Baptism by immersion: Precatus est Moyses
Longtime followers of this ‘blog may have noticed that our schola cantorum at St. Matthew’s has recently begun employing the Gregorian propers at the Introit, Offertory and Communion (from the ad libitum), with positive results, both musical and spiritual.
This Sunday’s Offertory chant provides the choir with a baptism of total immersion. Precatus est Moyses [ gif score ] is arguably the most difficult Offertory chant in the Sunday cycle on account of its length and melismatic flourishes, a few with which the schola is unfamiliar. More than a simple antiphon, it is a sung narrative from Exodus (cf. Exodus 32:11-14).
Precatus est Moyses in conspectu Domini Dei sui, et dixit.
Precatus est Moyses in conspectu Domini Dei sui, et dixit:
Quare, Domine, irasceris in populo tuo?
Parce irae animae tuae:
memento Abraham, Isaac et Iacob,
quibus iurasti dare terram fluentem lac et mel.
Et placatus factus est Dominus de malignitate,
quam dixit facere populo suo.Moses prayed to the Lord his God, and said;
Moses addressed this prayer to the Lord his God, and declared:
“Why, O Lord, is your anger enkindled against your people?
Let the wrath your mind has conceived cease.
Remember Abraham, Isaac and Jacob,
to whom you swore to give a land flowing with milk and honey.”
And the Lord was dissuaded from accomplishing the evil
which he had threatened to inflict upon his people.(Translation: Gregorian Missal for Sundays)
Two versions are available online in radically different tempi and instrumentation:
- cantemusdomino.net (56kbps MP3, 2:26, 999 KB. A capella.)
- christusrex.org (128kbps MP3, 4:05, 3834 KB. With organ.)
Particularly noteworthy is the text-painting of Moses’ words at “Memento Abraham…”
There is a certain quality to the proper chants that may be likened to glossolalia. There is very little music that approaches it in this regard. In the learning stages, there is always a concern that the difficulty of the music will detract from the Scripture that it illuminates. But once that hurdle is cleared, singers can effectively convey the uniquely charismatic quality of the chant, and active listeners will be able to grasp it.
Will the choir be able to pray this text this week? Who knows. But that they are attempting to pray it (and having reasonable success) is encouragement enough.
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Right on comments regarding the tone painting, Aristotle! That groovy episema on memento gives the addressee actually a “moment to think”…Also, the names Isaac and Iacob: Issac with that little step progression, which reminds me of the journey into the wilderness to the altar of sacrifice. Then, On Iacob, another giant interval, but descending — the ladder from heaven. Not only is God asked to remember, but the music also makes US remember why God should remember them. Similar tone painting occurs on irasceris, as well…of course there is a neat quilisma there…growing wrath.
….not to mention the identical melodic treatment of “Dominus” and “dixit,” for emphasis…
and the “wailing” higher notes at the beginning of the plea for remembrance
and the emphasis on “et” in ‘milk AND honey.’
as to your question of will the choir be able to pray … i came to understand during my time in the choir in france that st augustin is right : qui bene cantat, bis orat. (he who sings well, prays twice.) and the mere act and art of singing IS a prayer, even when we are not aware we are praying. not all prayer is contemplative.
i hope the offertory went well. my congratulations on tackling it. ![]()
Did you ever consider having it sung by a solo-ist ? Noteworthy results, especially with two alterning soloists !
We’ll be doing this as an instrumental in our Parish this Sunday (Our community is still offended by “backwards latin chants”). So, we have clarinet and guitar for it, with a more avant garde chord accompaniment than the antique modal style usually heard. It allows me to turn a D into an Aug 4th, Major 3rd, or Minor 7th, whatever it needs to be in order to amplify the underlying prayer, much the same way stage lighting amplifies the dramatic zeitgeist during opera. The goal is to provide a quiet, meditative, and solemn offertory, that can have the same spiritual benefits as if the text was heard.








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