Publication of the CD "Crux Fidelis"


Crux fidélis - Árbor úna nóbilis

Sacred chants from the liturgy  of Holy Thursday and Holy Friday at the Basilica of the Holy Sepulchre, Jerusalem

Published with the support of the Custody of the Holy Land / Magnificat Institute of Music, and of the Associazione Amici del Magnificat

Custody of the Holy Land, Knights & San Bartolomeo Choirs, directed by Hani Kreitem and Raffaele Deluca

Organ: Yacoub Ghazawi, Alessandro Milucci

  1. Bells
  2. Nos autem gloriari (Gregorian chant)
  3. Popule meus (Gregorian chant)
  4. Getsemani (A. Pierucci)
  5. Wa uyuni (Getsemani) (Holy Land Popular tradition – Arr. A Pierucci & H. Vosgueritchian)
  6. Pater, si non potest (A. Pierucci)
  7. Appenderunt mercedem meam (A. Pierucci)
  8. Christus factus est ( Gregorian chant)
  9. Sicut ovis (A. Pierucci)
  10. Ubi Caritas (Gregorian chant)
  11. Huwatha Baril (Holy Land Popular tradition - Arr. A Pierucci)
  12. Ecce lignum Crucis (Gregorian chant)
  13. Crux Fidelis ( Pange lingua)  (Gregorian chant)
  14. Crux fidelis (Joao IV, King of Portugal)
  15. Vexilla Regis (G. Neumark - Arr. A. Pierucci)
  16. Dederunt in escam meam fel (A. Pierucci)
  17. Interventions of the crowd in the Passion according to St. John  (A. Pierucci)
  18. Stabat Mater  (Gregorian chant)
  19. Aspectus fuit terribilis  (A. Pierucci)
  20. Velum templi (A. Pierucci)
  21. Sepulto Domino (T.L. de Vittoria )
  22. Bells
  23. Prae timore (annunzio della Risurrezione)   (A.  Pierucci)

Regnavit a ligno Deus

This CD aims at evidencing the beauty of the Latin liturgies of Holy Week in the Basilica of the Holy Sepulchre in Jerusalem, especially those related to the celebration of the Passion of Our Lord Jesus Christ. The liturgical program, which, after its official approval in 2011, is again trodden on the liturgy of the first centuries - thanks to the reconstitution made by Fr. Enrique Bermejo, ofm, the liturgist of the Custody of the Holy Land - is richer than anywhere else. The liturgy aims at retracing, almost hour by hour, the Passion of Christ in the ipsissimis locis, in the Holy Places of Salvation.

We express our gratitude to the Custody of the Holy Land and to the Magnificat Institute for facilitating this recording in Jerusalem, as well as to the Choir of the Custody of the Holy Land and the Knight’s Choir, composed largely of the "living stones", the local Christians, who year after year, grew up breathing and living these liturgies, and now are an integral part of them.  We also thank the St Bartolomeo Choir, who studied them for two years with great dedication. Performing these songs well, is far from being easy. We salute the skills and the interpretation of their Directors, Hani Kreitem and Raffaele Deluca.

Those who participate in all the celebrations in Jerusalem are truly immersed in the Mystery of these days, and are as « cleansed » by the beauty and depth of the prayers and of the Offices. Music is an essential part of this, it is like a supporting arch for the celebrations. In fact, next to Fr. Enrique Bermejo, another friar contributed to the revival of the liturgies: Fr. Armando Pierucci, ofm, then organist of the Holy Sepulchre and Founder of the Magnificat Institute, the Music School of the Custody of the Holy Land in Jerusalem. Both as a musician and as a composer, he acted de facto as the Capella Master of the Holy Places from 1988 to 2014. Fr. Pierucci also aimed at giving back to the musical programme of Holy Week the ambitus of the celebrations of the first centuries. He enriched it with the insertion of the most remarkable chants of the entire Gregorian repertoire, some well-known choral chants from the Latin tradition, and few chants inspired by the Byzantine or Armenian melodies (who are used in the Holy Sepulchre by the sister Christian Churches). He also proposed short chants, especially antiphones, integrated harmoniously with the Gregorian programme, that could be easily sung by the Congregation. Indeed, after the Vatican II Council, which had put again the Congregation at the centre of sacred chant (as in the early centuries), this was an essential concern for the new liturgy of Holy Week. In composing these short pieces, Fr. Pierucci applied the principle still so clear in the ancient Eastern Churches, which promotes sacred chant as the highest musical art : The melody is serving the text, and together, they welcome the Divine Revelation.  Sacred chant  is considered by the Christian ecumene of the first centuries as a key factor of communion within the Congregation and with the heavenly Church ; It is a place of descent of the Holy Spirit, and a vector of the annunciation of the Faith.

The musical program of this CD intends to lead us into the meaning and Mystery of the wonderful texts of the celebrations of these days. May this CD be a cherished memory for those who have been present at the celebrations, a deep experience of prayer for those who have not been lucky enough to participate.

The Laus Plena Foundation

We propose on this website two pieces of the CD: "Sicut ovis" (A. Pierucci) and "Sepulto Domino" (T.L. de Vittoria):

9. Sicut Ovis (A. Pierucci)

Sicut ovis ad occisionem ductus es, Christe rex, et sicut agnus innocens fixus es cruci ab impiis pro peccatis nostris, philantrope.

O Cristo re, sei stato condotto come pecora alla morte e come agnello innocente, o amante degli uomini, sei stato affisso alla Croce dagli empi per i nostri peccati.

Oh! Christ the King, you were led to death as a sheep, and like an innocent lamb, O lover of the human race, for our sins you were nailed to the Cross of the wicked.

21. Sepulto Domino (T.L. de Vittoria )

(Matthaeus 27, 62-66)

Sepulto Domino, signatum est monumentum
Volventes lapidem ad ostium monumenti,  ponentes milites qui custodirent illum.
Accedentes principes sacerdotum ad Pilatum, petierunt illum, ponentes milites qui custodirent illum.

Sepulto Domino, signatum est monumentum
Volventes lapidem ad ostium monumenti, Ponentes milites qui custodirent illum.

Quando fu sepolto il Signore, sigillarono il sepolcro.

E stata fatta rotolare una pietra sull’ingresso del sepolcro: Misero soldati a custodirlo.

I sommi sacerdoti, andati da Pilato, chiesero lui. Misero soldati a custodirlo.

Quando fu sepolto il Signore, sigillarono il sepolcro.

E stata fatta rotolare una pietra sull’ingresso del sepolcro: Misero soldati a custodirlo.

When the Lord was buried, they sealed up the tomb,

Rolling away a stone before the entrance to the sepulchre: Placing soldiers to guard it.

The chief priests went to Pilate and petitioned him. Placing soldiers to guard it.

When the Lord was buried, they sealed up the tomb,

Rolling away a stone before the entrance to the sepulchre: Placing soldiers to guard it.

Fondazione Laus Plena

Armando Pierucci - Sicut Ovis

T.L. de Vittoria - Sepulto Domino

The Foundation needs your support to accomplish its mission and scopes. We thank you in advance for your generosity.

Donations on bank account at  UBS Switzerland AG in the  name of: Fondazione Laus Plena, Lugano.
The Foundation issues certificates of donation for tax deduction purposes.
Bank details. See below.