Chants of the Vatican Graduale - MusicaSacra

416 St. Anne, Mother of the Blessed Virgin Mary
The Alleluia employs the typical melody of the eighth mode (cf.
the first Sunday of Advent). The intonation of the second phrase is followed
by a lengthy recitation on the dominant c.
The Communion begins like a Gradual of the fifth mode. We might
compare it with the beginning of the Communion of the fourth Sunday
after Pentecost. The word propterea here, as well as in the Gradual, receives
special prominence. The close over aeternum resembles passages
in the sixth mode, well known especially from the Introit Requiem. Its
final member rhymes with tuis.
Grace and harmony are poured abroad also in the melody.
OFFERTORY (Ps. 44: 10)
1. Filiae regum in honore tuo: 1. The daughters of kings in thy
2. astitit regina a dextris tuis in glory: 2. the queen stood on thy right
vestitu deaurato, 3. circumdata in gilded clothing, 3. surrounded
varietate. with variety.
The faithful bear their offering to the altar at least spiritually.
Among these there is many a royal soul that joyfully offers and dedicates
itself to the heavenly King. But at the altar Christ has a still more
stately escort of honor. For, previous to the consecration, the prayers
of the Canon mention the names of holy men, to which the names of
holy virgins and women ennobled by their martyrdom are added after
the consecration. In the first place (In primis), however, is mentioned
the name of "the glorious and ever-virgin Mary, Mother of our Lord
and God Jesus Christ" (Canon of the Mass). The Offertory describes
her as the queen "in gilded clothing, surrounded with variety." Glittering
gold symbolizes that purest love glowing in her heart, while the graces
and privileges she received from God and the virtues she nurtured,
clothe her with charming variety. This queen is the child of St. Anne,
and all the honor which is bestowed on the child accrues to the honor
of the happy mother. She shows herself today a royal daughter, and
heaven and earth pay her homage.
In the first phrase both torculus should be discreetly emphasized,
and after the second, the clives; bistropha and porrectus are then sung.
In this manner the oft-repeated d in the torculus receives its proper
value. Similar, but a step higher, is the development over tuo. The climacus
with its e here indicates the climax: "The daughters of kings in
thy glory." The vibrant bistropha of the second phrase call attention to
the appearance of the queen. Here b, which so far had been avoided,
occurs for the first time; it recurs over varietate. Quiet, solemn groups of
two notes are sung, followed by a somewhat more rapid rendition of a