THE SONGS OF THE PASSION

POPULAR FAITH OF HOLY WEEK

Easter customs and traditions taken from

“La Sanda Passijone, canti e tradizioni abruzzesi del tempo pasquale”

by P. Donatangelo Lupinetti 1st ed. 1958 and 2nd ed. 1967

Anthology edited by Luciano Troiano

THURSDAY APRIL 2, 2026 – 9:30 PM

Grotte and S. Anna districts 

CHIETI

www.fontevecchia.org

In few places in Abruzzo does the song of the Passion survive, brought into homes, villages and countryside during the first days of Holy Week.

The event on Thursday April 2, 2026 in the homes of the Grotte and S. Anna districts of CHIETI is made possible thanks to the collaboration between the Fontevecchia Association, the Singers of the Grotte and S. Anna districts of Chieti and the Beato Marco d'Aviano Association.

In other regions as well, the song of the Passion is a tradition; it was also performed on the Sundays of Lent and the singers were sometimes asked to perform other religious pieces after the song.

This is a form of folk music that aims to evoke the traditions and alms-singing , bringing to light the ancient bond between faith and culture.

Completely improvised groups, made up of peasants, farm laborers and common women, would go to homes singing the long Calvary of Christ up to his resurrection.

Eggs, Easter pizzas but above all the typical sweet “Lu Castelle” (ancestor of the Easter egg soaked in local cooked wine), were the most common gifts that “ Li Passijunire ” received at the end of the Christmas songs.

In particular, the eggs received as a gift from the head of the household are a quintessentially Easter food because they signify rebirth, God's embrace with man, reconciliation between heaven and earth and, above all, an apotropaic symbol of cosmogony and birth from which the universe with its vital forces originates.

The Canti della Passijòne are paraliturgical religious songs. Their archaic nature emerges from the presence of melodic lines rich in melismatic ornamentation, that is, the loading of a set of notes more or less broad and intense on a single syllable . The result is a style that harks back to the sources of late-medieval penitential devotion. These ancient narrative songs, which represent forms of worship in which the background of pagan rites and conceptions re-emerge, draw inspiration from hagiographic and moralizing legends of the Middle Ages or from the Bible and the apocryphal gospels.

Almost all the prayers performed have a single melodic structure that repeats for each of them: this practice facilitated the learning of long narrative texts.

The songs evoke the hours of the Passion, recalling the salient moments of the last twenty-four hours of Christ's life. The singers were accompanied by the two-tone accordion and the triangle, sometimes by the bagpipes. "Lu rellogge della passijone" is one of the songs most adaptable to diatonic instruments like the accordion. Perhaps for this reason it is one of the most listened to during the alms-singing: " Alle cinque nell'orto Lu buon Gesù ca jò Alle sei dal padre eterno al Re dei cieli andò...... Alle ventiquattro Gesù andò al sepolcro solo per amore nostro, ci salvò tutti ."

No less important are the Lamenti di Maria (Laments of Mary), commonly called "lu sclame de la Madonna", in which the deep sorrow of the Mother for the death of her dear Son is highlighted: " O fijie fijie me tu mi lasciate Pe salvà lu monne mi 'bbandunate... ".

For country people, the day of the Canti della Passijòne was different from other days of Holy Week : the bells were tied and they began searching for houses with alms-singing songs that narrated the Passion of Jesus Christ , from the betrayal of Judas Iscariot to the Resurrection . At the Gloria of the solemn Mass the bells ring, from this moment the normal functioning of the Gloria resumes on the evening of Holy Saturday.

The elderly combined the silence of the bells with a very demanding fast "Lu trapasse" which, done for seven consecutive years, according to religious belief, has the power to eternally purify a dear soul from Purgatory. During these days of silence, the parish priest would have the young people of the area go through the village streets with the classic folk instrument, lu ciuccule, in place of the bells, to announce the various religious services.

The history and spread of the Canti della Passijone is handed down orally, from generation to generation, in various centers of Southern Italy. Some of these songs come from Montecassino and are up to a thousand years old. Some, initially, were performed in Gregorian chant and were transformed over the centuries. This custom affected the entire region and was widespread in every district, on Holy Tuesday and Wednesday, when the Christian drama reached its climax. For Abruzzo it originated from the common religious sentiment, with its roots in the sorrowful Gospel account.

