Bishop, Georgia
The Ordinariate of the Chair of St. Peter

Principle Mass, 11am
Ordinary: Englished Mass XVII
Blessing of Palms and Procession:
-Hosanna Filio David (GR)
-Pueri Hebraeorum (Palmer and Burgess)
-All Glory Laud and Honor
-Ingrediente (Palmer and Burgess)
Introit: Palmer and Burgess Plainchant Gradual
Gradual: St. Peter Gradual
Tract: St. Peter Gradual
Sung Passion (chant, no polyphonic turba)
Credo: recto tono, accompanied
Offertory: Palmer and Burgess Plainchant Gradual
Offertory Hymn: At the Cross Her Station Keeping
Communion: Palmer and Burgess Plainchant Gradual
Communion Other: Vexilla Regis (chant), Psalm 22 during ablutions
Recessional: O Sacred Head

No solo organ.

Cathedral of The Holy Cross, Boston:

https://bostoncathedral.com/documents/2025/4/PalmSunday2025HC.pdf

St. Sebastian Akron OH, 1 PM TLM
Mass XVII, Credo I
Chant Proper and Palm business
Offertory: O vos Omnes (Casciolini)
Communion: Miserere (Allegri) (the verses we didn't do on Passion Sunday, lol!)
Recessional: O sacred head surrounded

Sts. Cyril and Methodius Oratory - Bridgeport, CT (ICKSP)
Hosanna Filio David - chant
Pueri Hebraeorum portantes - Palestrina
Pueri Hebraeorum vestimenta - Victoria
Procession: Cum appropinquaret Dominus and other chants
Proper chants of the Mass: Dominus ne longe
Mass XVII
Offertory: Villanueva – Christus factus est
Communion 1: Victoria – Eram quasi Agnus
Communion 2: Handl – In nomine Jesu
during Last Gospel: Ave regina caelorum – simple chant
Hymn: O Sacred Head Surrounded

St. JP2 Shrine

A cappella, SATB

Weber Englished propers
Missa Jubilate Deo in Latin, SATB harmonized by Lewis/Wanner
Self-composed Psalm and Gospel Acclamation
Offertory: Ingegneri - Tenebrae factae sunt
Communion: Taylor - The Royal Banners
Communion: Lemme - Te, Fons Salutis
Hymns: All Glory, Laud and Honor, O Salutaris Hostia (ends with Exposition)

Hosanna to the Son of David - Weelkes
Pueri Hebraeorum antiphons with psalms - Graduale Romanum
All glory, laud and honour - ST THEODULPH
Psalm to Anglican chant
Christus factus est - Sartori (misattr. Anerio)
Crucifixus a 6 - Lotti
Improperium exspectavit - Graduale Romanum
Sanctus & Agnus - Mass XVII
Pater, si non potest - Graduale Romanum
O Jesus crucified - FORBES STREET
O vos omnes - Gesualdo
When I survey the wondrous cross - ROCKINGHAM

@tomjaw if you're looking for the plural of cantrix, it is 'cantrices', pronounced CAN-trə-seez

Holy Family Catholic Church, St. Louis Park, Minnesota (N.O.)
Hosanna Filio David chant
Pueri Hebraeorum Portantes chant
Pueri Hebraeorum Vestimenta chant
All Glory, Laud, and Honor - ST. THEODULPH
(Upon Entrance into the Sanctuary) Ingrediente Domino - composed by me https://www.youtube.com/watch?v=GIDPQwoSEbA
Responsorial Psalm - Sam Schmitt
Praise and Honor (refrain set to the Orbis Factor Kyrie tune; verse written by me) https://www.youtube.com/watch?v=7tJgW6tfPfs
Offertory: Improperium - Gregorian Chant and O Vos Omnes - Gesualdo
Sanctus: Mass XVIII
Agnus Dei: Mass XVII
Communion: Gregorian Chant, Tenebrae Factae Sunt - Johann Michael Haydn and Prayer to Jesus - George Oldroyd
Recessional (Anthem!): God So Loved the World - John Stainer

@JacobFlaherty, Palm Sunday is a polyphony-free day here. But that’s great.

St Mary’s Linwood (Hamilton Diocese)

As in the Liber, with Mass XVII, and Credo I as usual.

We made a procession outdoors -- finally a real Spring day! -- and so managed all the antiphons and the whole of Gloria Laus.

We sang the tract with four alternating cantors (more than usual) but down to two near the end so that the other two could zip down to the vestry and vest for the Passion.

