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"Pilgrimage of the Diocese in Rome, with Mons.Gioia, in celebration of the Jubilee of the Redemption of 1933.
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addition, the bishop was an admirer and connoisseur of Gregorian chant and demanded that all priests, including the elderly, they were aware, he himself taught the seminarians, then subjecting them to tests of theory and making them perform in public executions.
His death was sudden, as recalled by Archbishop Leonardo Minervini, of blessed memory.
the morning of that fateful March 31 Joy Bishop was in the Cathedral to attend the Eucharistic liturgy of the fourth Sunday of Lent (Laetare). The celebration took place regularly, there was the Lenten sermon with the memory the souls in purgatory and the singing of the "Dies Irae". Towards the end of the Mass, the bishop, and always scrupulously careful to mention the master of ceremonies, was behaving strangely. Something prevented him from continuing the ritual, he would sit and barely gave the final blessing. Returning to bishop, even with the sumptuous robes prelate, he fell fainting to the ground. It was a moment of great consternation among the seminarians and young priests. Meanwhile, in the Cathedral was celebrating Mass at 12 o'clock. In the choir there was a doctor, dr. Jerome Gadaleta which called urgently bishop, after a brief visit to the bishop and he had administered first aid, made a grim diagnosis: angina pectoris. " On a deck chair Joy Bishop was taken in his bedroom, occurred while he was also curate the canon of the Cathedral, Father Mauro Amato (incidentally, I do not understand why the bishop has not been taken to hospital, given his serious condition! ). Dr. Gadaleta returned in the afternoon, but finds the conditions of the invalid, suggesting to those who crowded the entrance corridor that, unless an unlikely reversal, to the early hours of the next day to Archbishop Gioia, would be the end. In fact, at dawn on April 1, the bishop passed away, leaving the faithful of the three dioceses in disbelief and all citizens of Molfetta Terlizzi and Giovinazzo.
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's edict of Bishop provoked negative reactions in both the brother of Death, is in the same population of Molfetta. "In the dead cheménnìmme neue, Idde SCESS to cheménné to the prìevete and the muneca de la Cappecciàiene" (In Death commanded us, he went to command the priests and monks of the Capuchin), said the brothers of the black bag. In this uncompromising stance, echoed the general population: "Re precessiàune nen ze chéngene, Ménzegnòre SCESS to cheménné or paiàiese da'ddó to venéute" (The processions are not changed, my lord was going to rule the country whence he comes).
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Therefore, the order given by the edict was never executed. In later years he could get what the bishop was the half-hour before the time of exit of the procession: that the release of S. Peter at 23 rather than opens at 23.30 and the output of the Pieta rather than opens at 23.30 midnight. In this way the output of the group of the Madonna and Christ in her womb would be returned in chronological time on Friday and Saturday of Easter. But
Mons.Gioia gave for not winning, not resigned to the idea of \u200b\u200bhaving to abandon its innovative proposals so patiently waiting for the moment when he would give checkmate Archconfraternity of Death and the people of Molfetta. And the opportunity presented itself in the Easter of 1934 when Pope Pius XI (born Achille Ratti) concluded the Extraordinary Jubilee of the Redemption opened with a splash "quod Nuper" of January 6, 1933 to commemorate the 19th anniversary of the death and resurrection of Christ. The momentoculminante of that Jubilee was the canonization of St. John Bosco (1815 - 1888), founder of the Salesian congregation.
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The Confraternity of Death, under the priory Onofrio Vito Binetti, with its own statement, he changed the timing of the processions as follows:
March 23 (Friday of passion) at Exit 18 of Our , following the traditional path;
March 24 (Saturday before Palm Sunday) out of pity and after traveling via death, via the Square, a stretch of the course and return to Dante Cathedral. Here he remained for three days by an animated three days of prayers preached Mons.Vittorio Councilor, Bishop of Ascoli Satriano and Cerignola, former apostolic preaching
March 27 (Holy Tuesday) afternoon at six in the Pietà was reported in the Cathedral the Church of the Purgatorio, Dante along the course, via S. Angelo, Via Sergio Pansini, Via S. Benedict, via S. Domenico, Corso Dante, Purgatory Church. It was a solemn procession, attended by: the bishop, the civil authorities with the mayor Stefano De Dato, the cathedral chapter with the Archdeacon Mons.Felice Carabellese, the Regional Seminar with the Rector Rev. Peter Ossola the diocesan seminary, the Friars Minor of the Shrine of Our Lady of the Martyrs with the Guardian, Padre Gaetano Spina, the Capuchin Fathers, the various Catholic associations and confraternities, and all the clergy;
March 31 (Holy Saturday) to 'a night, out of SS. Our Lady of Sorrows in place of the Pieta, with the other statues venerated in the church of the Purgatory.