In rural districts, in these days, folk singers accompanied by a few musical instruments, would move through villages and isolated houses to intone the Canti della Passijòne. It was almost a religious rite: in a society deeply permeated by the Christian experience, the theme was dictated by the liturgical deadline culminating in Jesus' death and, around the small group of musicians, women, children, men would gather in a circle, and all in silence would listen to the sung words that narrated the dramatic events of the flagellation, the journey to Calvary, the crucifixion, the death of Jesus and evoked the wrenching sorrow of the Madonna.

The group was made up of a few people who, to the sound of the accordion or the organetto that accompanied the singers, moved from house to house, stopping in the entrance hall, at the foot of the stairs, in front of the stable, wherever there was a space frequented by neighbors. Imagine how in the complete darkness that characterized the past centuries, in the evening, this small group of singers would approach a country house, lighting the path with some torches, intoning these melodies which became, as they approached, louder and louder. At the end, as mentioned, the singers were offered food, a traditional greeting and they moved to another house.

Sources:

Archivio Sonoro,

Silvestre Background I Canti della Passione di Cristo,

L'Aria di Penne Il Canto della Passione,

Santino Verna Lu Giuviddì Sante di don Donatangelo Lupinetti,

Archivio del Folklore Italiano,

Rai Teche,

Sybilla Picena,

Ministero dei Beni Culturali,

Il Centro quotidiano d’Abruzzo,

Archivio Fontevecchia.

Extract of Abruzzese customs, traditions and beliefs from

“La Sanda Passijone, canti e tradizioni abruzzesi

del tempo pasquale”

by P. Donatangelo Lupinetti

SEPTUAGESIMA: the three weeks preceding Lent,

LENT: the four Sundays of preparation,

PASSION: fifth Sunday of Lent (Cross Sunday and Palm Sunday),

EASTER: from Resurrection until Pentecost.

The devotion to the Passion of Christ was born from Franciscanism at the beginning of the 1300s with the arrival of confraternities and congregations that had three purposes:

1) Divine worship

2) Charity

3) Mutual aid

4) Sacraments

In Abruzzo they arrived in 1360 with the Flagellants. Subsequent local confraternities affiliated with the Compagnia del Gonfalone di Roma for the prestige, authority and benefits enjoyed by the structure of the holy city.

SEPTUAGESIMA: creation of Adam

SEXAGESIMA: Flood/Noah

QUINQUAGESIMA: Promise/Abraham

During the time of SEPTUAGESIMA and specifically during QUINQUAGESIMA Carnival falls, which begins with ST. ANTHONY in JANUARY, indicated in this way to differentiate it from St. Anthony of Padua on June 13.

THE FORTY HOURS: are a three-day spiritual wake with a festively decorated altar, throne, lights and flowers. They are a devotional practice consisting of adoration, for forty continuous hours, of the Blessed Sacrament , visible in the monstrance containing the consecrated Host , solemnly displayed on the altar. The name refers to the period of time between death (Good Friday) and resurrection (Easter Sunday ). The most widespread use is perhaps the exposition from the afternoon of Quinquagesima Sunday to Fat Tuesday .

LENT

1) Struggle against the world, the weakness of the flesh, the devil

2) Penances such as: fasting, abstinence, and privation

3) Prayer

4) Sacraments

Lent begins with Ash Wednesday. The tolling of the bells announces the death of Carnival with the blessed palms of the previous year reduced to ash and used for vegetable gardens and people: they are a sign of humility and a symbol of penance as well as penitential gastronomy which includes vegetables, anchovies and unleavened pizza.

During the EMBER DAYS of Lent (Wednesday, Friday and Saturday after Ash Wednesday) observations and weather forecasts are made:

March = Wednesday

April = Friday

May = Saturday

On Fridays in March it was customary to cut one's hair because it was believed that it would grow back thicker, healthier and stronger; to eat cooked nettle which has a purifying function but whose bitter taste recalls penance.

The fourth Sunday of Lent is PURGATORY SUNDAY and therefore the following are organized:

1) Alms-seeking for the souls in purgatory,

2) Masses for the souls in Purgatory,

3) Sermon on Purgatory,

4) Visit to the cemetery,

5) Thought for the poor.

PASSION TIME

It is the period between the Sunday of the Cross (the fifth of Lent with the veiling of the crosses) and that called Palm Sunday.

