Contents Articles Requiem
1
Rest in peace
14
Introit
16
Kyrie
18
Tract (liturgy)
22
Sequence (poetry)
23
Dies Irae
25
Sanctus
32
Agnus Dei
34
Pie Jesu
38
Libera Me
40
In paradisum
41
References Article Sources and Contributors
42
Image Sources, Licenses and Contributors
43
Article Licenses License
44
Requiem
1
Requiem A Requiem or Requiem Mass, also known as Mass for the dead (Latin: Missa pro defunctis) or Mass of the dead (Latin: Missa defunctorum), is Mass celebrated for the repose of the soul or souls of one or more deceased persons, using a particular formula of the Roman Missal. It is frequently, but not necessarily, celebrated in the context of a funeral. Musical settings of the propers of the Requiem Mass are also called Requiems, and the term has subsequently been applied to other musical compositions associated with death and mourning, even when they lack religious or liturgical relevance.
Requiem Mass for Archduke Franz Ferdinand of Austria at the Catholic Church of St. Catherine, Saint Petersburg, 1914.
The term is also used for similar ceremonies outside the Catholic Church, especially in the Anglo-Catholic branch of Anglicanism and in certain Lutheran churches. A comparable service, with a wholly different ritual form and texts, exists in the Eastern Orthodox and Eastern Catholic Churches. The Mass and its settings draw their name from the introit of the liturgy, which begins with the words "Requiem aeternam dona eis, Domine" – "Grant them eternal rest, O Lord". ("Requiem" is the accusative singular form of the Latin noun requies, "rest, repose".) The Roman Missal as revised in 1970 employs this phrase as the first entrance antiphon among the formulas for Masses for the dead, and it remains in use to this day.
The liturgy In earlier forms of the Roman Rite, some of which are still in use, a Requiem Mass differs in several ways from the usual Mass in that form. Some parts that were of relatively recent origin, including some that have been excluded in the 1970 revision, are omitted. Examples are the psalm Iudica at the start of Mass, the prayer said by the priest before reading the Gospel (or the blessing of the deacon, if a deacon reads it), and the first of the two prayers of the priest for himself before receiving Communion.[1] Other omissions include the use of incense at the Introit and the Gospel, the kiss of peace, lit candles held by acolytes when a deacon chants the Gospel, and blessings. There is no Gloria in excelsis Deo, no recitation of the Creed, the Alleluia chant before the Gospel is replaced by a Tract, as in Lent, the Agnus Dei is altered, and Ite missa est is replaced with Requiescant in pace (May they rest in peace). Black is the obligatory liturgical colour of the vestments in the earlier forms, while the later form allows a choice between black and violet, and in some countries, such as England and Wales, white.[2] The sequence Dies Iræ, recited or sung between the Tract and the Gospel, is an obligatory part of the Requiem Mass in the earlier forms. As its opening words, Dies irae (Day of wrath), indicate, this poetic composition speaks of the Day of Judgment in fearsome terms; it then appeals to Jesus for mercy. Celebrations of the Requiem Mass were sometimes referred to as "black Masses", from the colour of the vestments worn by the priest. This term has no connection with the Satanist ritual of the same name.
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Music The Requiem Mass is notable for the large number of musical compositions that it has inspired, including the settings of Mozart, Verdi and Fauré. Incipit of the Gregorian chant introit for a Requiem Mass, from the Liber Usualis. Originally, such compositions were meant to be performed in liturgical service, with monophonic chant. Eventually the dramatic character of the text began to appeal to composers to an extent that they made the requiem a genre of its own, and the compositions of composers such as Verdi are essentially concert pieces rather than liturgical works. The following are the texts that are set to music.
Introit Requiem æternam dona eis, Domine,
Eternal rest grant unto them, O Lord,
et lux perpetua luceat eis.
and let perpetual light shine upon them.
Te decet hymnus Deus, in Sion,
A hymn becomes you, O God, in Zion,
et tibi reddetur votum in Ierusalem.
and to you shall a vow be repaid in Jerusalem.
Exaudi orationem meam;
Hear my prayer;
ad te omnis caro veniet.
to you shall all flesh come.
Requiem æternam dona eis, Domine,
Eternal rest grant unto them, O Lord,
et lux perpetua luceat eis.
and let perpetual light shine upon them.
Kyrie eleison This is as the Kyrie in the Ordinary of the Mass: Kyrie eleison;
Lord have mercy;
Christe eleison;
Christ have mercy;
Kyrie eleison
Lord have mercy.
This is Greek (Κύριε ἐλέησον, Χριστὲ ἐλέησον, Κύριε ἐλέησον) Traditionally, each utterance is sung three times.
Gradual Requiem æternam dona eis, Domine :
Eternal rest grant unto them, O Lord :
et lux perpetua luceat eis.
and let perpetual light shine upon them.
In memoria æterna erit iustus,
He shall be justified in everlasting memory,
ab auditione mala non timebit.
and shall not fear evil reports.
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Tract Absolve, Domine,
Forgive, O Lord,
animas omnium fidelium defunctorum
the souls of all the faithful departed
ab omni vinculo delictorum
from all the chains of their sins
et gratia tua illis succurente
and by the aid to them of your grace
mereantur evadere iudicium ultionis,
may they deserve to avoid the judgment of revenge,
et lucis æternae beatitudine perfrui.
and enjoy the blessedness of everlasting light.
Sequence A sequence is a liturgical poem sung, when used, after the Tract (or Alleluia, if present). The sequence employed in the Requiem, Dies Irae, attributed to Thomas of Celano (c. 1200 – c. 1260–1270), has been called "the greatest of hymns", worthy of "supreme admiration".[3] The Latin text below is taken from the Requiem Mass in the 1962 Roman Missal. The first English version below, translated by William Josiah Irons in 1849,[4] replicates the rhyme and metre of the original. The second English version is a more formal equivalence. 1
Dies iræ! dies illa Solvet sæclum in favilla: Teste David cum Sibylla!
Day of wrath! O day of mourning! See fulfilled the prophets' warning, Heaven and earth in ashes burning!
The day of wrath, that day Will dissolve the world in ashes As foretold by David and the sibyl!
2
Quantus tremor est futurus, Quando iudex est venturus, Cuncta stricte discussurus!
Oh, what fear man's bosom rendeth, when from heaven the Judge descendeth, on whose sentence all dependeth.
How much tremor there will be, when the judge will come, investigating everything strictly!
3
Tuba, mirum spargens sonum Wondrous sound the trumpet flingeth; Per sepulchra regionum, through earth's sepulchers it ringeth; Coget omnes ante thronum. all before the throne it bringeth.
The trumpet, scattering a wondrous sound through the sepulchres of the regions, will summon all before the throne.
4
Mors stupebit, et natura, Cum resurget creatura, Iudicanti responsura.
Death is struck, and nature quaking, all creation is awaking, to its Judge an answer making.
Death and nature will marvel, when the creature arises, to respond to the Judge.
5
Liber scriptus proferetur, In quo totum continetur, Unde mundus iudicetur.
Lo! the book, exactly worded, wherein all hath been recorded: thence shall judgment be awarded.
The written book will be brought forth, in which all is contained, from which the world shall be judged.
6
Iudex ergo cum sedebit, Quidquid latet, apparebit: Nil inultum remanebit.
When the Judge his seat attaineth, and each hidden deed arraigneth, nothing unavenged remaineth.
When therefore the judge will sit, whatever hides will appear: nothing will remain unpunished.
7
Quid sum miser tunc dicturus? Quem patronum rogaturus, Cum vix iustus sit securus?
What shall I, frail man, be pleading? Who for me be interceding, when the just are mercy needing?
What am I, miserable, then to say? Which patron to ask, when [even] the just may [only] hardly be sure?
8
Rex tremendæ maiestatis, Qui salvandos salvas gratis, Salva me, fons pietatis.
King of Majesty tremendous, who dost free salvation send us, Fount of pity, then befriend us!
King of tremendous majesty, who freely savest those that have to be saved, save me, source of mercy.
9
Recordare, Iesu pie, Quod sum causa tuæ viæ: Ne me perdas illa die.
Think, good Jesus, my salvation cost thy wondrous Incarnation; leave me not to reprobation!
Remember, merciful Jesus, that I am the cause of thy way: lest thou lose me in that day.
Faint and weary, thou hast sought me, on the cross of suffering bought me. shall such grace be vainly brought me?
Seeking me, thou sat tired: thou redeemed [me] having suffered the Cross: let not so much hardship be lost.
10 Quærens me, sedisti lassus: Redemisti Crucem passus: Tantus labor non sit cassus.
Requiem
4 11 Iuste iudex ultionis, Donum fac remissionis Ante diem rationis.
Righteous Judge! for sin's pollution grant thy gift of absolution, ere the day of retribution.
Just judge of revenge, give the gift of remission before the day of reckoning.
12 Ingemisco, tamquam reus: Culpa rubet vultus meus: Supplicanti parce, Deus.
Guilty, now I pour my moaning, all my shame with anguish owning; spare, O God, thy suppliant groaning!
I sigh, like the guilty one: my face reddens in guilt: Spare the supplicating one, God.
13 Qui Mariam absolvisti, Et latronem exaudisti, Mihi quoque spem dedisti.
Thou the sinful woman savedst; thou the dying thief forgavest; and to me a hope vouchsafest.
Thou who absolved Mary, and heardest the robber, gavest hope to me, too.
14 Preces meæ non sunt dignæ: Sed tu bonus fac benigne, Ne perenni cremer igne.
Worthless are my prayers and sighing, yet, good Lord, in grace complying, rescue me from fires undying!
My prayers are not worthy: however, thou, Good [Lord], do good, lest I am burned up by eternal fire.
15 Inter oves locum præsta, Et ab hædis me sequestra, Statuens in parte dextra.
With thy favored sheep O place me; nor among the goats abase me; but to thy right hand upraise me.
Grant me a place among the sheep, and take me out from among the goats, setting me on the right side.
16 Confutatis maledictis, Flammis acribus addictis: Voca me cum benedictis.
While the wicked are confounded, doomed to flames of woe unbounded call me with thy saints surrounded.
Once the cursed have been rebuked, sentenced to acrid flames: Call thou me with the blessed.
17 Oro supplex et acclinis, Cor contritum quasi cinis: Gere curam mei finis.
Low I kneel, with heart submission, see, like ashes, my contrition; help me in my last condition.
I meekly and humbly pray, [my] heart is as crushed as the ashes: perform the healing of mine end.
18 Lacrimosa dies illa, Qua resurget ex favilla Judicandus homo reus. Huic ergo parce, Deus:
Ah! that day of tears and mourning! From the dust of earth returning man for judgment must prepare him; Spare, O God, in mercy spare him!
Tearful will be that day, on which from the ashes arises the guilty man who is to be judged. Spare him therefore, God.
19 Pie Jesu Domine, Dona eis requiem. Amen.
Lord, all pitying, Jesus blest, grant them thine eternal rest. Amen.
Merciful Lord Jesus, grant them rest. Amen.
Offertory Domine Iesu Christe, Rex gloriæ,
Lord Jesus Christ, King of glory,
libera animas omnium fidelium defunctorum
free the souls of all the faithful departed
de pœnis inferni et de profundo lacu.
Free them from the mouth of the lion;
Libera eas de ore leonis,
do not let Tartarus swallow them,
ne absorbeat eas tartarus,
nor let them fall into darkness;
ne cadant in obscurum;
but may the standard-bearer Saint Michael,
sed signifer sanctus Michæl
lead them into the holy light
repræsentet eas in lucem sanctam,
which you once promised to Abraham and his seed.
quam olim Abrahæ promisisti et semini eius.
from infernal punishment and the deep pit.
Requiem
5 Hostias et preces tibi, Domine,
O Lord, we offer You
laudis offerimus;
sacrifices and prayers of praise;
tu suscipe pro animabus illis,
accept them on behalf of those souls
quarum hodie memoriam facimus.
whom we remember today.
Fac eas, Domine, de morte transire ad vitam.
Let them, O Lord, pass over from death to life,
Quam olim Abrahæ promisisti et semini eius.
as you once promised to Abraham and his seed.
Sanctus This is as the Sanctus prayer in the Ordinary of the Mass: Sanctus, Sanctus, Sanctus,
Holy, Holy, Holy,
Dominus Deus Sabaoth;
Lord God of Hosts;
pleni sunt caeli et terra gloria tua.
Heaven and earth are full of your glory.
Hosanna in excelsis.
Hosanna in the highest.
Benedictus qui venit in nomine Domini.
Blessed is he who comes in the name of the Lord.
Hosanna in excelsis. (reprise)
Hosanna in the highest. (reprise)
Agnus Dei This is as the Agnus Dei in the Ordinary of the Mass, but with the petitions miserere nobis changed to dona eis requiem, and dona nobis pacem to dona eis requiem sempiternam: Agnus Dei, qui tollis peccata mundi, dona eis requiem,
Lamb of God, who take away the sins of the world, grant them rest,
Agnus Dei, qui tollis peccata mundi, dona eis requiem,
Lamb of God, who take away the sins of the world, grant them rest,
Agnus Dei, qui tollis peccata mundi, dona eis requiem sempiternam.
Lamb of God, who take away the sins of the world, grant them eternal rest.
Communion Lux æterna luceat eis, Domine,
May everlasting light shine upon them, O Lord,
cum sanctis tuis in æternum,
with your Saints forever,
quia pius es.
for you are kind.
Requiem æternam dona eis, Domine;
Grant them eternal rest, O Lord,
et lux perpetua luceat eis ;
and may everlasting light shine upon them.
cum Sanctis tuis in æternum,
with your Saints forever,
quia pius es.
for you are merciful.
As mentioned above, there is no Gloria, Alleluia or Credo in these musical settings.
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Pie Jesu Some extracts too have been set independently to music, such as Pie Iesu in the settings of Dvořák, Fauré, and Duruflé. The Pie Iesu consists of the final words of the Dies Irae followed by the final words of the Agnus Dei. Pie Iesu Domine, dona eis requiem.
O sweet Lord Jesus, grant them rest;
Dona eis requiem sempiternam.
grant them everlasting rest.
