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Chants of the Vatican Graduale - MusicaSacra

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420 St. Lawrence, Deacon and Martyr<br />

ciples could hardly expect that <strong>the</strong> publication <strong>of</strong> such a miraculous<br />

event would obtain credence; without doubt <strong>the</strong>y would be sc<strong>of</strong>fed at as<br />

visionaries and dreamers. Our Lord could not permit <strong>the</strong> manifestation<br />

<strong>of</strong> His holiness to become a subject <strong>of</strong> ridicule. After He had risen from<br />

<strong>the</strong> dead, however, and had thus proved Himself to be <strong>the</strong> Son <strong>of</strong> God,<br />

<strong>the</strong>n <strong>the</strong> knowledge <strong>of</strong> His transfiguration would no longer cause surprise.<br />

The fact that He had predicted not only His death but also His<br />

glorious resurrection would <strong>the</strong>n serve to confirm and corroborate His<br />

divine dignity (J. B. Hirscher, Betrachtungen ueber die sonntaeglichen<br />

Evangelien, p. 170.).<br />

The event on Mount Tabor, however, was only a type <strong>of</strong> <strong>the</strong> beauty<br />

which <strong>the</strong> transfigured Saviour displayed on Easter morning, which<br />

henceforth needs to be kept secret no longer. Easter morn has come,<br />

and today we make public <strong>the</strong> experience <strong>of</strong> our Lord on Tabor. Holy<br />

Comunion, which gives us a foretaste <strong>of</strong> <strong>the</strong> happiness <strong>of</strong> Tabor, is <strong>the</strong><br />

seed <strong>of</strong> our own transfiguration and <strong>the</strong> pledge <strong>of</strong> our glorious resurrection<br />

at <strong>the</strong> end <strong>of</strong> time.<br />

The melody is practically syllabic throughout and duplicates <strong>the</strong><br />

Magnificat antiphon <strong>of</strong> <strong>the</strong> first and second Vespers for <strong>the</strong> second Sunday<br />

<strong>of</strong> Lent. The only difference lies in <strong>the</strong> pes over (h6)-mi-(nis); <strong>the</strong><br />

antiphon in a somewhat monotonous manner signs all three syllables <strong>of</strong><br />

<strong>the</strong> word on <strong>the</strong> tonic d.<br />

ST. LAWRENCE, DEACON AND MARTYR<br />

(August 10)<br />

All <strong>of</strong> today's chants, with <strong>the</strong> exception <strong>of</strong> <strong>the</strong> Alleluia, are found<br />

in <strong>the</strong> oldest manuscripts.<br />

INTROIT (Ps. 95:6)<br />

1. Confessio et pulchritudo in 1. Praise and beauty are before<br />

conspectu eius: 2. sanctitas et mag- him: 2. holiness and majesty in<br />

nificentia in sanctificatione eius. His sanctuary. Ps. Sing ye to <strong>the</strong><br />

Ps. Cantate Domino canticum no- Lord a new canticle: * sing to <strong>the</strong><br />

vum: * cantate Domino omnis terra. Lord, all <strong>the</strong> earth.<br />

Sung in <strong>the</strong> vast and beautiful basilica which houses <strong>the</strong> tomb <strong>of</strong><br />

St. Lawrence, this chant undoubtedly creates a lasting impression. As a<br />

matter <strong>of</strong> fact, <strong>the</strong> above text may quite possibly have been chosen with<br />

special reference to this beautiful structure, which was designated a

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