HOLY WEEK

Atmosphere of sorrow

PALM SUNDAY

It is a day of observation and omens:

1) If the sky is clear and the sun shines brightly the year will be good,

2) Even if the mistral wind blows,

3) If it rains the summer will be dry,

4) The wind that blows when the priest knocks on the door will dominate the harvest season,

5) Until Good Friday no weaving is done, no eggs are hatched and no work is done on broad beans.

40 Our Fathers, Hail Marys and Glorias are recited in memory of Jesus' 40 days in the desert.

THE WEEK LEADING TO EASTER SUNDAY

Holy Monday: 33 Our Fathers, Hail Marys and Glorias are recited in memory of the years of Christ,

Holy Tuesday: 30 Our Fathers, Hail Marys and Glorias are recited in memory of Judas' 30 pieces of silver,

Holy Wednesday: 15 Our Fathers, Hail Marys and Glorias are recited in memory of the thorns of the Cross.

HOLY THURSDAY

The "fast of the passing" is carried out for 48 hours. Repeated for seven consecutive years it frees a soul from Purgatory that was most in need of prayers.

GOOD FRIDAY

The three hours of agony: sermons, songs, prayers in completely darkened churches.

HOLY SATURDAY

Mothers would have children take their first steps alone,

a fire was lit on the churchyards and at the doors of churches,

blessing of foodstuffs brought in a basket (la sparucce) with hard-boiled eggs, cavallo and pupa.

GREETINGS

Greetings: A good and holy Easter! Addressing friends and acquaintances

Response: The same to you, a Signirì!

Bells released: 10 Our Fathers, Hail Marys and Glorias

Source: from La Sanda Passijone, canti e tradizioni abruzzesi del tempo pasquale by P. Donatangelo Lupinetti ed. 1958

We thank the Singers of the Grotte and Sant'Anna districts of Chieti

with Ubaldo Iezzi and Anna La Rovere for their collaboration and commitment

In memory of member Claudio Leombroni devoted to the Songs of the Passion

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tel. 331/6796820

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An extract of Abruzzese customs and traditions of times past, in Abruzzo, collected by Antonio De Nino and described in “USI ABRUZZESI” described by Antonio De Nino and published in Florence by the Tipografia di G. Barbera in 1879. Taken from the microfilmed copy preserved by the University of Toronto Library

PALM SUNDAY

Where there is no olive cultivation, the arrival of nothing less than a donkey loaded with branches of the symbolic plant is awaited with great anticipation. And the parish priest has this joyful gift brought from afar to distribute it to the faithful in his parish. Where there are olive trees, the celebration is even more beautiful. The young people, early in the morning or the day before, go to the nearby countryside to cut tall, leafy branches, which they carry almost in a procession into the village and mostly around the church until the hour of mass. Many return home; from the tender twigs they cut with scissors many pairs of fronds along with a portion of the twig itself, and then weave them all around a branch stripped of leaves except at the top, arranging them like ailanthus leaves. Here and there, always on the pale side of the fronds, which is the perspective of the work, it is customary to stick with a bit of glue some pieces of talc or colored paper or tinsel. Artificial flowers and candies are also attached to them and ribbons are wrapped around them. Oh dear memories! At the hour of mass, everyone is in church with olive branches in hand. And since tall, leafy branches are the most common; if one looks up a bit, one sees what looks like a forest of olive trees moving in waves, waltzes, and country dances, according to the different and varied movements of the young people. The liveliness of the motion and the buzzing of voices increases during the blessing. Then, everyone returns home joyfully. In some towns, for example in Pratola Peligna, at the table there is always the ritual lasagna soup. This is considered an omen of a bountiful harvest. In Casalbordino and Vasto, each person takes their blessed olive branch to their own countryside and leaves it there upright, either out of devotion or also for good luck. The symbolic plant! I was saying earlier. And yes: the olive tree, a symbol of peace, is also a bringer of peace. Whoever is not at peace, and feels the need to put aside grudges, on Palm Sunday sends or personally gives an olive branch to the adversary; and peace is made.

Friendships are strengthened by sending or giving small olive branches. It is customary to say: Ecche (or give me) the parma if you want to make peace: It's no longer time to wage war. At home, the game over lit coals begins. A frond is detached from the olive branch; and, when placing it on the embers, with a somewhat skeptical expectation, they say: Blessed palm, that comes once a year, Tell me if this friend dies.

