Attende, Domine
Fonti: Liber Cantualis, p.71; adattamento italiano LD 588
Uso: ingresso
Forma musicale: inno e ritornello
Testo
Rit. Attende, Domine, et miserere,
quia peccavimus tibi.
1. Ad te, Rex summe, omnium Redemptor,
oculos nostros sublevamus flentes:
exaudi, Christe, supplicantum preces.
2. Dextera Patris, lapis angularis,
via salutis, janua caelestis,
ablue nostri maculas delicti.
3. Rogamus, Deus, tuam majestatem:
auribus sacris gemitus exaudi:
crimina nostra placidus indulge.
4. Tibi fatemur crime admissa:
contrite pandimus hidden strings: your
, Redemptor, pietas ignoscat.
5. Innocense captus, nec repugnans ductus,
testibus falsis pro impiis damnatus:
Quosa redemisti, you must keep Christe.
(Italian adaptation)
Rit. To us, your people, that you come back,
gives us peace, Lord.
1. To you, Lord, you've redeemed
we raise our eyes in tears;
listen, O Christ, the humble lament.
2. Son of God, head of the Church,
you're away, you're the door to heaven,
with your blood washes our hearts.
3. You are greatness, absolute love, we are
terra che tu hai plasmato:
in noi ricrea la tua somiglianza.
4. Ti confessiamo d’essere infedeli,
ma il nostro cuore s’apre a te sincero;
tu, Redentore, guardalo e perdona.
5. Ti sei vestito del peccato nostro,
ti sei offerto come puro Agnello:
ci hai redenti, non lasciarci, o Cristo.
Il testo
Il testo latino, come l’adattamento in lingua italiana, fa riferimento al salmo 50 (Miserere) che sottolinea il carattere penitenziale del tempo di Quaresima. Allo stesso tempo, però, la supplica non è solo rivolta al Dio Padre ma anche a Cristo Redentore, colui che, in virtù del suo farsi carico dei nostri peccati, affronta e vince la morte facendo di noi un popolo di redenti. Il testo è composto in terzine di endecasillabi con rima AAB.
Il testo latino, come l’adattamento in lingua italiana, fa riferimento al salmo 50 (Miserere) che sottolinea il carattere penitenziale del tempo di Quaresima. Allo stesso tempo, però, la supplica non è solo rivolta al Dio Padre ma anche a Cristo Redentore, colui che, in virtù del suo farsi carico dei nostri peccati, affronta e vince la morte facendo di noi un popolo di redenti. Il testo è composto in terzine di endecasillabi con rima AAB.
La musica
La melodia è nel V modo, quello che per noi oggi è diventato la scala maggiore. L'estensione è quella di una ottava, ideale per essere cantata da un’assemblea media. Il ritmo è sillabico, cioè strutturato sulla metrica del testo. Evitare quindi anche in italiano di strutturarlo in cellule ritmiche ma farsi guidare proprio dal fluire delle parole: un declamato collettivo.
Nel Repertorio nazionale di recente pubblicazione il canto viene riportato nella tonalità di re maggiore ma potrebbe essere eseguito anche un tono più basso (tonalità C major).
When and how to use the best and the shape Responsorial Assembly entrusted with the chorus. When studying or teaching at a media meeting, treat especially the second part of the chorus (quia peccavimus), because the melody has two jumps to fourth in the same melodic direction that can lead to some problems.
Nel Repertorio nazionale di recente pubblicazione il canto viene riportato nella tonalità di re maggiore ma potrebbe essere eseguito anche un tono più basso (tonalità C major).
When and how to use the best and the shape Responsorial Assembly entrusted with the chorus. When studying or teaching at a media meeting, treat especially the second part of the chorus (quia peccavimus), because the melody has two jumps to fourth in the same melodic direction that can lead to some problems.
The verse, which we recommend having a lead singer, is likely to be "much sung," but because of the nature of the song, I would suggest not to highlight this aspect and treat rather a type of execution by not emphasizing the psalm climax of the stanza (Exaudi Christe ...) to its already significant. The solemnity the song goes well with any accompaniment to be performed with linear body.
Owing to its nature and its solemnity is the premier destination for entry into the hymn of Lent, in that it applies very well to the "climate" of the liturgical celebration.
Considerations
Owing to its nature and its solemnity is the premier destination for entry into the hymn of Lent, in that it applies very well to the "climate" of the liturgical celebration.
Considerations
This is a song that in the Liber Responsorial Usualis is inserted in the appendix under "various songs."
The song is part of the Gregorian repertoire, and was then in use during Lent also before the Council. For this is still a song known but little used, but to its character and special features, to reassess and repeat. It can be
also performed in Italian adaptation or the chorus in performing with the Latin verses in Italian, is a song very "flexible." A good opportunity for meeting and mingling of old and new. The wisdom of the authors of compositional tradition, you can meet with the living language of daily life, thus generating a particular repertoire that brings together ancient musical genre with a celebratory language accessible to all.
In this particular situation, the Italian text goes well without forcing the original melody and this aspect will have to draw attention: a correct and respectful performance will still maintain the natural right of enforcement.
The song is part of the Gregorian repertoire, and was then in use during Lent also before the Council. For this is still a song known but little used, but to its character and special features, to reassess and repeat. It can be
also performed in Italian adaptation or the chorus in performing with the Latin verses in Italian, is a song very "flexible." A good opportunity for meeting and mingling of old and new. The wisdom of the authors of compositional tradition, you can meet with the living language of daily life, thus generating a particular repertoire that brings together ancient musical genre with a celebratory language accessible to all.
In this particular situation, the Italian text goes well without forcing the original melody and this aspect will have to draw attention: a correct and respectful performance will still maintain the natural right of enforcement.
Silvio Catalini
Director Choir of the Cathedral of Camerino
Director Choir of the Cathedral of Camerino
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