Chants of the Vatican Graduale - MusicaSacra

428 The Assumption of the Blessed Virgin Mary
emphasized, then the group beginning with a, and finally the double c.
Regarding the application of rhythmic motives in this Gradual, cf.
N. Sch., 240 f.
The beauty of the virtues of Mary are described in a series of pictures
in the Epistle. She is likened to "a cedar, a cypress tree, a palm
tree, a rose plant, an olive tree, a plane tree." She resembles "a sweetsmelling
cinnamon and aromatical balm." Among her many virtues,
the Gradual calls especial attention to the following three: her truth—
she is the realization of the divine dispensation of God; her meekness—
she is the clement, pious, and sweet Virgin; her justice —she is the mirror
of divine justice. And therefore now, with a choir of angels as an escort,
she is assumed into heaven in a miraculous manner.
In the verse the angels call out to her: Audi, filia—"Hearken, O
daughter." During her earthly life there were hard and bitter words
which cut deep into the innocent soul of the Blessed Mother; every word
that grieved her divine Son wounded her heart likewise. Many were the
heart-rending sights she had to experience: the abject poverty of the
stable at Bethlehem, her Son dying on the cross and finally dead in her
arms. But the bleak winter of this life has passed—and all suffering is
ended; a perpetual balmy spring has come. Now she hearkens to heavenly
hymns, contemplates the heavenly bliss, and receives the heavenly
crown to adorn her head. The King greatly desires her beauty. All the
beauty and sublimity of her soul is now displayed in heaven, and the
Almighty has bestowed upon her body the brilliance of His own transfiguration.
ALLELUIA VERSE
1. Assumpta est Maria in caelum: 1. Mary is assumed into heaven:
2. gaudet exerdtus Angelorum. 2. the angel hosts rejoice.
Following as it does an artistic Gradual, the Alleluia, although rich
in neums, might pass as a popular hymn. It soon becomes a favorite
with singers, especially youthful singers. A song of bright jubilation
emulating that of the angels, it sounds modern in its major tonality and
close on c. It is nevertheless one of the oldest chant melodies we have.
Originally it was sung to the text Te gloriosus Apostolorum chorus (cf. the
Alleluia on the feast of St. Bartholomew, Apostle, and St. Matthew,
Evangelist), and was finally adapted for use on the Dedication of a
Church during Paschal time. Its adaptation to the text on the feast of
the Assumption is so happy that we might judge it to be an original
composition.