Deus, qui hodiérna die per Unigénitum tuum æternitátis nobis áditum, devícta morte, reserásti: vota nostra, quæ præveniéndo aspíras, étiam adjuvándo proséquere. Per eúndem Dóminum.
Today is Easter Sunday, Dominica Resurrectionis, and the Mass is Resurrexi et adhuc tecum sum alleluia. At Le Barroux this Mass will be sung, also. The Liturgia page for today is here; the livret for Holy Mass is here. The livret for Stational Vespers is here (at 0800 my time, three quarters of an hour earlier than usual).
Statio ad Sanctam Mariam majorem
At Saint-Eugène, the trope from a 13th century Paris antiphonarium with a polyphonic setting of the Introit by Claudin de Sermisy (1490-1562), preceding the chant itself.
Angelus: Quem quæritis in sepulchro o christicole?
Mulieres: Jesum Nazarenum crucifixum o cœlicole.
Angelus: Non est hic; surréxit sicut prædíxerat. Ite nunciáte, quia surréxit...
At Saint-Eugène, the Mass Ad Majorem Dei Gloriam (1699) of André Campra (1660-1744) was sung, with the Credo of Henry du Mont (1610-1684), from his messe royale sur le Ier ton.
Kyrie, Gloria.
Oratio. Deus, qui hodiérna die per Unigénitum tuum æternitátis nobis áditum, devícta morte, reserásti: vota nostra, quæ præveniéndo aspíras, étiam adjuvándo proséquere. Per eúndem Dóminum.
Léctio Epístolæ beáti Pauli Apóstoli ad Corinthios.
1. Cor. 5, 7-8.
Fatres: Expurgáte vetus ferméntum, ut sitis nova conspérsio, sicut estis ázymi. Etenim Pascha nostrum immolátus est Christus. Itaque epulémur: non in ferménto véteri, neque in ferménto malítiae et nequitiæ: sed in ázymis sinceritátis et veritátis.
At Saint-Eugène, the setting of Ludovico Grossi da Viadana (1564-1627) was sung.
Oratio. Deus, qui hodiérna die per Unigénitum tuum æternitátis nobis áditum, devícta morte, reserásti: vota nostra, quæ præveniéndo aspíras, étiam adjuvándo proséquere. Per eúndem Dóminum.
Léctio Epístolæ beáti Pauli Apóstoli ad Corinthios.
1. Cor. 5, 7-8.
Fatres: Expurgáte vetus ferméntum, ut sitis nova conspérsio, sicut estis ázymi. Etenim Pascha nostrum immolátus est Christus. Itaque epulémur: non in ferménto véteri, neque in ferménto malítiae et nequitiæ: sed in ázymis sinceritátis et veritátis.
At Saint-Eugène, the setting of Ludovico Grossi da Viadana (1564-1627) was sung.
Graduale. Ps. 117, 24 et 1. Hæc dies, quam fecit Dóminus: exsultémus et lætémur in ea. ℣. Confitémini Dómino, quóniam bonus: quóniam in sǽculum misericórdia ejus.
Allelúja, allelúja. ℣. 1. Cor. 5, 7. Pascha nostrum immolátus est Christus.
Sequéntia.
Víctimæ pascháli laudes ímmolent Christiáni.
Agnus rédemit oves: Christus ínnocens Patri reconciliávit peccatóres.
Mors et vita duéllo conflixére mirándo:dux vitæ mórtuus regnat vivus.
Dic nobis, María, quid vidísti in via?
Sepúlcrum Christi vivéntis et glóriam vidi resurgéntis.
Angélicos testes, sudárium et vestes.
Surréxit Christus, spes mea:præcédet vos in Galilǽam.
Scimus Christum surrexísse a mórtuis vere:tu nobis, victor Rex, miserére.
Amen. Allelúja.
✠ Sequéntia sancti Evangélii secúndum Marcum.
Marc. 16, 1-7.