The same is done in Casalbordino and Gagnoli on Easter Epiphany; but it is said in this other way: Easter Epiphany That comes once a year Tell me if another friend of mine dies. If the leaf, before burning, jumps and makes noise, and squeaks due to wind that goes away, then they live; otherwise, they die. The amusing part is when by chance the leaf burns without moving. One would think that everyone should resign themselves to the omen. Absolutely not! They try the test again until the frond jumps and squeaks. In short, the game must end with everyone being satisfied: such is the flattery of life!

EASTER CEREMONY. There in Sulmona's Main Square, people are overflowing. Four, five, six faces in every window. One of the arches supporting the city's aqueduct is sumptuously draped; and beneath the draped arch stands an altar. Around ten in the morning, the procession leaves the church of Santa Maria della Tomba. One sees a long line of statues: Saint Peter the Apostle, Saint John the Baptist, Saint Joseph of Arimathea, Saint Peter Celestine, Saint Thomas, Saint Nicodemus, Saint John the Evangelist, Saint Andrew the Fisherman, etc.; and then statues of women: Saint Anne, Saint Mary Magdalene, Mary Salome, Mary Cleophas, and another long etcetera. Finally, the statue of the Risen Jesus. And the Madonna? The Madonna has hidden herself in a house at the far end of the square. The procession gathers all around the draped arch, and Christ rests on the altar. Then begins a representation reminiscent of those fantastic medieval ones. The statues move in search of the Madonna, who does not yet know of her Son's resurrection. They go back, go forward again, down, down, to the foot of the square, and they find the Madonna. The Madonna, however, does not want to believe. She comes out doubtful. She is dressed in dark clothes. She advances slowly; she sees and does not see; she begins to suspect: perhaps yes... could it be... it is him! In an instant, her black mantle falls off... many little swallows regain their freedom... in her hand, where there was a white handkerchief, a bouquet of flowers appears.... The band plays Uh! toh! tah! The Madonna runs toward her Son, meaning those carrying her run... they reach Christ...; and, just when everyone expects to see Son and Mother embrace, the illusion fades and one realizes these are statues! And that is enough. Anyone who wishes to accompany the procession through the entire city may do so. I remain with my emotion that makes me regret an age that will never return!

SERMON AND BLESSING. During Easter week, in Tagliacozzo, a joyful procession takes place with the statue of the Risen Christ. Upon arriving in the square, the procession stops. A priest climbs onto a temporary pulpit and preaches. Those nearby who could hear, do not hear: those far away only see the preacher throwing punches in the air, and the air does not acknowledge them. The peaceful public is armed with harmless weapons. Everyone holds in their hand either a ring-shaped sweet bread, a pupa, a little horse, or a dove, all made of egg dough: eggs, says De Gubernatis, a symbol, like Leda's egg, like the egg that began Roman banquets, a symbol of the principle of life. In the meantime, a sort of review takes place.

My ring-shaped sweet bread is bigger. But mine is twisted. The priest is at the end of the sermon; indeed, he has finished, and he gives the blessing. I turn around, and I see a waving of weapons, that is, hands raised with the doves, with the pupe, with the little horses, with the ring-shaped sweet breads. The blessing has sanctified the pastries. The procession continues on its own. The little horses begin to lose a leg; the pupe, their heads; the doves, their wings; and those who, out of politeness, do not chew, have their mouths watering.

THE PHARISEES DO THE FALL. During Holy Week, in Pescocostanzo as in every part of the Catholic world, sepulchres are prepared. In one of those sacred representations, the Jews around Christ are men dressed in medieval style with breastplates, helmets, swords and pikes. I leave it to the reader to imagine the devotion of recognizing Gaius and Sempronius disguised like this! Then on Good Friday, while the Sacrament is being taken from the sepulchre, the eyes of the public are all profane: no one looks at the Blessed Sacrament, nor at the Madonna, nor at the Marys; but instead, everyone looks at the Pharisees who, at a given signal, wham! they do the fall! they fall and die! but, in the procession of the dead Christ, they rise again; and, almost like the defeated in war would adorn the chariot of the victors, the resurrected Pharisees accompany the precious coffin, without swords or spears.