Musical Requiem settings sometimes include passages from the "Absolution at the bier" (Absolutio ad feretrum) or "Commendation of the dead person" (referred to also as the Absolution of the dead), which in the case of a funeral, follows the conclusion of the Mass.
Libera Me Libera me, Domine, de morte æterna, in die illa tremenda:
Deliver me, O Lord, from death eternal on that fearful day,
Quando cæli movendi sunt et terra.
when the heavens and the earth shall be moved,
Dum veneris iudicare sæculum per ignem.
when thou shalt come to judge the world by fire.
Tremens factus sum ego, et timeo, dum discussio venerit, atque ventura ira. Quando cæli movendi sunt et terra. Dies illa, dies iræ, calamitatis et miseriæ, dies magna et amara valde.
I am made to tremble, and I fear, till the judgment be upon us, and the coming wrath, when the heavens and the earth shall be moved.
Dum veneris iudicare sæculum per ignem.
That day, day of wrath, calamity, and misery, day of great and exceeding bitterness,
Requiem æternam dona eis, Domine: et lux perpetua luceat eis.
when thou shalt come to judge the world by fire. Rest eternal grant unto them, O Lord: and let light perpetual shine upon them.
In paradisum In paradisum deducant te Angeli:
May Angels lead you into paradise;
in tuo adventu suscipiant te Martyres,
may the Martyrs receive you at your coming
et perducant te in civitatem sanctam Ierusalem.
and lead you to the holy city of Jerusalem.
Chorus Angelorum te suscipiat,
and with Lazarus, who once was poor, may you have eternal rest.
et cum Lazaro quondam paupere æternam habeas requiem.
May a choir of Angels receive you,
History of musical compositions For many centuries the texts of the requiem were sung to Gregorian melodies. The Requiem by Johannes Ockeghem, written sometime in the latter half of the 15th century, is the earliest surviving polyphonic setting. There was a setting by the elder composer Dufay, possibly earlier, which is now lost: Ockeghem's may have been modelled on it.[5] Many early compositions employ different texts that were in use in different liturgies around Europe before the Council of Trent set down the texts given above. The requiem of Brumel, circa 1500, is the first to include the Dies Iræ. In the early polyphonic settings of the Requiem, there is considerable textural contrast within the compositions themselves: simple chordal or fauxbourdon-like passages are contrasted with other sections of contrapuntal complexity, such as in the Offertory of Ockeghem's Requiem.[5]
Requiem In the 16th century, more and more composers set the Requiem mass. In contrast to practice in setting the Mass Ordinary, many of these settings used a cantus-firmus technique, something which had become quite archaic by mid-century. In addition, these settings used less textural contrast than the early settings by Ockeghem and Brumel, although the vocal scoring was often richer, for example in the six-voice Requiem by Jean Richafort which he wrote for the death of Josquin des Prez.[5] Other composers before 1550 include Pedro de Escobar, Antoine de Févin, Cristóbal Morales, and Pierre de La Rue; that by La Rue is probably the second oldest, after Ockeghem's. Over 2,000 Requiem compositions have been composed to the present day. Typically the Renaissance settings, especially those not written on the Iberian Peninsula, may be performed a cappella (i.e. without necessary accompanying instrumental parts), whereas beginning around 1600 composers more often preferred to use instruments to accompany a choir, and also include vocal soloists. There is great variation between compositions in how much of liturgical text is set to music. Most composers omit sections of the liturgical prescription, most frequently the Gradual and the Tract. Fauré omits the Dies iræ, while the very same text had often been set by French composers in previous centuries as a stand-alone work. Sometimes composers divide an item of the liturgical text into two or more movements; because of the length of its text, the Dies iræ is the most frequently divided section of the text (as with Mozart, for instance). The Introit and Kyrie, being immediately adjacent in the actual Roman Catholic liturgy, are often composed as one movement. Musico-thematic relationships among movements within a Requiem can be found as well.
Requiem in concert Beginning in the 18th century and continuing through the 19th, many composers wrote what are effectively concert works, which by virtue of employing forces too large, or lasting such a considerable duration, prevent them being readily used in an ordinary funeral service; the requiems of Gossec, Berlioz, Verdi, and Dvořák are essentially dramatic concert oratorios. A counter-reaction to this tendency came from the Cecilian movement, which recommended restrained accompaniment for liturgical music, and frowned upon the use of operatic vocal soloists.
Non-Roman Catholic Requiem Requiem is also used to describe any sacred composition that sets to music religious texts which would be appropriate at a funeral, or to describe such compositions for liturgies other than the Roman Catholic Mass. Among the earliest examples of this type are the German settings composed in the 17th century by Heinrich Schütz and Michael Praetorius, whose works are Lutheran adaptations of the Roman Catholic requiem, and which provided inspiration for the mighty German Requiem by Brahms.[6] Such works include: • Greek Orthodox Church—Parastas • Russian Orthodox Church—Panikhida • Anglican (English) Requiem
Eastern Orthodox Requiem In the Eastern Orthodox and Greek-Catholic Churches, the requiem is the fullest form of memorial service (Greek: Parastas, Slavonic: Panikhida). The normal memorial service is a greatly abbreviated form of Matins, but the Requiem contains all of the psalms, readings, and hymns normally found in the All-Night Vigil (which combines the Canonical Hours of Vespers, Matins and First Hour), providing a complete set of propers for the departed. The full requiem will last around three and a half hours. In this format it more clearly represents the original concept of parastas, which means literally, "standing throughout (the night)." Often, there will be a Divine Liturgy celebrated the next morning with further propers for the departed.
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Requiem Because of their great length, a full Requiem is rarely served. However, at least in the Russian liturgical tradition, a Requiem will often be served on the eve before the Glorification (canonization) of a saint, in a special service known as the "Last Panikhida."
Anglican burial service The Anglican Book of Common Prayer contains seven texts which are collectively known as "funeral sentences"; several composers have written settings of these seven texts, which are generally known collectively as a "burial service." Composers who have set the Anglican burial service to music include William Croft, Thomas Morley, Orlando Gibbons, and Henry Purcell. The text of these seven sentences, from the 1662 Book of Common Prayer, is: • I am the resurrection and the life, saith the Lord: he that believeth in me, though he were dead, yet shall he live: and whosoever liveth and believeth in me shall never die. • I know that my Redeemer liveth, and that he shall stand at the latter day upon the earth. And though after my skin worms destroy this body, yet in my flesh shall I see God: whom I shall see for myself, and mine eyes shall behold, and not another. • We brought nothing into this world, and it is certain we can carry nothing out. The Lord gave, and the Lord hath taken away; blessed be the Name of the Lord. • Man that is born of a woman hath but a short time to live, and is full of misery. He cometh up, and is cut down, like a flower; he fleeth as it were a shadow, and never continueth in one stay. • In the midst of life we are in death: of whom may we seek for succour, but of thee, O Lord, who for our sins art justly displeased? Yet, O Lord God most holy, O Lord most mighty, O holy and most merciful Saviour, deliver us not into the bitter pains of eternal death. • Thou knowest, Lord, the secrets of our hearts; shut not thy merciful ears to our prayer; but spare us, Lord most holy, O God most mighty, O holy and merciful Saviour, thou most worthy judge eternal, suffer us not, at our last hour, for any pains of death, to fall from thee. • I heard a voice from heaven, saying unto me, Write, From henceforth blessed are the dead which die in the Lord: even so saith the Spirit: for they rest from their labours.
20th and 21st century treatments In the 20th century the requiem evolved in several new directions. The genre of War Wequiem is perhaps the most notable, which comprise of compositions dedicated to the memory of people killed in wartime. These often include extra-liturgical poems of a pacifist or non-liturgical nature; for example, the War Requiem of Benjamin Britten juxtaposes the Latin text with the poetry of Wilfred Owen, Krzysztof Penderecki's Polish Requiem includes a traditional Polish hymn within the sequence, and Robert Steadman's Mass in Black intersperses environmental poetry and prophecies of Nostradamus. Holocaust Requiem may be regarded as a specific subset of this type. The World Requiem of John Foulds was written in the aftermath of the First World War and initiated the Royal British Legion's annual festival of remembrance. Recent requiem works by Taiwanese composers Tyzen Hsiao and Fan-Long Ko follow in this tradition, honouring victims of the 2-28 Incident and subsequent White Terror. Another recent requiem composed by Hong Kong composer Man-Ching Donald Yu, in remembrance of the victims of the 2008 Sichuan Earthquake. Lastly, the 20th century saw the development of the secular Requiem, written for public performance without specific religious observance (e.g., Kabalevsky's War Requiem, to poems by Robert Rozhdestvensky). Herbert Howells's unaccompanied Requiem uses Psalm 23 ("The Lord is my shepherd"), Psalm 121 ("I will lift up mine eyes"), "Salvator mundi" ("O Saviour of the world," in English), "Requiem aeternam" (two different settings), and "I heard a voice from heaven." Some composers have written purely instrumental works bearing the title of requiem, as famously exemplified by Britten's Sinfonia da Requiem. Hans Werner Henze's Das Floß der Medusa, written in 1968 as a requiem for Che Guevara, is properly speaking an oratorio; Henze's Requiem is instrumental but retains the
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traditional Latin titles for the movements. Igor Stravinsky's Requiem canticles mixes instrumental movements with segments of the "Introit," "Dies irae," "Pie Jesu," and "Libera me." One of the most recent compositions referencing a Requiem is the piece Lux Aeterna (commonly known under the name Requiem for a Dream), written by Clint Mansell. It was composed by Mansell for Darren Aronofsky's 2000 film Requiem for a Dream, which depicts the downfall of four characters because of addiction. The song can be literally interpreted as a requiem for the characters' dead hopes and dreams. In 2008 bassist-composer Lisle Ellis released Sucker Punch: Requiem, a jazz requiem for graffiti artist Jean-Michel Basquiat.
Notable Requiem compositions Many composers have composed a Requiem. Some of the most notable include the following (in chronological order): • Ockeghem's Requiem, the earliest to survive, written sometime in the mid-to-late 15th century • Victoria's Requiem of 1603, (part of a longer Office for the Dead) • Mozart's Requiem in D minor (Mozart died before its completion) • Cherubini's Requiem in C minor • Berlioz's Grande Messe des Morts • Verdi's Requiem • Brahms' Ein deutsches Requiem, based on passages from Luther's Bible. • Fauré's Requiem in D minor • Dvořák's Requiem, Op. 89
A portion of the manuscript of Mozart's Requiem, K 626. (1791), showing his heading for the first movement.
• Duruflé's Requiem, based almost exclusively on the chants from the Graduale Romanum. • • • •
Britten's War Requiem, which incorporated poems by Wilfred Owen Penderecki's Polish Requiem John Rutter Requiem, includes Psalm 130, Psalm 23 and words from the Book of Common Prayer Webber's Requiem See also: Category:Requiems
Other Requiem composers Renaissance • • • • •
Giovanni Francesco Anerio Gianmatteo Asola Giulio Belli Antoine Brumel Manuel Cardoso
• Joan Cererols • Pierre Certon • Clemens non Papa
Requiem • • • • • • • • • • • • • • • • •
Guillaume Dufay (lost) Pedro de Escobar Antoine de Févin Francisco Guerrero Jacobus de Kerle Orlande de Lassus Duarte Lobo Jean Maillard Jacques Mauduit Manuel Mendes Cristóbal de Morales Johannes Ockeghem (the earliest to survive) Giovanni Pierluigi da Palestrina Costanzo Porta Johannes Prioris Jean Richafort Pierre de la Rue
• Claudin de Sermisy • Jacobus Vaet • Tomás Luis de Victoria
Baroque • • • • • • • • • •
Heinrich Ignaz Franz von Biber André Campra Marc-Antoine Charpentier Johann Joseph Fux Jean Gilles Antonio Lotti (Requiem in F Major) Claudio Monteverdi (lost) Michael Praetorius Heinrich Schütz Jan Dismas Zelenka
Classical period • • • • • • • • • •
Luigi Cherubini Domenico Cimarosa Carl Ditters von Dittersdorf Florian Leopold Gassmann François-Joseph Gossec Michael Haydn, Requiem in C minor Andrea Luchesi José Maurício Nunes Garcia Ignaz Pleyel Antonio Salieri
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Requiem
Romantic era • • • • • • • • • • • • • • • •
Hector Berlioz João Domingos Bomtempo Johannes Brahms Anton Bruckner, Requiem in D minor[7] Ferruccio Busoni Carl Czerny Gaetano Donizetti Antonín Dvořák Gabriel Fauré Charles Gounod Franz Liszt Giacomo Puccini [Introit only] Max Reger Hebbel Requiem, Lateinisches Requiem (fragment) Camille Saint-Saëns Robert Schumann Franz von Suppé
• • • •
Charles Villiers Stanford Giuseppe Verdi Richard Wetz See also: Messa per Rossini
20th century • • • • • • • • • • • • • • • • • • • • •
Malcolm Archer Vyacheslav Artyomov Osvaldas Balakauskas Leonard Bernstein Benjamin Britten Michel Chion Vladimir Dashkevich Edison Denisov Alfred Desenclos Ralph Dunstan Lorenzo Ferrero's Introito, part of the Requiem per le vittime della mafia Howard Goodall Hans Werner Henze Frigyes Hidas Herbert Howells Karl Jenkins Volker David Kirchner Ståle Kleiberg Joonas Kokkonen Cyrillus Kreek Daniël de Lange
• Morten Lauridsen • György Ligeti • Andrew Lloyd Webber
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Requiem • • • • • • • • • • • • • • • • •
Fernando Lopes-Graça Roman Maciejewski Frank Martin Ildebrando Pizzetti Jocelyn Pook Zbigniew Preisner Robert Rønnes Joseph Ryelandt Shigeaki Saegusa Alfred Schnittke Valentin Silvestrov Robert Steadman Igor Stravinsky Toru Takemitsu John Tavener Virgil Thomson Erkki-Sven Tüür
• Malcolm Williamson
21st century • • • • • • • • • • • • • • • •
Leonardo Balada Troy Banarzi Virgin Black Richard Danielpour Carlo Forlivesi Tyzen Hsiao Karl Jenkins Fan-Long Ko Thierry Lancino Clint Mansell, (Theme from Requiem For A Dream aka 'Lux Aeterna') Christopher Rouse Kentaro Sato Somtow Sucharitkul John Tavener (Heartbeat, aka 'Prayer of the Heart' written for Björk) Mack Wilberg Man-Ching Donald Yu
Requiem by language (other than Latin) English with Latin • • • • •
Ray Vincent Adams Benjamin Britten: War Requiem Richard Danielpour: An American Requiem Evgeni Kostitsyn Herbert Howells
• John Rutter: Requiem • Mack Wilberg • Somtow Sucharitkul
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Requiem German • • • • •
Michael Praetorius Heinrich Schütz Franz Schubert Johannes Brahms: A German Requiem Max Reger Hebbel Requiem
French, Greek, with Latin • Thierry Lancino French, English, German with Latin • Edison Denisov Polish with Latin • Krzysztof Penderecki: Polish Requiem • Zbigniew Preisner Russian • Sergei Taneyev – Cantata John of Damascus, Op.1 (Text by Alexey Tolstoy) • Dmitri Kabalevsky – War Requiem (Text by Robert Rozhdestvensky) • Elena Firsova – Requiem, Op.100 (Text by Anna Akhmatova) • Vladimir Dashkevich – Requiem (Text by Anna Akhmatova) Taiwanese • Tyzen Hsiao – Ilha Formosa: Requiem for Formosa's Martyrs, 2001 (Text by Min-yung Lee, 1994) • Fan-Long Ko – 2-28 Requiem, 2008. (Text by Li Kuei-Hsien) Nonlinguistic • * Benjamin Britten's Sinfonia da Requiem and Arthur Honegger's Symphonie Liturgique use titles from the traditional Requiem as subtitles of movements. • Carlo Forlivesi – Requiem, for 8-channel tape[8] • Hans Werner Henze – Requiem (instrumental)
See also • • • • • •
Church music Mass (music) Memorial Month's Mind Oratorio Vocal music
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Requiem
14
External links • Alphabetical Requiems Survey [9] • Online Guide to Requiem [10] • Writing – The Requiem Mass : A Literal Translation [11] • "Masses of Requiem". Catholic Encyclopedia. New York: Robert Appleton Company. 1913.
