Chants of the Vatican Graduale - MusicaSacra

28 Third Sunday of Advent
one views it in conjunction with the melody which proceeds from its
inmost spirit. The praying and singing of plainsong, and therefore of
the liturgy in general, express more shades of meaning and a richer
gradation of feeling than is generally recognized. Advent and Christmas
joy, for instance, differ greatly from the exultation of Easter time.
There, indeed, one may speak of full-voiced rejoicing. The Introit Laetdre,
with its extended intervals, already acclaims the victorious King
who soon will enter in the fullness of His strength. But the Introit Gaudete
with its initial seconds and minor thirds has in mind the beautiful
Babe of Bethlehem who "is near at hand," who out of pure love for us
appeared in utter poverty and took on the weakness of an infant, though
He is infinitely rich and mighty. The joy in this song, therefore, sinks
into the heart slowly, sweetly, like gentle dew from heaven. The simplicity
which the second phrase voices is already indicated by the melody
of the first phrase.
The phrase Dominus prope est occupies the central position in the
piece, dominating the whole more by its florid neums than by its pitch.
Since the Lord is nigh, we are exhorted to be: (1) joyous, (2) modest
and friendly, (3) without solicitude, (4) persevering in confiding prayer
—a veritable Advent program; a program, in fact, for the whole of life,
including in itself our relations to God and to our fellowmen, and placing
everything on the golden basis of true joy of heart.
It is surprising that the melody never employs the note 6, which
generally characterizes the Doric mode; the repeated bV tends to make
the melody tender and mild. The first and fourth phrases have almost
the same close, but a different range. A pause on the dominant of the
mode is made by the first three phrases. The first phrase may be taken
as a model of phrase structure in chant: an ascent from the tonic to the
dominant, a halting on the dominant, then a descent to the tonic. Each
of its members moves within a different tetrachord: c—f, /-6b, d-g. The
continuous growth of the melody in the first half of the verse portrays
gradations of feeling: Rejoice; then more: Rejoice in the Lord; then still
more: Rejoice at all times. Here a crescendo is obviously demanded.
What follows is somewhat surprising. Where we would sing iterum dico
quietly, to give that feeling of expectation, and then gaudete very emphatically,
choral by its simple return to the tonic tells us: Let your
Christmas joy be interior, heartfelt!
The ancients called for ascensiones pudicas in the melodic line: a
modest, chaste rising upward. This is satisfied in the second phrase. There
is some resemblance to Domino semper; but here the melody does not
reach high b\? by means of a thrid, but with ascending seconds. The prolongation
of the dominant a over omnibus ho-(mlnibus) and the exten-