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The "crashing chords" of the Dies irae break in, with the passage repeated completely. Then the choir repeats the very beginning, "Requiem aeternam", with the solo soprano joining softly. The soprano repeats the first "Libera me", [ 27 ] calling the choir to an agitated four-part fugue [ 27 ] [ 1 ] that illustrates the shattering of the world ...
Dies irae: Dies irae, dies illa Solvet saeclum in favilla, teste David cum Sibylla. Quantus tremor est futurus, quando judex est venturus, cuncta stricte discussurus! Tuba mirum: Tuba mirum spargens sonum per sepulcra regionum, coget omnes ante thronum. Mors stupebit et natura, cum resurget creatura, judicanti responsura.
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 ...
In his Mémoires, Berlioz claimed that at the premiere of the work, conductor François Habeneck put down his baton during the dramatic "Tuba mirum" (part of the "Dies irae" movement) while he took a pinch of snuff, prompting the composer to rush to the podium to conduct the rest of the work himself, thereby saving the performance from disaster ...
The sequence employed in the Requiem, Dies irae, attributed to Thomas of Celano (c. 1200 – c. 1260–1270), has been called "the greatest of hymns", worthy of "supreme admiration". [1] The Latin text is included in the Requiem Mass in the 1962 Roman Missal. An early English version was translated by William Josiah Irons in 1849.
Dies irae — Tuba mirum — Judex ergo — Rex tremendae — Ingemisco — Praeces meae — Confutatis — Oro supplex — Lacrymosa [sic] IV. Offertorium (97 measures). Domine Jesu Christe; V. Communio (37 measures). Lux aeterna; VI. Responsorium (182 measures).
Antonín Dvořák: Rekviem – Czech Philharmonic, Czech Philharmonic Chorus, conducted by Karel Ančerl, chorus master Markéta Kühnová; soloists: Maria Stader – soprano, Sieglinde Wagner – alt, Ernst Haefliger – tenor, Kim Borg – bass.
Marius Flothuis (1941) tried to repair shortcomings in Süssmayr's completion, such as the trombone solo in "Tuba mirum", use of trumpets, timpani, and trombones, and the key choice of the reprise of the "Osanna" fugue. To this end, he inserted two newly composed modulating measures between the "Benedictus" and the second "Osanna".