ContentsArticles

Requiem 1Rest in peace 14Introit 16Kyrie 18Tract (liturgy) 22Sequence (poetry) 23Dies Irae 25Sanctus 32Agnus Dei 34Pie Jesu 38Libera Me 40In paradisum 41

ReferencesArticle Sources and Contributors 42Image Sources, Licenses and Contributors 43

Article LicensesLicense 44

Requiem 1

Requiem

Requiem Mass for Archduke Franz Ferdinand of Austria at the Catholic Church of St.Catherine, Saint Petersburg, 1914.

A Requiem or Requiem Mass, alsoknown as Mass for the dead (Latin:Missa pro defunctis) or Mass of thedead (Latin: Missa defunctorum), isMass celebrated for the repose of thesoul or souls of one or more deceasedpersons, using a particular formula ofthe Roman Missal. It is frequently, butnot necessarily, celebrated in thecontext of a funeral.

Musical settings of the propers of theRequiem Mass are also calledRequiems, and the term hassubsequently been applied to othermusical compositions associated withdeath and mourning, even when theylack religious or liturgical relevance.

The term is also used for similar ceremonies outside the Catholic Church, especially in the Anglo-Catholic branch ofAnglicanism 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 "Requiemaeternam dona eis, Domine" – "Grant them eternal rest, O Lord". ("Requiem" is the accusative singular form of theLatin noun requies, "rest, repose".) The Roman Missal as revised in 1970 employs this phrase as the first entranceantiphon among the formulas for Masses for the dead, and it remains in use to this day.

The liturgyIn earlier forms of the Roman Rite, some of which are still in use, a Requiem Mass differs in several ways from theusual Mass in that form. Some parts that were of relatively recent origin, including some that have been excluded inthe 1970 revision, are omitted. Examples are the psalm Iudica at the start of Mass, the prayer said by the priestbefore reading the Gospel (or the blessing of the deacon, if a deacon reads it), and the first of the two prayers of thepriest for himself before receiving Communion.[1] Other omissions include the use of incense at the Introit and theGospel, the kiss of peace, lit candles held by acolytes when a deacon chants the Gospel, and blessings. There is noGloria in excelsis Deo, no recitation of the Creed, the Alleluia chant before the Gospel is replaced by a Tract, as inLent, the Agnus Dei is altered, and Ite missa est is replaced with Requiescant in pace (May they rest in peace). Blackis the obligatory liturgical colour of the vestments in the earlier forms, while the later form allows a choice betweenblack and violet, and in some countries, such as England and Wales, white.[2] The sequence Dies Iræ, recited or sungbetween the Tract and the Gospel, is an obligatory part of the Requiem Mass in the earlier forms. As its openingwords, 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 vestmentsworn by the priest. This term has no connection with the Satanist ritual of the same name.

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Music

Incipit of the Gregorian chant introit for a Requiem Mass, from the Liber Usualis.

The Requiem Mass is notable for thelarge number of musical compositionsthat it has inspired, including thesettings of Mozart, Verdi and Fauré.Originally, such compositions weremeant to be performed in liturgicalservice, with monophonic chant. Eventually the dramatic character of the text began to appeal to composers to anextent that they made the requiem a genre of its own, and the compositions of composers such as Verdi areessentially concert pieces rather than liturgical works.

The following are the texts that are set to music.

Introit

Requiem æternam dona eis, Domine,

et lux perpetua luceat eis.

Te decet hymnus Deus, in Sion,

et tibi reddetur votum in Ierusalem.

Exaudi orationem meam;

ad te omnis caro veniet.

Requiem æternam dona eis, Domine,

et lux perpetua luceat eis.

Eternal rest grant unto them, O Lord,

and let perpetual light shine upon them.

A hymn becomes you, O God, in Zion,

and to you shall a vow be repaid in Jerusalem.

Hear my prayer;

to you shall all flesh come.

Eternal rest grant unto them, O Lord,

and let perpetual light shine upon them.

Kyrie eleisonThis is as the Kyrie in the Ordinary of the Mass:

Kyrie eleison;

Christe eleison;

Kyrie eleison

Lord have mercy;

Christ have mercy;

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 :

et lux perpetua luceat eis.

In memoria æterna erit iustus,

ab auditione mala non timebit.

Eternal rest grant unto them, O Lord :

and let perpetual light shine upon them.

He shall be justified in everlasting memory,

and shall not fear evil reports.

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Tract

Absolve, Domine,

animas omnium fidelium defunctorum

ab omni vinculo delictorum

et gratia tua illis succurente

mereantur evadere iudicium ultionis,

et lucis æternae beatitudine perfrui.

Forgive, O Lord,

the souls of all the faithful departed

from all the chains of their sins

and by the aid to them of your grace

may they deserve to avoid the judgment of revenge,

and enjoy the blessedness of everlasting light.

SequenceA sequence is a liturgical poem sung, when used, after the Tract (or Alleluia, if present). The sequence employed inthe Requiem, Dies Irae, attributed to Thomas of Celano (c. 1200 – c. 1260–1270), has been called "the greatest ofhymns", worthy of "supreme admiration".[3] The Latin text below is taken from the Requiem Mass in the 1962Roman Missal. The first English version below, translated by William Josiah Irons in 1849,[4] replicates the rhymeand metre of the original. The second English version is a more formal equivalence.

1 Dies iræ! dies illaSolvet 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 dayWill dissolve the world in ashesAs 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 Judgedescendeth,on whose sentence all dependeth.

How much tremor there will be,when the judge will come,investigating everything strictly!

3 Tuba, mirum spargens sonumPer 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 soundthrough 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 tuncdicturus?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 salvationcost 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.

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11 Iuste iudex ultionis,Donum fac remissionisAnte diem rationis.

Righteous Judge! for sin's pollutiongrant thy gift of absolution,ere the day of retribution.

Just judge of revenge,give the gift of remissionbefore 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 unboundedcall 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 favillaJudicandus homo reus.Huic ergo parce, Deus:

Ah! that day of tears and mourning!From the dust of earth returningman for judgment must prepare him;Spare, O God, in mercy spare him!

Tearful will be that day,on which from the ashes arisesthe 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,

libera animas omnium fideliumdefunctorum

de pœnis inferni et de profundo lacu.

Libera eas de ore leonis,

ne absorbeat eas tartarus,

ne cadant in obscurum;

sed signifer sanctus Michæl

repræsentet eas in lucem sanctam,

quam olim Abrahæ promisisti et seminieius.

Lord Jesus Christ, King of glory,

free the souls of all the faithful departed

from infernal punishment and the deep pit.

Free them from the mouth of the lion;

do not let Tartarus swallow them,

nor let them fall into darkness;

but may the standard-bearer Saint Michael,

lead them into the holy light

which you once promised to Abraham and hisseed.

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Hostias et preces tibi, Domine,

laudis offerimus;

tu suscipe pro animabus illis,

quarum hodie memoriam facimus.

Fac eas, Domine, de morte transire advitam.

Quam olim Abrahæ promisisti et seminieius.

O Lord, we offer You

sacrifices and prayers of praise;

accept them on behalf of those souls

whom we remember today.

Let them, O Lord, pass over from death to life,

as you once promised to Abraham and hisseed.

SanctusThis is as the Sanctus prayer in the Ordinary of the Mass:

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. (reprise)

Holy, Holy, Holy,

Lord God of Hosts;

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. (reprise)

Agnus DeiThis is as the Agnus Dei in the Ordinary of the Mass, but with the petitions miserere nobis changed to dona eisrequiem, and dona nobis pacem to dona eis requiem sempiternam:

Agnus Dei, qui tollis peccata mundi, dona eisrequiem,

Agnus Dei, qui tollis peccata mundi, dona eisrequiem,

Agnus Dei, qui tollis peccata mundi, dona eisrequiem sempiternam.

Lamb of God, who take away the sins of theworld, grant them rest,

Lamb of God, who take away the sins of theworld, grant them rest,

Lamb of God, who take away the sins of theworld, grant them eternal rest.

Communion

Lux æterna luceat eis, Domine,

cum sanctis tuis in æternum,

quia pius es.

Requiem æternam dona eis, Domine;

et lux perpetua luceat eis ;

cum Sanctis tuis in æternum,

quia pius es.

May everlasting light shine upon them, O Lord,

with your Saints forever,

for you are kind.

Grant them eternal rest, O Lord,

and may everlasting light shine upon them.

with your Saints forever,

for you are merciful.

As mentioned above, there is no Gloria, Alleluia or Credo in these musical settings.

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Pie JesuSome extracts too have been set independently to music, such as Pie Iesu in the settings of Dvořák, Fauré, andDuruflé.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.

Dona eis requiem sempiternam.

O sweet Lord Jesus, grant them rest;

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, indie illa tremenda:

Quando cæli movendi sunt et terra.

Dum veneris iudicare sæculum per ignem.