In illo témpore: María Magdaléne et María Jacóbi et Salóme emérunt arómata, ut venientes úngerent Jesum. Et valde mane una sabbatórum, veniunt ad monuméntum, orto jam sole. Et dicébant ad ínvicem: Quis revólvet nobis lápidem ab óstio monuménti? Et respiciéntes vidérunt revolútum lápidem. Erat quippe magnus valde. Et introëúntes in monuméntum vidérunt júvenem sedéntem in dextris, coopértum stola cándida, et obstupuérunt. Qui dicit illis: Nolíte expavéscere: Jesum quǽritis Nazarénum, crucifíxum: surréxit, non est hic, ecce locus, ubi posuérunt eum. Sed ite, dícite discipulis ejus et Petro, quia præcédit vos in Galilǽam: ibi eum vidébitis, sicut dixit vobis.
Credo.
At Saint-Eugène, the petit motet for two voices and instrument Alleluia, Hæc dies, taken from Henry du Mont's Cantica Sacra (1652).
Marc. 16, 1-7.
In illo témpore: María Magdaléne et María Jacóbi et Salóme emérunt arómata, ut venientes úngerent Jesum. Et valde mane una sabbatórum, veniunt ad monuméntum, orto jam sole. Et dicébant ad ínvicem: Quis revólvet nobis lápidem ab óstio monuménti? Et respiciéntes vidérunt revolútum lápidem. Erat quippe magnus valde. Et introëúntes in monuméntum vidérunt júvenem sedéntem in dextris, coopértum stola cándida, et obstupuérunt. Qui dicit illis: Nolíte expavéscere: Jesum quǽritis Nazarénum, crucifíxum: surréxit, non est hic, ecce locus, ubi posuérunt eum. Sed ite, dícite discipulis ejus et Petro, quia præcédit vos in Galilǽam: ibi eum vidébitis, sicut dixit vobis.
Credo.
At Saint-Eugène, the petit motet for two voices and instrument Alleluia, Hæc dies, taken from Henry du Mont's Cantica Sacra (1652).
Offertorium. Ps. 75, 9-10. Terra trémuit, et quiévit, dum resúrgeret in judício Deus, allelúja.
Secreta. Súscipe, quǽsumus, Dómine, preces pópuli tui cum oblatiónibus hostiárum: ut, paschálibus initiáta mystériis, ad æternitátis nobis medélam, te operánte, profíciant. Per Dóminum.
Præfatio Paschalis.
Vere dignum et justum est, æquum et salutáre: Te quidem, Dómine, omni témpore, sed in hac potíssimum die gloriósius prædicáre, cum Pascha nostrum immolátus est Christus. Ipse enim verus est Agnus, qui ábstulit peccáta mundi. Qui mortem nostram moriéndo destrúxit et vitam resurgéndo reparávit. Et ídeo cum Angelis et Archángelis, cum Thronis et Dominatiónibus cumque omni milítia cœléstis exércitus hymnum glóriæ tuæ cánimus, sine fine dicéntes:
Sanctus.
At Saint-Eugène, the Benedictus of André Campra's Mass was sung after the Consecration.
Agnus Dei.
At Saint-Eugène, César Franck's motet Dextera Domini for Easter Day was sung.
Communio. 1. Cor. 5, 7-8. Pascha nostrum immolátus est Christus, allelúja: itaque epulémur in ázymis sinceritátis et veritátis, allelúja, allelúja, allelúja.
Postcommunio. Spíritum nobis, Dómine, tuæ caritátis infúnde: ut, quos sacraméntis paschálibus satiásti, tua fácias pietáte concordes. Per Dóminum... in unitáte ejusdem.
From Neumz today; the author has written about the Introit. About the chant itself:
As for the melody, it is composed in mode IV, which is somewhat atypical due to the scarce presence of the dominant, the La, and a greater predominance of the Fa and Sol. The beginning of this Introit is difficult to describe: far removed from human passions, it is a divine triumph, not a human one. It is a realization, like an ornate recitative that unfolds in an atmosphere of peace, intimacy, gratitude, tenderness, and complete joy that delights in contemplation in the Fa widened by the tristropha.
