Chants of the Vatican Graduale - MusicaSacra

312 Sixteenth Sunday after Pentecost
Holy joy welled up from the heart of the Saviour when He spoke
the prophetic words we sing here. This joy is reflected by the brilliant
and exultant melody. It attains its summit and greatest expansion precisely
over the word vita. The thought, "life of the world," forms an independent
musical phrase, being, however, strongly influenced by the
melody over mea est in the first phrase. Here we have a descending fourth,
followed by a pes and a clivis, while in the former instance there was a
descending fifth with a descending pes and climacus. These sequences
of tones and the surprising beginning over Panis are well calculated to
rouse in our souls reverent astonishment at the marvels spoken of. For
this reason, too, the word ego is especially emphasized by the melody.
The two phrases differ in this, that the first supports itself in the
first half on a and reaches low d four times in its second half, while the
second phrase in its first half stresses g and four times strikes high c.
Some time—thus we hope and pray—the Risen One will also cry
to us: "I say to thee, arise," and will lead us into the life of eternal
blessedness. For this is His solemn promise: "He that eateth my
flesh, and drinketh my blood I will raise him up in the last day."
SIXTEENTH SUNDAY AFTER PENTECOST
INTROIT (Ps. 85:3, 5)
1. Miserere mihi Domine, quo- 1. Have mercy on me, O Lord, for
niam ad te clamavi tota die: 2. quia I have cried to thee all the day: 2.
tu Domine suavis ac mitis es, et for thou, O Lord, art sweet and
copiosus in misericordia omnibus mild, and plenteous in mercy to all
invocantibus te. Ps. Inclina Do- that call upon thee. Ps. Bow down
mine aurem tuam et exaudi me: * thine ear to me, O Lord, and hear
quoniam inops et pauper sum ego. me: * for I am needy and poor.
This Introit begins like the Introit Laetdbitur Justus, now in the
Common of a Martyr not a Bishop, which in the old manuscripts opens
the Mass for the feast of St. Vincent. There it is a cry of joy; here a
prayer for mercy. How can the two be reconciled? Perhaps we may explain
today's melody in the same manner as we did that for the third
Sunday after Pentecost. The acknowledgment that God is good and
mild and overflowing with mercy, and the mood produced by it is all
contained in the first phrase. There is no misery portrayed in the melody,
no inner strife. Assurance fills the singer's heart: my Redeemer lives
and His heart is open to my incessant (tota die) prayer. How touching
and how tender is the melody of the second phrase! With its minor thirds