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Chants of the Vatican Graduale - MusicaSacra

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Easter Monday 187<br />

3. a) quern quaeritis, surrexit sicut dixit, alleluia.<br />

b) vitam petiit a te, tribuisti ei, alleluia.<br />

c) benedicunt Dominum, alleluia.<br />

In this Offertory, one becomes painfully aware <strong>of</strong> <strong>the</strong> omission <strong>of</strong><br />

<strong>the</strong>' ormer verses. Its present form does not entirely satisfy. Happily<br />

today's Gradual gives some indication <strong>of</strong> <strong>the</strong> melody <strong>of</strong> at least one <strong>of</strong><br />

<strong>the</strong>se verses.<br />

The melody <strong>of</strong> <strong>the</strong> third verse has been adapted to <strong>the</strong> Offertory<br />

Bedta es virgo, which is now given in <strong>the</strong> Votive Masses <strong>of</strong> <strong>the</strong> Blessed<br />

Virgin from Easter till Pentecost. Permanes does not allow <strong>of</strong> such an<br />

adaptation;! t is <strong>the</strong> same as alleluia in <strong>the</strong> Offertory for Easter Monday.<br />

Surrexit <strong>of</strong> today's Offertory and Creatorem <strong>of</strong> <strong>the</strong> former have identical<br />

melodies.<br />

In today's Offertory we are tempted to invert <strong>the</strong> two principal<br />

parts, to sjng <strong>the</strong> narrative part first in a subdued manner and <strong>the</strong>n to<br />

swing up to <strong>the</strong> higher regions (which now occur over caelo and mulieribus)<br />

with <strong>the</strong> words <strong>of</strong> <strong>the</strong> angel concerning <strong>the</strong> resurrection. But even<br />

in its present arrangement <strong>the</strong> melody appeals, because it has a certain<br />

elegance <strong>of</strong> movement, fluent melodic line, and charming motivation.<br />

How fine, for instance, is <strong>the</strong> line d c a gfa a over Domini, <strong>the</strong> descent<br />

and ascent over descendit and at its close <strong>the</strong> resemblance to <strong>the</strong> motive<br />

over (An)-ge-(lus), <strong>the</strong> contraction <strong>of</strong> this motive with <strong>the</strong> first part <strong>of</strong><br />

descindit by <strong>the</strong> notes / gag, <strong>the</strong> notes a g a c c over Do-(mini), which is<br />

answered by b g a c c over (muli)-e-(ribus)l The two well-proportioned<br />

groups over (sur)-rex-it expand rhythmically over <strong>the</strong> second syllable <strong>of</strong><br />

alleluia; <strong>the</strong> alleluia itself with its tense (g) b, whose solution (g) cc<br />

comes only after four notes, produces a delightful effect. We might almost<br />

speak <strong>of</strong> an intentional retarding <strong>of</strong> <strong>the</strong> leading note. Dixit with<br />

its energetic pressus likewise challenges attention. What was promised<br />

at that time has now become full reality. The Lord is truly risen. These<br />

words, toge<strong>the</strong>r with <strong>the</strong> glorious alleluia, constituted <strong>the</strong> refrain to <strong>the</strong><br />

verses. It is somewhat tiresome to meet <strong>the</strong> frequent close on <strong>the</strong> tonic;<br />

only three times is <strong>the</strong>re a variation.<br />

The pious women who gave evidence <strong>of</strong> such noble courage and<br />

tender love in coming to <strong>the</strong> tomb <strong>of</strong> <strong>the</strong> Saviour, well deserve that<br />

<strong>the</strong>ir names be mentioned with honor in <strong>the</strong> liturgy. This happens more<br />

than once in this solemn Paschal Week. Indeed, <strong>the</strong> Oriental Church<br />

has a special feast on <strong>the</strong> second Sunday after Easter, called <strong>the</strong> feast<br />

"<strong>of</strong> women bearing myrrh." May <strong>the</strong>y teach us how to become true<br />

searchers after God, how to place all our powers in <strong>the</strong> service <strong>of</strong> Jesus<br />

and His cause, His Church, and how to approach <strong>the</strong> altar with <strong>the</strong> true

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