We sang verses of Quis Sicut Te, O Jesu Christe during the offertory.

We sang Abroad The Regal Banners Fly after the final blessing.

We recessed in silence.

Just before the 11:00 our 9:30 Priest clapped me on the back and said "Have a lovely…" My eyes widened and I expected "…crucifixion" but he continued with "…celebration."

For those of you who celebrate the extraordinary form and especially the pre-1955 Holy Week, I would be interested in hearing how you dealt with certain aspects of the day. I will mention my own solutions below.

1. Is the Asperges without Gloria long enough? On a normal Sunday in Norwalk, we repeat the antiphon between the verse and the doxology, and the timing just works out for the ministers to go down the center aisle and back. During Passiontide, we sing polyphony so they aren't doing the ceremony in silence.

2. What do you do with the Pueri antiphons? We have to distribute palms to over 300 faithful. The two antiphons are way too short to accompany this action. Even with polyphony, we sang two settings of the vestimenta one and an extra motet as well along the same theme.

3. The Gloria Laus at the door. What is the best way for the two choirs (and the faithful outside) to be able to hear each other? We have a thick wooden door in a stone church and it tends to be rather noisy outside on a spring Sunday morning to begin with.

4. After the recent legislative moves against the extraordinary form, it has seemed more important than ever to me that we do the whole tract, just in case at some future date we will not be allowed to use the older liturgical books at all. I spoke about this at the end of this talk: https://open.spotify.com/episode/0OG3t9p5DlBN1J9NWaYmoQ?si=5ed321ea5de145ef Are people generally doing the whole thing or the psalm tone version or some combination of the two?

@Charles_Weaver
1. It is just long enough for us, The Ad lib II is just a little too short, the Normal Asperges just right, and the Vidi too long. It does depend on the priest as some are faster than others.

2. We start with the chant alternating, with just two cantors, when the choir has received we start the Victoria / Palestrina. We had 260 people, and two priests distributing palms, so we sang the chant versions with two repeats and the Victoria / Palestrina combination repeated once. Before we learnt the polyphony, we would sing the verses found in a more modern book!

3. Fortunately the choir can hear the cantors inside the doors, but the rest of the procession streaming around the church block only hears the choir outside. I don't think we can improve on this... If only we had a window that could be open...

4. We always sing the Tract in full, even on Lent 1. I timed the Mass years ago and proved that the Sermon and Notices take an awfully long time, priests can get quite embarrassed that the notices can take longer than the Canon! I note in comparison the full chants take very little time. I should add that we sing Polyphonic Introits, Graduals, Tracts, Alleluia, Credo... So everyone is used to the music perhaps taking a bit longer...

@Charles_Weaver

Here is what we did to compensate for issues you have mentioned above (this comes from our choir director who works with the pastor to achieve the best outcome):

1. We have been singing the mode iv Asperges during Lent and Advent for the last 4 years.  We sing it solemnly and it is quite astounding.  The parish is now familiar with the tone and more and more join the singing.  It is short, especially without the Gloria Patri.  Sometimes, depending on the priest, it ends before the priest is finished, but only maybe 20 or so seconds (which can seem like an eternity to us musicians).  But I have learned to be patient with the silence and it does have an impact, especially after a mode iv chant.  Also, I always find it better to finish the music before the priest is done so as not to interrupt the flow of His prayer and perhaps provoking impatience on HIS part with a choir that just won't stop.  I have been reluctant to sing polyphonic Asperges (though I am super tempted to do so) simply because it would most likely cause the priest to wait and because it would take away one part of the Liturgy that the congregation can recognize and sing.

2. This has been a development for us. This year I had the men go to the altar rail following the Sanctus to receive their palms. The ladies chanted the first Pueri antiphon, chanting Psalm 23 (tone 1.a2) and repeating the antiphon after each verse.  After they had completed 4 verses, the men were back in the loft and ready to sing. The ladies went to the rail to receive their palms while the men sang a TTBB arrangement of Palestrina's Pueri after which the men chanted the second Pueri Antiphon continuing the verses of Psalm 23 from where the ladies had left off.  This continued until the distribution was complete.  The ladies remained in the Nave after receiving their palms and the men descended the loft to prepare for the procession.  This worked very well as we could end the singing naturally with the antiphon timed with the final distribution.

