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Rex tremendae: Rex tremendae majestatis, qui salvandos salvas gratis, salve me, fons pietatis. Recordare: Recordare, Jesu pie, quod sum causa tuae viae; ne me perdas illa die. Quaerens me, sedisti lassus, redemisti crucem passus; tantus labor non sit cassus. Juste judex ultionis, bonum fac remissionis ante diem rationis. Ingemisco, tamquam reus:
Centre panel from Memling's triptych Last Judgment (c. 1467–1471) " Dies irae" (Ecclesiastical Latin: [ˈdi.es ˈi.re]; "the Day of Wrath") is a Latin sequence attributed to either Thomas of Celano of the Franciscans (1200–1265) [1] or to Latino Malabranca Orsini (d. 1294), lector at the Dominican studium at Santa Sabina, the forerunner of the Pontifical University of Saint Thomas Aquinas ...
Liber scriptus" is a passionate mezzo-soprano solo. "Rex tremendae" alternates a "majestic dotted theme" for the lower voices with a "wide-spanned phrase" salva me, building to a climax. [27] "Ingemisco" is a lyrical tenor solo "with a moment of profound peace". [27] "Confutatis", a bass solo of "dignity and resignation", pleads for God's mercy ...
The Requiem consists of eight movements: [2]. Requiem – Kyrie; Dies irae; Rex tremendae; Oro supplex; Hostias (Offertory) Sanctus; Benedictus; Agnus Dei; The Requiem is scored for SATB soloists and choir, and a large orchestra reminiscent of Berlioz: four flutes, two oboes, two English horns, four bassoons, four French horns, four harps, four trombones, grand organ, accompanying organ, and ...
The third movement, "Quid sum miser", is short, depicting after Judgement Day, featuring an orchestration of TTB chorus, two cors anglais, eight bassoons, cellos, and double basses. The "Rex tremendae" features the second entry of the brass choirs, and contains contrasting dynamics from the choir. "Quaerens me" is a quiet a cappella movement.
The orchestral accompaniment for Donna Ribalda's opening aria, "Let's face it—I'm lost", resembles the "Rex tremendae majestatis" from Mozart's Requiem. At one point in the opera, the rival divas Carmen Ghia and Donna Ribalda break character in the middle of a recitative to hold a conversation (still in recitative) about their singing careers ...
Completions that did not try to emulate Mozart's style, but rather completed the requiem in the style of the editor. Knud Vad [] (2000) followed Süssmayr's completion until the "Sanctus" and "Benedictus", inserting 4 bars in piano for the "Sanctus", composing a double fugue for the Osanna with Süssmayr's theme, adding more modulations to the "Benedictus" and composing a transition back to D ...
The three choruses from Thamos were provided with sacred texts in the early 19th century, to become the three motets Splendete te, Deus, KV Anh. 121 (No. 1); Jesu, Rex tremendae majestatis, KV Anh. 123 (No. 2); and Ne pulvis et cinis, KV Anh. 122 (No. 3). Double sharp 06:17, 22 November 2014 (UTC)