Chants of the Vatican Graduale - MusicaSacra

Passion Sunday 149
Some of the melody's peculiarities, no doubt, arise from its affinity
to the Ambrosian Liturgy of Milan, where it is still sung today (Rass.
gr., 7, 506 ft.). But it has become much more effective in its Gregorian
dress.
This song takes us into the midst of the scene of the Last Supper,
at its most solemn moment. The words we hear are the most powerful
heard since the creation of the world; words embodying in themselves
wonder upon wonder, effecting the profoundest Mystery of the Holy
Eucharist. Hence we may well expect that the plainsong melody has
great things to tell. But it has still another characteristic. The frequent
succession of three full tones, f g a b (tritone), ascending over vobis
traditur and over calix novi, and descending over meo sdnguine and meam
commemorationem, imparts to the song harsh, painful features. They
seem to remind us of the Saviour's words on the eve of His passion, to
re-create, as it were, the feelings which at that time filled His heart. Not
only did He have a premonition of them, but He foresaw them most
clearly, and felt beforehand all the tortures with which His body would
be afflicted and with which His blood, establishing the New Covenant,
would be shed. This pain is present throughout the piece. With great difficulty
vobis tradetur seems to ascend, as if it had to pause for rest and recuperate
strength after each full tone. The annotated manuscript here have
three neums with broad markings. By reason of the similar closing formulas
over tradetur, Dominus, and commemorationem, one might distinguish
three phrases. The first phrase supports itself on g and only
once extends to b. By its emphasis on b, the second phrase wishes to state
the fact that a new covenant has been called into being. In this phrase
we hear a single c. A new division begins with hoc fdcite. Emphatically
the melody ascends to c and lets it resound. Manuscript 121 of Einsiedeln
has here not only an episeme for* the first neum, but also "t"
(tenire, prolong, draw out this notej. Here the melody appropriately
grows in warmth and solemnity, especially over quotiescumque with its
protracted high e. Over meam the same form returns a fourth lower.
The Lord has given the command which called our liturgy into being,
the command which incites to participation in the sacrificial Banquet,
which builds our altars, and the churches and cathedrals that house them.
It seems as if the light of transfiguration were sweeping over the countenance
of the Saviour, joyful at the immeasurable blessing that the Holy
Eucharist will produce, blissfully contemplating all the love it will wake
in grateful hearts. The harsh ending tells us that Communion is the
fruit of Christ's sacrificial death.
Musica s., 52, 3 fit.