A resurrection in majesty: the profusion of the tristrophae in this Introit, eight in total, amplifies this solemn stillness, majestic peace. In the next incise, we move to the string of the Sol. The emotion rises discreetly, I am still with you, et adhuc tecum sum. The verb sum seems to be the melodic synthesis of all the above, Mi-Fa-Sol-Fa-Sol. We clearly find a melodic echo of this passage in the penultimate alleluia of the Introit, comparing the melody. This first phrase concludes with a sublime, solemn, very devout alleluia, which, moreover, is identical to the one that will close the piece. After the episematic Sol, we return to the Fa in the tristrophe that makes this praising shine: alleluia, let us praise God. The two torculi that are sung make a similar shape to the praying person’s hands, raising them as a sign of veneration to the Father. Everything is devotion and gratitude.
In the second phrase, the prayerful one sings the same appeased and serene joy. But here, the hand of God is everywhere. Firm and extended in the bivirga of posuisti, the action of the Father is manifested. For the first time, the La appears in a masterful quilismatic movement in the accent of the word; God protects him, imposes his hands on the episematic Sol note and the tristropha in Fa. Christ kneels and is covered with this blessing as foreshadowed by the beautiful melodic turn Re-Mi-Fa-Sol-Fa to which the quilisma confers a special color. Your hand, Father, is the one that lifts me up. We sing with Christ. A hand that is still extended in the tristropha of manum, which lifts us from the Re to the Fa in a quilismatic movement identical to that of super and we, with total gratitude, bow reverently before Him in the pes subbipunctis of tuam. This second phrase concludes with an alleluia similar to the first, but this time, full of reverential devotion filled by the gratitude of receiving that imposition of hands: a bow on the episematic Re note, on the last syllable, accompanied by a majestic bow Fa-Fa-Re-Fa.
What a splendid movement in the last phrase! We join Christ and chant with admiration and full of love and fervor to the Creator: How marvellous are your works! The melody rises majestically from the low Do to the Fa, the sonorous intervals of mode VIII, called perfectus, which take on something profound in the low register, like a fullness of joy. And it blossoms and grows in the tristrophe until it reaches the Sol to return suddenly in an umpteenth bow to Re and then to Do, where it momentarily prostrates itself. After this, the action of God appears again; the La in this piece in the accent of scientia and in tua, the possessive that accompanies it: How admirable are your works, everything is done by divine Wisdom, Father! The admiration that fills Christ, and us with Him, in contemplating the wisdom of the Father in the work of Redemption seems to expand: the quilismatic movement from the Mi to the Sol, the torculus that overpasses the Sol and touches the La, the tristropha that amplifies this admiration and the porrectus flexus as a colophon.
This Introit ends with two alleluias that take up all the above. The first, around the Sol, prolongs the emotion of the admiration that has just been sung and is an echo, as we have already said, of et adhuc tecum sum. It is worth noting in the notation of St. Gallus the leniter, with gentleness, to be sung with devotion and recollection. The second and last alleluia is identical to the one that closes the first phrase, going from the Sol to the Fa, the musical degree around which it is built. This alleluia masterfully concludes this entrance chant with the same atmosphere of veneration, gratitude, and great peace in divine contemplation.
✠ ✠ ✠
Concéde, miséricors Deus, fragilitáti nostræ præsídium; ut, qui sanctæ Dei Genitrícis memóriam ágimus; intercessiónis ejus auxílio, a nostris iniquitátibus resurgámus. Per Christum Dóminum nóstrum.
Deus, a quo sancta desidéria, recta consília, et justa sunt ópera: da servis tuis illam, quam mundus dare non potest, pacem; ut et corda nostra mandátis tuis dédita, et hóstium subláta formídine, témpora sint tua protectióne tranquílla. Per Dóminum.
Deus, qui caritátis dona per grátiam Sancti Spíritus tuórum fidélium córdibus infudísti: da fámulis et famulábus tuis, pro quibus tuam deprecámur cleméntiam, salútem mentis et córporis; ut te tota virtúte díligant, et quæ tibi plácita sunt, tota dilectióne perfíciant. Per Dóminum.
Laus Deo Virginique Matri
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