Chants of the Vatican Graduale - MusicaSacra

410 Visitation of the Blessed Virgin Mary
Mother of God. Would that our chant were likewise inspired by the
Holy Ghost, so that it might be rendered in a manner worthy of her
high dignity. The gradual intensification of the melody, especially through
the pressus a c d, should be brought out in the rendition. Over (alle)lu-(ia)
two-note groups (ac ac) should be sung before the pressus. The
c which is merely sounded here, receives a compensation in the first
member of the jubilus, where it is especially accented and extended.
The appended climacus should be given prominence; the following
neums will then form the thesis. The pressus d with its energetic fifth
then comes to the fore; this is followed, in turn, by a relaxing thesis.
The third member is also introduced by means of a pressus. The ensuing
joyful passage should not be forced. After the two groups of two over
(sa)-cra, e d c should be rendered in a full and satisfying manner. The
second phrase has practically the same melody as alleluia with its jubilus.
The third phrase, over against the ascending movement of the
two previous phrases, takes a pleasant turn downward. After all, how
mysterious is the birth of the eternal Sun from the "holy Virgin Mary."
The first four notes over ortus should be taken as a preparation for the
two following groups: gacag and efgfe. The intonation of a fifth over
sol gives the word merited prominence.
The melody can be traced to the eleventh century.
OFFERTORY
1. Beata es, Virgo Maria, quae 1. Blessed art thou, O Virgin
omnium portasti Creator em: 2. Mary, who didst bear the Creator of
genuisti qui te fecit, 3. et in aeter- all: 2. Thou didst bring forth him
num permanes Virgo. who made thee, 3. and thou remainest
a Virgin forever.
The Offertory continues with new melodies the salutation of Elizabeth
to the "Mother of God." Mary bore the Creator of the world; she
brought forth Him who had created her. These two thoughts are emphasized
by giving melodic prominence to Creatorem and fecit. Another
thought, however, dominates the spirit of the Offertory as a whole. It
is the inspiring and wondrous beauty of the Virgin Mother, who alone
of all creatures was privileged to combine the dignity of motherhood
with the radiant luster of virginity. Virgin (Virgo) thou art and virgin
thou wilt remain (pirmanes) in eternity. These considerations induce us
to sing her praises in holy wonderment.
The above interpretation we should like to apply to the present
Offertory. The study of original sources, however, shows that this
melody has been borrowed, and is therefore not original. In the old manu-