Chants of the Vatican Graduale - MusicaSacra

Eighteenth Sunday after Pentecost 325
troduced like Moyses above. (Suavi)-tdtis resembles (holo)-cdusta; Do-
(mino) repeats the first four notes of the last-mentioned word. The
fourth phrase abounds with groups of neums and in its lower part brings
a delightful new movement. It is extremely rare in plainsong that a
melody closes on the leading note f g ef gg f.
Is this descent of the melody to signify the deep impression which
the sacrifice of Moses made upon the Israelites? God had given His law
upon Mount Sinai. The sacrifice was now to ratify the covenant which
God had made with His people. The New Testament has been sealed
in like manner by bloody sacrifice, by an evening (vespertinum) oblation,
for it was about the ninth hour when Jesus bowed His head on the
Cross and gave up the ghost. This sacrifice is renewed at Mass. What
a high consecration (sanctificdvit) attaches to the altars of our churches!
How sublime the Sacrifice that is offered upon them! With what pleasure
does not our heavenly Father regard it! Then is fulfilled what the
priest asks for at the offering of the chalice—it ascends with the savor
of sweetness. And we are allowed to be witnesses (in conspectu) of this
mystery. What is more, we ourselves are drawn into the mystery. We
become, as today's Secret says, partakers of the one supreme Godhead.
COMMUNION (Ps. 95: 8, 9)
1. Tollite hostias, et introite in 1. Bring up sacrifices, and come
atria ejus: 2. adorate Dominum in into his courts: 2. adore ye the Lord
aula sancta ejus. in his holy court.
The first phrase speaks of an action; the second of the spirit with
which that action is to be performed. Tollite sets in on a high pitch: let
there be no hesitation, no indifference in the offering of the sacrifice or
in the sacrificial procession! The two imperatives Tollite and introite
have the same note progression, deb, and consequently they are also
closely related melodically. Hostias towers above both these words. The
third member of the phrase is quieter, never extending beyond c and the
modest interval of a minor third.
The solemnly descending line in the second phrase expresses the
idea of adoration—a profound bow, a prostration before the majesty of
God. In the annotated manuscripts each of the clives over the words
(ado)-rdte Dominum is marked with a hold, thus enhancing the impression
of reverence. But the solemn spirit is made less formidable by the
fact that each new clivis opens on the same note with which the preceding
closed.
In the church our humble gifts of bread and wine are converted into
the Loud Himself; under the sacred species we adore Him who offers