19 April 2015, 3rd Sunday of Easter (Year B)
Introit: Jubilate Deo, begin on G (as sol)
Offertory: Salve festa dies, PBC, p. 159, begin on F (as mi)
Communion (Year B): Cantate Domino, begin on E (as la)
Recessional: I know that my Redeemer lives, p. 355, begin on D
Dismissal from Mass I, as in Paschaltide apart from the Octave and Pentecost, PBC, p. 48.
Mass I (Lux et origo) PBC, p. 46ff. Credo III, PBC, p. 77ff.
There are four phrases in the Introit antiphon:
1. Jubilate Deo omnis terra, alleluia:
2. psalmum dicite nomini ejus, alleluia:
3. date gloriam laudi ejus
4. alleluia, alleluia, alleluia.
A twofold division is made by the melody. The first part is subdivided by the imperatives, Jubilate, dicite, and date. Each of these words in its own way strives upward to c, and each has its last syllable on f , the lowest note of this first part. The first and third phrases close on the tonic; the close of the second on a is a pleasing variation, the first part of whose alleluia repeats the motif of psalmum. This alleluia may also be found in Introits of the third mode, such as that of Wednesday after Pentecost. We may consider the motif over dicite as a model for the extension over nomini ejus and gloriam laudi ejus. The threefold alleluia constituting the second part is in effect another imperative: the word means 'Praise the Lord!' But the melodic line differs from the imperatives above. First it descends to d, then to c, and finally soars upward with impelling force to c. Although the melody has a rather limited range (the first part confines itself to a fifth), it still impresses. With its numerous fourths, it work to propel us into that atmosphere of joy with which it is itself filled. And omnis terra is stressed vigorously, for all the earth is to join in this jubilation, starting with us and spreading to all we meet.
(Year B) There are three phrases in the Communion antiphon:
1. Cantate Domino, alleluia:
2. cantate Domino, et benedicite nomen ejus:
3. bene nuntiate de die in diem salutare ejus, alleluia, alleluia.
All the chants today exhort us to sing, to exult, to offer thanks. This Communion reflects somewhat the melody of the Introit. The crescendo which one naturally expects in the repetition of the cry Cantate is done with a broadening of volume and range. We find Domino again in the Communion for the feast of the Ascension, nomen in the same chant at the close of the second alleluia, and again at the end of the annuntiate. The composer did especially good work with the florid melody of Bene nuntiate, which begins a fifth higher than the close of the preceding phrase. In annotated manuscripts each clivis is marked broadly. Diem reminds us of nuntiate. With its tritone the melody here seems to enter a kind of twilight; but this vanishes immediately, dispelled by the bright alleluia, a fifth higher. The alleluia are not like those usually found in Communions, but rather in Introits.