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Views from the Choir Loft

The Communion of the Second Sunday after Epiphany

Charles Weaver · January 16, 2022

N TODAY’S MASS, both forms of the Roman Rite give us the account of the wedding feast at Cana. In the newer liturgical books, this passage only comes around every three years, which means that for many people this is the first time hearing this passage at Mass since the pandemic began. Certainly the readings which the Church gives us are often to our profit regardless of our situation. In my case, I was supposed to be traveling this weekend and hearing the schola of one of my colleagues here. My plan has been derailed like so much else in our lives lately; instead I am at home and have experienced some recent illness as well. In this case it is worth reflecting on the message of this passage, even at the simple level of knowing that the Lord wishes us to be joyful, even if it is not in the way we expect: joy on His terms and not ours.

The communion antiphon is a masterpiece of exegesis and is one of my favorites of the whole year, so even though it has been discussed on this blog in previous years, it is certainly worthy of yet another post. To sing it is to engage in a guided lectio divina. To begin, consider the brevity of the text. Much of the miraculous kernel of the story is distilled from the text around it in the most concise possible way.

Now consider the way the composer creates different voices among the characters in the scene by using vocal register. Have you ever noticed that in the famous Passions of J.S. Bach, our Lord is always sung by a bass? This tradition in Passion singing dates from the Middle Ages. In the most widely used melody for the passions sung in Holy Week in the Roman Rite, the chronista occupies the middle fifth of the mode F–C, with the Lord and the other speakers (the synagoga part) taking the lower and upper registers respectively. Precisely the same thing is at work here, with characteristically subtle use of modulation. Indeed, the only notes on which we reach definitive cadences here are F and G, but what a wide variety of character is possible within this simple framework!

There are five utterances by three speakers, narrator-Christ-narrator-architriclinus-narrator. The narrator opens with a simple identification of the next speaker, accomplished by outlining the modal third F–A and avoiding a cadence.

Christ’s speech begins in what seems to be mode 2, outlining D–F, in a clearly lower register. Only with his second command does he lead to a typical mode-6 cadence.

As in the gospel account itself, the miraculous transformation is described only with a participle phrase: “when the chief steward had tasted the water made wine.” Perhaps there is a subtle allusion to the transformation in the change from b-natural to b-flat. The narrator again sticks to the compass of the central modal fifth F–C.

The exclamation of the chief steward reaches much higher than the rest of the chant, as though sung by a different singer as during the passion. The ecstatic nature of his outburst is of course expressed by the triple repetition of the torculus on the highest notes. We are given only the essence of steward’s words. The cadence suggests the eighth mode.

The closing narrative again occupies the central fifth F–C.

I never get tired of this melody and I look forward to it every time it comes around. A rehearsal video for the whole chant is here:

Opinions by blog authors do not necessarily represent the views of Corpus Christi Watershed.

Filed Under: Articles Last Updated: January 18, 2022

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About Charles Weaver

Charles Weaver is on the faculty of the Juilliard School, and serves as director of music for St. Mary’s Church. He lives in Connecticut with his wife and four children.—(Read full biography).

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Corpus Christi Watershed

Quick Thoughts

    Hymn by Cardinal Newman
    During the season of Septuagesima, we will be using this hymn by Cardinal Newman, which employs both Latin and English. (Readers probably know that Cardinal Newman was one of the world's experts when it comes to Lingua Latina.) The final verse contains a beautiful soprano descant. Father Louis Bouyer—famous theologian, close friend of Pope Paul VI, and architect of post-conciliar reforms—wrote thus vis-à-vis the elimination of Septuagesima: “I prefer to say nothing, or very little, about the new calendar, the handiwork of a trio of maniacs who suppressed (with no good reason) Septuagesima and the Octave of Pentecost and who scattered three quarters of the Saints higgledy-piddledy, all based on notions of their own devising!”
    —Jeff Ostrowski
    Introit • Candlemas (2 February)
    “Candlemas” • Our choir sang on February 2nd, and here's a live recording of the beautiful INTROIT: Suscépimus Deus. We had very little time to rehearse, but I think it has some very nice moments. I promise that by the 8th Sunday after Pentecost it will be perfect! (That Introit is repeated on the 8th Sunday after Pentecost.) We still need to improve, but we're definitely on the right track!
    —Jeff Ostrowski
    Simplified Antiphons • “Candlemas”
    Anyone who desires simplified antiphons (“psalm tone versions”) for 2 February, the Feast of the Purification—which is also known as “Candlemas” or the Feast of the Presentation—may freely download them. The texts of the antiphons are quite beautiful. From “Lumen Ad Revelatiónem Géntium” you can hear a live excerpt (Mp3). I'm not a fan of chant in octaves, but we had such limited time to rehearse, it seemed the best choice. After all, everyone should have an opportunity to learn “Lumen Ad Revelatiónem Géntium,” which summarizes Candlemas.
    —Jeff Ostrowski

Random Quote

“In the Latin Church the pipe organ is to be held in high esteem, for it is the traditional musical instrument which adds a wonderful splendor to the Church’s ceremonies and powerfully lifts up man’s mind to God and to higher things.”

— Vatican II Council

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