References [1] Missale Romanum, Ritus servandus in celebratione Missae, XIII [2] General Instruction of the Roman Missal, with adaptations for England and Wales (http:/ / www. liturgyoffice. org. uk/ Resources/ GIRM/ Documents/ GIRM. pdf), 346 [3] Nott, Charles C. (1902). The Seven Great Humns of the Mediaeval Church (http:/ / books. google. com/ books?id=GR87AAAAIAAJ& dq=nott seven great hymns& pg=PA45#v=onepage& q& f=false). New York: Edwin S. Gorham. p. 45. . Retrieved 6 July 2010. [4] This translation appears in the English Missal and also The Hymnal 1940 of the Episcopal Church in the USA. [5] Fabrice Fitch: "Requiem (2)", Grove Music Online, ed. L. Macy (Accessed January 21, 2007) [6] A rather exhaustive list of requiem composers can be found on Requiemsurvey.org (http:/ / www. requiemsurvey. org) [7] p. 8, Kinder (2000) Keith William. Westport, Connecticut. The Wind and Wind-Chorus Music of Anton Bruckner Greenwood Press [8] ALM Records ALCD-76 Silenziosa Luna [9] http:/ / www. requiemsurvey. org/ [10] http:/ / requiemonline. tripod. com/ [11] http:/ / www. johndavies. com. au/ writing_requiem_mass_singing_lessons. htm. htm
Rest in peace "Rest in peace" (Latin: Requiescat in pace) is a short epitaph or idiomatic expression wishing eternal rest and peace to someone that has died. The expression typically appears on headstones, often abbreviated as "RIP". The backronym "rest in paradise" is also common as a variation. The phrase or acronym is commonly found on the grave of Catholics,[1] as it is derived from the burial service of the Roman Catholic church, in which the following prayer was said at the commencement and conclusion:[2] Requiescat, oil on canvas painting by Briton Rivière, 1888, Art Gallery of New South Wales.
R.i.p. on a gravestone.
Anima eius et animae omnium fidelium defunctorum per Dei misericordiam requiescant in pace.
“
In English, it is rendered as[3]
”
Rest in peace
15 May his soul and the souls of all the departed faithful by God's mercy rest in peace.
“
”
To satisfy a vogue for rhyming couplets on tombstones, the phrase has been parsed as:[4]
“ ” Requiesce cat in pace
Originally in Hebrew in Isaiah (57, 2):
“
...will come in peace, and they will rest in their beds, he who goes straightforward.
”
Found inscribed in Hebrew on gravestones, in the 1st century BCE graveyard of Bet Shearim. This verse speaks of the righteous person who passed away, because he could not stand the evil surrounding him. A recapture of these words read as "come and rest in peace" has been transferred to the ancient Talmudic prayers in a mixture of Hebrew and Aramaic of the 3rd century AD, and used to this day in traditional Jewish ceremonies.[5] The phrase in English was not found on tombstones before the eighth century.[6] [7] It became common on the tombs of Catholics in the 18th century for whom it was a prayerful request that their soul should find peace in the afterlife. When the phrase became conventional, the absence of a reference to the soul led people to suppose that it was the physical body which was enjoined to lie peacefully in the grave.[8] This is associated with the Catholic doctrine of the particular judgment which is that the soul is parted from the body upon death but that they will be reunited on Judgment Day.[9] Other variations include “Requiescat in pace et in amore” for "May she rest in peace and love", “Requiescat in pace et in amore” and “In pace requiescat et in amore”. The word order is variable because Latin syntactical relationships are indicated by the inflexional endings, not by word order. However, if “Rest in peace” is used in an imperative mood, it would be “Requiesce in pace” (acronym R.I.P.)in the 2nd. person singular, or “Requiescite in pace” in the 2nd.person plural. [10]
References [1] Charles Langworthy Wallis (1954), Stories on stone: a book of American epitaphs, p. 226 [2] Joshua Scodel (1991), The English poetic epitaph (http:/ / books. google. com/ books?id=Z6oULX3wr58C& pg=PA94), Cornell University Press, p. 94, ISBN 9780801424823, [3] Joshua Scodel (1991), The English poetic epitaph (http:/ / books. google. com/ books?id=Z6oULX3wr58C& pg=PA94), Cornell University Press, p. 94, ISBN 9780801424823, [4] Francis Edward Paget (1843), A tract upon tomb-stones (http:/ / books. google. com/ books?hl=en& lr=& id=IvgDAAAAQAAJ& oi=fnd& pg=PA18), p. 18, [5] El male rachamim [6] The Church of England magazine (Church Pastoral-aid Society): 208, 1842 [7] Robert Jefferson Breckinridge, Andrew Boyd Cross, Antiquity of the Religion (http:/ / books. google. com/ books?id=xtQRAAAAYAAJ& pg=PA206), , The Baltimore literary and religious magazine 3: 206, [8] Joshua Scodel (1991), The English poetic epitaph (http:/ / books. google. com/ books?id=Z6oULX3wr58C& pg=PA269), Cornell University Press, p. 269, ISBN 9780801424823, [9] Karl Siegfried Guthke (2003), Epitaph culture in the West, p. 336 [10] Experts on Latin phrase. (http:/ / en. allexperts. com/ q/ Latin-2145/ 2009/ 7/ Quote-requiescat-etc. htm)
Introit
Introit The Introit (from Latin: introitus, "entrance") is part of the opening of the liturgical celebration of the Eucharist for many Christian denominations. In its most complete version, it consists of an antiphon, psalm verse and Gloria Patri that is spoken or sung at the beginning of the celebration. It is part of the Proper of the liturgy; that is, the part that changes over the liturgical year. In the Roman Rite of the Roman Catholic Church it is known as the antiphona ad introitum (Entrance antiphon), as in the text for each day's Mass, or as the cantus ad introitum (Entrance chant) as in the General Instruction of the Roman Missal, 47 and as in the First Roman Ordo (sixth to seventh century).[1] In pre-1970 editions of the Roman Missal, the word Introitus was used, distinguished from the normal meaning of the word (entrance) by being capitalized. In Ambrosian chant and Beneventan chant, the counterpart of the Introit is called the "ingressa".[2] In the Mozarabic, Carthusian, Dominican, and Carmelite Rites, it is called the "officium".[1]
History Originally, the entrance of the priest who was to celebrate Mass was accompanied by the singing of a whole psalm, with Gloria Patri (doxology). While the psalm was at first sung responsorially, with an antiphon repeated by all at intervals, while a solo singer chanted the words of the psalm, it was soon sung directly by two groups of singers alternating with each other, and with the antiphon sung only at the beginning and the end, as is the usual way of chanting the psalms in the Liturgy of the Hours. The change to this manner of singing the psalm has been attributed to Pope Celestine I (422-432). Pope Gregory I (590-604), after whom Gregorian chant is named, composed several antiphons for singing with the Entrance psalm.[1] If singing of the psalm was not completed by the time the Entrance procession arrived at the altar, the singers moved directly to the Gloria Patri and the final repetition of the antiphon. In time only the opening verse of the psalm was kept, together with the Gloria Patri, preceded and followed by the antiphon, the form of the Introit in Tridentine Mass Roman Missals, which explicitly indicate this manner of singing the Introit. The 1970 revision of the Roman Missal explicitly envisages singing the entire psalm associated with the antiphon, but does not make it obligatory.[3] In contemporary Catholic usage, the introit corresponds to the Entrance Antiphon and is sung or recited audibly throughout by the faithful.
Text and liturgical use The antiphons of most Introits are taken from Psalms, though many come from other parts of Scripture. In some rare cases the antiphon is not from Scripture: "Salve, sancta parens", from the Christian poet Sedulius, is the antiphon used in the Tridentine form of the Roman Rite for common Masses of the Blessed Virgin Mary; the 1970 revision kept a Mass formula of the Blessed Virgin with that antiphon, but provided several alternatives. The words of the antiphons are related to the theme of the feastday or celebration and most frequently have something in common with the liturgical readings of the Mass. In the Tridentine Mass the Introit is no longer the first text used in the Mass. In Low Mass, the priest reads it only after the Prayers at the Foot of the Altar. Until 1908, even in sung Mass the choir began the Introit only after the priest had begun those prayers, but Pope Pius X restored the old arrangement whereby the Introit accompanied the entrance procession of the priest with the ministers. The Tridentine Mass has the priest read the Introit in the Missal even when it is also sung by the choir. It also has him make the sign of the cross, when reading it, a relic of the time when Mass began with it.[1] Since the 1970 revision of the Roman Missal, the Entrance chant begins as the priest enters. Its purpose is to open the celebration, foster the unity of those who have been gathered, turn their thoughts to the mystery of the
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Introit
17
celebration, and accompany the procession. If there is no singing at the Entrance, the antiphon in the Missal is recited either by the faithful, or by some of them, or by a lector; otherwise, it is recited by the priest himself, who may even adapt it as an introductory explanation.[4] If another rite immediately precedes Mass, such as the Palm Sunday procession or the various ceremonies that precede Mass at the Easter Vigil, Mass begins with the collect; there is no Entrance at that point and so no Entrance chant.
Musical setting In the musical idiom of Gregorian chant, Introits normally take the form antiphon-verse-antiphon-doxology-antiphon. In the Tridentine Missal, this form was, with very few exceptions, reduced to antiphon-verse-doxology-antiphon. For example, the Tridentine Missal presents the Introit of the Fourth Sunday of Advent as follows: First the antiphon Rorate Caeli from Isaiah 45:8: Rorate, caeli, desuper, et nubes pluant iustum: aperiatur terra, et germinet Salvatorem. (Bedew us, heavens, from above; ye clouds, rain down the Just One.) Then the verse from Psalm 18:2: Caeli enarrant gloriam Dei et opera manuum eius annuntiat firmamentum (The heavens declare the glory of God, and the firmament declares the work of His hands.) Then the doxology. Gloria Patri et Filio et Spiritui Sancto, Sicut erat in principio et nunc et semper et in saecula saeculorum. Amen. (Glory to the Father, and to the Son, and to the Holy Ghost, as it was in the beginning, is now, and will be for ever. Amen.) Then, once again, the initial antiphon: Rorate ... Salvatorem. Introits, like Offertories and Communions, are believed to have evolved from simpler reciting tones. Introit melodies show this musical parentage most clearly, and are often anchored around two reciting notes which may be repeated or percussed.[5] The melodies are mostly neumatic, dominated by neumes with two or three notes per syllable, although syllabic and melismatic passages also occur. The Introits of Old Roman chant share many similarities with their Gregorian cousins, and often include a repeated extra verse that fell out of use in the Gregorian repertory.
Use of the incipit In the same way as Church documents are referred to by their incipit (their first words in Latin),[6] Mass formulas are known by the incipit of their Introit, which is the first text in the formula. Thus a Mass for the dead is referred to a Requiem Mass, and the three Christmas Day Masses have been called Dominus dixit, Lux fulgebit and Puer natus. So too, Gaudete Sunday is a name for the third Sunday in Advent, Laetare Sunday for the fourth Sunday in Lent, and Quasimodo Sunday for the Octave or Second Sunday of Easter, because of the incipit of the Entrance antiphons of those Sundays.
Introit
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References [1] [2] [3] [4] [5] [6]
Fortescue, A. (1910), Introit, in The Catholic Encyclopedia. (http:/ / www. newadvent. org/ cathen/ 08081a. htm) Retrieved 2 May 2009 Apel, Willi (1990). Gregorian Chant. Bloomington, IN: Indiana University Press. ISBN 0-253-20601-4. The General Instruction of the Roman Missal, 48 (http:/ / www. acbc. catholic. org. au/ documents/ 200707031933. pdf) The General Instruction of the Roman Missal, 37-48 (http:/ / www. acbc. catholic. org. au/ documents/ 200707031933. pdf) Hiley, David (1995). Western Plainchant: A Handbook. New York: Oxford University Press Inc.. ISBN 0-19-816572-2. Examples are the papal encyclical Humanae Vitae and the Second Vatican Council's dogmatic constitution Lumen Gentium
Kyrie Kyrie is from the Greek word κύριε (kyrie), the vocative case of κύριος (kyrios), meaning Lord. It is the common name of an important prayer of Christian liturgy, also called Kýrie, eléison which is Greek for Lord, have mercy.