Tremens factus sum ego, et timeo, dumdiscussio venerit, atque ventura ira.

Quando cæli movendi sunt et terra.

Dies illa, dies iræ, calamitatis et miseriæ,dies magna et amara valde.

Dum veneris iudicare sæculum per ignem.

Requiem æternam dona eis, Domine: et luxperpetua luceat eis.

Deliver me, O Lord, from death eternal on thatfearful day,

when the heavens and the earth shall be moved,

when thou shalt come to judge the world byfire.

I am made to tremble, and I fear, till thejudgment be upon us, and the coming wrath,

when the heavens and the earth shall be moved.

That day, day of wrath, calamity, and misery,day of great and exceeding bitterness,

when thou shalt come to judge the world byfire.

Rest eternal grant unto them, O Lord: and letlight perpetual shine upon them.

In paradisum

In paradisum deducant te Angeli:

in tuo adventu suscipiant te Martyres,

et perducant te in civitatem sanctamIerusalem.

Chorus Angelorum te suscipiat,

et cum Lazaro quondam paupere æternamhabeas requiem.

May Angels lead you into paradise;

may the Martyrs receive you at your coming

and lead you to the holy city of Jerusalem.

May a choir of Angels receive you,

and with Lazarus, who once was poor, may youhave eternal rest.

History of musical compositionsFor 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 asetting by the elder composer Dufay, possibly earlier, which is now lost: Ockeghem's may have been modelled onit.[5] Many early compositions employ different texts that were in use in different liturgies around Europe before theCouncil of Trent set down the texts given above. The requiem of Brumel, circa 1500, is the first to include the DiesIræ. In the early polyphonic settings of the Requiem, there is considerable textural contrast within the compositionsthemselves: simple chordal or fauxbourdon-like passages are contrasted with other sections of contrapuntalcomplexity, such as in the Offertory of Ockeghem's Requiem.[5]

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In the 16th century, more and more composers set the Requiem mass. In contrast to practice in setting the MassOrdinary, many of these settings used a cantus-firmus technique, something which had become quite archaic bymid-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 wrotefor 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 necessaryaccompanying instrumental parts), whereas beginning around 1600 composers more often preferred to useinstruments to accompany a choir, and also include vocal soloists. There is great variation between compositions inhow much of liturgical text is set to music.Most composers omit sections of the liturgical prescription, most frequently the Gradual and the Tract. Fauré omitsthe Dies iræ, while the very same text had often been set by French composers in previous centuries as a stand-alonework.Sometimes composers divide an item of the liturgical text into two or more movements; because of the length of itstext, the Dies iræ is the most frequently divided section of the text (as with Mozart, for instance). The Introit andKyrie, 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 concertBeginning in the 18th century and continuing through the 19th, many composers wrote what are effectively concertworks, which by virtue of employing forces too large, or lasting such a considerable duration, prevent them beingreadily used in an ordinary funeral service; the requiems of Gossec, Berlioz, Verdi, and Dvořák are essentiallydramatic concert oratorios. A counter-reaction to this tendency came from the Cecilian movement, whichrecommended restrained accompaniment for liturgical music, and frowned upon the use of operatic vocal soloists.

Non-Roman Catholic RequiemRequiem is also used to describe any sacred composition that sets to music religious texts which would beappropriate at a funeral, or to describe such compositions for liturgies other than the Roman Catholic Mass. Amongthe earliest examples of this type are the German settings composed in the 17th century by Heinrich Schütz andMichael Praetorius, whose works are Lutheran adaptations of the Roman Catholic requiem, and which providedinspiration for the mighty German Requiem by Brahms.[6]

Such works include:• Greek Orthodox Church—Parastas• Russian Orthodox Church—Panikhida• Anglican (English) Requiem

Eastern Orthodox RequiemIn 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 theRequiem contains all of the psalms, readings, and hymns normally found in the All-Night Vigil (which combines theCanonical Hours of Vespers, Matins and First Hour), providing a complete set of propers for the departed. The fullrequiem will last around three and a half hours. In this format it more clearly represents the original concept ofparastas, which means literally, "standing throughout (the night)." Often, there will be a Divine Liturgy celebratedthe next morning with further propers for the departed.

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Because of their great length, a full Requiem is rarely served. However, at least in the Russian liturgical tradition, aRequiem will often be served on the eve before the Glorification (canonization) of a saint, in a special service knownas the "Last Panikhida."

Anglican burial serviceThe 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 "burialservice." 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 shallbehold, and not another.

• We brought nothing into this world, and it is certain we can carry nothing out. The Lord gave, and the Lord hathtaken 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 artjustly displeased? Yet, O Lord God most holy, O Lord most mighty, O holy and most merciful Saviour, deliver usnot 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 mostholy, O God most mighty, O holy and merciful Saviour, thou most worthy judge eternal, suffer us not, at our lasthour, 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 treatmentsIn the 20th century the requiem evolved in several new directions. The genre of War Wequiem is perhaps the mostnotable, which comprise of compositions dedicated to the memory of people killed in wartime. These often includeextra-liturgical poems of a pacifist or non-liturgical nature; for example, the War Requiem of Benjamin Brittenjuxtaposes the Latin text with the poetry of Wilfred Owen, Krzysztof Penderecki's Polish Requiem includes atraditional Polish hymn within the sequence, and Robert Steadman's Mass in Black intersperses environmental poetryand prophecies of Nostradamus. Holocaust Requiem may be regarded as a specific subset of this type. The WorldRequiem of John Foulds was written in the aftermath of the First World War and initiated the Royal British Legion'sannual festival of remembrance. Recent requiem works by Taiwanese composers Tyzen Hsiao and Fan-Long Kofollow in this tradition, honouring victims of the 2-28 Incident and subsequent White Terror. Another recent requiemcomposed by Hong Kong composer Man-Ching Donald Yu, in remembrance of the victims of the 2008 SichuanEarthquake.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 withsegments 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 thename Requiem for a Dream), written by Clint Mansell. It was composed by Mansell for Darren Aronofsky's 2000film Requiem for a Dream, which depicts the downfall of four characters because of addiction. The song can beliterally 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-MichelBasquiat.

Notable Requiem compositions

A portion of the manuscript of Mozart's Requiem, K 626. (1791),showing his heading for the first movement.

Many composers have composed a Requiem. Some of themost notable include the following (in chronologicalorder):• 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• 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

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• 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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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

Requiem 12

• 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

Requiem 13

German

• Michael Praetorius• Heinrich Schütz• Franz Schubert• Johannes Brahms: A German Requiem• Max Reger Hebbel Requiem

French, Greek, with Latin

• Thierry LancinoFrench, English, German with Latin

• Edison DenisovPolish with Latin

• Krzysztof Penderecki: Polish Requiem• Zbigniew PreisnerRussian

• 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 thetraditional 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

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

Requiescat, oil on canvas painting by BritonRivière, 1888, Art Gallery of New South Wales.

R.i.p. on a gravestone.

"Rest in peace" (Latin: Requiescat in pace) is a short epitaph oridiomatic expression wishing eternal rest and peace to someone thathas died. The expression typically appears on headstones, oftenabbreviated as "RIP". The backronym "rest in paradise" is alsocommon as a variation. The phrase or acronym is commonly found onthe grave of Catholics,[1] as it is derived from the burial service of theRoman Catholic church, in which the following prayer was said at thecommencement and conclusion:[2]

“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]

“Requiescecat inpace ”

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 ofthe righteous person who passed away, because he could not stand the evil surrounding him. A recapture of thesewords read as "come and rest in peace" has been transferred to the ancient Talmudic prayers in a mixture of Hebrewand 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 tombsof 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 thephysical body which was enjoined to lie peacefully in the grave.[8] This is associated with the Catholic doctrine ofthe particular judgment which is that the soul is parted from the body upon death but that they will be reunited onJudgment Day.[9]

Other variations include “Requiescat in pace et in amore” for "May she rest in peace and love", “Requiescat in pace etin amore” and “In pace requiescat et in amore”. The word order is variable because Latin syntactical relationships areindicated by the inflexional endings, not by word order. However, if “Rest in peace” is used in an imperative mood, itwould be “Requiesce in pace” (acronym R.I.P.)in the 2nd. person singular, or “Requiescite in pace” in the 2nd.personplural. [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 16

IntroitThe Introit (from Latin: introitus, "entrance") is part of the opening of the liturgical celebration of the Eucharist formany Christian denominations. In its most complete version, it consists of an antiphon, psalm verse and Gloria Patrithat is spoken or sung at the beginning of the celebration. It is part of the Proper of the liturgy; that is, the part thatchanges over the liturgical year.In the Roman Rite of the Roman Catholic Church it is known as the antiphona ad introitum (Entrance antiphon), asin the text for each day's Mass, or as the cantus ad introitum (Entrance chant) as in the General Instruction of theRoman Missal, 47 and as in the First Roman Ordo (sixth to seventh century).[1] In pre-1970 editions of the RomanMissal, the word Introitus was used, distinguished from the normal meaning of the word (entrance) by beingcapitalized. In Ambrosian chant and Beneventan chant, the counterpart of the Introit is called the "ingressa".[2] In theMozarabic, Carthusian, Dominican, and Carmelite Rites, it is called the "officium".[1]

HistoryOriginally, 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 atintervals, while a solo singer chanted the words of the psalm, it was soon sung directly by two groups of singersalternating with each other, and with the antiphon sung only at the beginning and the end, as is the usual way ofchanting the psalms in the Liturgy of the Hours. The change to this manner of singing the psalm has been attributedto Pope Celestine I (422-432). Pope Gregory I (590-604), after whom Gregorian chant is named, composed severalantiphons 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 moveddirectly to the Gloria Patri and the final repetition of the antiphon. In time only the opening verse of the psalm waskept, together with the Gloria Patri, preceded and followed by the antiphon, the form of the Introit in TridentineMass 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 EntranceAntiphon and is sung or recited audibly throughout by the faithful.

