Resurrexi: Gregorian Chant

00:00 Resurrexi - Domine, probasti me
04:39 Victimae paschali laudes
06:19 Pascha nostrum
07:51 Post dies octo
08:23 Christus resurgens
14:06 Alleluia, lapis revolutus est
15:21 Te Deum
22:25 Requiem aeternam (Introitus)
24:27 Requiem aeternam (Graduale)
27:31 Absolve, Domine
29:50 Dies irae
35:59 Domine Jesu Christe
40:03 Lux aeterna
40:53 Libera me, Domine, de morte aeterna
45:46 In paradisum
Benedictine Monks of the Abbey Saint-Maurice & Saint-Maur, Clervaux, Luxemburg
The celebration of Easter brings the traditions of Jewish and Christian life to their closest point of contact. The Easter Office of the Church adapts texts from Jewish tradition and uses them in telling of the story of the Resurrection. The traditional music of the Christian liturgy is also influenced by the older traditions of Jewish music, especially that of the Psalms. Gregorian chant, endowed as it is with a flowing, rhapsodic quality, appears in a great many forms from the dramatic to the simple recitation of Psalm texts. Most of the present chant forms owe their origin to the singing of Psalms and certain traditional oblations with additional textual commentaries. This can be seen in the use of the opening verse of Psalm 138, “Domine probasti me, et cognovisti me,” at a central point in the Easter Introit, “Resurrexi.” The repetition of the initial antiphon after the Psalm verse creates a typical ABA form, further varied by the alternation of chorus and solo group. The Easter Communion, "Pascha nostrum,” is also a chant of the antiphonal type but has lost its original connection with the Psalms. Together with the responsory “Christus resurgens,” it tells of Christ’s Resurrection and His deliverance from the sovereignty of death.
The Easter sequence “Victimae paschali laudes” belongs to a different and characteristically Christian tradition, which originated in textual adornments to the long and complex "Alleluia" melody, or jubilus. It is said to have been composed by the Burgundian priest Wipo, who died in the middle of the eleventh century.
"Post dies octo" is one of two antiphons sung in conjunction with the Magnificat on Low Sunday. It tells how Jesus, eight days after His Resurrection, appeared to His disciples and blessed them with His peace. "Alleluia, lapis revolutus est," is a simple syllabic medieval hymn telling of the events of the grave. The constant recurrence of "alleluia" reminds us of the essential and lasting joy of Easter.
“Te Deum,” the great and ancient prose hymn of the Church, was one of a number of pieces specifically modelled on the style of the Psalms. Its melody brings us very close to the Jewish musical tradition. It consists of a series of short and constantly varied sentences, often sung in the Middle Ages with an accompaniment of organs, bells, and other instruments. Frequently sung after the Great Councils of the Church, it is a simple affirmation of faith.
The Mass for the Dead, the most solemn of all the regular Masses of the Church, differs musically in several respects from the ordinary Mass. To underline the solemnity of the occasion, the customary "Alleluia" is replaced by the Tract “Absolve, Domine" and is followed by one of the most sombre of all chants, the sequence "Dies irae." If it is solemn, so is the Requiem a service of consolation. The melodic style is much more ornate than that of the Introit. Each phrase ends in a fairly extended melisma. The second and third phrases of "Absolve, Domine" are repeated with some variants to give a compact form.
The solemn sequence “Dies irae" is thought to have been composed by the thirteenth-century Franciscan friar, Thomas of Celano, friend and biographer of St. Francis of Assisi. It seems to have been intended for general useas ahymn during Advent, but because of its subject matter was restricted to the Requiem Mass. The impression this work has made on subsequent generations is almost immeasurable. It has been translated into many languages, there being at least 160 renderings in English and 90 in German. It is used with great effect by Goethe in his "Faust." The opening line of the sequence is scriptural, coming from the prophet Zephaniah. The structure is quite simple. It consists of eighteen three-line stanzas of which the first and subsequent groups of six are given the same tune. "Dies irae" is the dramatic focal point of the whole Mass. The two following chants, "Domine Jesu Christe" and "Lux aeterna," lead gradually away from the terror of judgement to a prayer that the souls of the faithful departed be liberated from eternal punishment and the simple hope that eternal light be granted to them.
The responsory "Libera me, Domine" and antiphon “In paradisum" belong not to the Mass.
Ian Parker

[@sedepius7107]

"And we believe that God will give us our churches back some day... Even if Catholics faithful to Tradition are reduced to a handful, they are the ones who are the true Church of Jesus Christ." (St. Athanasius of Alexandria, Letter to his Flock)

[@fadiabdallah8388]

Oh dear I wouldn't say handful we are everywhere
In domino

[@ma.lizetteduffourborrell1333]

Amen.

[@aniskefi1997]

❤❤❤

[@jmichaelortiz]

This is truth clothed in beauty.

[@benrositas8068]

I feel visited and blessed by Christ, our Lord, while listening to this!

[@carlosmiguel6389]

Gracias por tomarte el trabajo de subir canto gregoriano...

[@swarnamesias9961]

Beautiful chant⚘⚘⚘

[@OpantareiO]

I prefer to remember Him like this ❤

[@carloscarrillo2586]

Bellísimo. Saludos desde Nicaragua.

[@fulgenjbatista4640]

🕊🌟🕊
This is
ABSOLUTELY BEAUTIFUL
🙏💜🙏
💜🎵💜