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Chants of the Vatican Graduale - MusicaSacra

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St. Matthias, Apostle 371<br />

-rum ejus in <strong>the</strong> first verse with coronam <strong>of</strong> <strong>the</strong> third verse; eum in <strong>the</strong><br />

first verse is similar to -one <strong>of</strong> <strong>the</strong> second verse.<br />

We might conjecture that St. Matthias, on <strong>the</strong> morning when<br />

Christ chose His Apostles, entertained a secret desire to become an intimate<br />

friend <strong>of</strong> <strong>the</strong> Master and be numbered among <strong>the</strong> twelve. Our<br />

Lord tendered him a cordial invitation, and by selecting him to supplant<br />

Judas, placed on his head a crown <strong>of</strong> precious stones.<br />

The OFFERTORY is <strong>the</strong> same as that on <strong>the</strong> feast <strong>of</strong> <strong>the</strong> Apostles<br />

SS. Peter and Paul (q.v.).<br />

COMMUNION (Matt. 19: 28)<br />

1. Vos, qui secuti estis me, sede- 1. You who have followed me<br />

bitis super sedes, 2. judicantes shall sit on seats, 2. judging <strong>the</strong><br />

duodecim tribus Israel. twelve tribes <strong>of</strong> Israel.<br />

The melody places special stress on <strong>the</strong> word vos. You, My faithful<br />

Apostles, in company with Me shall one day judge <strong>the</strong> world. The melody<br />

over tri-(bus) is extended over super—possibly a matter <strong>of</strong> tonepainting,<br />

as in <strong>the</strong> Gradual <strong>of</strong> <strong>the</strong> third Sunday <strong>of</strong> Advent over <strong>the</strong><br />

same word. The climax <strong>of</strong> <strong>the</strong> entire melody is realized over sedes, where<br />

<strong>the</strong>re is question <strong>of</strong> <strong>the</strong> thrones <strong>of</strong> <strong>the</strong> Apostles. The word-accents over<br />

judicantes and duodecim are well defined. Preceded by a pressus <strong>the</strong><br />

melody descends twice to low c, followed both times by an interval <strong>of</strong> a<br />

fourth. This cadence is very effective wherever an independent thought<br />

is brought to a close. This is not <strong>the</strong> case here, however, especially over<br />

<strong>the</strong> word duodecim. With <strong>the</strong> special prominence given <strong>the</strong> dominant /<br />

we should expect <strong>the</strong> second mode ra<strong>the</strong>r than <strong>the</strong> first. This melody is<br />

not found in manuscripts 339 <strong>of</strong> St. Gall's, 121 <strong>of</strong> Einsiedeln, or H. 159<br />

<strong>of</strong> Montpellier.<br />

The text, with an additional dicit Dominus: "saith <strong>the</strong> Lord,"<br />

forms <strong>the</strong> Communion for <strong>the</strong> feast <strong>of</strong> St. Bartholomew. The melody<br />

<strong>the</strong>re, in <strong>the</strong> second mode, is very simple and almost entirely syllabic;<br />

never<strong>the</strong>less it accentuates <strong>the</strong> words super sedes, and particularly <strong>the</strong><br />

important word judicantes (by means <strong>of</strong> recitation on high g).<br />

Christ is speaking to His faithful Apostles. He to whom <strong>the</strong> Fa<strong>the</strong>r<br />

hath given all judgment (John 5: 22), could not bestow a greater distinction<br />

than to assign <strong>the</strong>m thrones next to His own seat <strong>of</strong> judgment,<br />

thus making <strong>the</strong>m participants in His judicial power. He who has said:<br />

"Who heareth you, heareth Me," promises by <strong>the</strong> mouth <strong>of</strong> His Apostles<br />

eternal salvation to all who hear and observe <strong>the</strong>ir teaching, and eternal<br />

damnation to all who despise it, because in so doing <strong>the</strong>y despise Christ.

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