In Eastern Christianity In the Eastern Christianity (including be Eastern Orthodox, Oriental Orthodox and Eastern Catholic), the phrase Kýrie, eléison (Greek: Κύριε ἐλέησον) or its equivalents in other languages is the most oft-repeated phrase. The various litanies, popular in Orthodox Christianity, generally have Lord, have mercy as their response, either singly or triply. Some petitions in these litanies will have twelve or even forty repetitions of the phrase as a response. The phrase is the origin of the Jesus Prayer, beloved of Eastern Christians belonging to the Byzantine rite, and increasingly popular amongst Western Christians today. The biblical roots of this prayer first appear in 1 Chronicles 16:34 [1] ...give thanks unto the LORD; for he is good; for his mercy endureth for ever... This is key to fully understanding the Greek Kýrie, eléison. In this respect, the prayer is simultaneously a petition and a prayer of thanksgiving; an acknowledgment of what God has done, what God is doing, and what God will continue to do. This prayer is refined by Jesus in Luke 18:9-14 (KJV) The Parable of The Publican [2], where we see more clearly the connection to the Jesus Prayer: "God, have mercy on me, a sinner!" (KJV) The Mass/Divine Liturgy was first celebrated in Greek at Rome during the first two centuries of The Church. As Latin became the predominant language, The Mass was translated into Latin. However, the familiar and venerated prayer Kýrie, eléison was later inserted back into The Mass, replacing the Latin "Domine, Miserere!" The Greek phrase Kýrie, eléison has also been regularly and extensively used in Coptic (Egyptian) Christian churches since the early centuries of Christianity, where in liturgy both Coptic and Greek languages are used. The Coptic and Greek languages share many letters, words, and phrases, particularly in ecclesiastical contexts.
In Western Christianity The Kyrie prayer, offered during the Roman Catholic Mass and in some other denominations (such as Lutheran and many in the Anglican Communion), led by the priest or celebrant, and repeated by the congregation. It is conjectured by scholars, including Jungmann, that the Kyrie in the Roman Mass is a vestigial remnant of a litany at the beginning of the mass, much like that of the Eastern Churches. Though today usually recited in the vernacular, the traditional form of the Kyrie in Western Christianity is a transliteration of the Greek prayer into Latin, and is used in this form in Latin-language Masses. Κύριε ἐλέησον, Χριστὲ ἐλέησον, Κύριε ἐλέησον. Kýrie, eléison; Christé, eléison; Kýrie, eléison. "Lord, have mercy; Christ, have mercy; Lord, have mercy." Traditionally, each line was sung three times. The three lines being sung thrice is an allusion to the Trinity.
Kyrie This prayer occurs early in the Ordinary of the Roman Catholic Mass, directly following the Penitential Rite. However, since an alternate form C of the Penitential Rite of the Mass of Paul VI incorporates the Kyrie text, no additional Kyrie is recited when this form is used. The Penitential Rite and Kyrie are omitted when the Rite of Sprinkling is celebrated, according to this modern use. Although rare, the 2002 Missale Romanum also calls for "Kyrie Eleison" to be a response of the people to the Prayer of the Faithful during Advent. The Kyrie is the first sung prayer in the Ordinary of the pre–1969 Tridentine Mass, and is usually (but not always) a part of any musical setting of the Mass. Kyrie movements often have an ternary (ABA) musical structure that reflects the symmetrical structure of the text. Even today the Kyrie is traditionally sung by the cantor, choir, and congregation when it occurs; musical settings of the prayer in styles ranging from Gregorian chant to Folk are popular. Since 1549 Anglicans have normally sung or said the Kyrie in English. In the 1552 Book of Common Prayer the Kyrie was inserted into a recitation of the Ten Commandments. Modern revisions of the Prayer Book have restored the option of using the Kyrie without the Commandments. In modern Anglican churches it is common to say (or sing) either the Kyrie or the Gloria in Excelsis Deo, but not both. In this case, the Kyrie may be said in penitential seasons like Lent and Advent, while the Gloria is said the rest of the year.
Musical settings The Kyrie was a very popular text for which to compose chants. Of 226 catalogued Gregorian chant melodies, 30 appear in the Liber Usualis. In what are presumed to be the oldest versions, the same melody is repeated for the first eight iterations, and a variation used on the final line (that is, formally, aaa aaa aaa'). These repeats are notated by the Roman numerals "iij" (for three times) or "ij" (for twice). The Kyrie for the Requiem Mass in the Liber Usualis has this form. Later Kyries have more elaborate patterns, such as aaa bbb aaa', aaa bbb ccc', or aba cdc efe'. Note that the final line is nearly always modified somewhat; in some cases this may be because it leads into the Gloria better. In forms both with and without literal repeats, most Kyries in the Liber Usualis have a closing phrase used in nearly all of the lines of the text. This in fact parallels the text, as each line ends with the same word "eleison". Because of the brevity of the text, Kyries were often very melismatic. This encouraged later composers to make tropes out of them, either by adding words to the melisma (as how a sequence is often considered), or extending the melisma. In fact, because of the late date of most Kyries, it is not always clear whether a particular Kyrie melody or the apparently troped text came first; it could just as easily be the case that a syllabic song was converted into a melisma for a Kyrie verse. In some cases, verses interpolate Latin text between each "Kyrie" (or "Christe") and "eleison". As the Kyrie is the first item in settings of the mass ordinary and the second in the requiem mass (the only mass proper set regularly over the centuries), numerous composers have included Kyries in their masses, including Guillaume de Machaut, Guillaume Dufay, Johannes Ockeghem, Josquin des Prez, Giovanni Pierluigi da Palestrina, Johann Sebastian Bach, Joseph Haydn, Wolfgang Amadeus Mozart, Franz Schubert, Ludwig van Beethoven, Gabriel Fauré, Hector Berlioz, Charles Gounod, Giuseppe Verdi, Ralph Vaughan Williams, Igor Stravinsky, Leonard Bernstein, Benjamin Britten, Mark Alburger, Erling Wold, and Lisa Scola Prosek. In original settings, Michael Nyman included it in his score for The Libertine and Trevor Jones used it in his score for Hideaway. The prayer is also referenced in Tom Lehrer's song, "The Vatican Rag" and throughout Virgin Black's Requiem trilogy. In the 1963 film "Lord of the Flies," based on the novel by WIlliam Golding and directed by Peter Brook, the choir boys sing "Kyrie eleison." The vocal group The Association produced a stirring protest song in 1967 to the war in Vietnam, "Requiem For The Masses", that includes a full-harmony bridge "Kyrie, eleison". Their inspiration is possibly from Mozart's Requiem
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Kyrie as their song includes other phrases from Amadeus' masterpiece: Rex tremendae majestatis (King of tremendous majesty), and Requiem aeternam (Eternal Rest Grant unto Them). In the book and play of "The Phantom of the Opera," "Kyrie Eleison" was the name of the wedding song the Phantom wrote for Christine. The psychedelic rock band The Electric Prunes recorded a version of "Kyrie Eleison" as part of their album "Mass in F Minor" (1967). It was part of the soundtrack of the movie Easy Rider released in 1969. In 1985, the progressive metal act, Fates Warning, released a track on their album, "The Spectre Within", entitled "Kyrie Eleison" The band Mr. Mister came up with the single "Kyrie" in late 1985 invoking Kyrie, eleison. It was covered by Christian group AVB in 1994 and became a hit on the CCM chart. Christian singer/songwriter, Mark Schultz, remixed this single in his 2002 album Song Cinema. The British artist DJ Rap produced a UK 'Ardkore single in 1992 by the name of "Divine Rhythm" which heavily sampled the intro and vocal from Mr. Mister's single "Kyrie". In the 1996 album, Christmas Eve and Other Stories, the song "An Angel Returned" by Trans-Siberian Orchestra repeats the lyric "Kyrie among nations" throughout the song. Progressive Rock group Avalon covered the song on their 2000 album Eurasia. Finnish Heavy/Power metal guitarist Timo Tolkki has also composed a song called "Kyrie Eleison" for his band Revolution Renaissance, this can be found on the album Age of Aquarius (2008). On this track one can hear the Kyrie chant spoken behind the lead vocals. In the musical Notre Dame de Paris, the line "Kyrie, eleison" is sung by Quasimodo. In the anime-series Elfen Lied Kyrie Eleison is sung in the intro-song Lilium. Kyrie Eleison appears as the loading menu theme in Castlevania Dracula X: Rondo of Blood as well as its remake, and in Castlevania: Circle of the Moon, as well. In Disney's 1996 movie The Hunchback of Notre Dame, "Kyrie, eleison" can be heard in some musical numbers and songs. In the 1996 Broadway musical Rent and its 2004 film adaptation, at the beginning of the number "La Vie Boheme", Collins and Roger quote Kyrie Eleison (along with the Dies Irae and the Mourners' Kaddish) as part of a mock requiem in honor of "the death of Bohemia". The popular anime series from 2006, Death Note also showcased a unique and atmospheric rendition of the Kyrie chant, utilizing full orchestral vocals.
Variants Historically, there have been various variant forms and pronunciations of the phrase Kýrie, eléison in use. While the proper Greek pronunciation has 'Ký-ri-e, e-lé-i-son', with seven syllables, it is common to hear 'Ký-ri-e, e-léi-son' with six syllables, as well as 'Ký-rie, e-léi-son' with five, when the phrase is sung in churches that do not normally use Greek. Text underlay in Mediaeval and Renaissance music attests that the existence of 'Ký-ri-e-léi-son' with five syllables was the most common pronunciation up till perhaps the mid 16th century. William Byrd's mass for 4 voices is a notable example of a musical setting originally written with five syllables in mind, later altered for six syllables. Mediaeval poetry sometimes has 'Kýrieléis', an even more drastic four syllable form, used as a convenient rhyme with various words in macaronic poems and songs.
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Kyrie
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In various languages •
Afrikaans: Here, ontferm U oor ons
•
Latin: Domine, miserere
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Albanian: Mëshiro, o Zot!
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Latvian: Kungs, apžēlojies
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Ancient Greek: Κύριε ἐλέησον (Kýrie e̍leêson)
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Lithuanian: Viešpatie, pasigailėk
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Arabic: ( محرا ّبر ايYā Rabbu rḥam)
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Macedonian: Господи, помилуј (Gospodi, pomiluj)
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Aramaic: ( ܡܚܪܛܥ ܢܪܘܡMoran eṯraḥam)
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Malayalam: Kurielaison
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Armenian: Տէր, ողորմեա (Ter oġormya)
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Māori: E te Ariki, kia aroha mai
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Basque: Erruki zakizkigu, Jauna
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Meadow Mari: Юмо серлаге (Yumo serlage)
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Belarusian: Зьмілуй, Госпаду (Z'milui Gospadu)
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Malti: Kristu ħniena
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Bulgarian: Господи, помилуй (Gospodi, pomiluj)
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Modern Greek: Κύριε ελέησον (Kírie eléison)
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Catalan: Senyor, tingueu pietat
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Ndebele: Nkosi, sihawukele
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Cebuano: Ginoo, kaluy-i kami
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Norwegian: Herre, miskunne Deg
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Chinese: (traditional) 求主憐憫 (simplified) 求主怜悯 (Mandarin: qiúzhǔ lián mǐn; Cantonese: kauzyu ling man; Min: kiuchu lian bin)
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Persian: اراگدرورپ، نك محر ام هب
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Church Slavonic: Господи Помилѹй (Gospodi pomilui)
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Polish: Panie zmiłuj się
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Croatian: Gospodine, smiluj se
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Portuguese: Senhor, tende piedade de nós
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Czech: Pane, smiluj se
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Romanian: Doamne miluieşte
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Danish: Herre, forbarm Dig
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Russian: Господи, помилуй (Gospodi, pomiluj)
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Dutch: Heer, ontferm u
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Samoan: Le Ali'i e, alofa mai
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Esperanto: Sinjoro, kompatu
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Serbian: Господи, помилуј (Gospodi, pomiluj)
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Estonian: Issand, halasta
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Shona: Mambo tinzwireiwo tsitsi
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Finnish: Herra armahda
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Slovak: Pane, zmiluj sa
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French: Seigneur, prends pitié
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Slovene: Gospod, usmili se
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German: Herr, erbarme Dich unser
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Spanish: Señor, ten piedad
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Georgian: უფალო, შეგვიწყალე (Up'alo, šegvitsk'ale)
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Swahili: Bwana utuhurumie.
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Gaelic (Scotland): A Thighearna, dèan tròcair oirnn
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Swedish: Herre, förbarma Dig
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Hebrew: ( אנ םחר ןודאAdon raḥem na)
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Tagalog: Panginoon, kaawaan mo kami
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Hill Mari: Йымы, жäлаемä
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Thai: พระผู้เป็นเจ้า โปรดเมตตาเทอญ
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Hungarian: Uram, irgalmazz
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Turkish: Rabbim, bize merhamet eyle
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Icelandic: Drottinn, miskunna þú oss
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Ukrainian: Господи помилуй (Hospody pomyluj)
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Indonesian: Tuhan, kasihanilah kami
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Vandalic: Froia arme
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Irish Gaelic: A Thiarna, déan trócaire orainn
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Vietnamese: Xin Chúa thương xót chúng con.
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Italian: Signore, pietà
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Welsh: Arglwydd, trugarha wrthym
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Japanese: 主よ、あわれみたまえ (しゅ、あわれみたまえ) (Shyo, awaremitamae)
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Korean: 주님, 자비를 베푸소서 (Junim, jabirul bepusoseo)
Kyrie
See also • Jesus Prayer • List of Greek phrases
References • Hoppin, Richard. Medieval Music. New York: W. W. Norton and Co., 1978. ISBN 0-393-09090-6. Pages 133–134 (Gregorian chants), 150 (tropes).