Text and liturgical useThe antiphons of most Introits are taken from Psalms, though many come from other parts of Scripture. In some rarecases the antiphon is not from Scripture: "Salve, sancta parens", from the Christian poet Sedulius, is the antiphonused in the Tridentine form of the Roman Rite for common Masses of the Blessed Virgin Mary; the 1970 revisionkept 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 havesomething 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 onlyafter the Prayers at the Foot of the Altar. Until 1908, even in sung Mass the choir began the Introit only after thepriest had begun those prayers, but Pope Pius X restored the old arrangement whereby the Introit accompanied theentrance procession of the priest with the ministers. The Tridentine Mass has the priest read the Introit in the Missaleven 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 timewhen 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

Introit 17

celebration, and accompany the procession. If there is no singing at the Entrance, the antiphon in the Missal isrecited either by the faithful, or by some of them, or by a lector; otherwise, it is recited by the priest himself, whomay even adapt it as an introductory explanation.[4]

If another rite immediately precedes Mass, such as the Palm Sunday procession or the various ceremonies thatprecede Mass at the Easter Vigil, Mass begins with the collect; there is no Entrance at that point and so no Entrancechant.

Musical settingIn the musical idiom of Gregorian chant, Introits normally take the formantiphon-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 willbe 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 melodiesshow this musical parentage most clearly, and are often anchored around two reciting notes which may be repeatedor 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 repeatedextra verse that fell out of use in the Gregorian repertory.

Use of the incipitIn the same way as Church documents are referred to by their incipit (their first words in Latin),[6] Mass formulas areknown by the incipit of their Introit, which is the first text in the formula. Thus a Mass for the dead is referred to aRequiem Mass, and the three Christmas Day Masses have been called Dominus dixit, Lux fulgebit and Puer natus. Sotoo, Gaudete Sunday is a name for the third Sunday in Advent, Laetare Sunday for the fourth Sunday in Lent, andQuasimodo Sunday for the Octave or Second Sunday of Easter, because of the incipit of the Entrance antiphons ofthose Sundays.

Introit 18

References[1] Fortescue, A. (1910), Introit, in The Catholic Encyclopedia. (http:/ / www. newadvent. org/ cathen/ 08081a. htm) Retrieved 2 May 2009[2] Apel, Willi (1990). Gregorian Chant. Bloomington, IN: Indiana University Press. ISBN 0-253-20601-4.[3] The General Instruction of the Roman Missal, 48 (http:/ / www. acbc. catholic. org. au/ documents/ 200707031933. pdf)[4] The General Instruction of the Roman Missal, 37-48 (http:/ / www. acbc. catholic. org. au/ documents/ 200707031933. pdf)[5] Hiley, David (1995). Western Plainchant: A Handbook. New York: Oxford University Press Inc.. ISBN 0-19-816572-2.[6] Examples are the papal encyclical Humanae Vitae and the Second Vatican Council's dogmatic constitution Lumen Gentium

KyrieKyrie is from the Greek word κύριε (kyrie), the vocative case of κύριος (kyrios), meaning Lord. It is the commonname of an important prayer of Christian liturgy, also called Kýrie, eléison which is Greek for Lord, have mercy.

In Eastern ChristianityIn the Eastern Christianity (including be Eastern Orthodox, Oriental Orthodox and Eastern Catholic), the phraseKýrie, 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, eithersingly 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, andincreasingly 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 petitionand a prayer of thanksgiving; an acknowledgment of what God has done, what God is doing, and what God willcontinue to do. This prayer is refined by Jesus in Luke 18:9-14 (KJV) The Parable of The Publican [2], where we seemore 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. AsLatin became the predominant language, The Mass was translated into Latin. However, the familiar and veneratedprayer 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) Christianchurches since the early centuries of Christianity, where in liturgy both Coptic and Greek languages are used. TheCoptic and Greek languages share many letters, words, and phrases, particularly in ecclesiastical contexts.

In Western ChristianityThe Kyrie prayer, offered during the Roman Catholic Mass and in some other denominations (such as Lutheran andmany in the Anglican Communion), led by the priest or celebrant, and repeated by the congregation. It is conjecturedby scholars, including Jungmann, that the Kyrie in the Roman Mass is a vestigial remnant of a litany at the beginningof the mass, much like that of the Eastern Churches. Though today usually recited in the vernacular, the traditionalform of the Kyrie in Western Christianity is a transliteration of the Greek prayer into Latin, and is used in this formin 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 19

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, noadditional Kyrie is recited when this form is used. The Penitential Rite and Kyrie are omitted when the Rite ofSprinkling 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 Prayerof 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) apart of any musical setting of the Mass. Kyrie movements often have an ternary (ABA) musical structure that reflectsthe symmetrical structure of the text. Even today the Kyrie is traditionally sung by the cantor, choir, andcongregation when it occurs; musical settings of the prayer in styles ranging from Gregorian chant to Folk arepopular.Since 1549 Anglicans have normally sung or said the Kyrie in English. In the 1552 Book of Common Prayer theKyrie was inserted into a recitation of the Ten Commandments. Modern revisions of the Prayer Book have restoredthe option of using the Kyrie without the Commandments. In modern Anglican churches it is common to say (orsing) either the Kyrie or the Gloria in Excelsis Deo, but not both. In this case, the Kyrie may be said in penitentialseasons like Lent and Advent, while the Gloria is said the rest of the year.

Musical settingsThe Kyrie was a very popular text for which to compose chants. Of 226 catalogued Gregorian chant melodies, 30appear in the Liber Usualis. In what are presumed to be the oldest versions, the same melody is repeated for the firsteight iterations, and a variation used on the final line (that is, formally, aaa aaa aaa'). These repeats are notated by theRoman numerals "iij" (for three times) or "ij" (for twice). The Kyrie for the Requiem Mass in the Liber Usualis hasthis form. Later Kyries have more elaborate patterns, such as aaa bbb aaa', aaa bbb ccc', or aba cdc efe'. Note that thefinal line is nearly always modified somewhat; in some cases this may be because it leads into the Gloria better. Informs both with and without literal repeats, most Kyries in the Liber Usualis have a closing phrase used in nearly allof 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 maketropes out of them, either by adding words to the melisma (as how a sequence is often considered), or extending themelisma. In fact, because of the late date of most Kyries, it is not always clear whether a particular Kyrie melody orthe apparently troped text came first; it could just as easily be the case that a syllabic song was converted into amelisma 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 massproper set regularly over the centuries), numerous composers have included Kyries in their masses, includingGuillaume 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, GabrielFauré, Hector Berlioz, Charles Gounod, Giuseppe Verdi, Ralph Vaughan Williams, Igor Stravinsky, LeonardBernstein, Benjamin Britten, Mark Alburger, Erling Wold, and Lisa Scola Prosek. In original settings, MichaelNyman 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 Requiemtrilogy.In the 1963 film "Lord of the Flies," based on the novel by WIlliam Golding and directed by Peter Brook, the choirboys 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

Kyrie 20

as their song includes other phrases from Amadeus' masterpiece: Rex tremendae majestatis (King of tremendousmajesty), 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 thePhantom wrote for Christine.The psychedelic rock band The Electric Prunes recorded a version of "Kyrie Eleison" as part of their album "Mass inF 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 byChristian 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 heavilysampled 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 Orchestrarepeats 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 bandRevolution Renaissance, this can be found on the album Age of Aquarius (2008). On this track one can hear theKyrie 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 andsongs.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 mockrequiem in honor of "the death of Bohemia".The popular anime series from 2006, Death Note also showcased a unique and atmospheric rendition of the Kyriechant, utilizing full orchestral vocals.

VariantsHistorically, there have been various variant forms and pronunciations of the phrase Kýrie, eléison in use. While theproper 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 normallyuse Greek. Text underlay in Mediaeval and Renaissance music attests that the existence of 'Ký-ri-e-léi-son' with fivesyllables was the most common pronunciation up till perhaps the mid 16th century. William Byrd's mass for 4 voicesis 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 rhymewith various words in macaronic poems and songs.

