It is a gradual in the Catholic liturgy of the mass. In the classical Roman rite, it was sung as the gradual at mass on Maundy Thursday, however since the promulgation of the new rite of mass by Pope Paul VI in it has been employed instead as the gradual on Palm Sunday. Up until it was also sung daily at the conclusion of Tenebrae Matins and Lauds on the last days of Holy Week. It appeared first at Tenebrae of Maundy Thursday, but was not recited in full, ending with The following day at Tenebrae of Good Friday it was sung from the beginning until Up until the reform of the Holy Week liturgy promulgated by Pius XII in these Tenebrae services were sung in the late afternoon and evening of the previous day, and were well attended by the laity.

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Christus factus est pro nobis obediens usque ad mortem, mortem autem crucis. Propter quod et Deus exaltavit illum et dedit illi nomen, quod est super omne nomen. Philippians 2: ; Gradual for Maundy Thursday Christ for us became obedient unto death, even the death of the cross. Wherefore God also hath highly exalted him and given him a name which is above every name. Anton Bruckner — is well known as one of the greatest symphonic composers to have lived.

Born in Upper Austria, he was acquainted with the organ and church music at an early age. Bruckner unsuccessfully applied to be organist of St Florian and was appointed organist of Linz Cathedral in the same year, staying for thirteen years. In he moved to Vienna as teacher of counterpoint and organ at the Conservatory and provisional organist of the Imperial Chapel.

In he became teacher of theory, organ and piano at the teacher training college of St Anna, resigned in and was appointed lecturer in harmony and counterpoint at the University of Vienna. Bruckner continued to write church music amidst the varying degrees of success of his symphonic works.

Interestingly, it was only with the Seventh Symphony in that he achieved real public recognition, and this was the year, after a visit to Prague, that the composer wrote his third and finest setting of the motet Christus factus est. This gradual moves through a number of keys with apparent ease. The key of D minor gives way to D flat major in a mere nineteen bars. Track-specific metadata.


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Christus factus est (Anton Bruckner)


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