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Chants of the Vatican Graduale - MusicaSacra

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334 Twentieth Sunday after Pentecost<br />

derstanding <strong>of</strong> all that Babel signifies, is seized with insatiable longing<br />

for <strong>the</strong> heavenly Sion. And especially now in late autumn, when <strong>the</strong><br />

fading leaves fall from <strong>the</strong> trees, and when so much in nature is dying<br />

<strong>of</strong>f, <strong>the</strong>re wells up in <strong>the</strong> heart <strong>of</strong> <strong>the</strong> true child <strong>of</strong> God an intense yearning<br />

for <strong>the</strong> home beyond, where all is different, where <strong>the</strong>re is eternal<br />

spring, eternal life, eternal love.<br />

It is <strong>of</strong> this homesickness that our piece is singing. How beautifully<br />

have <strong>the</strong> two thoughts flumina Babylonis and Sion at <strong>the</strong> beginning<br />

and at <strong>the</strong> end <strong>of</strong> <strong>the</strong> song been drawn out! And <strong>the</strong>n this recurrent rise<br />

and fall <strong>of</strong> <strong>the</strong> melody, stretching out, as it were, toward eternal life,<br />

only to sink back again! Each <strong>of</strong> <strong>the</strong> three phrases reaches high c, but<br />

only in passing; it occurs only once in <strong>the</strong> middle phrase. The average<br />

pitch is a. No violence, no impassioned or explosive grief is expressed;<br />

only a very subdued wailing and weeping. Care must be taken that <strong>the</strong><br />

tempo be not too slow. Babylonis sounds a bit like restrained rage. Over<br />

illic both neums must be prolonged. As if pressed down by pain, <strong>the</strong> motive<br />

over sedimus and flevimus sinks ever lower—a b c a, g a b\?a, f g a g.<br />

The closing cadence <strong>of</strong> flevimus continues that <strong>of</strong> flumina. Over recordaremur<br />

(surely <strong>the</strong> appropriate spot!) <strong>the</strong> only high pressus occurs, testifying<br />

to <strong>the</strong> unemotional character <strong>of</strong> <strong>the</strong> piece in general. One might<br />

wish that tui were more pregnant with meaning. In its very simplicity,<br />

however, with <strong>the</strong> repetition <strong>of</strong> <strong>the</strong> same motive, this song succeeds in<br />

telling us much. It was in Sion, above all places, that <strong>the</strong> singer wished<br />

to pour forth his grief and his yearning. He repeats <strong>the</strong> neums <strong>of</strong> dum<br />

recordaremur and, proceeding in almost dreamlike fashion, his voice dies<br />

away as if it were stifled in tears. We who are now singing are still in a<br />

strange land, but we are allowed <strong>the</strong>se songs <strong>of</strong> home, <strong>the</strong>se echoes <strong>of</strong><br />

<strong>the</strong> heavenly songs, for <strong>the</strong>y are to us a source <strong>of</strong> consolation. We know<br />

that through Christ we have become citizens <strong>of</strong> heaven and that He will<br />

come again into our hearts as a new pledge <strong>of</strong> future glory. In a few<br />

moments He will appear before our eyes in <strong>the</strong> mystery <strong>of</strong> <strong>the</strong> Mass;<br />

and in <strong>the</strong> sacrificial banquet we are united with Him and with all<br />

heaven.<br />

Babel sings and plays and shouts and dances, entirely oblivious <strong>of</strong><br />

<strong>the</strong> heavenly Sion. But we want to belong to those who, homesick yet<br />

optimistic, are ever striving to reach <strong>the</strong> fa<strong>the</strong>rland beyond.<br />

COMMUNION (Ps. 118: 49, 50)<br />

1. Memento verbi tui servo tuo, 1. Be thou mindful <strong>of</strong> thy word to<br />

Domine, in quo mihi spem dedisti; thy servant, O Lord, in which thou<br />

2. haec me consolata est in humili- hast given me hope: 2. this hath<br />

tate mea. comforted me in my humiliation.

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