At least one Easter, Archbishop Gioia he could claim victory. L 'next year (1935) He died in an attack of angina pectoris. "Dum soul east, spes est" (As long as there 's life there' s hope), would Cicero (Ad Atticum).
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The first release of the quartet was expected, as is the case today in the traditional procession of the Cross, at midnight on the last day of Carnival. Cross the arch of Death is a large Latin cross of black wood. At the junction of vertical and horizontal arm, carries a round with the face of Christ, still living with your eyes open. This according to the preferential use of sacred Western and Oriental art, while not ignoring this iconographic type, prefers represent the face of Christ on the cross already expired, with his eyes closed.
The melody is performed by the original quartet and sad at the same time. At the rhythmic roll of the drum mix hits the bass drum, which combines the subtle sound of the flute, composing a pattern of oriental type, author unknown, tinged with melancholy, the trumpet until he was finally involved with the ups and downs " ti-tea ".
Wanting to make a review of technical and musical reason, we can say that in the roll (without musical key) is the rhythm marked, in that the horn in C major, there is a pattern with precise and safe notes: Mi, Do, Sol, Sol Through the flute (In the key of B flat) is expressed as a melody made of half-tones based on triplets, sixteenth and semibiscroma with a final coda to the trumpet.
Before the "Novus Ordo", approved November 16, 1955 by the Sacred Congregation of Rites, when the output of the processions of Holy Week took place at night, an hour before leaving, "u témmùrre" roamed the main streets, deserted and silent, in order to awaken the brothers who were participating in parades.
The four musicians, describes them as the prof. Mauro Altomare ("Almanac for 1928 shown Molfetta" , Printing De Bari, 1927), are walking slowly, playing with the rhythm and monotonous from time to time they stop with patience, ceasing to play. But a shake of the head of the ruling marks the beginning of recovery of music, and his companions give hand tools, air changes and patient.
Abbot Vito Fornari, around 1885-86 in Naples during a meeting with the lawyer. Francis Peruzzi (son of composer Giuseppe Peruzzi) asked them: "A Molfetta there is still the custom of playing the" you-tea "with fluty and drum?". An affirmative response from the abbot of the Peruzzi expressed a desire to listen to reason, and because the house was a harmonium Fornari, Peruzzi executed on the spot the reason. The Abbot thanked him, saying, "Ciccillo, you gave me a great consolation, you made me relive times of our dear Molfetta.
When he began the procession of the Cross? In no correspondence is the exact year, or at least a decade, in which arose the custom, by the arch of Death, to carry his own cross through the streets in a procession, on the stroke of midnight on Shrove Tuesday, to give a formal start to the season of Lent: warning and a call to the faithful, the transience of life, the inevitability of death and, therefore, call for repentance .. The conjecture more is likely that the procession had begun immediately after 1860 ie after the establishment of the Kingdom of Italy, because in Molfetta establish an atmosphere of liberalization and, in a sense, secularization, compared to the previous situation.
Until the fifties of last century, the procession of the Cross, rather than the beginning of Lent, marks the end of the carnival. At that time, Molfetta, the carnival was a long-awaited date in the year. Meant something explosive, burlesque was a chance to subvert the established order: it is masked by little, we find ourselves in the streets, including a screeching trumpets, throwing colored powders, sugared almond flour. He danced in the streets, we improvised skits such as the wedding procession, in which the "bride" (man in disguise) had a white veil on her head and hands, instead of a bouquet bunch of vegetables, often of radishes. It happened that the "bride" recasse already carrying a baby, or that at the climax came the "legitimate wife", a big man in an advanced state of pregnancy, surrounded by a crowd of children, to surprise the faithless and reduce pain at the party rival umbrella shots.; dances were organized in homes and public places. In the last days of carnival, and especially the last (Shrove Tuesday) the whole city seemed to prey of a general madness. Once a year, for men and women, young and old "was permissible insane."