Kyrie 21

In various languages

• Afrikaans: Here, ontferm U oor ons • Latin: Domine, miserere• Albanian: Mëshiro, o Zot! • Latvian: Kungs, apžēlojies• Ancient Greek: Κύριε ἐλέησον (Kýrie e̍leêson) • Lithuanian: Viešpatie, pasigailėk• Arabic: محرا ّبر اي (Yā Rabbu rḥam) • Macedonian: Господи, помилуј

(Gospodi, pomiluj)• Aramaic: ܡܚܪܛܥ ܢܪܘܡ (Moran eṯraḥam) • Malayalam: Kurielaison• Armenian: Տէր, ողորմեա (Ter oġormya) • Māori: E te Ariki, kia aroha mai• Basque: Erruki zakizkigu, Jauna • Meadow Mari: Юмо серлаге (Yumo

serlage)• Belarusian: Зьмілуй, Госпаду (Z'milui Gospadu) • Malti: Kristu ħniena• Bulgarian: Господи, помилуй (Gospodi, pomiluj) • Modern Greek: Κύριε ελέησον (Kírie

eléison)• Catalan: Senyor, tingueu pietat • Ndebele: Nkosi, sihawukele• Cebuano: Ginoo, kaluy-i kami • Norwegian: Herre, miskunne Deg• Chinese: (traditional) 求主憐憫 (simplified) 求主怜悯 (Mandarin: qiúzhǔ lián mǐn; Cantonese:

kauzyu ling man; Min: kiuchu lian bin)• Persian: نك محر ام هب ، اراگدرورپ

• Church Slavonic: Господи Помилѹй (Gospodi pomilui) • Polish: Panie zmiłuj się• Croatian: Gospodine, smiluj se • Portuguese: Senhor, tende piedade de

nós• Czech: Pane, smiluj se • Romanian: Doamne miluieşte• Danish: Herre, forbarm Dig • Russian: Господи, помилуй (Gospodi,

pomiluj)• Dutch: Heer, ontferm u • Samoan: Le Ali'i e, alofa mai• Esperanto: Sinjoro, kompatu • Serbian: Господи, помилуј (Gospodi,

pomiluj)• Estonian: Issand, halasta • Shona: Mambo tinzwireiwo tsitsi• Finnish: Herra armahda • Slovak: Pane, zmiluj sa• French: Seigneur, prends pitié • Slovene: Gospod, usmili se• German: Herr, erbarme Dich unser • Spanish: Señor, ten piedad• Georgian: უფალო, შეგვიწყალე (Up'alo, šegvitsk'ale) • Swahili: Bwana utuhurumie.• Gaelic (Scotland): A Thighearna, dèan tròcair oirnn • Swedish: Herre, förbarma Dig• Hebrew: אנ םחר ןודא (Adon raḥem na) • Tagalog: Panginoon, kaawaan mo kami• Hill Mari: Йымы, жäлаемä • Thai: พระผู้เป็นเจ้า โปรดเมตตาเทอญ• Hungarian: Uram, irgalmazz • Turkish: Rabbim, bize merhamet eyle• Icelandic: Drottinn, miskunna þú oss • Ukrainian: Господи помилуй (Hospody

pomyluj)• Indonesian: Tuhan, kasihanilah kami • Vandalic: Froia arme• Irish Gaelic: A Thiarna, déan trócaire orainn • Vietnamese: Xin Chúa thương xót

chúng con.• Italian: Signore, pietà • Welsh: Arglwydd, trugarha wrthym• Japanese: 主よ、あわれみたまえ (しゅ、あわれみたまえ) (Shyo, awaremitamae)• Korean: 주님, 자비를 베푸소서 (Junim, jabirul bepusoseo)

Kyrie 22

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 duringLenten or pre-Lenten seasons, in a Requiem Mass, and on a few other penitential occasions, when the joyousness ofan 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 thesewere 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 samepsalm. They are restricted to only two modes, the second and the eighth. The melodies follow centonization patternsmore strongly than anywhere else in the repertoire; a typical tract is almost exclusively a succession of suchformulas. The cadences are nearly always elaborate melismas. Tracts with multiple verses are some of the longestchants 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.

ReferencesHoppin, Richard. Medieval Music. New York: Norton, 1978. Pages 129-130.

Sequence (poetry) 23

Sequence (poetry)A sequence (Latin: sequentia) is a chant sung or recited during the Mass, before the proclamation of the Gospel. Bythe 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 theAlleluia.[2]

The form of this chant inspired a genre of Latin poetry written in a non-classical metre, often on a sacred Christiansubject, which is also called a sequence.

The Latin sequence in literature and liturgyThe Latin sequence has its beginnings, as an artistic form, in early Christian hymns such as the Vexilla Regis ofVenantius Fortunatus. Venantius modified the classical metres based on syllable quantity to an accentual metre moreeasily suitable to be chanted to music in Christian worship. In the ninth century, Hrabanus Maurus also moved awayfrom 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 NotkerBalbulus, who during the tenth century popularized the genre by publishing a collection of sequentiae in his Liberhymnorum. 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 lastsyllable of the Alleluia, while the deacon was ascending from the altar to the ambo, to sing or chant the Gospel. Thisprolonged melisma was called the jubilus, jubilatio, or laudes, because of its jubilant tone. It was also calledsequentia, "sequence," because it followed (Latin: sequere) the Alleluia. Notker set words to this melisma inrhythmic 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 mortesumus ("In the midst of life we are in death"), which was translated by Cranmer and became a part of the burialservice in the funeral rites of the Anglican Book of Common Prayer. Other well-known sequences include theninth-century Swan Sequence, Tommaso da Celano's Dies Irae, St. Thomas Aquinas' Pange lingua in praise of theEucharist, the anonymous medieval hymn Ave maris stella ("Hail, star of the sea!"), and the Marian sequence StabatMater by Jacopone da Todi. During the Middle Ages, secular or semi-secular sequences, such as Peter of Blois' Olimsudor Herculis ("The labours of Hercules") were written; the Goliards, a group of Latin poets who wrote mostlysatirical verse, used the form extensively. The Carmina Burana is a collection of these sequences.

Many sequences abolishedIn the Missal of Pius V (1570) the number of sequences for the entire Roman Rite was reduced to four: Victimaepaschali 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 13thcentury Stabat Mater for Our Lady of Sorrows was added to this list.[3] In 1970 the Dies Irae was removed from theRequiem Mass of the revised, new Roman Missal and was transferred to the Liturgy of the Hours to be sung adlibitum in the week before the beginning of Advent.[4] The Christmas sequence "Laetabundus," not present in theRoman Missal, is found in the Dominican Missal. This sequence is permitted for the Third Mass of Christmas, theEpiphany, and Candlemas.

Sequence (poetry) 24

The sequence as a musical genreSequences are distinguished by a structure dominated by couplets. Musically, sequences fall into early, middle, andlate periods. In the early period, sequences such as Notker's often included single lines that were not part of acouplet. These single lines most often appeared at the beginning or end of the sequence, but could also appear in themiddle. Sequences from the middle period, starting around the 11th century, such as the sequence for the Mass ofEaster Day, Victimae paschali laudes, are less likely to have single lines outside of couplets, and their couplets aremore 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 shortneumatic moments, but they almost never contain melismas. The two verses of each couplet are sung to the samemusical line, usually ending on a tonally stabilizing pitch, with variety being created by couplets of different lengthsand with different musical arches. Although sequences are vocal and monophonic, certain sequence texts suggestpossible vocal harmonization in organum or instrumental accompaniment.The composition of sequences became less frequent when Humanist Latin replaced medieval Latin as the preferredliterary style in Latin. New sequences continued to be written in Latin; one of the best known later sequences is theChristmas 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

Dies Irae 25

Dies Irae

The Day of Judgment from the centre panel of the Memling Triptych inGdańsk.

Dies Irae (Day of Wrath) is a famous thirteenthcentury Latin hymn thought to be written by Thomasof Celano.[1] It is a medieval Latin poemcharacterized by its accentual stress and its rhymedlines. The metre is trochaic. The poem describes theday of judgment, the last trumpet summoning soulsbefore the throne of God, where the saved will bedelivered and the unsaved cast into eternal flames.

The hymn is best known from its use as a sequence inthe Roman Catholic Requiem Mass. It was removedfrom the ordinary form of the Roman Rite mass in theliturgical reform of 1969–1970, but was retained as ahymn of the Divine Office. It can also still be heardwhen the 1962 form of the Mass is used. An Englishversion of it is found in various missals used in theAnglican Communion.

