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Chants of the Vatican Graduale - MusicaSacra

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198 Fourth Sunday after Easter<br />

a fourth below it. In iterum modicum, which sets in on <strong>the</strong> l<strong>of</strong>ty tenor<br />

and emphasizes it, as well as in <strong>the</strong> ascending melodic line over videbitis<br />

me, we see expressed <strong>the</strong> joy <strong>of</strong> reunion. Between <strong>the</strong> two sentences, as<br />

is only natural, an alleluia, redolent <strong>of</strong> <strong>the</strong> spirit <strong>of</strong> Easter, is interpolated,<br />

and receives fur<strong>the</strong>r melodic amplification in <strong>the</strong> tw<strong>of</strong>old alleluia at <strong>the</strong><br />

end <strong>of</strong> <strong>the</strong> melody.<br />

When we participate in <strong>the</strong> Eucharistic Banquet, we cannot see<br />

<strong>the</strong> Saviour; His divinity and His humanity are veiled. But we can contemplate<br />

Him with <strong>the</strong> eyes <strong>of</strong> faith. And <strong>the</strong> purer our heart is, <strong>the</strong><br />

deeper does this gaze penetrate. This sight and possession and enjoyment,<br />

it is true, is short-lived (modicum), and here below it will never be perfect;<br />

it will ever be a modicum. But Christ is going to <strong>the</strong> Fa<strong>the</strong>r, and we<br />

may <strong>the</strong>refore sing a joyous alleluia. He goes to prepare a place for us,<br />

that we may see Him face to face throughout a blessed eternity. But,<br />

according to <strong>the</strong> words <strong>of</strong> St. Augustine 1 , He is also preparing us for<br />

this dwelling. Occasionally we become painfully aware that this work <strong>of</strong><br />

preparation is going on. But it is to last only for a little while (modicum)<br />

after which we shall also be allowed to chant <strong>the</strong> eternal alleluia.<br />

FOURTH SUNDAY AFTER EASTER<br />

The lively expression <strong>of</strong> joy and thanksgiving for divine assistance<br />

which we find in <strong>the</strong> Masses for <strong>the</strong> fourth and fifth Sundays after<br />

Easter are, no doubt, influenced, as H. Grisar remarks (Das Missale im<br />

Lichte roemischer Stadtgeschichte, p. 85), by <strong>the</strong> general rejoicing which<br />

followed <strong>the</strong> overthrow <strong>of</strong> barbarian hordes through divine intervention.<br />

Perhaps <strong>the</strong>re is reference to <strong>the</strong> raising <strong>of</strong> <strong>the</strong> siege <strong>of</strong> Rome under Wittiges<br />

(A.D. 538).<br />

INTROIT (Ps. 97: 1-2)<br />

1. Cantate Domino canticum no- 1. Sing ye to <strong>the</strong> Lord a new canvum,<br />

alleluia: 2. quia mirabilia tide, alleluia: 2. for <strong>the</strong> Lord hath<br />

fecit Dominus, alleluia: 3. ante revealed his justice, alleluia: 3. in<br />

conspectum gentium revelavit jus- <strong>the</strong> sight <strong>of</strong> <strong>the</strong> gentiles, alleluia<br />

titiam suam, alleluia, alleluia. Ps. alleluia. Ps. His right hand hath<br />

Salvavit sibi dextera ejus: * et wrought for him salvation: * and<br />

brachium sanctum ejus. his arm is holy.<br />

A rising line marks <strong>the</strong> development <strong>of</strong> <strong>the</strong> melody. The first part<br />

<strong>of</strong> <strong>the</strong> first phrase has a range <strong>of</strong> a fourth, <strong>the</strong> second <strong>of</strong> a fifth; <strong>the</strong> sec-<br />

1 Tractatus 68 in Joann.

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