External links • Catholic Encyclopedia entry [3]
References [1] http:/ / www. biblegateway. com/ passage/ ?book_id=13& chapter=16& verse=34& version=9;50 [2] http:/ / www. biblegateway. com/ passage/ ?search=Luke%2018:9-14 [3] http:/ / www. newadvent. org/ cathen/ 08714a. htm
Tract (liturgy) The tract (Latin: tractus) is part of the proper of the Roman Mass, which is used instead of the Alleluia during Lenten or pre-Lenten seasons, in a Requiem Mass, and on a few other penitential occasions, when the joyousness of an Alleluia is deemed inappropriate. Tracts are not, however, necessarily sorrowful. The name apparently derives from either the drawn-out style of singing or the continuous structure without a refrain. There is evidence, however, that the earliest performances were sung responsorially, and it is probable that these were dropped at an early age. In their final form, tracts are a series of psalm verses; rarely a complete psalm, but all of the verses from the same psalm. They are restricted to only two modes, the second and the eighth. The melodies follow centonization patterns more strongly than anywhere else in the repertoire; a typical tract is almost exclusively a succession of such formulas. The cadences are nearly always elaborate melismas. Tracts with multiple verses are some of the longest chants in the Liber Usualis. The Lutheran Church also makes use of a tract during Lent in their Divine Service. Tracts were suppressed in the revised Roman Liturgy.
References Hoppin, Richard. Medieval Music. New York: Norton, 1978. Pages 129-130.
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Sequence (poetry)
Sequence (poetry) A sequence (Latin: sequentia) is a chant sung or recited during the Mass, before the proclamation of the Gospel. By the time of the Council of Trent (1543-1563) there were sequences for many feasts in the Church's year. The sequence has always been sung before the Gospel.[1] The Missal of Paul VI (1970), however, places it before the Alleluia.[2] The form of this chant inspired a genre of Latin poetry written in a non-classical metre, often on a sacred Christian subject, which is also called a sequence.
The Latin sequence in literature and liturgy The Latin sequence has its beginnings, as an artistic form, in early Christian hymns such as the Vexilla Regis of Venantius Fortunatus. Venantius modified the classical metres based on syllable quantity to an accentual metre more easily suitable to be chanted to music in Christian worship. In the ninth century, Hrabanus Maurus also moved away from classical metres to produce Christian hymns such as Veni Creator Spiritus. The name sequentia, on the other hand, came to be bestowed upon these hymns as a result of the works of Notker Balbulus, who during the tenth century popularized the genre by publishing a collection of sequentiae in his Liber hymnorum. Since early sequences were written in rhythmical prose, they were also called proses (Latin: prosae). Notker's texts were meant to be sung. In the Latin Mass of the Middle Ages, it became customary to prolong the last syllable of the Alleluia, while the deacon was ascending from the altar to the ambo, to sing or chant the Gospel. This prolonged melisma was called the jubilus, jubilatio, or laudes, because of its jubilant tone. It was also called sequentia, "sequence," because it followed (Latin: sequere) the Alleluia. Notker set words to this melisma in rhythmic prose for chanting as a trope. The name sequence thus came to be applied to these texts; and by extension, to hymns containing rhyme and accentual metre. A collection of sequences was called the Sequentiale. One well-known sequence, falsely attributed to Notker during the Middle Ages, is the prose text Media vita in morte sumus ("In the midst of life we are in death"), which was translated by Cranmer and became a part of the burial service in the funeral rites of the Anglican Book of Common Prayer. Other well-known sequences include the ninth-century Swan Sequence, Tommaso da Celano's Dies Irae, St. Thomas Aquinas' Pange lingua in praise of the Eucharist, the anonymous medieval hymn Ave maris stella ("Hail, star of the sea!"), and the Marian sequence Stabat Mater by Jacopone da Todi. During the Middle Ages, secular or semi-secular sequences, such as Peter of Blois' Olim sudor Herculis ("The labours of Hercules") were written; the Goliards, a group of Latin poets who wrote mostly satirical verse, used the form extensively. The Carmina Burana is a collection of these sequences.
Many sequences abolished In the Missal of Pius V (1570) the number of sequences for the entire Roman Rite was reduced to four: Victimae paschali laudes (11th century) for Easter, Veni Sancte Spiritus for Pentecost (12th century), Lauda Sion Salvatorem (c.1264) for Corpus Christi, and Dies Irae (13th century) for All Souls and in Masses for the Dead. In 1727, the 13th century Stabat Mater for Our Lady of Sorrows was added to this list.[3] In 1970 the Dies Irae was removed from the Requiem Mass of the revised, new Roman Missal and was transferred to the Liturgy of the Hours to be sung ad libitum in the week before the beginning of Advent.[4] The Christmas sequence "Laetabundus," not present in the Roman Missal, is found in the Dominican Missal. This sequence is permitted for the Third Mass of Christmas, the Epiphany, and Candlemas.
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Sequence (poetry)
The sequence as a musical genre Sequences are distinguished by a structure dominated by couplets. Musically, sequences fall into early, middle, and late periods. In the early period, sequences such as Notker's often included single lines that were not part of a couplet. These single lines most often appeared at the beginning or end of the sequence, but could also appear in the middle. Sequences from the middle period, starting around the 11th century, such as the sequence for the Mass of Easter Day, Victimae paschali laudes, are less likely to have single lines outside of couplets, and their couplets are more likely to rhyme. By the 12th century, later sequences, such as the sequence for Pentecost, Veni Sancte Spiritus, showed increasing regularity of structure, with rhyming couplets throughout. Medieval sequences are usually modal melodies. While primarily syllabic, sequences can occasionally have short neumatic moments, but they almost never contain melismas. The two verses of each couplet are sung to the same musical line, usually ending on a tonally stabilizing pitch, with variety being created by couplets of different lengths and with different musical arches. Although sequences are vocal and monophonic, certain sequence texts suggest possible vocal harmonization in organum or instrumental accompaniment. The composition of sequences became less frequent when Humanist Latin replaced medieval Latin as the preferred literary style in Latin. New sequences continued to be written in Latin; one of the best known later sequences is the Christmas carol Adeste Fideles, known in English as "O Come, All Ye Faithful".
External links • Schaff, Philip, History of the Christian Church [5] (1910) • Catholic Encyclopedia, Blessed Notker Balbulus (Stammerer) [6] • "Prose or Sequence". Catholic Encyclopedia. New York: Robert Appleton Company. 1913.
References • Hoppin, Richard (1978). Medieval Music. W. W. Norton & Company. ISBN 0-393-09090-6. • Crocker, Richard (1977). The Early Medieval Sequence. University of California Press. ISBN 0-520-02847-3.
References [1] To be precise, the sequence came between the second and third sections of the "alleluia." See Rubricæ Generales Missalis Romani (http:/ / www. ecclesiacatholica. com/ missale romanum/ rubricae generales missalis romani. htm) (1960) n.470, Retrieved 14 June 2006. [2] Institutio Generalis Missalis Romani (http:/ / www. komkultubozego. episkopat. pl/ wprowadzeniedoksiag/ imgr/ caput2. htm) (2002) n.64, Retrieved 14 June 2006. [3] "Stabat Mater" (http:/ / www. newadvent. org/ cathen/ 14239b. htm), The Catholic Encyclopedia (1917), Retrieved 14 June 2006. [4] Liturgia Horarum IV, (Libreria Editrice Vaticana, 2000), p.489. [5] http:/ / www. ccel. org/ s/ schaff/ history/ 4_ch10. htm#_ednref83 [6] http:/ / www. newadvent. org/ cathen/ 11125b. htm
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Dies Irae
25
Dies Irae Dies Irae (Day of Wrath) is a famous thirteenth century Latin hymn thought to be written by Thomas of Celano.[1] It is a medieval Latin poem characterized by its accentual stress and its rhymed lines. The metre is trochaic. The poem describes the day of judgment, the last trumpet summoning souls before the throne of God, where the saved will be delivered and the unsaved cast into eternal flames. The hymn is best known from its use as a sequence in the Roman Catholic Requiem Mass. It was removed from the ordinary form of the Roman Rite mass in the liturgical reform of 1969–1970, but was retained as a hymn of the Divine Office. It can also still be heard when the 1962 form of the Mass is used. An English version of it is found in various missals used in the Anglican Communion.
Use in the Catholic liturgy Those familiar with musical settings of the Requiem Mass—such as those by Mozart or Verdi—will be aware of the important place Dies Iræ held in the liturgy. Nevertheless the "Consilium for the The Day of Judgment from the centre panel of the Memling Triptych in Gdańsk. Implementation of the Constitution on the Liturgy" – the Vatican body charged with drafting and implementing reforms to the Catholic Liturgy ordered by the Second Vatican Council – felt the funeral rite was in need of reform and eliminated the sequence from the ordinary rite. The architect of these reforms, Archbishop Annibale Bugnini, explains the mind of the members of the Consilium: They got rid of texts that smacked of a negative spirituality inherited from the Middle Ages. Thus they removed such familiar and even beloved texts as the Libera me, Domine, the Dies Iræ, and others that overemphasized judgment, fear, and despair. These they replaced with texts urging Christian hope and arguably giving more effective expression to faith in the resurrection.[2] It remained as the sequence for the Requiem Mass in the Roman Missal of 1962 (the last edition before the Second Vatican Council) and so is still heard in churches where the Tridentine Latin liturgy is celebrated. The Dies Irae is still suggested in the Liturgy of the Hours during last week before Advent as the opening hymn for the Office of Readings, Lauds and Vespers (divided into three parts).[3]
Dies Irae
26
The poem The Latin text below is taken from the Requiem Mass in the 1962 Roman Missal. The first English version below, translated by William Josiah Irons in 1849,[4] replicates the rhyme and metre of the original. The second English version is a more formal equivalence. 1
Dies iræ ! dies illa Solvet sæclum in favilla: Teste David cum Sibylla !
Day of wrath! O day of mourning ! See fulfilled the prophets' warning, Heaven and earth in ashes burning !
The day of wrath, that day Will dissolve the world in ashes As foretold by David and the sibyl !
2
Quantus tremor est futurus, Quando iudex est venturus, Cuncta stricte discussurus !
Oh, what fear man's bosom rendeth, when from heaven the Judge descendeth, on whose sentence all dependeth.
How much tremor there will be, when the judge will come, investigating everything strictly !
3
Tuba, mirum spargens sonum Per sepulchra regionum, Coget omnes ante thronum.
Wondrous sound the trumpet flingeth; through earth's sepulchers it ringeth; all before the throne it bringeth.
The trumpet, scattering a wondrous sound through the sepulchres of the regions, will summon all before the throne.
4
Mors stupebit, et natura, Cum resurget creatura, Iudicanti responsura.
Death is struck, and nature quaking, all creation is awaking, to its Judge an answer making.
Death and nature will marvel, when the creature arises, to respond to the Judge.
5
Liber scriptus proferetur, In quo totum continetur, Unde mundus iudicetur.
Lo ! the book, exactly worded, wherein all hath been recorded: thence shall judgment be awarded.
The written book will be brought forth, in which all is contained, from which the world shall be judged.
6
Iudex ergo cum sedebit, Quidquid latet, apparebit: Nil inultum remanebit.
When the Judge his seat attaineth, and each hidden deed arraigneth, nothing unavenged remaineth.
When therefore the judge will sit, whatever hides will appear: nothing will remain unpunished.
7
Quid sum miser tunc dicturus ? Quem patronum rogaturus, Cum vix iustus sit securus ?
What shall I, frail man, be pleading ? Who for me be interceding, when the just are mercy needing ?
What am I, miserable, then to say ? Which patron to ask, when [even] the just may [only] hardly be sure ?
8
Rex tremendæ maiestatis, Qui salvandos salvas gratis, Salva me, fons pietatis.
King of Majesty tremendous, who dost free salvation send us, Fount of pity, then befriend us !
King of tremendous majesty, who freely savest those that have to be saved, save me, source of mercy.
9
Recordare, Iesu pie, Quod sum causa tuæ viæ: Ne me perdas illa die.
Think, good Jesus, my salvation cost thy wondrous Incarnation; leave me not to reprobation !
Remember, merciful Jesus, that I am the cause of thy way: lest thou lose me in that day.
10 Quærens me, sedisti lassus: Redemisti Crucem passus: Tantus labor non sit cassus.
Faint and weary, thou hast sought me, on the cross of suffering bought me. shall such grace be vainly brought me ?
Seeking me, thou sat tired: thou redeemed [me] having suffered the Cross: let not so much hardship be lost.
11 Iuste iudex ultionis, Donum fac remissionis Ante diem rationis.
Righteous Judge! for sin's pollution grant thy gift of absolution, ere the day of retribution.
Just judge of revenge, give the gift of remission before the day of reckoning.
12 Ingemisco, tamquam reus: Culpa rubet vultus meus: Supplicanti parce, Deus.
Guilty, now I pour my moaning, all my shame with anguish owning; spare, O God, thy suppliant groaning !
I sigh, like the guilty one: my face reddens in guilt: Spare the supplicating one, God.
13 Qui Mariam absolvisti, Et latronem exaudisti, Mihi quoque spem dedisti.
Thou the sinful woman savedst; thou the dying thief forgavest; and to me a hope vouchsafest.
Thou who absolved Mary, and heardest the robber, gavest hope to me, too.
14 Preces meæ non sunt dignæ: Sed tu bonus fac benigne, Ne perenni cremer igne.
Worthless are my prayers and sighing, yet, good Lord, in grace complying, rescue me from fires undying !
My prayers are not worthy: however, thou, Good [Lord], do good, lest I am burned up by eternal fire.
Dies Irae
27 15 Inter oves locum præsta, Et ab hædis me sequestra, Statuens in parte dextra.
With thy favored sheep O place me; nor among the goats abase me; but to thy right hand upraise me.
Grant me a place among the sheep, and take me out from among the goats, setting me on the right side.
16 Confutatis maledictis, Flammis acribus addictis: Voca me cum benedictis.
While the wicked are confounded, doomed to flames of woe unbounded call me with thy saints surrounded.
Once the cursed have been rebuked, sentenced to acrid flames: Call thou me with the blessed.
17 Oro supplex et acclinis, Cor contritum quasi cinis: Gere curam mei finis.
Low I kneel, with heart submission, see, like ashes, my contrition; help me in my last condition.
