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Chants of the Vatican Graduale - MusicaSacra

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242 Sunday within <strong>the</strong> Octave <strong>of</strong> Corpus Christi<br />

This Gradual continues <strong>the</strong> thoughts <strong>of</strong> <strong>the</strong> Introit and is a joyfully<br />

animated song <strong>of</strong> thanksgiving for favors granted. A retrospective glance<br />

at <strong>the</strong> help which <strong>the</strong> singer has received from God's bounty gives him<br />

courage confidently to present his new petitions in <strong>the</strong> verse. Wicked<br />

lips afflict him also, speaking what is unjust (Idbiis iniquis), accusing<br />

him without cause, and calumniating him. And even if <strong>the</strong> Epistle for<br />

<strong>the</strong> Sunday says: "Wonder not if <strong>the</strong> world hate you," this hate, never<strong>the</strong>less,<br />

presses heavily upon <strong>the</strong> soul. O<strong>the</strong>rs come with honeyed words,<br />

but <strong>the</strong>y are false (lingua dolosa); <strong>the</strong>y wish to deceive and seduce. Lord,<br />

save me from this peril!<br />

The ordinary construction <strong>of</strong> Graduals, which assigns a plagal<br />

mode to <strong>the</strong> corpus and <strong>the</strong> corresponding au<strong>the</strong>ntic mode to <strong>the</strong> verse,<br />

is followed here in <strong>the</strong> first words Ad Dominum; but <strong>the</strong>n <strong>the</strong> melody<br />

immediately changes over to <strong>the</strong> au<strong>the</strong>ntic form and emphasizes it almost<br />

more than <strong>the</strong> verse. The verse thrice closes on <strong>the</strong> tonic; <strong>the</strong><br />

corpus never. The melody over dum tribuldrer has for its schema <strong>the</strong><br />

middle cadence <strong>of</strong> <strong>the</strong> simple psalm-tone <strong>of</strong> <strong>the</strong> fifth mode f a c-d c;<br />

that over exaudivit, <strong>the</strong> close <strong>of</strong> <strong>the</strong> solemn tone <strong>of</strong> <strong>the</strong> lessons, 6 g a f,<br />

which receives still greater amplification in <strong>the</strong> verse over lingua. In <strong>the</strong><br />

verse care must be taken that <strong>the</strong> bistropha and <strong>the</strong> two tristrophas be<br />

interwoven into <strong>the</strong> whole in an elastic yet subdued manner. The seconds<br />

over libera dnimam should have a soothing effect. We hear <strong>the</strong> same<br />

sequence <strong>of</strong> tones over meam that appeared in <strong>the</strong> close <strong>of</strong> <strong>the</strong> corpus <strong>of</strong><br />

<strong>the</strong> Gradual. Ldbiis and <strong>the</strong> central group <strong>of</strong> notes over dolosa are related.<br />

The melismas over iniquis have been taken over from those over<br />

clamdvi in <strong>the</strong> first part. In <strong>the</strong> ancient manuscripts this Gradual is assigned<br />

to <strong>the</strong> Friday after <strong>the</strong> second Sunday in Lent.<br />

ALLELUIA VERSE (Ps. 7: 2)<br />

1. Domine Deus meus, in te 1.0 Lord my God, in <strong>the</strong>e have I<br />

speravi; 2. salvum me fac ex omni- put my trust; 2. save me from all<br />

bus persequentibus me, 3. et libera <strong>the</strong>m that persecute me, 3. and deme.<br />

liver me.<br />

The Alleluia with its jubilus has <strong>the</strong> form a b b 1 . Alleluia is <strong>the</strong> arsis;<br />

<strong>the</strong> jubilus is <strong>the</strong> <strong>the</strong>sis. Twice <strong>the</strong> descent is retarded and held toge<strong>the</strong>r<br />

by a pressus. In <strong>the</strong> verse three great curves swing upward as<br />

arses, to which a triple descending <strong>the</strong>sis corresponds.<br />

Arsis Thesis<br />

1. in te speravi 1. salvum me fac<br />

2. ex omnibus 2. persequentibus me<br />

3. et libera (me) 3. me

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