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Chants of the Vatican Gradual, by Dom Johner - Church Music ...

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Third Sunday <strong>of</strong> Advent 33<br />

A mere glance at <strong>the</strong> melodic construction tells us that we are here<br />

treating <strong>of</strong> something out <strong>of</strong> <strong>the</strong> ordinary. If we first carefully recite <strong>the</strong><br />

text alone and <strong>the</strong>n sing <strong>the</strong> melody with it, we shall discover that <strong>the</strong><br />

melody is not only a fine garment for <strong>the</strong> text, but that <strong>the</strong> text and<br />

melody form one whole, an entity as closely united as our intellect and<br />

will and feeling.<br />

The song begins quitely, but soon with jubilant upward flight it<br />

strives to banish from <strong>the</strong> soul all fear and solicitude, tries to lift it above<br />

all things mundane and carry it up to that new world in which <strong>the</strong> angels<br />

sing a new canticle <strong>of</strong> peace and redemption. On Christmas night we shall<br />

hear <strong>the</strong>m saying to <strong>the</strong> shepherds: Nolite timere—"Fear not; for behold,<br />

I bring you good tidings <strong>of</strong> great joy. . .This day is born to you a<br />

Saviour" (salvdbit). Hence this Communion, in a way, introduces <strong>the</strong><br />

feast <strong>of</strong> Christmas, just as in Matins for Gaudete Sunday <strong>the</strong> Invitatory<br />

ran: Prope est jam D&minus—"Already <strong>the</strong> Lord is nigh." With all<br />

its jubilation, however, <strong>the</strong> melody follows a definite plan: confortdmini,<br />

resting on <strong>the</strong> dominant <strong>of</strong> <strong>the</strong> mode, divides <strong>the</strong> first phrase into two<br />

halves. Timere repeats <strong>the</strong> motive <strong>of</strong> nolite, and <strong>the</strong>n closes a third lower,<br />

paralleling <strong>the</strong> final neums <strong>of</strong> (confortdmi)-ni. These are formulas expressive<br />

<strong>of</strong> calm, but at <strong>the</strong> same time <strong>the</strong>y advance <strong>the</strong> melodic thought.<br />

Now comes <strong>the</strong> joyful news: ecce, solemn and resolute, as one antiphon<br />

has it: veniens veniet—"He will surely come." Here <strong>the</strong> melody in a way<br />

makes a conclusion on <strong>the</strong> tonic; but it adds ano<strong>the</strong>r very significant<br />

thought, and introduces it with a major second below <strong>the</strong> tonic and <strong>the</strong><br />

F-major chord built on that note: "Behold, this God will be your Saviour."<br />

What a magnificent ring <strong>the</strong> song must have had in <strong>the</strong> ancient<br />

basilicas, when <strong>the</strong> faithful, accompanied <strong>by</strong> this stirring melody, went<br />

up to <strong>the</strong> altar to receive <strong>the</strong> Holy Euchraist! Into him who approached,<br />

it instilled courage, for it said: nolite timere. And to him who was returning<br />

from <strong>the</strong> altar it whispered: ecce Deus noster: He has come to you to<br />

free you from everything that hampers you, to heal you <strong>of</strong> every weakness,<br />

to make you cheerful and brave in your work, in your sufferings,<br />

in your vocation. For how many, likewise, was Holy Communion <strong>the</strong><br />

source <strong>of</strong> supernatural strength (confortdmini), <strong>the</strong> Viaticum for martyrdom!<br />

The song begins with dicite: a command to us singers. We are <strong>the</strong><br />

privileged ones to bring this joyous message into <strong>the</strong> hearts <strong>of</strong> <strong>the</strong> faithful.<br />

Those who are bowed down, who scarcely dare to keep on hoping,<br />

those we can now console: Behold, God wishes to be also your Saviour;<br />

in your soul, too, <strong>the</strong>re should be a Christmas.

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