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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:
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 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.
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 ...
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 ...
Libera me, Domine, de morte æterna, in die illa tremenda Quando cœli movendi sunt et terra Dum veneris iudicare sæculum per ignem. Tremens factus sum ego, et timeo, dum discussio venerit, atque ventura ira
Requiem is a classical work by Karl Jenkins, first recorded and performed in 2005.It was premièred at Southwark Cathedral on 2 June 2005, by the West Kazakhstan Philharmonic Orchestra and Adiemus percussion and brass, conducted by the composer.
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 ...