Chants of the Vatican Graduale - MusicaSacra

The Epiphany of Our Lord Jesus Christ 83
The melody was explained in the third Mass of Christmas.
Following the division there given, it will suffice to add these few
indications:
1. Vidimus = 3. et venimus
1. stellam ejus = S. cum muneribus
2. in Oriente (4.) adordre Dominum.
OFFERTORY (Ps. 71: 10, 11)
1. Reges Thar sis et insulae mun- 1. The kings of Thar sis and the
era offerent: 2. reges Arabum et isles shall offer gifts: 2. the kings of
Saba dona adducent: 3. et adora- the Arabians and of Saba shall
bunt eum omnes reges terrae, 4. bring presents: 3. and all the kings
omnes gentes servient ei. of the earth shall adore him, 4. all
nations shall serve him.
In our mind's eye we see an almost interminable procession of those
bringing their presents. The Magi from the East have found and still
find numerous emulators. These are souls who do not fall short of the
"kings" in readiness and joy of sacrifice, in their royal disposition; souls
who offer everything they have and are as a sacrifice to Christ, who are
a living holocaust, who constitute a perpetual act of adoration. Their
sacrifice unites itself with the Eucharistic Sacrifice like the drop of water
which the priest mixes with the wine in the chalice at the Offertory.
Then comes the Consecration. In Holy Communion Christ Himself becomes
their sacrificial food, their wedding banquet. For in these gifts,
as the Secret prays, "are offered now no longer gold, frankincense, and
myrrh, but He whom those mystic offerings signified is immolated and
received: Jesus Christ..."
This Offertory has two parts consisting of two phrases each, which
represent a grammatical parallelism. The first part speaks of the sacrificial
action which kings of particular countries perform, the second of
that of all kings and of all nations. The first refers rather to the external
act, while the second refers to its spirit, the act of adoration.
In the first part both phrases have the same range (f-e) and a similar
ending. Offerent develops itself over adducent. In the second part,
also, the two phrases have the same range (f-d) and a similar ending:
the one time on g, preceded by b, the other time on /, preceded by bV
Munera offerent shows a simliar relationship. The tense ebb abb a finds
a pleasant reselution in the subsequent a gg f g g f. It must be said
that this passage, setting in on the low fifth, with its ascending fourth
and the delicate arrangement which follows, is one of the most beautiful
of plain songs. It compels the attention of the hearer. The kings