I meekly and humbly pray, [my] heart is as crushed as the ashes: perform the healing of mine end.
18 Lacrimosa dies illa, qua resurget ex favilla iudicandus homo reus. Huic ergo parce, Deus:
Ah ! that day of tears and mourning ! From the dust of earth returning man for judgment must prepare him; Spare, O God, in mercy spare him !
Tearful will be that day, on which from the ashes arises the guilty man who is to be judged. Spare him therefore, God.
19 Pie Iesu Domine, dona eis requiem. Amen.
Lord, all pitying, Jesus blest, grant them thine eternal rest. Amen.
Merciful Lord Jesus, grant them rest. Amen.
Because the last two stanzas differ markedly in structure from the preceding stanzas, some scholars consider them to be an addition made in order to suit the great poem for liturgical use. The penultimate stanza Lacrimosa discards the consistent scheme of rhyming triplets in favor of a pair of rhyming couplets. The last stanza Pie Jesu abandons rhyme for assonance, and, moreover, its lines are catalectic. In 1970, the Dies Iræ was removed from the Missal and since 1971 has been proposed ad libitum as a hymn for the Liturgy of the Hours at the Office of Readings, Lauds and Vespers. For this purpose stanza 19 was deleted and the poem divided into three sections: 1–6 (for the Office of Readings), 7–12 (for Lauds) and 13–18 (for Vespers). In addition Qui Mariam absolvisti in stanza 13 was replaced by Peccatricem qui solvisti so that that line would now mean, "You who freed/absolved the sinful woman". In addition a doxology is given after stanzas 6, 12 and 18:[3] O tu, Deus majestatis, alme candor Trinitatis nos coniunge cum beatis. Amen.
O God of majesty O thou, God of majesty, nourishing light of the Trinity gracious splendour of the Trinity join us with the blessed. Amen. conjoin us with the blessed. Amen.
Inspiration and other translations A major inspiration of the hymn seems to have come from the Vulgate translation of Zephaniah 1:15–16: Dies iræ, dies illa, dies tribulationis et angustiæ, dies calamitatis et miseriæ, dies tenebrarum et caliginis, dies nebulæ et turbinis, dies tubæ et clangoris super civitates munitas et super angulos excelsos. That day is a day of wrath, a day of tribulation and distress, a day of calamity and misery, a day of darkness and obscurity, a day of clouds and whirlwinds, a day of the trumpet and alarm against the fenced cities, and against the high bulwarks. (Douay–Rheims Bible) Other images come from Revelation 20:11–15 (the book from which the world will be judged), Matthew 25:31–46 (sheep and goats, right hand, contrast between the blessed and the accursed doomed to flames), 1 Thessalonians 4:16 (trumpet), 2 Peter 3:7 (heaven and earth burnt by fire), Luke 21:26–27 ("men fainting with fear ... they will see the Son of Man coming"), etc. From the Jewish liturgy, the prayer Unetanneh Tokef also appears to have been a source: "We shall ascribe holiness to this day, For it is awesome and terrible"; "the great trumpet is sounded", etc. A number of English translations of the poem have been written and proposed for liturgical use. A very loose Protestant version was made by John Newton; it opens: Day of judgment! Day of wonders!
Dies Irae
28 Hark! the trumpet's awful sound, Louder than a thousand thunders, Shakes the vast creation round! How the summons wilt the sinner's heart confound!
Jan Kasprowicz, a Polish poet, wrote a hymn entitled Dies irae which describes the Judgment day. The first six lines (two stanzas) follow the original hymn's metre and rhyme structure, and the first stanza translates to "The trumpet will cast a wondrous sound". The American writer Ambrose Bierce published a satiric version of the poem in his 1903 book Shapes of Clay, preserving the original metre but using humorous and sardonic language; for example, the second verse is rendered: Ah! what terror shall be shaping When the Judge the truth's undraping – Cats from every bag escaping!
Manuscript sources The oldest text of the sequence is found, with slight verbal variations, in a 13th century manuscript in the Biblioteca Nazionale at Naples. It is a Franciscan calendar missal that must date between 1253–1255 for it does not contain the name of Clare of Assisi, who was canonized in 1255, and whose name would have been inserted if the manuscript were of later date.
Musical settings In four-line neumatic notation the chant of the sequence begins:
In 5-line staff notation, the same appears:
The words have often been set to music as part of the Requiem service, originally as a sombre plainchant. It also formed part of the traditional Catholic liturgy of All Souls' Day. Music for the Requiem Mass has been composed by many composers, including Wolfgang Amadeus Mozart as well as Hector Berlioz, Sergei Rachmaninov, Giuseppe Verdi, and Igor Stravinsky. The traditional Gregorian melody has also been used as a musical quotation in a number of other classical compositions, among them: • Thomas Adès – Living Toys • Charles-Valentin Alkan – Symphony for Solo Piano, Op. 39; Souvenirs: Trois morceaux dans le genre pathétique, Op. 15 (No. 3: Morte) • David Baker – Fantasy on Themes from Masque of the Red Death Ballet • Ernest Bloch – Suite Symphonique [5] • Hector Berlioz – Symphonie fantastique • Johannes Brahms – Klavierstück, Op. 118, No. 6
Dies Irae • • • • • • • • • • • • • • • •
Benjamin Britten – War Requiem Antoine Brumel – Dies Irae Sergei Lyapunov - Etude d'execution transcendante, Op.11 No.3 'Pealing of Bells' Wendy Carlos – Carnival of the Animals – Part Two – 10. Shark Elliott Carter – In Sleep, In Thunder, #4 Marc-Antoine Charpentier – Grand Office des Morts George Crumb – Black Angels, Makrokosmos Volume II, Star Child Luigi Dallapiccola – Canti di prigionia Michael Daugherty – Metropolis Symphony 5th movement, "Red Cape Tango". Dead Elvis Raymond Deane – Seachanges Ernő Dohnányi – Rhapsody in E-flat minor, Op. 11, No. 4 Antonín Dvořák – Symphony No. 7 in D minor, movement 1 Martin Ellerby – Paris Sketches, movement 3 Antonio Estévez – Cantata Criolla (1954) Jean Françaix – Cinq poemes de Charles d'Orléans Diamanda Galás – Masque Of The Red Death: Part I – Divine Punishment and Saint Of The Pit: Track 5. Heautontimorounenos (Restless Souls)
• • • • • • • • • • • • • • • • • •
Robert Gerhard – Piano Concerto Alexander Glazunov – Orchestral suite From the Middle Ages, Op. 79 Leopold Godowsky – Piano Sonata in E minor, movement 5 Berthold Goldschmidt – Beatrice Cenci opera Louis Moreau Gottschalk - Cakewalk Suite Charles Gounod – Faust opera, Act IV; Mors et Vita Sofia Gubaidulina – Am Rande des Abgrunds (On the edge of abyss), for 7 celli and 2 aquaphones Joseph Haydn – Symphony No. 103, "The Drumroll" Heinz Holliger – Violin Concerto, 2nd movement Vagn Holmboe – Symphony No. 10, 1st and 4th movements; Symphony No. 11, 1st movement Arthur Honegger – La Danse des Morts Karl Jenkins – Requiem Miloslav Kabeláč – Symphony No. 8 Antiphonies Dmitry Kabalevsky - Cello concerto no. 2 in C minor, Op. 77 Aram Khachaturian – Symphony No. 2 The Bell Symphony, Spartacus György Ligeti – Le Grand Macabre Franz Liszt – Dante Symphony, Totentanz Charles Martin Loeffler – One Who Fell in Battle, Rhapsodies for oboe, viola, and piano, 1st movement, and several songs Jean-Baptiste Lully – Dies Irae Gustav Mahler – Symphony No. 2, movements 1, 3, and 5 Bohuslav Martinů – Cello Concerto No. 2, final movement Nikolai Medtner – Piano Quintet in C major, Op. posth. Modest Mussorgsky – Night on Bald Mountain, Songs and Dances of Death, Intermezzo in modo classico Nikolai Myaskovsky – Piano Sonata No. 2, Symphony No. 6 Krzysztof Penderecki – Dies Irae Ildebrando Pizzetti – Requiem, Assassinio nella cattedrale
• • • • • • • •
• Sergei Rachmaninoff – Symphony No. 1, Op. 13, Symphony No. 2, Op. 27, Piano Sonata No. 1 in D minor, Op. 28, Isle of the Dead, Op. 29, Prelude in E minor, Op. 32, No. 4, The Bells choral symphony, Op. 35, Études-Tableaux, Op. 39, No. 2, Rhapsody on a Theme of Paganini, Op. 43, Symphony No. 3, Op. 44, Symphonic
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Dies Irae
• • • • • • • • • • • • • •
Dances, Op. 45 Ottorino Respighi – Brazilian Impressions Marcel Rubin – Symphony No. 4, 2nd movement (Dies Irae) Camille Saint-Saëns – Danse Macabre, Requiem, Symphony No. 3 ("Organ Symphony") Aulis Sallinen – Dies Irae, Op. 47 Juelz Santana – The Second Coming Ernest Schelling – Impressions from an Artist's Life William Schmidt – Tuba mirum Alfred Schnittke – Symphony No. 1, movement 4 Peter Sculthorpe – Memento Mori (1993) Dmitri Shostakovich – Music for Hamlet, Symphony No. 14 Jean Sibelius – Lemminkäinen Suite Stephen Sondheim – Sweeney Todd – quoted in "The Ballad of Sweeney Todd" and the accompaniment to "Epiphany"[6] Kaikhosru Shapurji Sorabji – Variazioni e fuga triplice sopra "Dies iræ" per pianoforte (1923–26), Sequentia cyclica super "Dies iræ" ex Missa pro defunctis in clavicembali usum (1948–49) Ronald Stevenson – Passacaglia on DSCH (1962–63)
• Richard Strauss – Till Eulenspiegel's Merry Pranks, Dance of the Seven Veils from Salome • Igor Stravinsky – The Rite of Spring (sacrifice intro); Three pieces for String Quartet (III, "Canticle"); Histoire du soldat; Wind Octet, (Tema Con Variazioni) • Pyotr Ilyich Tchaikovsky – Modern Greek Song, Op. 16, No. 6; Marche funèbre, Op. 21, No. 4 from "Six Morceaux" for piano; Grand Sonata, Op. 37, for piano; Manfred Symphony; Orchestral Suite No. 3, Op. 55 • Frank Ticheli – Vesuvius • Loris Tjeknavorian – Symphony No 3 (Peace with all Men) • Ralph Vaughan Williams – Five Tudor Portraits • Adrian Williams – Dies Irae • James Yannatos – Trinity Mass • Eugène Ysaÿe – Sonata in A minor, Op. 27, No. 2 "Obsession" • Bathory – "Dies Irae" from the 1988 album Blood Fire Death • Pendulum – The title track from their 2005 album Hold Your Colour uses a Dies Irae choir sample from Verdi's Requiem.
Literary references • Walter Scott used the first two stanzas in the sixth canto of his narrative poem "The Lay of the Last Minstrel" (1805). • Johann Wolfgang von Goethe used the first, the sixth and the seventh stanza of the hymn in the scene "Cathedral" in the first part of his drama Faust (1808). • Italian poet Giuseppe Giusti composed in 1835 the satirical poem Il "Dies iræ" on the occasion of the death of Francis II, Emperor of Austria. • In José Rizal's 1887 novel Noli Me Tangere, the last two lines of the sixth stanza of the hymn ("Quidquid latet, apparebit, Nil inultum remanebit") are used as the title of the 54th chapter of his novel, depicting how Elias discovers who the descendant of the man who ruined their family is. • Oscar Wilde composed a Sonnet on Hearing the Dies Irae Sung in the Sistine Chapel, contrasting the "terrors of red flame and thundering" depicted in the hymn with images of "life and love". • In Gaston Leroux's 1910 novel The Phantom of the Opera, Erik (the Phantom) has the chant displayed on the wall of his funereal bedroom.
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Dies Irae • Kurt Vonnegut wrote Stone, Time, and Elements: A Humanist Requiem in opposition to the classical Requiem and in particular to the Dies Irae, which he found "vengeful and sadistic" (and mistakenly reputed a "piece of poetry by committee from the Council of Trent"). His Requiem was set to music by Edgar David Grana. • Dies Irae was a title D. H. Lawrence considered for the novel that became Women in Love (1920). • In Umberto Eco's 1980 novel The Name of the Rose, Adso has a dream or vision based on the Coena Cypriani while the monks around him chant the Dies Irae. • In Patrick O'Brians novel, The Letter of Marque (1988): "and some moments later the after part of the ship, usually quiet with a following wind and a moderate sea, was filled with a great deep roaring Dies Irae that went on and on, quite startling the quarterdeck." (Played by the character Dr Maturin on his 'cello.) • "Dies irae, dies illa when the absent shall be present and the present absent...in albums, in desk drawers, this picture and thousands like it have subtly matured, metamorphosed." Age of Iron (1990) by J. M. Coetzee • In Anne Rice's 1998 novel The Vampire Armand , when Amadeo and other apprentices were captured by the Santino's satanic coven of vampires, they would mock Amadeo/Armand by singing this hymn. • Arthur C. Clarke's 1968 novel 2001: A Space Odyssey has the main character, David Bowman, listening to a recording of it on the spaceship Discovery One on his way to Saturn. • Thomas Pynchon's 1963 novel V. includes direct references to Dies Irae in Chapter 9 – "Somewhere in the house (though he may have dreamed that too) a chorus had begun singing a Dies Irae in plainsong."