At midnight the church bells announcing with their sad and mournful tolling the beginning of Lent, calling people to the reality of their earthly condition, recalling the illusory joys of vanity, the brevity of existence, 'inevitable appointment with death. The procession was wandering the streets strewn with confetti, putting to flight the last masks lonely, mournful shoot moths in the womb of the night. When transiting the Cross, the windows still lit went out, in case the music stops, ceased and the dances were not many who, abandoned carnival clothes, followed the procession. The Cross as an exterminating angel passing of unbridled revelry, like a purifying fire dell'inverecondia, dell'immoderatezza which he had indulged in those days. Where it did not come, comes the echo of the sound of the trumpet: universal, apocalyptic, like the revival of the dead at the end of the world.
Now, in the new style inaugurated by the Catholic Church, according to the dictates of Vatican II, the procession of the Cross has lost that tone scorante, imposition of penalties, to take on the penitential nature, trusting and comforting of all believers. At this point it seems
should conclude with a thought of Don Tonino Bello, on which we should all reflect: "There is none of us who do not speak eloquently of the" holy wood "or that in Lent do not sing with all your soul" Vexilla regis, "or that Good Friday is not singing the anthem to the" Crux fidelis ". The cross remains central to our perspective. But we will turn off. Too off. We take an extramural distant from the hill where it stands. It 's like when traveling, you touch a city via the ring road. While running the car on the road, sometimes you give a look at the towers that rise and towers that rise. But then it all ends there. Unfortunately, our Christian life does not cross to Calvary. Not climbs on switchbacks of Golgotha. Skip to smear the slopes of the place of the skull. The cross we attacked it with reverence to the walls of our house, but there are planted in the heart dangling from our necks, but not hanging over our choices: The turn bowing and incense in church, but we keep the polar opposite of his logic. We have to admit bitterly. We chose the ring and not the trail of Calvary. We need to be reconciled with the cross and find, on the road map of our existence pagan, the ramp that leads right to the feet of the offender, ".
* Text by the prof. Trident Cosmo.
* Pictures taken by Dr. Francesco Stanzione in 1975.
The Pietà in via Square at 2.00 on Holy Saturday
(50s)
The statue of the Dead Christ, during the procession on Good Friday, stood in the cathedral church of St. Peter, the Cathedral, the church of San Domenico and 's Immaculate where they performed some chanting and singing the "Vexilla regis prodeunt.
Along the processional route, traders, switch off their neon signs and lowered to half the shutters of their shops as a mark of respect. The butchers retreated temporarily, within their store site and lambs slaughtered, displayed in plain sight. Now this view, a bit 'creepy, let us say, but we are spared the fate of the poor animals did not appear to be much changed: they will end, made of grilled or baked potatoes and peas on the Easter table
When the Pietà in the church was part of Purgatory, the people prayed and pleaded: Médonn'a blessed, cuss'énne t'émme views, you ca spériéme vedìmme u-year-old is about! (Blessed Virgin Mary, this year we've seen you, hope to see you next year!). Close
drum (u témmurre) , placed himself in a seller of sugary tarallini (tarall'è pumpkin) hanging in clumps with a wooden triangle, raised from an auction. The triangle representing symbolically the arrow, ie, the geometric shape of the triangle on which is still in the church of Santo Stefano, facing the candles are extinguished one by one at the end of each psalm singing.
saettiera of the 'Confraternity of SS. Crucifix
(Sessa Aurunca - CE)
the Easter Vigil, with the melting of the bells was customary to leave the Cathedral of the doves as a sign of peace. The sirens of the factories and ships anchored at the port, and her yelling at people on the street they changed greetings announcing: Av'abbevescèauete Christ ... Av'abbevescèauete Christ ...
There is no doubt that the tradition is renewed. In fact, bears the traces of its past is sweet to remember in future days, would say Virgil (Aeneid I, 203): "Forsan et haec olim meminisse iuvabit" .
