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Chants of the Vatican Graduale - MusicaSacra

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The Most Holy Rosary <strong>of</strong> <strong>the</strong> Blessed Virgin Mary 455<br />

is "all hope <strong>of</strong> life and <strong>of</strong> virtue." Whoever imitates her, his soul will<br />

blossom like <strong>the</strong> rose and bear fruit for eternal life.<br />

Musica sacra, 45, 213 ff.<br />

COMMUNION (Ecclus. 39: 19)<br />

1. Florete flores quasi lilium, et 1. Send forth flowers, as <strong>the</strong> lily,<br />

date odorem, et frondete in gratiam: and yield a smell, and bring forth<br />

2. collaudate canticum, et bene- leaves in grace: 2. and praise with<br />

dicite Dominum in operibus suis. canticles, and bless <strong>the</strong> Lord in his<br />

works.<br />

The melody is taken from <strong>the</strong> Communion Confunddntur superbi <strong>of</strong><br />

<strong>the</strong> Mass Loquebar (for a Virgin Martyr); its phrasing, however, is not<br />

entirely happy. In <strong>the</strong> original, <strong>the</strong> first phrase treats <strong>of</strong> <strong>the</strong> godless ones<br />

who should be confounded and closes with <strong>the</strong> melody which we here<br />

have over odorem. Injuste (here lilium) expresses just anger over <strong>the</strong><br />

wrong that has been perpetrated on <strong>the</strong> saint by her persecutors. Out<br />

<strong>of</strong> this dark and somber background rises <strong>the</strong> beautiful figure <strong>of</strong> a Virgin<br />

and Martyr with <strong>the</strong> words Ego autem (here et frondete). In <strong>the</strong> ancient<br />

manuscripts <strong>the</strong> melody is assigned to <strong>the</strong> feast <strong>of</strong> St. Cecilia. The<br />

saint rises above all that is earthly, takes as it were her flight to heaven,<br />

and pledges immutable fidelity to <strong>the</strong> Lord's commandments. This<br />

magnificent line is interrupted on <strong>the</strong> feast <strong>of</strong> <strong>the</strong> Holy Rosary by a<br />

large pause after gratiam. The motive in <strong>the</strong> original stands over in<br />

manddtis but here begins a second phrase over collaudate. This, as <strong>the</strong><br />

Gregoriusblatt (44, 65) remarks, is obviously a mistake. Abstracting from<br />

this, <strong>the</strong> Offertory with its new text can be made extremely effective.<br />

The clivis and torculus over <strong>the</strong> closing syllables <strong>of</strong> lilium, gratiam, and<br />

Dominum are as pleasing as flower-buds, while collaudate is expressive<br />

<strong>of</strong> true joy.<br />

By "flowers" (flores) we are, no doubt, to understand <strong>the</strong> mysteries<br />

<strong>of</strong> <strong>the</strong> Lord and His blessed Mo<strong>the</strong>r. In quiet meditation <strong>the</strong>y will<br />

blossom forth, vivifying and invigorating our hearts. They will encourage<br />

us to praise <strong>the</strong> Lord, to glorify His works, and all that "<strong>the</strong> onlybegotten<br />

Son by His life, death, and resurrection hath purchased for<br />

us" (cf. <strong>the</strong> Collect). They should glorify <strong>the</strong> deeds which <strong>the</strong> Lord has<br />

wrought upon His Mo<strong>the</strong>r, <strong>the</strong> victories <strong>of</strong> Lepanto and Temesvar, <strong>the</strong><br />

marvels <strong>of</strong> grace in every individual soul, and not least, <strong>the</strong> work <strong>of</strong> redemption<br />

which He has renewed today in <strong>the</strong> Sacrifice and in <strong>the</strong> Eucharistic<br />

Banquet—for we are singing a Communion song.<br />

Musica sacra, 45, 237 ff.

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