3. We have the exact same problem.  Next year I am going to use six men inside instead of only 4.

4. I listened to your talk.  Thank you for your insights.  For this issue I look to the Pastor and support his judgment of what is best given that there are other considerations than the one you raise, namely meeting the congregation where they are (families with young kids, not mature in the TLM).  We sing mode 2 Tracts often during Lent so the tone has become familiar to the congregation. This year, for Palm Sunday, I arranged the Tract so that we chanted vs. 1 and 14 so the congregation would recognize the tone. Vs. 2 through 13 we alternated psalm tone and a falso bordone. After the asterisk in v.14 the ladies joined and the altos and basses sang an organum that was quite stunning.  This was a good solution for our parish.

(files attached... feel free to utilize in your parish)

@francis same, regarding the Asperges. And I did my own (probably in need of correction) harmonization because I was not really thrilled with what was out there. It didn’t fall apart at all this year.

@Chant_Supremacist

That is an interesting arr.

... I think we are doing mode iv because it has more of a melancholy tone fitting for the week... but that's just a guess on my part.

Novus Ordo

Hosanna filio David (Victoria)
Gloria, laus, et honor tibi sit - chant
Ingrediente Domino - chant
Resp. Psalm - Schmitt
Laus Tibi Christe - chant w/ polyphonic ending
Passion - recited
Credo - recited
Offertory - chant proper
Sanctus & Agnus from Missa XVII
Mysterium fidei. Mortem tuam
Communion - chant proper with verses
Communion Motet - O Jesu Christe (Mantua)
Ave Regina Caelorum (simple)
Hymn - O Sacred Head Surrounded

Were You There (No I wasn't....)

Well, since we hold that the sacred liturgy is a re-presentation of the saving works of God (the mirabilia Dei), then we are/were there -- by anamnesis.

@Charles_Weaver

We did pre-55. The chapel was pretty small, however, in a remote location outside a small (7500) town, so there weren't tons of people in the congregation. Keeping that in mind:

1. The usual Mode 7 Asperges without the Gloria was enough.

2. We stuck with the 2 Pueri antiphons. I lost count...haha but we ended up singing each of them maybe 5 or 6 times. If we had had the capability and/or rehearsal time, I would have had sung one or two polyphonic versions to reduce the repetition. I also thought about just doing the psalm verses that the 55 reforms added in, but decided against it (for no particular reason).

3. It was a very windy day here, so the choir outside could only barely hear, so I was told. If it had been necessary, I would have either tried to barely crack the door or, since there was a window (not able to be opened), if it came to that I would have signaled when we were done with each verse.

4. Alas, the Tract was only Psalm-toned. Out of my control, as my schola did not sing it and my schola was really just a visitor/helping schola to a convent of nuns doing the pre-55 alone for the first time. The reason given to me was that the priest is older (75), arthritic, and also doing pre-55 for the first time, and the nuns did not want to prolong the Mass for him. They would like to sing it in full in the future. I can myself go on a long lecture as to why these longer Tracts (and Graduals and Alleluias, in the case of my usual FSSP parish) should *never* be psalm-toned except in case of true lack of ability or some other serious reason, because the whole character and point of the chant is absolutely lost.

Sacred Heart, Evansville

ENTRANCE HYMN: Hosanna Filio David (sung by the Youth Choir)

DISTRIBUTION OF PALMS:
Pueri Hebraeorum Portantes, chant & Palestrina (from Sir Richard Terry's Holy Week Book)
Pueri Hebraeorum Vestimenta, chant

PROCESSION:
Omnes Collaudant I with Psalm 147
Gloria, Laus et Honor
Cum Angelis et Pueris
Turba Multa
Ingrediente

MASS PROPERS: Gregorian (Gradual/Tract psalm-toned)
MASS ORDINARY: XVII A, except Sanctus/Benedictus from Schubert's "Palm Sunday Music"
PASSION: Chant
OFFERTORY: Occurrunt Turbae
COMMUNION: Michael Haydn, In Monte Oliveti
CLOSING HYMN: All Glory, Laud and Honor

Queen of Peace, Cloquet, MN (NO)

Palm Sunday
Choir - 25 middle school students
Hosanna chant (English)
Procession: All Glory, Laud, and Honor (a cappella during procession from the gym to the church)
Psalm: Ignatius Pew Missal
Gospel Acclamation: Orbis Factor melody
Offertory: When I Survey the Wondrous Cross (HAMBURG); Adoramus te Christe (Dubois)
Ordinary: Mass XVIII, ICEL We Proclaim
Communion: Pater si no potest (chant); At the Cross Her Station Keeping; O Sacred Head; Ave Regina Caelorum (chant)
Recessional: silence