References in popular culture • Film composer Bernard Herrmann uses the Dies Irae in the skeleton sequence from the 1963 fantasy film Jason and the Argonauts. • The "Dies Irae" melody is featured in the opening credits of Stanley Kubrick's 1980 film The Shining. • In Ingmar Bergman's film The Seventh Seal, the traditional Gregorian Dies Irae is used throughout the film. • Stephen Schwartz and Alan Menken use parts of Dies Irae in their soundtrack to Disney's The Hunchback of Notre Dame. • "Lacrimosa" by singer/songwriter Regina Spektor centers around the eighteenth stanza of the poem. The song is written from the point of view of Icarus, the son of Daedalus from Greek mythology, as he is falling to the earth. • In Monty Python and the Holy Grail, the last stanza (Pie Jesu Domine, dona eis requiem) is chanted by monks hitting themselves with boards. • Two songs in the 1993 soundtrack of the film The Nightmare Before Christmas, "Making Christmas" and "Sally's Song," are based on the Dies Irae melody. • Wendy Carlos used the main subject in her composition "Country Lane" from the album entitled A Clockwork Orange: Wendy Carlos's Complete Original Score. • In the 1996 Broadway musical Rent and its 2004 film adaptation, at the beginning of the number "La Vie Boheme", Collins and Roger quote the Dies Irae (along with the Kyrie Eleison and the Mourners' Kaddish) as part of a mock requiem in honor of "the death of Bohemia".
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Dies Irae
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External links • Dies Iræ [7], Franciscan Archive. Includes two Latin versions and a literal English translation. • Podies Irae [8] – Film Score Monthly podcast highlighting the use of Dies Irae in concert and film music. • Appearance of Dies Irae [9] in the street art of Kurt Wenner.
References [1] [2] [3] [4] [5] [6] [7] [8] [9]
"Dies Iræ". Catholic Encyclopedia. New York: Robert Appleton Company. 1913. Annibale Bugnini, The Reform of the Liturgy : 1948–1975, (The Liturgical Press, 1990), Chap. 46.II.1, p. 773. Liturgia Horarum IV, (Libreria Editrice Vaticana, 2000), p. 489. This translation appears in the English Missal and also The Hymnal 1940 of the Episcopal Church in the USA. Simmons, Walter. Voices in the Wilderness: Six American Neo-romantic Composers. Scarecrow Press, 2004. ISBN 0810848848, Zadan, Craig (1989). Sondheim & Co. 2nd edition. Perennial Library. pp. 248. ISBN 0-06-091400-9. http:/ / www. franciscan-archive. org/ de_celano/ opera/ diesirae. html http:/ / cdn1. libsyn. com/ fsmpodcast/ FSM_Podcast_029. mp3?nvb=20080929022644& nva=20080930022644& t=0e15b6b11214a082e4ccf http:/ / www. kurtwenner. com/ gallery/ Street_gallery/ pages/ 1_Dies_Irae. htm
Sanctus The Sanctus (Latin: Holy), sometimes called the Tersanctus (Latin: Thrice Holy), is a hymn from Christian liturgy, forming part of the ordinary of the Mass. In Western Christianity, the Sanctus is sung (or said) as the final words of the Preface of the Eucharistic Prayer, the prayer of consecration of the bread and wine. The preface, which alters according to the season, usually concludes with words describing the praise of the worshippers joining with the angels, who are pictured as praising God with the words of the Sanctus: Sanctus, Sanctus, Sanctus Dominus Deus Sabaoth. Pleni sunt caeli et terra gloria tua. Hosanna in excelsis. Benedictus qui venit in nomine Domini. Hosanna in excelsis.[1] The first part of the Sanctus is adapted from Isaiah 6:3, which describes the prophet Isaiah's vision of the throne of God surrounded The towers of the huge Sagrada Família church in Barcelona, Spain are decorated with the words by six-winged, ministering seraphim. A similar representation found in "Sanctus", "Hosanna" and "Excelsis". Revelation 4:8 appears to be the basis of the Trisagion, with which the Sanctus should not be confused. In Jewish liturgy, the verse from Isaiah is uttered by the congregation during Kedusha, a prayer said during the cantor's repetition of the Amidah (18 Benedictions) before the opening of the ark: Kadosh Kadosh Kadosh Adonai Tz'vaot Melo Kol Haaretz Kevodo. The text of the second part, beginning with the word Benedictus (Latin for "Blessed"), is taken from Matthew 21:9, describing Jesus' Palm Sunday entry into Jerusalem.
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The Sanctus has been set to numerous plainchant melodies, many of which are given in the Roman Missal, and many more composers have set it to more complex music. It constitutes a mandatory part of any mass setting. In the Tridentine Mass the priest joins his hands while saying the word "Sanctus" and then, bowing, continues to recite the whole of the Sanctus in a lower voice, while a small bell is rung; then, on reaching the words "Benedictus qui venit in nomine Domini", he stands erect again and makes the Sign of the Cross.[2] He then continues immediately with the Canon of the Mass, while the choir, if there is one, sings the Sanctus, pausing for the Consecration and continuing with the Benedictus part afterwards. As a result of this division, the Sanctus is sometimes called the Sanctus-Benedictus. In the Mass as revised after the Second Vatican Council, the only ceremony prescribed for the priest is to join his hands. He and the people sing or recite together the whole of the Sanctus, before the priest begins the Eucharistic Prayer. In the Roman Catholic church, an indulgence of 100 days is associated with the Sanctus when prayed once a day together with the Trisagion, with a contrite heart to adore the Holy Trinity.[3]
Translated versions 1973 International Commission on English in the Liturgy English version Holy, holy, holy Lord, God of power and might, heaven and earth are full of your glory. Hosanna in the highest. Blessed is he who comes in the name of the Lord. Hosanna in the highest. English version often found in earlier hand missals Holy, holy, holy, Lord God of Hosts: Heaven and earth are full of thy glory. Hosanna in the highest. Blessed is he that cometh in the name of the Lord. Hosanna in the highest. English version from the Book of Common Prayer (with the Benedictus appended) Holy, holy, holy, Lord God of Hosts: Heaven and earth are full of thy glory. Glory be to thee, O Lord most high. [Blessed is he that cometh in the name of the Lord. Hosanna in the highest.] English verson used among Lutherans Holy, holy, holy, Lord God of Sabaoth; heaven and earth are full of thy glory. Hosanna in the highest. Blessed is He that cometh in the name of the Lord Hosanna in the highest.[4]
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See also • Trisagion, another invocation sometimes referred to as the Tersanctus
External links • Article [5] at Catholic Encyclopedia • The Divine Liturgy in Greek [6]
References [1] [2] [3] [4] [5] [6]
Missale Romanum 2002, p. 517 ( electronic text (http:/ / www. clerus. org/ bibliaclerusonline/ pt/ 2s. htm#b5q)) Ritus servandus in celebratione Missae, VII, 8 Joseph P. Christopher et al., 2003 The Raccolta St Athanasius Press ISBN 978-0970652669 page 1 Lutheran Service Book, Divine Service III http:/ / www. newadvent. org/ cathen/ 13432a. htm http:/ / www. goarch. org/ en/ chapel/ liturgical_texts/ liturgy_chrysostom_greek. asp
Agnus Dei Agnus Dei is a Latin term meaning Lamb of God, and was originally used to refer to Jesus Christ in his role of the perfect sacrificial offering that atones for the sins of humanity in Christian theology, harkening back to ancient Jewish Temple sacrifices. The phrase "Agnus Dei" refers to several uses of this title. The Biblical significance of the title is rendered in the context of earlier lamb symbolism. The blood of the paschal lamb of the Old Testament protects and saves the Israelites in Exodus 12. This link is made explicit in 1 Corinthians 5:7. For Paul, Christians are saved by Christ as their true paschal lamb. The Old Testament also testifies to the earlier practice of sin offerings as a possible means of atonement. Lambs could be used in these offerings (e.g. Leviticus 4:32-34 and Leviticus 5:6), and this link is strongly suggested by Gospel of John 1:29 and 1 Peter 1:19. Just as in Judaism sins could be forgiven through the offering and the pouring out of the blood of an "unblemished" lamb (cf. Leviticus 4:32), so Christians believe they can be freed from sin by the blood of Jesus, the unblemished Lamb of God. See Sin for further discussion about the concept of sin and the means of atonement in Judaism. Those who reject the lamb of God atonement theology say that blood cannot forgive sin and that Jesus taught us to remove our sins by repentance, love and forgiving others. Lastly, Christians believe that the suffering servant of Isaiah 53 refers to Jesus, although many identify the servant as Israel personified arguing that the identity of the servant has already been established by Isaiah in previously stated passages (Isaiah 41:8-9; Isaiah 44:1-2,
A lamb holding a Christian banner is a typical symbol for Agnus Dei.
Medieval Agnus Dei with halo and cross; Euphrasian Basilica, Poreč, Croatia.
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Isaiah 44:22; Isaiah 45:4; Isaiah 48:20; Isaiah 49:3). According to Isaiah 53, the suffering servant remains silent "like a lamb led to the slaughter" (Isaiah 53:7) and "gives his life as an offering for sin" (Isaiah 53:10). Christians add that this link is explicit in Acts 8:32 and strengthens the idea of Jesus as a sin offering. Those who reject the Lamb of God Theology say that Isaiah 53 cannot be applied to the suffering servant for the servant in Is. 53 has children and Jesus was celibate.
Art In Christian iconography, an Agnus Dei is a visual representation of Jesus as a lamb, since the Middle Ages usually holding a standard or banner with a cross. This normally rests on the lamb's shoulder and is held in its right foreleg. Often the cross will have a white banner suspended from it charged with a red cross (similar to St George's Cross), though the cross may also be rendered in different colors. Sometimes the lamb is shown lying atop a book with seven seals hanging from it. This is a reference to the imagery in the Book of Revelation 5:1-13, ff. Occasionally, the lamb may be depicted bleeding from the area of the heart (Cf. Revelation 5:6), symbolizing Jesus' shedding of his blood to take away the sins of the world (Cf. John 1:29, 1:36). In Early Christian art the symbol appears very early on. Several mosaics in churches include it, some showing a row of twelve sheep representing the apostles flanking the central Agnus Dei, as in Santi Cosma e Damiano, Rome (526-30).
Ghent Altarpiece by Jan van Eyck, with gushing blood.
Eucharistic Pall, embroidered with the Agnus Dei reposing on the book of the Seven Seals.
The Moravian Church uses an Agnus Dei as their seal with the surrounding inscription Vicit agnus noster, eum sequamur ("Our Lamb has conquered, let us follow him."). Although the depiction of Jesus as the Lamb of God is of ancient origin, it is not used in the liturgical iconography of the Eastern Orthodox Church. The reason for this is that the depictions of Jesus in the Orthodox Church are anthropomorphic rather than symbolic, as a confession of the Orthodox belief in the Incarnation of the Logos. However, there is no objection to the application of the term "Lamb of God" to Jesus. In fact, the Host used in the Orthodox Divine Liturgy is referred to as the Lamb (Greek: άμνος, amnos; Slavonic: Агнецъ, agnets). In the Roman Catholic Church it is also a tablet of wax stamped with a representation of Jesus as a lamb bearing a cross, then blessed by the Pope as a sacramental.
Lamb with vexillum and chalice.
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Liturgy In the Mass of the Roman Rite and also in the Eucharist of the Anglican Communion, the Lutheran Church, and the Western Rite of the Orthodox Church the Agnus Dei is the invocation to the Lamb of God sung or recited during the fraction of the Host.[1] It is said to have been introduced into the Mass by Pope Sergius I (687–701).[2] Based upon John the Baptist's reference in John 1:29 to Jesus ("Behold the Lamb of God that taketh away the sin of the world"), the text in Latin is: Agnus Dei, qui tollis peccata mundi, miserere nobis. Agnus Dei, qui tollis peccata mundi, miserere nobis. Agnus Dei, qui tollis peccata mundi, dona nobis pacem. which means:
Adoration of the Mystic Lamb, detail of the Ghent Altarpiece by Jan Van Eyck.
Lamb of God, you who take away the sins of the world, have mercy upon us. Lamb of God, you who take away the sins of the world, have mercy upon us. Lamb of God, you who take away the sins of the world, grant us peace. The following three versions of the Agnus Dei are particularly common in English-speaking churches. They are all found, for example, in the Church of England's Common Worship liturgical resources. Lamb of God, you take away the sin of the world, have mercy on us. Lamb of God, you take away the sin of the world, have mercy on us. Lamb of God, you take away the sin of the world, grant us peace.
Brass Agnus Dei from altar-front in the Cathedral of the Assumption in Louisville, Kentucky
O Lamb of God, that takest away the sins of the world, have mercy upon us. O Lamb of God, that takest away the sins of the world, have mercy upon us. O Lamb of God, that takest away the sins of the world, grant us thy peace. Jesus, Lamb of God, have mercy on us. Jesus, bearer of our sins, have mercy on us. Jesus, redeemer of the world, grant us peace. The General Instruction of the Roman Missal, § 83, states: "The supplication Agnus Dei, is, as a rule, sung by the choir or cantor with the congregation responding; or it is, at least, recited aloud. This invocation accompanies the fraction and, for this reason, may be repeated as many times as necessary until the rite has reached its conclusion, the last time ending with the words dona nobis pacem (grant us peace)." Historically, in Requiem Masses, the first two invocations ended with "dona eis requiem" (give them rest) instead of "miserere nobis", and the last with "dona eis requiem sempiternam" (give them rest eternal). The priest again uses the phrase "Lamb of God", in a more complete quotation from John 1:29, when displaying the consecrated Host (or the Host and Chalice) to the people before giving them Holy Communion. He says: "Ecce Agnus Dei, ecce qui tollit peccata mundi. (Behold the Lamb of God, behold him who taketh away the sins of the world.) Happy are they who are called to His Supper." Famous composers have set to at times elaborate music this part of the Ordinary of the Mass.