Use in the Catholic liturgy

Those familiar with musical settings of the RequiemMass—such as those by Mozart or Verdi—will beaware of the important place Dies Iræ held in theliturgy. Nevertheless the "Consilium for theImplementation of the Constitution on the Liturgy" –the Vatican body charged with drafting andimplementing reforms to the Catholic Liturgy ordered by the Second Vatican Council – felt the funeral rite was inneed of reform and eliminated the sequence from the ordinary rite. The architect of these reforms, ArchbishopAnnibale 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 theyremoved such familiar and even beloved texts as the Libera me, Domine, the Dies Iræ, and others thatoveremphasized judgment, fear, and despair. These they replaced with texts urging Christian hope andarguably 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 SecondVatican 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 forthe Office of Readings, Lauds and Vespers (divided into three parts).[3]

Dies Irae 26

The poemThe 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 Englishversion is a more formal equivalence.

1 Dies iræ ! dies illaSolvet 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 dayWill dissolve the world in ashesAs 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 Judgedescendeth,on whose sentence all dependeth.

How much tremor there will be,when the judge will come,investigating everything strictly !

3 Tuba, mirum spargens sonumPer 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 soundthrough 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 salvationcost 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 remissionisAnte diem rationis.

Righteous Judge! for sin's pollutiongrant thy gift of absolution,ere the day of retribution.

Just judge of revenge,give the gift of remissionbefore 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 unboundedcall 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 favillaiudicandus homo reus.Huic ergo parce, Deus:

Ah ! that day of tears and mourning !From the dust of earth returningman for judgment must prepare him;Spare, O God, in mercy spare him !

Tearful will be that day,on which from the ashes arisesthe 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 tobe an addition made in order to suit the great poem for liturgical use. The penultimate stanza Lacrimosa discards theconsistent scheme of rhyming triplets in favor of a pair of rhyming couplets. The last stanza Pie Jesu abandonsrhyme 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 theLiturgy of the Hours at the Office of Readings, Lauds and Vespers. For this purpose stanza 19 was deleted and thepoem divided into three sections: 1–6 (for the Office of Readings), 7–12 (for Lauds) and 13–18 (for Vespers). Inaddition Qui Mariam absolvisti in stanza 13 was replaced by Peccatricem qui solvisti so that that line would nowmean, "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 Trinitatisnos coniunge cum beatis.Amen.

O God of majestynourishing light of the Trinityjoin us with the blessed. Amen.

O thou, God of majesty,gracious splendour of the Trinityconjoin us with the blessed.Amen.

Inspiration and other translationsA 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, diesnebulæ 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 darknessand obscurity, a day of clouds and whirlwinds, a day of the trumpet and alarm against the fenced cities, andagainst 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 theSon of Man coming"), etc.From the Jewish liturgy, the prayer Unetanneh Tokef also appears to have been a source: "We shall ascribe holinessto 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 looseProtestant 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 trumpetwill 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 shapingWhen the Judge the truth's undraping –Cats from every bag escaping!

Manuscript sourcesThe oldest text of the sequence is found, with slight verbal variations, in a 13th century manuscript in the BibliotecaNazionale at Naples. It is a Franciscan calendar missal that must date between 1253–1255 for it does not contain thename of Clare of Assisi, who was canonized in 1255, and whose name would have been inserted if the manuscriptwere of later date.

Musical settingsIn 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 alsoformed part of the traditional Catholic liturgy of All Souls' Day. Music for the Requiem Mass has been composed bymany composers, including Wolfgang Amadeus Mozart as well as Hector Berlioz, Sergei Rachmaninov, GiuseppeVerdi, and Igor Stravinsky.The traditional Gregorian melody has also been used as a musical quotation in a number of other classicalcompositions, 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 29

• 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

Dies Irae 30

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), Sequentiacyclica 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 Eliasdiscovers 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 ofred 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 wallof his funereal bedroom.

Dies Irae 31

• Kurt Vonnegut wrote Stone, Time, and Elements: A Humanist Requiem in opposition to the classical Requiem andin particular to the Dies Irae, which he found "vengeful and sadistic" (and mistakenly reputed a "piece of poetryby 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 wenton 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, thispicture 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 theSantino'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 arecording 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 partof a mock requiem in honor of "the death of Bohemia".

Dies Irae 32

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] "Dies Iræ". Catholic Encyclopedia. New York: Robert Appleton Company. 1913.[2] Annibale Bugnini, The Reform of the Liturgy : 1948–1975, (The Liturgical Press, 1990), Chap. 46.II.1, p. 773.[3] Liturgia Horarum IV, (Libreria Editrice Vaticana, 2000), p. 489.[4] This translation appears in the English Missal and also The Hymnal 1940 of the Episcopal Church in the USA.[5] Simmons, Walter. Voices in the Wilderness: Six American Neo-romantic Composers. Scarecrow Press, 2004. ISBN 0810848848,[6] Zadan, Craig (1989). Sondheim & Co. 2nd edition. Perennial Library. pp. 248. ISBN 0-06-091400-9.[7] http:/ / www. franciscan-archive. org/ de_celano/ opera/ diesirae. html[8] http:/ / cdn1. libsyn. com/ fsmpodcast/ FSM_Podcast_029. mp3?nvb=20080929022644& nva=20080930022644& t=0e15b6b11214a082e4ccf[9] http:/ / www. kurtwenner. com/ gallery/ Street_gallery/ pages/ 1_Dies_Irae. htm

Sanctus

The towers of the huge Sagrada Família church inBarcelona, Spain are decorated with the words

"Sanctus", "Hosanna" and "Excelsis".

The Sanctus (Latin: Holy), sometimes called the Tersanctus (Latin:Thrice Holy), is a hymn from Christian liturgy, forming part of theordinary of the Mass. In Western Christianity, the Sanctus is sung (orsaid) as the final words of the Preface of the Eucharistic Prayer, theprayer of consecration of the bread and wine. The preface, which altersaccording to the season, usually concludes with words describing thepraise of the worshippers joining with the angels, who are pictured aspraising 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, whichdescribes the prophet Isaiah's vision of the throne of God surroundedby six-winged, ministering seraphim. A similar representation found inRevelation  4:8 appears to be the basis of the Trisagion, with which theSanctus should not be confused. In Jewish liturgy, the verse fromIsaiah is uttered by the congregation during Kedusha, a prayer said during the cantor's repetition of the Amidah (18Benedictions) 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.

Sanctus 33

The Sanctus has been set to numerous plainchant melodies, many of which are given in the Roman Missal, and manymore 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 torecite the whole of the Sanctus in a lower voice, while a small bell is rung; then, on reaching the words "Benedictusqui venit in nomine Domini", he stands erect again and makes the Sign of the Cross.[2] He then continuesimmediately with the Canon of the Mass, while the choir, if there is one, sings the Sanctus, pausing for theConsecration and continuing with the Benedictus part afterwards. As a result of this division, the Sanctus issometimes called the Sanctus-Benedictus.In the Mass as revised after the Second Vatican Council, the only ceremony prescribed for the priest is to join hishands. He and the people sing or recite together the whole of the Sanctus, before the priest begins the EucharisticPrayer.In the Roman Catholic church, an indulgence of 100 days is associated with the Sanctus when prayed once a daytogether with the Trisagion, with a contrite heart to adore the Holy Trinity.[3]

Translated versions1973 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 LordHosanna in the highest.[4]

Sanctus 34

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] Missale Romanum 2002, p. 517 ( electronic text (http:/ / www. clerus. org/ bibliaclerusonline/ pt/ 2s. htm#b5q))[2] Ritus servandus in celebratione Missae, VII, 8[3] Joseph P. Christopher et al., 2003 The Raccolta St Athanasius Press ISBN 978-0970652669 page 1[4] Lutheran Service Book, Divine Service III[5] http:/ / www. newadvent. org/ cathen/ 13432a. htm[6] http:/ / www. goarch. org/ en/ chapel/ liturgical_texts/ liturgy_chrysostom_greek. asp

Agnus Dei

A lamb holding a Christian banner isa typical symbol for Agnus Dei.

Medieval Agnus Dei with halo and cross;Euphrasian Basilica, Poreč, Croatia.

Agnus Dei is a Latin term meaning Lamb of God, and was originallyused to refer to Jesus Christ in his role of the perfect sacrificial offeringthat atones for the sins of humanity in Christian theology, harkeningback 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 ofearlier lamb symbolism. The blood of the paschal lamb of the OldTestament protects and saves the Israelites in Exodus 12. This link ismade explicit in 1 Corinthians 5:7. For Paul, Christians are saved byChrist as their true paschal lamb.

