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Chants of the Vatican Graduale - MusicaSacra

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Palm Sunday 151<br />

sponsories are inserted, ei<strong>the</strong>r <strong>of</strong> which may be sung. In <strong>the</strong> present<br />

instance both <strong>of</strong> <strong>the</strong>m strike us as strange. One <strong>of</strong> <strong>the</strong>m leads us to <strong>the</strong><br />

meeting <strong>of</strong> <strong>the</strong> Sanhedrin, which determined upon <strong>the</strong> death <strong>of</strong> Jesus.<br />

Its melody reveals a powerful, even passionate dramatic force. The rendition<br />

is not easy.<br />

THE SECOND RESPONSORY (Matt. 26: 39, 41)<br />

A. 1. In monte Oliveti oravit ad A.I. On Mount Olivet he -prayed<br />

Patrem: 2. Pater, si fieri potest to his Fa<strong>the</strong>r: 2. Fa<strong>the</strong>r, if it be potranseat<br />

a me calix iste. 3. * Spi- sible, let this chalice pass from me<br />

ritus quidem promptus est, caro 3. * The spirit indeed is willing,<br />

autem infirma: 4. fiat voluntas tua. but <strong>the</strong> flesh is weak: 4. thy will be<br />

B. f. I. Vigilate et orate, II. ut done. B. f. I. Watch and pray, II.<br />

non intretis in tentationem. A. 3. that ye enter not into temptation.<br />

* Spiritus A. 3. * The spirit<br />

The procession began from Mount Olivet. This responsory speeds<br />

ahead <strong>of</strong> <strong>the</strong> incidents in <strong>the</strong> order <strong>of</strong> <strong>the</strong>ir occurrence and transports us<br />

to <strong>the</strong> scene <strong>of</strong> Christ's agony on <strong>the</strong> same Mount <strong>of</strong> Olives, thus setting<br />

up a ra<strong>the</strong>r somber background to this joyful celebration.<br />

The melody has <strong>the</strong> form ABA, like <strong>the</strong> responsory Emendemus<br />

on Ash Wednesday. In A <strong>the</strong> first half <strong>of</strong> <strong>the</strong> first phrase ascends to <strong>the</strong><br />

dominant; in <strong>the</strong> form <strong>of</strong> a sequence <strong>the</strong> second half comes to <strong>the</strong> tonic.<br />

The second and third phrases begin on <strong>the</strong> dominant. The third closes<br />

with a modulation to <strong>the</strong> full tone below <strong>the</strong> tonic. Iste sets <strong>the</strong> formula<br />

over (Oli)-veti a full tone lower.<br />

B, <strong>the</strong> verse, has an entirely typical melody. Both <strong>of</strong> its two phrases<br />

have an introductory formula; <strong>the</strong>n in I <strong>the</strong> wonted recitation on c<br />

follows which is very brief here on account <strong>of</strong> <strong>the</strong> brevity <strong>of</strong> <strong>the</strong> text,<br />

toge<strong>the</strong>r with a frequent five-syllable middle adence; in II recitation<br />

5 4 32 1<br />

on g, and always a five-syllable closing cadence, here from tentationem<br />

on.<br />

Wagner, III, 197 and 343; Johner, Der greg. Choral, 96 and 102.<br />

At <strong>the</strong> distribution <strong>of</strong> <strong>the</strong> blessed palms <strong>the</strong> antiphons Pueri Hebraeorum<br />

are sung.<br />

Pueri Hebraeorum, portantes ra- The Hebrew children carrying<br />

mos olivarum, obviaverunt Domino, olive branches, met our Lord, crying<br />

clamantes, et dicentes: Hosanna in out, and saying: Hosanna in <strong>the</strong><br />

excelsis. highest.

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