Chants of the Vatican Graduale - MusicaSacra

384 SS. Philip and James the Younger
SECOND ALLELUIA VERSE (John 14: 9)
1. Tanto tempore vobiscum sum 1. So long a time have I been with
et non cognivistis mel 2. Philippe, you, and have you not known met
qui videt me, videt et Patrem meum. 2. Philip, he that seeth me, seeth
my Father also.
The melody was explained on the vigil of Christmas.
These words of the Saviour, filled with loving complaint, call to
mind the prayer of St. Augustine: Noverim Te—would that I knew Thee,
and knew the Father in Thee! Every day that I am granted to serve
and dwell in Thy house let me grow in knowledge and love of Thee, so
that my song and prayer may become ever purer, deeper, and more perfect.
COMMUNION (John 14: 9, 10)
1. Tanto tempore vobiscum sum, 1. So long a time have*I been with
et non cognovistis mel 2. Philippe, you, and have you not known mel 2.
qui videt me, videt et Patrem meum, Philip, he that seeth me, seeth my
alleluia: 3. non credis, quia ego in Father also, alleluia: 3. believest
Patre, et Pater in me estl alleluia, thou not that I am in the Father,
alleluia. and the Father in mel alleluia,
alleluia.
The first two phrases of the Communion, which form the text of
the Alleluia-verse, as well as the third phrase, are taken from the Gospel.
The first part is tinged with the sadness which the Saviour must have
felt when speaking these words. The melodic figure over tempore recurs
over Philippe and that over cognovistis me again over (Pa)-trem, alle-
(luia).
The above selection serves also as a Responsory at Matins. This is
at times mirrored in the responsorial character of the melody. According
to Wagner (III, 338 f.) the piece has three musical periods, the first
of which closes with the word credis. The second, which has an energetic
upward tendency, begins with quia ego on low d. The preceding musical
period should then, if we consider the need and rules for contrast when
combining phrases, close with e f. This is actually the case in the present
instance with credis. The same reason might explain the notation over
est which immediately precedes the first word of the third musical period.
In this case, however, the interrogatory form of the sentence which
closes with an upward inflection, should also be given due consideration.
The two alleluia which form the third musical period in many Responsories
include the most important motives. The ascent of the melody in