The Old Testament also testifies to the earlier practice of sin offeringsas a possible means of atonement. Lambs could be used in theseofferings (e.g. Leviticus  4:32-34 and Leviticus  5:6), and this link isstrongly suggested by Gospel of John 1:29 and 1 Peter 1:19. Just as inJudaism sins could be forgiven through the offering and the pouringout of the blood of an "unblemished" lamb (cf. Leviticus  4:32), soChristians believe they can be freed from sin by the blood of Jesus, theunblemished Lamb of God. See Sin for further discussion about theconcept of sin and the means of atonement in Judaism. Those whoreject the lamb of God atonement theology say that blood cannotforgive 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 refersto Jesus, although many identify the servant as Israel personifiedarguing that the identity of the servant has already been established byIsaiah in previously stated passages (Isaiah  41:8-9; Isaiah  44:1-2,

Agnus Dei 35

Ghent Altarpiece by Jan van Eyck, with gushingblood.

Eucharistic Pall, embroidered with the Agnus Deireposing on the book of the Seven Seals.

Lamb with vexillum and chalice.

Isaiah  44:22; Isaiah  45:4; Isaiah  48:20; Isaiah  49:3). According toIsaiah 53, the suffering servant remains silent "like a lamb led to theslaughter" (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 andstrengthens the idea of Jesus as a sin offering. Those who reject theLamb of God Theology say that Isaiah 53 cannot be applied to thesuffering servant for the servant in Is. 53 has children and Jesus wascelibate.

Art

In Christian iconography, an Agnus Dei is a visual representation ofJesus as a lamb, since the Middle Ages usually holding a standard orbanner with a cross. This normally rests on the lamb's shoulder and isheld in its right foreleg. Often the cross will have a white bannersuspended from it charged with a red cross (similar to St George'sCross), though the cross may also be rendered in different colors.Sometimes the lamb is shown lying atop a book with seven sealshanging from it. This is a reference to the imagery in the Book ofRevelation 5:1-13, ff. Occasionally, the lamb may be depicted bleedingfrom 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. Severalmosaics in churches include it, some showing a row of twelve sheeprepresenting the apostles flanking the central Agnus Dei, as in SantiCosma e Damiano, Rome (526-30).

The Moravian Church uses an Agnus Dei as their seal with thesurrounding inscription Vicit agnus noster, eum sequamur ("Our Lambhas conquered, let us follow him.").

Although the depiction of Jesus as the Lamb of God is of ancientorigin, it is not used in the liturgical iconography of the EasternOrthodox Church. The reason for this is that the depictions of Jesus inthe Orthodox Church are anthropomorphic rather than symbolic, as aconfession of the Orthodox belief in the Incarnation of the Logos.However, there is no objection to the application of the term "Lamb ofGod" to Jesus. In fact, the Host used in the Orthodox Divine Liturgy isreferred to as the Lamb (Greek: άμνος, amnos; Slavonic: Агнецъ,agnets).

In the Roman Catholic Church it is also a tablet of wax stamped with arepresentation of Jesus as a lamb bearing a cross, then blessed by thePope as a sacramental.

Agnus Dei 36

Adoration of the Mystic Lamb,detail of the Ghent Altarpiece by

Jan Van Eyck.

Brass Agnus Dei from altar-frontin the Cathedral of the

Assumption in Louisville,Kentucky

Liturgy

In the Mass of the Roman Rite and also in the Eucharist of the AnglicanCommunion, the Lutheran Church, and the Western Rite of the Orthodox Churchthe Agnus Dei is the invocation to the Lamb of God sung or recited during thefraction of the Host.[1] It is said to have been introduced into the Mass by PopeSergius I (687–701).[2]

Based upon John the Baptist's reference in John  1:29 to Jesus ("Behold the Lambof 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: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 inEnglish-speaking churches. They are all found, for example, in the Church ofEngland'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.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 thechoir or cantor with the congregation responding; or it is, at least, recited aloud. This invocation accompanies thefraction and, for this reason, may be repeated as many times as necessary until the rite has reached its conclusion, thelast 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 theconsecrated Host (or the Host and Chalice) to the people before giving them Holy Communion. He says: "EcceAgnus Dei, ecce qui tollit peccata mundi. (Behold the Lamb of God, behold him who taketh away the sins of theworld.) 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 37

MusicThis liturgical text has been set to music by many composers, usually as part of a Mass setting, but sometimes itstands 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 acompilation album entitled Exodus in 1998 with the permission of Michael W. Smith. Third Day later recorded alive version of the song on their 2000 CD Offerings: A Worship Album. Donnie McClurkin has recorded arendition of the song on his 2005 CD entitled Psalms, Hymns and Spiritual Songs. However, the text of thisversion 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 orthodoxliturgy. 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-partchorus 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 lyricsas 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

Agnus Dei 38

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 JesuPie Jesu is a motet derived from the final couplet of the Dies irae and often included in musical settings of theRequiem 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 knownis 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.

TextThe 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 requiemsempiternam.

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 nobispacem" ("Give us peace"). A more faithful translation of requiem would be "rest", as in "Requiem aeternam donaeis" ("Grant them eternal rest"). At the end is the word sempiternam ("sempiternal", a graded expression ofaeternam, "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 Deiformerly appointed to be used at Requiem masses:

°Pie Jesu, (4x)°Qui tollis peccatamundi   °Dona eis requiem. (2x)

Merciful Jesus,Who takes away the sins of theworld,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 theworld,Grant them restEverlasting.

(°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]

Pie Jesu 40

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 MeLibera Me is a Roman Catholic responsory that is sung in the Office of the Dead and at the absolution of the dead, aservice of prayers for the dead said by the coffin immediately after the Requiem Mass and before burial. The text ofLibera Me asks God to have mercy upon the deceased person at the Last Judgement. In addition to the Gregorianchant in the Roman Gradual, many composers have written settings for the text, including Gabriel Fauré andMaurice Duruflé.

Libera me, Domine, de morte aeterna, indie illa tremenda:

Quando caeli movendi sunt et terra.

Dum veneris judicare saeculum per ignem.

Tremens factus sum ego, et timeo, dumdiscussio venerit, atque ventura ira.

Quando caeli movendi sunt et terra.

Dies illa, dies irae, calamitatis et miseriae,dies magna et amara valde.

Dum veneris judicare saeculum per ignem.

Requiem aeternam dona eis, Domine: etlux perpetua luceat eis.

Deliver me, O Lord, from death eternal on thatfearful day,

when the heavens and the earth shall be moved,

when thou shalt come to judge the world byfire.

I am made to tremble, and I fear, till thejudgment be upon us, and the coming wrath,

when the heavens and the earth shall be moved.

That day, day of wrath, calamity, and misery,day of great and exceeding bitterness,

when thou shalt come to judge the world byfire.

Rest eternal grant unto them, O Lord: and letlight 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 iswritten in the first person singular, "Deliver me, O Lord, from eternal death on that fearful day," a dramaticsubstitution 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 AllSouls' Day (2 November) and whenever all three nocturns of Matins of the Dead are recited. On other occasions, theninth responsory of Matins for the Dead begins with "Libera me", but continues with a different text (Domine, de viisinferni, 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 41

In paradisumIn paradisum (English: "Into paradise") is an antiphon from the traditional Latin liturgy of the Roman CatholicRequiem 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, suchas those by Gabriel Fauré and Maurice Duruflé, although liturgically it belongs to the burial service.

TextIn paradisum deducant te Angeli; in tuo adventu suscipiant te martyres, et perducant te in civitatem sanctamIerusalem. 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 holycity of Jerusalem. May the ranks of angels receive you, and with Lazarus, the poor man, may you have eternalrest.

In the services for the dead, this antiphon is sung in procession on the way from the final blessing of the corpse inchurch to the graveyard where burial takes place. The Gregorian melody for In paradisum is in the Mixolydianmode. The special nature of this mode — with its lowered seventh degree, which makes it different from the modernmajor 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 toheaven 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

Article Sources and Contributors 42

Article Sources and ContributorsRequiem  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 theShadow, 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, EdCormany, Eddwin0072, Editor2020, El C, Eloc Jcg, Epbr123, Esoglou, Evanreyes, Evil saltine, Falstaft, Farrest, Feline Hymnic, Fishhead64, FordPrefect42, Gaff, Gazzster, Gerald Farinas, GerdaArendt, Glenfarclas, GuardianOfTruth, Gzornenplatz, Hugh7, IfAny, Ihcoyc, Inductiveload, InfernoXV, Introvert, Ioeth, Iridescent, IvanP, J. Finkelstein, JASpencer, Jadseanderson, Jaguara, Jakethe 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, Kingof 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, SkierDude, Skkygirl, Smith2006, Snafje, Steven J. Anderson, Steven Zhang, Stevenyu, Stevouk, Stonejag, Susurrus, TTTR, Taichi, Talskiddy, Tassedethe, Tb, Tbarrett12, Tesscass, Texas.veggie,ThSoft, The Land Surveyor, Thedraper, Thenextstephensondheim1, Thomas Michael Methuselah Dowd, Tide rolls, Tomaxer, Tregoweth, Trumpet marietta 45750, Tryksdad, Typhlosion,Ulfurinn, Used2BAnonymous, Useight, Vaquero100, Vegaswikian, VergilxXxSparda, Vicomte Raf, Violncello, Viva-Verdi, Weeliljimmy, Wellster1209, Wilus, WouterBolsterlee, ZMatskevich,Zenohockey, Zephyrad, Zone46, Þorvaldr, ينام, トトト, 达伟, 460 anonymous edits

