Chants of the Vatican Graduale - MusicaSacra

126 Second Sunday in Lent
on the bosom of God. In the third phrase we are told: You are protected
on all sides (circum). If God's truth, and His entire truth, encompasses
you, then there is no vulnerable spot left in you; you need fear nothing,
for God's protection will remain true to you.
SECOND SUNDAY IN LENT
In olden times the divine services of the night of Saturday in Ember
Week were prolonged until Sunday morning. For this reason there was
no solemn Mass on the present day. Its formulary was composed only
later (fifth century). With the exception of the Tract, all the chants
have been borrowed from the preceding Wednesday.
INTROIT (Ps. 24: 6, 3, 22)
1. Reminiscere miserationum 1. Remember, OLord, thy bowels
tuarum, Domine, 2. et misericordiae of compassion, 2. and thy mercies
tuae, quae a saeculo sunt: 3. ne that are from the beginning of the
unquam dominentur nobis inimici world; 3. lest at any time our enenostri:
4. libera nos Deus Israel ex mies rule over us: 4. deliver us, O
omnibus angustiis nostris. Ps. Ad God of Israel, from all our tribulate,
Domine, levavi animam meam: tions. Ps. To thee, O Lord, have I
* Deus meus in te confido, non lifted up my soul: * in thee, 0 my
erubescam. God, I put my trust, let me not be
ashamed.
This song is an expression of deep humility. What would happen to
us if God were not merciful, if His mercy were not eternal! How entirely
dependent upon it we are! Hence we dare to remind Him of His mercies.
He never forgets them; for they are a part of His essence. For this reason
also, the Introit speaks of Thy commiseration, of Thy mercy.
The parallelism between the first two phrases of the text is reproduced
in the melody. Both phrases vigorously accent the note /; both
have the same range (d-a) and similar endings; finally, misericdrdiae is
only a repetition of miserationum. In both instances the torculus enlivens
the serene melodic line.
Now begins a new part. The melody also throws off some of its reserve.
In its range of a sixth, the intervals grow larger. The first part
confined itself to thirds only; here we meet with five intervals of a fourth.
Next to /, g is the dominating note. A certain restlessness makes itself
felt. The pious soul looks about herself; she sees herself surrounded by
enemies, wily and formidable, numerous and inexorable. Whoever does