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Chants of the Vatican Graduale - MusicaSacra

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418 The Transfiguration <strong>of</strong> Our Lord Jesus Christ<br />

solations. But <strong>the</strong>y should serve to show <strong>the</strong> more clearly that our lasting<br />

home is not on this earth; <strong>the</strong>y should enkindle in us a yearning and<br />

desire for an eternal transfiguration in heaven, <strong>the</strong> true home <strong>of</strong> our<br />

soul. To be sure, in order to attain this we must walk <strong>the</strong> same path<br />

that Christ has walked: suffer, and so enter into glory.<br />

The shaking and trembling <strong>of</strong> <strong>the</strong> earth mentioned in <strong>the</strong> second<br />

verse <strong>of</strong> <strong>the</strong> antiphon should induce us to look beyond Tabor to <strong>the</strong> end<br />

<strong>of</strong> time when Christ will come again in great power and glory. At that<br />

moment not only Moses and Elias and <strong>the</strong> three Apostles, but all mankind<br />

just risen from <strong>the</strong> grave, will see Him in His glory and <strong>of</strong>fer Him<br />

homage. The ardent longing <strong>of</strong> all <strong>the</strong> just is centered on that great day<br />

when "<strong>the</strong> body <strong>of</strong> our lowness will be made like to <strong>the</strong> body <strong>of</strong> His<br />

glory" (Philipp. 3, 21), on that transfiguration at <strong>the</strong>ir entrance into<br />

<strong>the</strong> courts <strong>of</strong> heaven.<br />

The Introit for <strong>the</strong> feast <strong>of</strong> St. Lawrence seems to have served as a<br />

model for this Introit; compare for instance Illuxerunt and Confessio,<br />

corrusca-(Hones) and pulchritudo, (corrusca)-tiones tuae and conspectu<br />

eius, contremuit terra and (sanctificati)-one eius. In <strong>the</strong> original melody<br />

<strong>the</strong> first phrase closes by tarrying quietly on <strong>the</strong> dominant, while here<br />

it is supplemented with <strong>the</strong> words orbi terrae, whose melody is evidently<br />

modeled on that over terra. These two words must be sung somewhat<br />

more broadly. The melody over commota est is energetic and forceful.<br />

GRADUAL<br />

Text and melody were explained on <strong>the</strong> Sunday within <strong>the</strong> octave<br />

<strong>of</strong> Christmas. We can scarcely picture to ourselves <strong>the</strong> Christ Child in<br />

<strong>the</strong> manger without giving thought also to <strong>the</strong> transfigured glory <strong>of</strong> His<br />

divinity. On Christmas we consider above all else His human charm<br />

and entrancing beauty. Today, however, we contemplate <strong>the</strong> divine<br />

element which transfigures <strong>the</strong> Son <strong>of</strong> Man. Never before did a human<br />

form radiate such supernatural beauty as did Christ's on Tabor. He<br />

who would sing praises <strong>of</strong> this King <strong>of</strong> glory must needs do so with <strong>the</strong><br />

feelings <strong>of</strong> deepest emotion and reverential enthusiasm.<br />

ALLELUIA VERSE (Wisd. 7: 26)<br />

1. Candor est lucis aeternae, 2. 1. He is <strong>the</strong> brightness <strong>of</strong> eternal<br />

speculum sine macula, 3. et imago light, 2. <strong>the</strong> unspotted mirror, 3. and<br />

bonitatis illius. <strong>the</strong> image <strong>of</strong> his goodness.<br />

The shining countenance and <strong>the</strong> transfigured appearance <strong>of</strong> Jesus<br />

on Tabor were irradiations <strong>of</strong> <strong>the</strong> divinity which dwelt in Him. This<br />

divinity, in turn, was naught but <strong>the</strong> reflected splendor <strong>of</strong> <strong>the</strong> eternal

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