Rest in peace  Source: http://en.wikipedia.org/w/index.php?oldid=386009369  Contributors: 7&6=thirteen, AgentPeppermint, Angie Y., Anthony Appleyard, Asarelah, Bearian, Bodhikun, Brianthe Editor, Butterboy, Cantons-de-l'Est, Catalographer, Chameleon, Charvex, Colonel Warden, CrazyInSane, Drbreznjev, Esrever, Ewlyahoocom, Fartherred, Feline Hymnic, Figinton, Framhein,Gilliam, Green caterpillar, Hede2000, II MusLiM HyBRiD II, INaNimAtE, Ida Shaw, Intelligentsium, Jonathan Tweet, Koven.rm, LilHelpa, Lotje, Lowellian, Magog the Ogre, Mitrius, Naraht,Nbarth, Neon white, Nihil novi, Pashute, Punctured Bicycle, Quest for Truth, Quiddity, ROxBo, Sandstein, Silverblaster, Spartan S58, SuperHamster, TexasAndroid, Tom harrison, Uenm,Woohookitty, 45 anonymous edits

Introit  Source: http://en.wikipedia.org/w/index.php?oldid=378586605  Contributors: Bobblewik, Ceoil, Charles Matthews, DeadTotoro, Dohn joe, Drboisclair, Emperorbma, Glenfarclas,InfernoXV, Inky, JASpencer, Joonasl, LightSpectra, Lima, Peirigill, PieRRoMaN, Rigadoun, Rwflammang, Shark96z, 6 anonymous edits

Kyrie  Source: http://en.wikipedia.org/w/index.php?oldid=386637776  Contributors: 5-HT8, Aborrows, Adriatikus, Alaz, AlexanderKaras, Amit A., AndySimpson, Andycjp, Angrense,AnnaFrance, Aranel, Arasaka, AxelBoldt, B9 hummingbird hovering, Bdesham, Belbo Casaubon, Belovedfreak, Bubbleboys, CALR, Calvin08, Catalographer, Chilismaug, ChuckHG, CiaPan,CohenTheBavarian, ConservativeDC, Cskwalls, DGaw, Dark Shikari, DavidRF, Deathby, DocWatson42, Dougweller, Drbreznjev, Eeyore tim, Ekrenor, Eleassar, Elkman, Emax, Eoghanacht,Essjay, Fakhredinblog, Feline Hymnic, FoekeNoppert, GUllman, Galaxiaad, Gary D, Garyfpatterson, Gentgeen, Glorthac, Godzilla854, Graham87, GrumpyTroll, Hede2000, Heliotic,Hellojameslee, Heran et Sang'gres, Hmains, Hschlarb, Icseaturtles, InfernoXV, Iolaizola, Ixfd64, JASpencer, JMatthews, James470, James599, John Carter, Johnbod, Joonasl, Jpbrenna, Junes,Kaiwhakahaere, KingKane, Kupirijo, Kwamikagami, L33tminion, Lewysandluke, LightSpectra, Lord Anubis, Loveyou1, Magoonis, Mairi, Mandarax, Marshall Williams2, Mashford,MattHanlon, Meursault2004, Mhelfield, NPAX1, Nathanmurray1, NawlinWiki, Nennius, Nessundorma, Nicolasdz, Nike787, Pais, Paterm, Pax:Vobiscum, Phildav76, PismaFan, Polyvios, PoorYorick, RSBlaylock, Rakela, Randyrew, Reflex Reaction, Richardprins, Rigadoun, RobertG, Roscelese, Ross Burgess, Sam Hocevar, Sango123, Scottandrewhutchins, SebastianHelm,Seraphim(Uriel), Sergivs-en, Shark96z, Sluzzelin, Smith2006, Snigbrook, Snow steed, Susan118, Suven 01, Tatendataona, Terot, The Twelfth Doctor, Thesis4Eva, Tkynerd, Urmas, Varulv,Velho, Vistor, VolatileChemical, WaltRiceJr, Wesley, WlaKom, Womble, Youssefa, Z00ropean, 渾白家, 270 anonymous edits

Tract (liturgy)  Source: http://en.wikipedia.org/w/index.php?oldid=382897646  Contributors: Betirafikijjs, Folajimi, Glenfarclas, Grafen, LightSpectra, Rigadoun, Shark96z, 2 anonymous edits

Sequence (poetry)  Source: http://en.wikipedia.org/w/index.php?oldid=378768213  Contributors: Bill Thayer, CnkALTDS, DTOx, Ihcoyc, InfernoXV, JASpencer, JHunterJ, Kerrio, Kneel17,LightSpectra, Makemi, Markcamann, Mmarci, Peirigill, Rigadoun, Smith2006, Sparafucil, Speculoos, Srnec, Stroika, Tomisti, 24 anonymous edits

Dies Irae  Source: http://en.wikipedia.org/w/index.php?oldid=385990032  Contributors: -Ril-, .mau., 42croad, 47of74, 5-HT8, AStudent, Aboud khowdary, AdrianX85, AlexChao, Allen4names,AlphaForce, Amorrow, Andrewjc, Andycjp, Angelo1980, Anonymous from the 21st century, Anonymous from the 21th century, AnsonF, Ansonite, Anthony Appleyard, Archangel3583, Arechs,As9025, Atavi, Bdesham, Bds14, BenSamples, Bill Thayer, Biruitorul, Bloodshedder, BobTheMad, Bridgett Emerson, Bryanjbusch, Bumhoolery, Bwhack, Bwil, C. M. Harris, Caiosnif,CambridgeBayWeather, Camembert, CanisRufus, Cariel, Charles Matthews, CharlesMartel, Chatzaras, Chinasaur, Ciacchi, Clinkophonist, Cnhardman, Commander Keane, Commissarusa,Coolbud26, Cornellier, Cuchullain, Da Joe, Dame mit fächer, DanthemanEllison, DavidRF, Detruncate, Deviant waterfowl, Dmoon1, DocWatson42, Dominick, Dr Fell, Dr. Friendly,DrOxacropheles, Dunks58, Echevalier, Emmo827, Esoglou, Eucarya, Eusebeus, Ev, Ewlyahoocom, Fastilysock, Fcueto, Fieldday-sunday, Fjl, FordPrefect42, Forteblast, Freedomhangs,Freedomlives, Func, GTBacchus, Geniac, Gerda Arendt, Germandemat, Glenfarclas, Glenn W. Butler, Gocsa, Goochelaar, Goodmanjaz, Gorgeousjudas, Goudzovski, GreatWhiteNortherner,Grinner, Gugganij, Gyuen, Hairy Dude, Hayley Tales, Heybiff, Hiationi, Holykou67, Ihcoyc, Infrogmation, IvanP, Ivanivanovich, JCHathaway, JackofOz, Jacob Poon, Japanese Searobin, Jeffq,Jfire, Jhenderlight, John Link, John Vandenberg, Johnwhite79, Jon Awbrey, Jontomkittredge, Joonasl, Jossi, Jre58591, JzG, Kakorot84, Kevin Ryde, KingKane, Korinth111, Kyoko, Lacrimosus,LarRan, Leonardmarcus, Lima, Lonely Lovelorness, M7, Magioladitis, Malcolmxl5, MarkBuckles, MarnetteD, Masterwork, Mathman72, Mboverload, MegA, MegX, Mephisto VI, MichaelBednarek, Missmarple, Mlouns, Mniskin, Mr.fruit, Musicarius, Nechamayaniger, Neddyseagoon, NegativeCool, Netziv, Nevilley, Nightspirit, Octopod, Owentheyo, Pabix, ParvusCaligula,PatrickWaters, PawelQ, Pcpcpc, PhilipC, Plrk, Quadalpha, Quantumobserver, RandomCritic, Rentaferret, RepublicanJacobite, Reskam, Reywas92, Rich Farmbrough, Rjwilmsi, Rmsumida,Rodney Boyd, Rosh2610, RubyQ, Rwflammang, S ried, SAMAS, Scvisel, SebastianHelm, Serse87, Sherick, Shodunn88h, Silsor, Simerian, Simpsone4, Sippan, Slapazoid, Sluzzelin, Smerus,Snowy150, Sparafucil, Stbach, Stefanfraczek, Stroika, SunCreator, Svanimpe, Svartkell, T. Anthony, Tesi1700, TheALmighty66, Theratoni, Thingg, Thiseye, Thunderraichu, Tlayne1485,ToddC4176, Tony Sidaway, TrevorP, Upholder, Used2BAnonymous, Varlaam, VdSV9, Vgillioz, Victorstoica, VinceBowdren, Violncello, VolatileChemical, Wacousta, Wetman, Wikichap,WikipedianMarlith, Will Barks, WraythX, Xaa, Yu210148, Zahid Abdassabur, Zigamorph, Zorro314, მოცარტი, 592 anonymous edits

