Chants of the Vatican Graduale - MusicaSacra

1. Occurrunt turbae cum floribus
et palmis Redemptori obviam: 2. et
victori triumphanti digna dant obsequiai
3. Filium Dei ore gentes
praedicant: et in laudem Christi
voces tonant per nubila: Hosannal
Cum Angelis et pueris fideles inveniamur,
triumphatori mortis clamantes:
Hosanna in excelsis.
Palm Sunday 153
contrast and making the subsequent
Hosanna so much the more
effective]. 3. Hosanna in the highest
[magnificent swellings, both in
the first and in the second group
of Hosdnna]. 4. blessed art thou who
hast come in the multitude of thy
mercy [harking back to the melody
of the second phrase and telling
emphasis on multitudine). 5. Hosanna
in the highest [jubilant and
spirited repetition of the melody.]
1. The multitude go out to meet
the Redeemer with flowers and
palms: 2. and to a triumphant conquerer
[how effective is the interval
of a fourth and the recitation
on the dominant!] they pay
homage: 3. nations proclaim the
Son of God: and their voices rend the
skies in the praise of Christ: Hosannal
Let us join with the angels and
children singing to the conqueror of
death: Hosanna in the highest.
What a mighty impression these melodies must have produced
when sung by an immense concourse, rejoicing in their faith! And in
the early centuries Palm Sunday was a solemn popular feast. Thus
attests the pilgrim Etheria (c. 385), and so it was throughout the entire
Middle Ages. Its procession enjoyed the same favor and popularity as
was attained in later centuries by the Corpus Christi procession.
RETURN OF THE PROCESSION
When the procession returns into the church, it finds the doors
locked. Suddenly from the interior of the church a joyous song to the
victorious King Christ resounds, the renowned Gloria laus 1 , composed
by Bishop Theodulf of Orleans (+821).
1 C.-O., 46, 45 ff.; Revue, 3, 115 ff.; Civilta catt., 57, II. 3 If. and 159 ff.