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Chants of the Vatican Graduale - MusicaSacra

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256 Fourth Sunday after Pentecost<br />

At St. Gall's, at Einsiedeln, and in some o<strong>the</strong>r places this Sunday's<br />

Communion was sung on <strong>the</strong> twenty-second Sunday after Pentecost,<br />

today's being replaced by Ego clamdvi. This Communion, however, fits<br />

well to <strong>the</strong> Gospel <strong>of</strong> <strong>the</strong> Sunday, and at <strong>the</strong> same time acts as an admonition<br />

to those faithful to whom <strong>the</strong> liturgy <strong>of</strong> <strong>the</strong> Mass has not yet<br />

brought reconciliation with God and true interior peace.<br />

If <strong>the</strong> text is clearly enunciated, it will be seen how well <strong>the</strong> simple<br />

melody brings <strong>the</strong> word gdudium into prominence.<br />

There is joy in heaven, and peace in <strong>the</strong> heart <strong>of</strong> him who has again<br />

found his way back to God. The Fa<strong>the</strong>r <strong>of</strong> <strong>the</strong> prodigal son crowns His<br />

kindness by preparing <strong>the</strong> most sumptuous banquet for him in Holy<br />

•Communion.<br />

FOURTH SUNDAY AFTER PENTECOST<br />

INTROIT (Ps. 26: 1, 2)<br />

1. Dominus illuminatio mea et 1. The Lord is my light and my<br />

salus mea, quern timebo? 2. Do- salvation: whom shall I fearl 2. The<br />

minus defensor vitae meae, a quo Lord is <strong>the</strong> protector <strong>of</strong> my life: <strong>of</strong><br />

trepidabot 3. qui tribulant me in- whom shall I be afraid? 3. My<br />

imici mei, ipsi infirmati sunt, et enemies that trouble me have <strong>the</strong>mceciderunt.<br />

Ps. Si consistant ad- selves been weakened and have<br />

versum me castra: * non timebit cor fallen. Ps. If armies in camp should<br />

meum. stand toge<strong>the</strong>r against me, * my<br />

heart shall not fear.<br />

Few selections in <strong>the</strong> entire <strong>Graduale</strong> have a melody so easily understood,<br />

so lucid in structure, and <strong>of</strong> such regular development as this<br />

Introit. From <strong>the</strong> introduction to <strong>the</strong> Preface we are familiar with <strong>the</strong><br />

opening motive, which recurs throughout <strong>the</strong> entire piece. It begins <strong>the</strong><br />

second phrase a fourth higher, and comes to a climax in <strong>the</strong> third, being<br />

heard also over a quo. Thus all three phrases are closely knit toge<strong>the</strong>r.<br />

No lengthy pause must be made between <strong>the</strong>m; <strong>the</strong>y must follow one<br />

ano<strong>the</strong>r in a lively, almost impetuous sequence, as an expression <strong>of</strong> most<br />

complete confidence in victory. Perhaps <strong>the</strong> early Christians sang this<br />

song in <strong>the</strong> dim, wan atmosphere <strong>of</strong> <strong>the</strong> catacombs. But <strong>the</strong> hearts <strong>of</strong><br />

those who sang were full <strong>of</strong> light: for Christ had enlightened <strong>the</strong>m. And<br />

even if <strong>the</strong>ir bro<strong>the</strong>rs and sisters above were led to martyrdom and<br />

thrown before <strong>the</strong> beasts, inwardly <strong>the</strong>y possessed <strong>the</strong> courage and<br />

strength <strong>of</strong> lions: <strong>the</strong> victorious Lion <strong>of</strong> <strong>the</strong> tribe <strong>of</strong> Juda had imparted<br />

His fearlessness to <strong>the</strong>m. Self-possessed and unafraid <strong>the</strong>y entered <strong>the</strong>

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