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Chants of the Vatican Graduale - MusicaSacra

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390 Solemnity <strong>of</strong> St. Joseph<br />

OFFERTORY (Ps. 147: 12, 13)<br />

1. Lauda, Jerusalem, Dominum: 1. Praise <strong>the</strong> Lord, 0 Jerusalem:<br />

2. quoniam confortavit seras por- 2. because he hath streng<strong>the</strong>ned <strong>the</strong><br />

tarum tuarum: 3. benedixit filiis bolts <strong>of</strong> thy gates: 3. He hath blessed<br />

tuis in te. 4. Alleluia, alleluia. thy children within <strong>the</strong>e. 4. Alleluia,<br />

alleluia.<br />

The phrasing <strong>of</strong> <strong>the</strong> text is both clear and distinct. The first phrase<br />

is an exhortation to Jerusalem to render praise to God, <strong>the</strong> second and<br />

third phrases give <strong>the</strong> reasons for this exhortation, while <strong>the</strong> fourth<br />

phrase comprises a joyous Alleluia. Lauda is not so much a call to an<br />

energetic awakening as to sober reflection: Jerusalem, city <strong>of</strong> peace, reflect<br />

and realize, how according to <strong>the</strong> implication <strong>of</strong> your very name,<br />

you have every reason to praise your God. God has so streng<strong>the</strong>ned <strong>the</strong><br />

bolts <strong>of</strong> your gates that enemies shall storm against <strong>the</strong>m in vain. He has<br />

given you a powerful protector in St. Joseph. The melody over <strong>the</strong><br />

accented syllable <strong>of</strong> confortavit is invigorating and triumphant. The<br />

musical turn c be ac ga a immediately preceding and introducing this<br />

word is very charming. St. Joseph not only protects <strong>the</strong> Church from external<br />

enemies, but mediates for her inner life and well-being (in te) rich<br />

graces and blessings from which all her children may draw. The veins<br />

through which <strong>the</strong>se graces and blessings flow to <strong>the</strong> individual are <strong>the</strong><br />

Sacraments <strong>of</strong> <strong>the</strong> Church. The melody now becomes more quiet, more<br />

simple, one might say more intimate. The second part <strong>of</strong> each <strong>of</strong> <strong>the</strong>se<br />

phrases shows various similarities:<br />

gc<br />

D6abcasegcfi-<br />

agmiag<br />

ras<br />

ag<br />

li-<br />

9f<br />

num<br />

9<br />

por-<br />

9<br />

is<br />

gag<br />

9fag<br />

td-<br />

9fag<br />

tu-<br />

g<br />

rum<br />

9<br />

is.<br />

The first Alleluia is an earnest, almost timid cry <strong>of</strong> joy, following<br />

which <strong>the</strong> melody develops brilliantly and joyfully. The pressus, which<br />

are each preceded by four-note groups, form <strong>the</strong> points <strong>of</strong> support for<br />

<strong>the</strong> rich melisma. These four-note groups invariably set in a third higher<br />

than <strong>the</strong>ir preceding note. There is also a group over -ia similar to <strong>the</strong><br />

one at <strong>the</strong> close <strong>of</strong> <strong>the</strong> first phrase.<br />

COMMUNION (Matt. 1: 16)<br />

1. Jacob autem genuit Joseph, 1. Now Jacob begat Joseph, <strong>the</strong><br />

virum Mariae, 2. de qua natus est husband <strong>of</strong> Mary, 3. <strong>of</strong> whom was

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