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Chants of the Vatican Graduale - MusicaSacra

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52 Christmas Day—Third Mass<br />

Now <strong>the</strong> melody comes exultingly: Cantdte Domino cdnticum novum—"Sing<br />

ye to <strong>the</strong> Lord a new canticle: for He hath done wonderful<br />

things." The wonder <strong>of</strong> wonders, <strong>the</strong> divine Child in <strong>the</strong> manger, prompts<br />

this rejoicing. Each year He returns to us with renewed love, spins a web<br />

<strong>of</strong> glad magic about our heart, and blesses us with new graces.<br />

Some have thought that <strong>the</strong> numerous tristrophas in this antiphon<br />

were intended to restrain <strong>the</strong> singer from a too violent show <strong>of</strong> joy. Be<br />

that as it may, <strong>the</strong>se tristrophas should not sound heavy or unwieldy.<br />

The piece as a whole ought to be bright and lively. Not without reason<br />

are we using <strong>the</strong> seventh mode (cf. <strong>the</strong> Introit for <strong>the</strong> second Sunday <strong>of</strong><br />

Advent and for <strong>the</strong> feast <strong>of</strong> <strong>the</strong> Ascension), which here never descends<br />

below <strong>the</strong> tonic, but ever strives upward, although <strong>the</strong> proper dominant<br />

<strong>of</strong> <strong>the</strong> seventh mode is prominent only in <strong>the</strong> first phrase. The accented<br />

syllables in most instances have a higher pitch than <strong>the</strong> syllable immediately<br />

following, frequently also higher than <strong>the</strong> preceding syllable.<br />

K.K., 23, 134 ff.; Choralblatter, No. 2; N. Sch., 256; Revue, 8, 71<br />

ff.; Analyses, III, 14 ff.; Wagner, III, 511.<br />

GRADUAL (Ps. 97: 3, 2)<br />

1. Viderunt omnes fines terrae 1. All <strong>the</strong> ends <strong>of</strong> <strong>the</strong> earth have<br />

salutare Dei nostri: 2. jubilate Deo seen <strong>the</strong> salvation <strong>of</strong> our God: 2. sing<br />

omnis terra, f 1. Notum fecit Do- joyfully to God all <strong>the</strong> earth, t 1.<br />

minus salutare suum: 2. ante con- The Lord hath made known his salspectum<br />

gentium revelavit justitiam vation: 2. he hath revealed his jussuam.<br />

tice in <strong>the</strong> sight <strong>of</strong> <strong>the</strong> gentiles.<br />

As in <strong>the</strong> Introit, so here again childlike naivete and l<strong>of</strong>ty grandeur<br />

combine to form a liturgical Christmas song, except that here, in accordance<br />

with <strong>the</strong> style <strong>of</strong> a Gradual-responsory, <strong>the</strong> sublime predominates<br />

in <strong>the</strong> melodic line as well as in <strong>the</strong> richness <strong>of</strong> <strong>the</strong> melody. The grand<br />

beginning with Viderunt omnes already hints at this. Here <strong>the</strong> customary<br />

limits assigned to Graduals <strong>of</strong> <strong>the</strong> fifth mode are broken. The Saviour<br />

<strong>of</strong> <strong>the</strong> world has appeared! Effaced are <strong>the</strong> national boundaries<br />

which separated Jew and Greek and Roman; <strong>the</strong>re comes forth <strong>the</strong> Catholic<br />

Church, <strong>the</strong> earth-encircling Church, which mediates <strong>the</strong> salvation<br />

<strong>of</strong> God to all <strong>the</strong> world, and thus bestows a happiness upon <strong>the</strong> nations<br />

which makes <strong>the</strong>m shout aloud for very joy. Originally this Mass was<br />

celebrated at <strong>the</strong> world-church, St. Peter's. Viderunt omnes has an echo<br />

in omnis at <strong>the</strong> end <strong>of</strong> <strong>the</strong> corpus <strong>of</strong> <strong>the</strong> Gradual. Extremely naive is <strong>the</strong><br />

motive cb c a which runs through <strong>the</strong> corpus: (ter)-rae, (salutd)-re, (no)stri.<br />

The form over terra again recalls <strong>the</strong> popular In dulci jubilo. The<br />

frequent occurrence <strong>of</strong> <strong>the</strong> tone-sequence fac and its inversion insistent-

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