Chants of the Vatican Graduale - MusicaSacra

Passion Sunday 147
This bright, joyous text of the antiphon—and verse which was
attached to it in the most ancient manuscript—may surprise us on Passion
Sunday. It does, indeed present petitions: "enliven me; incline my
heart in Thy testimonies;" but the other thoughts predominate: "Thy
judgements are delightful" (jucunda), and, with a florid melody, "I have
loved Thy law." Thus this Offertory continues the thoughts of the second
and third Sundays of Lent. We may point out that, from Passion
Sunday on, the Missal does not stress the sufferings of Christ so much
as does the Breviary in its hymns and antiphons. We never find somber
tones exclusively in the Church's mourning. When she thinks of her beloved
dead, she does not act like those who have no hope; she sees eternal
light rising before them, and asks that this eternal light be theirs. And
the most heartfelt sympathy with the sufferings of the Crucified One
does not hinder her from singing of Christ's resurrection on Good Friday,
and from singing of His cross: "For by the wood the whole world
is filled with joy."
The Offertory bears some relation to the Gospel of the Sunday.
Christ is accused by the Jews of having a demon; His enemies condemn
Him as a blasphemer and therefore wish to stone Him. We, on the contrary,
sing: "I will confess to Thee . . . with my whole heart." In the
Gospel Christ speaks: "Abraham your father rejoiced that he might see
My day: he saw it [in spirit], and was glad." Abraham's longing and joy
has been realized. The day of Christ has come. We see Him and experience
His presence at every holy Mass. Hence the grateful words: "I
will confess to Thee, O Lord, with my whole heart" (first phrase). The
Saviour continues: "Amen, amen I say to you, if any man keep My
word, he shall not see death for ever." This gives us an understanding
of the solemn protestation of the Offertory: "I shall live and keep Thy
words" (second phrase). But humbly and confidently we add: "Enliven
me according to Thy word, O Lord" (third phrase).
The melody has a bright and joyous ring. It is characterized by
symmetry and harmony. The first and third phrases have the same
longer closing formula over meo and Domine, while the second has it a
minor third higher over tuos. These corresponding cadences give to the
whole the qualities of song construction. In each case they already set
in a fourth before the finale: over (cor)-de and (tu)-um with g ff e (d),
over (sermo)-nes with b\? a g (f). A trained ear will recognize a resolved
F-major chord over in to-(to), -o vi-(vam), et custo-(diam), vivifica, verbum.
In other instances too this piece shows a predilection for small
formulas: tibi and toto with a descending fourth, as also Domine, vivam,
custo-(diam). The formula g a f df over (to)-to likewise deserves mention;