Sanctus  Source: http://en.wikipedia.org/w/index.php?oldid=386053908  Contributors: 5-HT8, Athanasius28, BlueMoonlet, Carolynparrishfan, Casey J. Morris, Ceoil, Cristianispir, Csernica,DTOx, Edward Knave, Eedo Bee, Eep², Esoglou, Garzo, Gdje je nestala duša svijeta, Grutness, History2007, Humitrap, JASpencer, James470, Jonathunder, Joonasl, Laleena, LightSpectra, Lima,Limnestor, LlywelynII, Lucky 6.9, Mamathomas, Mendy Fisch, Mgr Manssour, PMEllison, Peirigill, Peter Ellis, Seithiennyn, Shark96z, Sparafucil, StThomasMore, Stephensuleeman, Txomin,Wetman, Wilus, Yunyr91, 52 anonymous edits

Agnus Dei  Source: http://en.wikipedia.org/w/index.php?oldid=387121599  Contributors: 5-HT8, Akldawgs, Alai, Andrew Dunning, Andrew c, AndrewNJ, Andycjp, AnonMoos, Anticipation ofa New Lover's Arrival, The, Aoszkar, Aranherunar, Arb, AxelBoldt, BD2412, Bigred2989, Borgx, Brian Joseph Morgan, BuffaloBob, CDN99, Carthusian hermit, Chrylis, Cnyborg,Cowplopmorris, CrazyIcelander, Cyclonenim, DTOx, Danyg, Dave Bass, DearPrudence, Drkeithphd, EEFJr, EHonkoop, Efortier, Epeefleche, Eric Kvaalen, Essjay, Ex penumbrae, Ezequiels.90,FarzanehSarafraz, Fishhead64, Garnet avi, Gary D, George Leung, Hede2000, Heran et Sang'gres, Hiationi, IbLeo, Icelazer3, Intgr, JASpencer, Jaraalbe, Jedi of pi, JoJan, Johnbod, Jonathunder,Joonasl, Kalakala, Kapyrna, Kayau, Ketiltrout, Kingturtle, LightSpectra, Lightmouse, Lima, MER-C, Mairi, Manuel Anastácio, Mateo LeFou, Michael Hardy, MishaPan, Mladifilozof, MusicalLinguist, N0dih, Night Gyr, Nunquam Dormio, Ohnjaynb, Oknazevad, Oldstylecharm, Ondewelle, OrangeDog, Pais, PaulGS, Psychless, PuzzletChung, R'n'B, RRKennison, Rafuki 33, Rholton,Rigadoun, Rjwilmsi, Rockhopper10r, Rosser1954, RyanGerbil10, Saber girl08, Sameboat, Selbie, Sh1fty, Shark96z, Silence, StThomasMore, Stade, Stefanfraczek, Stepshep, TUF-KAT,TallNapoleon, Terrasidius, The Epopt, Thief12, Thomas81, Tom harrison, Urpunkt, Weinmayr, WhiteDragon, Who, WikiWikiPhil, Wile E. Heresiarch, Wl219, Workman, 101 anonymous edits

Pie Jesu  Source: http://en.wikipedia.org/w/index.php?oldid=386828489  Contributors: Ajh16, Alb318, Andycjp, Anthony.moore, Artiste-extraordinaire, Benea, Bitbut, Brimcmike, Caknuck,Carabinieri, Casadesus, CdaMVvWgS, Cdiasoh, CenturionZ 1, Ceoil, Chameleon, Chell Hill, Cls14, DTOx, DanAtNR, DavidRF, Dawkeye, Dcljr, Fantusta, Gary King, Gdm, Gnomus, Gpodgur,Grstain, GuillaumeTell, Joel7687, Kitabo111, Life of Riley, Lisa, MacGyverMagic, MargoKey, MegA, MementoVivere, Messenger777, Mike Rosoft, Mirage5000, Nihil, Quoth nevermore,RJaguar3, Riggwelter, RobertG, Roland Longbow, Runa27, SFHndymn, Samuel J. Howard, Singingdaisies, SpiderJon, SteinbDJ, TAZ4463, Taileir, TempyIncursion, Trusilver, Ultimaking,Vstrad7, Whiteouthorizon, Wilus, Wyseburgh, 153 anonymous edits

Libera Me  Source: http://en.wikipedia.org/w/index.php?oldid=382571232  Contributors: 5-HT8, Applechair, Balthazarduju, Dave314159, Dougweller, Feline Hymnic, JASpencer,NuclearWarfare, PBS-AWB, The Twelfth Doctor, TheDJ, 5 anonymous edits

In paradisum  Source: http://en.wikipedia.org/w/index.php?oldid=367136160  Contributors: 5-HT8, Benblake, Bitbut, DTOx, Gregory of nyssa, John Vandenberg, KristianLvB, Marozols,Mllefifi, Pittising, Prsephone1674, Rich Farmbrough, TheEditrix2, Vaquero100, 11 anonymous edits

Image Sources, Licenses and Contributors 43

Image Sources, Licenses and ContributorsImage:Bulla-Ferdinant.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Bulla-Ferdinant.jpg  License: Public Domain  Contributors: DrozdImage:RequiemAeternamChant.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:RequiemAeternamChant.jpg  License: Public Domain  Contributors: GlenfarclasImage:K626 Requiem Mozart.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:K626_Requiem_Mozart.jpg  License: Public Domain  Contributors: Bouncey2k, Editor at Large,KTo288, 3 anonymous editsFile:wikisource-logo.svg  Source: http://en.wikipedia.org/w/index.php?title=File:Wikisource-logo.svg  License: logo  Contributors: Nicholas MoreauFile:'Requiescat', oil on canvas painting by Briton Rivière, 1888, Art Gallery of New South Wales.jpg  Source:http://en.wikipedia.org/w/index.php?title=File:'Requiescat',_oil_on_canvas_painting_by_Briton_Rivière,_1888,_Art_Gallery_of_New_South_Wales.jpg  License: unknown  Contributors:Kilom691, Mattes, Mogelzahn, WmpearlFile:R.I.P..jpg  Source: http://en.wikipedia.org/w/index.php?title=File:R.I.P..jpg  License: Creative Commons Attribution 3.0  Contributors: User:Nbarth, User:SicherlichFile:MemlingJudgmentCentre.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:MemlingJudgmentCentre.jpg  License: Public Domain  Contributors: Original uploader was Stroika aten.wikipediaFile:Dies irae.gif  Source: http://en.wikipedia.org/w/index.php?title=File:Dies_irae.gif  License: GNU Free Documentation License  Contributors: Benedikt Emmanuel UngerFile:Dies Irae Treble.JPG  Source: http://en.wikipedia.org/w/index.php?title=File:Dies_Irae_Treble.JPG  License: Public Domain  Contributors: Quantumobserver (talk). Original uploader wasQuantumobserver at en.wikipediaFile:Barcelona Sagrada Familia (2053446134).jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Barcelona_Sagrada_Familia_(2053446134).jpg  License: Creative CommonsAttribution 2.0  Contributors: Wolfgang Staudt from Saarbruecken, GermanyFile:Stained glass Agnus Dei.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Stained_glass_Agnus_Dei.jpg  License: unknown  Contributors: Original uploader was Workman aten.wikipediaFile:Poreč021.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Poreč021.jpg  License: GNU Free Documentation License  Contributors: User:JoJanFile:Retable de l'Agneau mystique (10).jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Retable_de_l'Agneau_mystique_(10).jpg  License: unknown  Contributors: AndreasPraefcke,Husky, Mattes, Olivier2, Petrusbarbygere, Shakko, WstFile:Palla.JPG  Source: http://en.wikipedia.org/w/index.php?title=File:Palla.JPG  License: GNU Free Documentation License  Contributors: Original uploader was Broederhugo at nl.wikipediaLater versions were uploaded by Ed Stevenhagen at nl.wikipedia.File:Agnus Dei with Vexillum.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Agnus_Dei_with_Vexillum.jpg  License: Creative Commons Attribution 2.5  Contributors:User:RRKennisonFile:Ghent Altarpiece D - Adoration of the Lamb 2.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Ghent_Altarpiece_D_-_Adoration_of_the_Lamb_2.jpg  License: unknown Contributors: Observer99, Piet De SomereFile:Agnus Dei.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Agnus_Dei.jpg  License: GNU Free Documentation License  Contributors: Essjay, Jastrow, Ra'ikeFile:Wikisource-logo.svg  Source: http://en.wikipedia.org/w/index.php?title=File:Wikisource-logo.svg  License: logo  Contributors: Nicholas Moreau

License 44

LicenseCreative Commons Attribution-Share Alike 3.0 Unportedhttp:/ / creativecommons. org/ licenses/ by-sa/ 3. 0/