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Chants of the Vatican Graduale - MusicaSacra

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Nineteenth Sunday after Pentecost 327<br />

melody are related to una in <strong>the</strong> former; in perpe-(tuum) reminds us <strong>of</strong><br />

super mil-(lia) in <strong>the</strong> same piece. Dominus finds a corresponding motive<br />

over (per)-petuum at <strong>the</strong> end <strong>of</strong> <strong>the</strong> melody. At <strong>the</strong> end <strong>of</strong> <strong>the</strong> first<br />

phrase, however, <strong>the</strong> clivis is converted to a pes, because <strong>the</strong> subsequent<br />

phrase begins on low d. The distribution <strong>of</strong> <strong>the</strong> neums over Dominus<br />

here and in <strong>the</strong> third phrase, as well as over perpetuum, results from <strong>the</strong><br />

fact that plainsong is not fond <strong>of</strong> dactylic endings, but prefers spondees.<br />

{N. Sch. 233 f).<br />

The second phrase with its interval <strong>of</strong> a fourth and its harsh a b<br />

is not intended to portray distress, but ra<strong>the</strong>r to emphasize, clearly and<br />

definitely, that when <strong>the</strong> need is greatest God's assistance is nearest.<br />

Clamdverint ad me and exdudiam eos have almost <strong>the</strong> same melody: to<br />

<strong>the</strong> measure <strong>of</strong> our faith and confidence God's generosity will correspond.<br />

There is a slight but noteworthy difference, however. Over (ex)-du-<br />

(diam) we might have sung g ga g as over (cla)-md-(verint); <strong>the</strong> equal<br />

accentuation on <strong>the</strong> two words would have suggested this. Since, however,<br />

a different construction was preferred, and <strong>the</strong> melody descends<br />

to e, <strong>the</strong> only one <strong>of</strong> this phrase, and has a quilisma after /, it is evidently<br />

intended to emphasize <strong>the</strong> words: "I will hear <strong>the</strong>m."<br />

In its first half <strong>the</strong> third phrase harks back to <strong>the</strong> quiet style <strong>of</strong> <strong>the</strong><br />

first. But <strong>the</strong>re follows immediately a portrayal <strong>of</strong> God's eternal fidelity,<br />

<strong>of</strong> His indefatigable desire to help. Hence <strong>the</strong> fourth and <strong>the</strong> accent on<br />

high c. We may consider <strong>the</strong> closing neums over (Domi)-nus as a variation<br />

<strong>of</strong> those over (e)-go sum, ad me and eos.<br />

Since God declares Himself ready to assist us everywhere and at<br />

all times, we should also willingly accept <strong>the</strong> admonition: "Attend, 0<br />

My people, to My law!" His law assures us <strong>of</strong> temporal and eternal<br />

happiness. And if He, <strong>the</strong> Lord, is so prepared to help us, <strong>the</strong>n we ought<br />

to be proud to acknowledge His sovereignty always and in all things.<br />

GRADUAL (Ps. 140:2)<br />

1. Dirigatur oratio mea sicut in- 1. Let my prayer be directed as<br />

censum in conspectu tuo, Domine. incense in thy sight, O Lord, jl 1.<br />

jl 1. Elevatio manuum mearum 2. The lifting up <strong>of</strong> my hands 2. as an<br />

sacrificium vespertinum. evening sacrifice.<br />

David is far from <strong>the</strong> sanctuary, sunk in poverty and distress. He<br />

yearns to <strong>of</strong>fer a sacrifice to <strong>the</strong> Lord. But <strong>the</strong>re is nothing at hand.<br />

Hence he lifts up his hands, his prayer, his whole soul, to God.<br />

We may look upon today's Eucharistic celebration as <strong>the</strong> solemn<br />

evening sacrifice at <strong>the</strong> close <strong>of</strong> <strong>the</strong> liturgical year. Just as formerly <strong>the</strong><br />

Christians prayed with outstretched arms and extended hands, and as

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