10 April 2016, 3rd Sunday of Easter (Year C)
Introit: Jubilate Deo,
Offertory: Salve festa dies, PBC, p. 159,
Communion (Year C): Simon Ioannis,
Recessional: I know that my Redeemer lives, p. 355,
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 C) The Communion antiphon has three phrases:
1. Simon Joannis diligis me plus his?
2. Domine tu omnia nosti
3. Tu scis Domine quia amo te alleluia
This is a rather typical Mode 6 melody. Compare its patterns to the Communion Beatam me dicent on the feast of the Assumption. The three phrases are clearly demarcated by changes in the melodic structure, though closely tracking the inflections of the text of the dialogue between Jesus and Peter. The speech of Jesus is grounded firmly in the tonic f, as befits the unwavering strength of the Risen Lord. Peter’s speech is at first rising then lowering as he is at first put off by the question, and then seeks to share in the grounding of his Lord. The high points are on tu/Tu, (= Domine) and then a secondary high point on a-(mo). Peter then comes to a rest on tonic himself in the final words, (a)-mo te. Our love for the Lord must be for us, too, the source of our grounding and the only solid foundation for our identity.