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Chants of the Vatican Graduale - MusicaSacra

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18 First Sunday <strong>of</strong> Advent<br />

ag ccbg ab\> a f gb\> a g<br />

tu am<br />

ca cbgacafbbag<br />

tu um<br />

The final member (da nobis) moves more quietly and prepares for<br />

<strong>the</strong> close. Its melody never goes above c; several times it rests upon low<br />

/. The resulting tritonic tone-sequences fab and b g f are somewhat<br />

grating. But it is just this which makes <strong>the</strong>m fit so well to <strong>the</strong> supplicating<br />

spirit <strong>of</strong> <strong>the</strong> whole. In <strong>the</strong> second last group <strong>of</strong> neums, 6b is occasioned<br />

by <strong>the</strong> following /, just as b in <strong>the</strong> last group by <strong>the</strong> following g.<br />

The verses <strong>of</strong> Tracts in <strong>the</strong> eighth mode end on a. Compare:<br />

Alleluia: cc a g a b\> g f c c a g a b a a g<br />

Tract: cc a g a b}> g f a c a b g g a a g<br />

The closing neum differs from that <strong>of</strong> <strong>the</strong> Alleluia jubilus; it has<br />

<strong>the</strong> archaic form. We find <strong>the</strong> richest melismas over tuum and nobis, as<br />

if <strong>the</strong> meldoy wished to say: Only Thy mercy, Thy salvation can help<br />

and heal us.<br />

In its adaptation to o<strong>the</strong>r texts, <strong>the</strong> melody occasionally receives<br />

<strong>the</strong> character <strong>of</strong> a florid psalmody with intonation, dominant, and cadence.<br />

Compare, for example, <strong>the</strong> second phrase <strong>of</strong> this Alleluia with<br />

that <strong>of</strong> <strong>the</strong> feast <strong>of</strong> SS. Simon and Jude: et salutdre with nimis confotdtus<br />

est.<br />

Ostendel How <strong>of</strong>ten we pray to <strong>the</strong> Mo<strong>the</strong>r <strong>of</strong> God in <strong>the</strong> Salve<br />

Regina that after this exile she may show us her Son Jesus! Today,<br />

since at Rome <strong>the</strong> principal service (<strong>the</strong> statio) is being held in St. Mary<br />

Major, we cry out to her also, imploring her to show us here in our exile<br />

<strong>the</strong> incarnate Love which she once bore under her virgin heart.<br />

OFFERTORY<br />

This Offertory has <strong>the</strong> same text as <strong>the</strong> Introit. But it inserts "O<br />

Lord" among <strong>the</strong> words: "To <strong>the</strong>e have I lifted up my soul."<br />

We sing this song while <strong>the</strong> priest is <strong>of</strong>fering <strong>the</strong> sacrificial gifts and<br />

lifting his eyes heavenward. We also lift .up our souls to Him who is<br />

fidelity unchanging. The heavenly bodies will one day be destroyed;<br />

terrible will be <strong>the</strong> roar <strong>of</strong> <strong>the</strong> ocean; cries <strong>of</strong> horror will escape from <strong>the</strong><br />

terrified peoples; all worldly hopes will fail. One alone will remain ever<br />

<strong>the</strong> same. Therefore, O Christian soul—thus <strong>the</strong> Church admonishes<br />

again—let your confidence be unshakeable, even in <strong>the</strong> storms <strong>of</strong> <strong>the</strong><br />

present life, even when you must bring also o<strong>the</strong>r than symbolic gifts to

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