sounded in certain circumstances: for the festivities, for the Christmas holidays, parties of the district. Performed always marches and were wandering the streets of the city, bringing an air of celebration and joy among the people. Almost always, the quartet was preceded by kids, for joy, did somersaults ( zeccamétùgne ).
This complex underwent a variation and instrumental music when he had to perform in the procession of the Cross, Friday Passion and Holy Week, in the sense that the "flat", replaces the trumpet and the reason was to execute the same.
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.
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