Dorische Toccata und Fuge - Christ ist erstanden

And now, as Easter approaches, here is an old acquaintance. The Dorian Toccata and Fugue on "Christ ist erstanden".

The Easter hymn Christ ist erstanden is considered the oldest preserved liturgical hymn in the German language. It probably originates from the South German-Austrian cultural area and was sung by the congregation around 1100 as a German-language response after the raising of the cross. In 1160 it is mentioned in a binding liturgical order of the Archbishopric of Salzburg.

The song is closely related textually and melodically to the older Easter sequence Victimae paschali laudes of Wipo ("of Burgundy"). The liturgical practice of singing Christ ist erstanden immediately after Victimae paschalis laudes is attested in the 12th century for St. Nikola in Passau and spread from there to neighbouring Augustinian canons' monasteries. Both melodies are set in a similar interval structure in Dorian church key, and both avoid the semitone step between the sixth and seventh degree (b). This gives the melody a special radiance and avoids a semitone step that would usually be perceived as an expression of suffering.

The song, which originally consisted of only one verse, spread rapidly in the 13th century. The second strophe was added in the 15th century, as was the Hallelujah of the third. Each stanza ends on Kyrieleis in the spirit of the then customary silence.