Agnus Dei
Music This liturgical text has been set to music by many composers, usually as part of a Mass setting, but sometimes it stands alone, e.g., it is the lyrics for the choral arrangement of Samuel Barber's Adagio for Strings. Agnus Dei is also the name of several other songs, which may not have the traditional words: • • • • •
The atmospheric opening piece from Elliot Goldenthal's Alien³ score. Trains and Winter Rains by Enya, from the album And Winter Came.... A song on Rufus Wainwright's Want Two album. It is the name of the sixth track on Morgan Page's debut album Believe A contemporary Christian praise song written by Michael W. Smith first released on his 1990 CD Go West Young Man. Later Smith performed it on his 2001 CD Worship. The song was covered by Third Day as part of a compilation album entitled Exodus in 1998 with the permission of Michael W. Smith. Third Day later recorded a live version of the song on their 2000 CD Offerings: A Worship Album. Donnie McClurkin has recorded a rendition of the song on his 2005 CD entitled Psalms, Hymns and Spiritual Songs. However, the text of this version does not bear any resemblance to the original historical texts. • Rich Mullins modeled the first half of his 1993 CD A Liturgy, a Legacy, & a Ragamuffin Band after an orthodox liturgy. The song "Peace (A Communion Blessing from St. Joseph's Square)" relates to this part of the liturgy. • The group Bel Canto set the Agnus Dei to music on the holiday compilation CD Winter, Fire & Snow. • A song track from the Namco videogame Ace Combat 04 (specifically, the background music for the final mission, "Megalith"). This rendition of Agnus Dei is properly called "Megalith-Agnus Dei" and features a 4-part chorus arrangement and a mix of classical and techno elements. • Orchestral Manoeuvres in the Dark's "Agnus Dei" from their Liberator album. • Act 5 of John Rutter's Requiem • A song on Israeli contratenor David D'Or's David D’Or & the Philharmonic; Live Concert, released on April 1, 2003.[3] [4] • Sung by choir during pivotal scenes in the best-selling PC game Homeworld • Agnus Dei is the fourth music track of 3DO's turn-based strategy game Heroes of Might and Magic III. • This is the title and closing track to Oliver Stone's film, "Platoon." • The fifth movement of the Notre Dame Mass[5] • The 11th track on Durutti Column's 2006 Album "Keep Breathing" [6] • The twenty fourth movment of Bach's Mass in B minor • This is the sixth part of Mozart's Requiem. • The tenth part of Beethoven's Missa Solemnis • The • Faure's Requiem, 5th movement • The first track on Mylene Farmer's 1991 album "L'Autre..." • Agnus Dei is a single by dubstep producer Eskmo. • The 12th track on Darlene Zschech's 2005 album Change Your World. • Atli Örvarsson incorporates the liturgy into the Babylon A.D. soundtrack, composed by him and Hans Zimmer. The first track Aurora's Theme's alternative name is Agnus Dei. The remaining songs incorporate the same lyrics as well. • Agnus Dei is the title of the first track of Funeral Mist's album Salvation. • The Cruzifixus-Anus Dei is a knock off of Agnus Dei by Belphegor on there album Goatreich - Fleshcult
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Architectural examples • St Leonards Church, Speeton has a fine example of a carved Norman Agnus Dei[7] • All Saints church, Crondall
References [1] See "Agnus Dei" (http:/ / www. newadvent. org/ cathen/ 01221a. htm) article from The Catholic Encyclopedia [2] Lives of Orthodox Western Saints (http:/ / www. orthodox. net/ faq/ weslives. htm) by Reader Daniel Lieuwen (St Nicholas Orthodox Church, McKinney TX) [3] "David D'Or & The Philharmonic" (http:/ / daviddor. com/ e_disc_6. htm). daviddor.com. February 2009. . Retrieved 2009-05-05. [4] "David D'Or - David D'Or and the Philharmonic" (http:/ / www. cjfw. ca/ music/ albums/ 700265/ overview). Allmusic. . Retrieved 2009-05-05. [5] Roger Kamien, Music:An Appreciation [6] "Keep Breathing entry on discogs.com" (http:/ / www. discogs. com/ Durutti-Column-Keep-Breathing/ release/ 662703). discogs.com. . Retrieved 2009-08-16. [7] Reighton, Speeton and Hunmanby Gap - a Circular Walk (http:/ / yorkshire-guide. co. uk/ Reighton-Speeton-Hunmanby-Gap. aspx)
Pie Jesu Pie Jesu is a motet derived from the final couplet of the Dies irae and often included in musical settings of the Requiem Mass. The settings of the Requiem Mass by Luigi Cherubini, Gabriel Fauré, Maurice Duruflé, John Rutter, Karl Jenkins and Fredrik Sixten include a Pie Jesu as an independent movement. Of all these, by far the best known is the Pie Jesu from Fauré's Requiem; Camille Saint-Saëns said of it, "just as Mozart's is the only Ave verum corpus, this is the only Pie Jesu".[1] Saint-Saëns, of course, never heard the Weber version.
Text The original text, derived from the Dies irae sequence, is as follows: Pie Jesu Domine, dona eis requiem. (repeat 2x)
Kind Lord Jesus, grant them rest.
Pie Jesu Domine, dona eis requiem sempiternam.
Kind Lord Jesus, grant them everlasting rest.
Pie (the vocative of the word pius) is conventionally translated as "sweet", but normally means "dutiful", "godly", "faithful", or "kind".[2] Requiem (accusative of requies) is often translated as "peace", although that would be pacem, as in "Dona nobis pacem" ("Give us peace"). A more faithful translation of requiem would be "rest", as in "Requiem aeternam dona eis" ("Grant them eternal rest"). At the end is the word sempiternam ("sempiternal", a graded expression of aeternam, "eternal"), making it to dona eis requiem sempiternam ("grant them sempiternal rest"). The Andrew Lloyd Webber version combines the text of the Pie Jesu with that of the version of the Agnus Dei formerly appointed to be used at Requiem masses: °Pie Jesu, (4x) °Qui tollis peccata mundi °Dona eis requiem. (2x)
Merciful Jesus, Who takes away the sins of the world, Grant them rest.
Pie Jesu
39 Agnus Dei, (4x) Qui tollis peccata mundi, Dona eis requiem (2x) Sempiternam. (2x)
Lamb of God, Who takes away the sins of the world, Grant them rest Everlasting.
(°The first verse is repeated twice)
Versions • • • • • • • • • • • • • • • • • • • • • • • • • • • •
Oliver Putland and the Voice of Angels. Webber Andrew Johnston Angelis Anúna Becky Gulsvig and Gaelen Gilliland of Legally Blonde: The Musical Cecilia Bartoli Chloë Agnew, Lynn Hilary and Máiréad Nesbitt from Celtic Woman Charlotte Church Choirboys, The Hayley Westenra Jackie Evancho on America's Got Talent [3] Moe Koffman with Doug Riley and his orchestra Sissel Kyrkjebø Lea Salonga Alessandro Moreschi Anna Netrebko Katherine Jenkins Les Petits Chanteurs de Saint Marc Vanilla Ninja Tarja Turunen Michael Jackson in Little Susie [4] Michelle Bass in Ultimate Big Brother on Vanessa Feltz and Victor's fictional wedding. Lucie Bílá and Boni Pueri Moto Boy on "For Martha Ep." 2007 Olavskoret and Göran Fristorp The Priests Sarah Brightman on her concert DVD Symphony: Live in Vienna Monty Python flagellant monks chant this text during several scenes in Monty Python and the Holy Grail[5]
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References [1] Steinberg, Michael. "Gabriel Fauré: Requiem, Op. 48." Choral Masterworks: A Listener's Guide. Oxford: Oxford University Press, 2005, 131–137. [2] "Pius", in Latin Dictionary and Grammar Aid, University of Notre Dame (http:/ / catholic. archives. nd. edu/ cgi-bin/ lookup. pl?stem=pius) [3] http:/ / www. youtube. com/ watch?v=SnSEdl5GPG4 [4] YouTube: Little Susie (http:/ / www. youtube. com/ watch?v=65aEm_v2dO0) [5] Monty Python. "Monty Python and the Holy Grail" 1975, YouTube: Monks - Monty Python and The Holy Grail (http:/ / www. youtube. com/ watch?v=YgYEuJ5u1K0) interlude between scenes 4 and 5.
Libera Me Libera Me is a Roman Catholic responsory that is sung in the Office of the Dead and at the absolution of the dead, a service of prayers for the dead said by the coffin immediately after the Requiem Mass and before burial. The text of Libera Me asks God to have mercy upon the deceased person at the Last Judgement. In addition to the Gregorian chant in the Roman Gradual, many composers have written settings for the text, including Gabriel Fauré and Maurice Duruflé. Libera me, Domine, de morte aeterna, in die illa tremenda:
Deliver me, O Lord, from death eternal on that fearful day,
Quando caeli movendi sunt et terra.
when the heavens and the earth shall be moved,
Dum veneris judicare saeculum per ignem.
when thou shalt come to judge the world by fire.
Tremens factus sum ego, et timeo, dum discussio venerit, atque ventura ira. Quando caeli movendi sunt et terra. Dies illa, dies irae, calamitatis et miseriae, dies magna et amara valde.
I am made to tremble, and I fear, till the judgment be upon us, and the coming wrath, when the heavens and the earth shall be moved.
Dum veneris judicare saeculum per ignem.
That day, day of wrath, calamity, and misery, day of great and exceeding bitterness,
Requiem aeternam dona eis, Domine: et lux perpetua luceat eis.
when thou shalt come to judge the world by fire. Rest eternal grant unto them, O Lord: and let light perpetual shine upon them.
Libera Me is begun by a cantor, who sings the versicles alone, and the responses are sung by the choir. The text is written in the first person singular, "Deliver me, O Lord, from eternal death on that fearful day," a dramatic substitution in which the choir speaks for the dead person. In the traditional Office, restored to the use of Catholic clergy by Pope Benedict XVI, Libera Me is also said on All Souls' Day (2 November) and whenever all three nocturns of Matins of the Dead are recited. On other occasions, the ninth responsory of Matins for the Dead begins with "Libera me", but continues with a different text (Domine, de viis inferni, etc.).
References This article incorporates text from a publication now in the public domain: Herbermann, Charles, ed (1913). "Libera Me". Catholic Encyclopedia. Robert Appleton Company.
In paradisum
In paradisum In paradisum (English: "Into paradise") is an antiphon from the traditional Latin liturgy of the Roman Catholic Requiem Mass. It is sung by the choir as the body is being taken out of the church. The text of the In paradisum — with or without the Gregorian melody itself — is sometimes included in musical settings of the Requiem Mass, such as those by Gabriel Fauré and Maurice Duruflé, although liturgically it belongs to the burial service.
Text In paradisum deducant te Angeli; in tuo adventu suscipiant te martyres, et perducant te in civitatem sanctam Ierusalem. Chorus angelorum te suscipiat, et cum Lazaro quondam paupere æternam habeas requiem. May angels lead you into paradise; upon your arrival, may the martyrs receive you and lead you to the holy city of Jerusalem. May the ranks of angels receive you, and with Lazarus, the poor man, may you have eternal rest. In the services for the dead, this antiphon is sung in procession on the way from the final blessing of the corpse in church to the graveyard where burial takes place. The Gregorian melody for In paradisum is in the Mixolydian mode. The special nature of this mode — with its lowered seventh degree, which makes it different from the modern major mode — is heard twice in this melody at cadences on the words Chorus Angelorum and quondam paupere. The melodic highpoint of In paradisum comes on the name of Lazarus, the poor beggar in the Bible who went to heaven while a rich man went to hell.
See also • Requiem • Libera Me
External links • Score • Gregorian chant in square notation [1] • The same, in modern notation [2] • Audio [3] at Internet Archive
References [1] http:/ / interletras. com/ canticum/ InParadisum. htm [2] http:/ / www. basso-continuo. com/ Gloria_d/ 2004/ Gregorian/ InParadisum_e. htm [3] http:/ / www. archive. org/ details/ TheTenPrayers
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Article Sources and Contributors
Article Sources and Contributors Requiem Source: http://en.wikipedia.org/w/index.php?oldid=387093823 Contributors: 5-HT8, 8wolves, Adryenne, Aeismail, Alansohn, Alcuin, Alex Bieser, Alexfusco5, AlexiusHoratius, Alton.arts, Alvah1, Amorrow, Andycjp, Angela, Angr, Antandrus, Arch dude, Aschweig, Attilios, Awal1987, Bart133, Baumannp, Beeswaxcandle, Bigjimr, Bitbut, Bjarbirk, BlueFox the Shadow, Bobo192, Bondegezou, CALR, Camembert, Carl Logan, Ceoil, Cgingold, Challengestudent, Charvex, Chew33, Chill doubt, Chonak, Chuck Carroll, ChuckHG, CommonsDelinker, Corypark, Cote d'Azur, Counterfit, Crculver, Cyprian56, DTOx, DavidRF, DeadTotoro, DerHexer, Discospinster, DivineAlpha, Dmitrismirnov, DocWatson42, Dominick, Drmies, Drummle, Ed Cormany, Eddwin0072, Editor2020, El C, Eloc Jcg, Epbr123, Esoglou, Evanreyes, Evil saltine, Falstaft, Farrest, Feline Hymnic, Fishhead64, FordPrefect42, Gaff, Gazzster, Gerald Farinas, Gerda Arendt, Glenfarclas, GuardianOfTruth, Gzornenplatz, Hugh7, IfAny, Ihcoyc, Inductiveload, InfernoXV, Introvert, Ioeth, Iridescent, IvanP, J. Finkelstein, JASpencer, Jadseanderson, Jaguara, Jake the Editor Man, Jallan, James470, JamesBurns, Jan D. Berends, Jangotag, Jaredfaulkner, Jeppiz, John Paul Parks, JonathanDP81, Just zis Guy, you know?, JzG, Kafka Liz, Kelson, Kimse, King of Hearts (old account 2), Klonimus, KnowledgeOfSelf, Koavf, Kralizec!, KristianLvB, Liempt, LightSpectra, Lima, Linuxlad, Lotje, Lukashka, Luna Santin, M7, Maid Marion, Marcustristan, Matthew hk, Mcsee, MeltBanana, Michael Bednarek, Michael Snow, MishaPan, Missmarple, Mllefifi, Mrmanhio, MusicMaker5376, Muzzle, Nabokov, Nadavspi, Narsil, Nezzomic, Nicapicella, Ocanter, P4k, Parkwells, PaulGS, Pearle, Peter S., Phi1ip, Piano non troppo, Pladask, Pmadrid, Poor Yorick, Primo Dang, Propaniac, Ptolemy Caesarion, PuzzletChung, Quintote, RaidonMakoto, Redheylin, Requiem640, RexNL, Rocket000, Roeid, Romanm, Rosenleben, Ruivilao, Rwflammang, S.dedalus, Schissel, SebastianHelm, Servili007, SethTisue, Sherurcij, Sigil7, Sketchee, Skier Dude, Skkygirl, Smith2006, Snafje, Steven J. 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