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Chants of the Vatican Graduale - MusicaSacra

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Twenty-First Sunday after Pentecost 339<br />

<strong>the</strong> entrance into <strong>the</strong> heavenly Jerusalem. For this reason Psalm 113,<br />

<strong>the</strong> first verse <strong>of</strong> which is here employed, is sung in some localities at<br />

funerals. This eschatological conception fits extremely well to <strong>the</strong><br />

thoughts which permeate <strong>the</strong> close <strong>of</strong> <strong>the</strong> liturgical year.<br />

Psalm 113, from which this verse is taken, was among those said at<br />

<strong>the</strong> eating <strong>of</strong> <strong>the</strong> Paschal lamb, which Christ Himself <strong>the</strong>refore sang<br />

with His Apostles at <strong>the</strong> Last Supper before His exitus, before His departure<br />

from this earth.<br />

Cardinal Schuster (The Sacramentary, III, 180) comments strikingly<br />

on <strong>the</strong> words de populo bdrbaro: "As far as purely exterior culture is concerned,<br />

<strong>the</strong> Egyptians were far in advance <strong>of</strong> <strong>the</strong> Jews. And yet <strong>the</strong> subjects<br />

<strong>of</strong> <strong>the</strong> Pharaohs are called a barbarous people by <strong>the</strong> Scriptures.<br />

For material and artistic progress is not <strong>the</strong> only criterion <strong>of</strong> true culture,<br />

but ra<strong>the</strong>r spiritual life and spiritual development. From this standpoint<br />

<strong>the</strong> Israelites far surpassed <strong>the</strong> most famous nations <strong>of</strong> antiquity and<br />

<strong>the</strong>reby proved that <strong>the</strong>ir faith was supernatural."<br />

The melody over <strong>the</strong> word alleluia sounds as if it might have been<br />

borrowed from <strong>the</strong> fourth mode. As a matter <strong>of</strong> fact, <strong>the</strong> Alleluia Amdvit<br />

eum from <strong>the</strong> Mass for a Doctor has almost an identical tone-sequence.<br />

Twice more in <strong>the</strong> jubilus we meet <strong>the</strong> pressus dd c; it confers a strong<br />

accent. In every instance, however, it is introduced differently, thus<br />

avoiding monotony. The jubilus has two parts, <strong>the</strong> first <strong>of</strong> which has<br />

three subdivisions: <strong>the</strong> fourth in subdivision b is rounded out by means<br />

<strong>of</strong> connecting notes in b 1 ; in c <strong>the</strong> motive thus produced appears a second<br />

higher. We shall have to consider <strong>the</strong> repetition <strong>of</strong> d ff an augmentation<br />

ra<strong>the</strong>r than an echo.<br />

Nei<strong>the</strong>r alleluia nor its verse is conspicuous for any particular ardor.<br />

But a lively tempo is to be recommended, for we are singing a song <strong>of</strong><br />

thanksgiving. Very striking is <strong>the</strong> development over ex Aegypto with a<br />

fifth on <strong>the</strong> insignificant ex and <strong>the</strong>n <strong>the</strong> descending fourth. We are to<br />

consider, it seems, what <strong>the</strong> words "out <strong>of</strong> Egypt" really signify. The<br />

chord <strong>of</strong> resolution over populo has a joyous ring.<br />

OFFERTORY (Job 1)<br />

1. Vir erat in terra nomine Job, 1. There was a man in <strong>the</strong> land<br />

2. simplex et rectus, ac timens whose name was Job, 2. simple and<br />

Deum: 3. quern Satan petiit, ut upright, and fearing God: 3. whom<br />

tentaret: 4. et data est ei potestas a Satan sought that he might tempt:<br />

Domino in facultate et in came 4 and power was given him from<br />

ejus: 5. perdiditque omnem sub- <strong>the</strong> Lord over his possessions and<br />

stantiam ipsius, et filios: 6. car- his flesh: 5. and he destroyed all

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