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The settings of the Requiem Mass by Marc-Antoine Charpentier (H.234, H.263, H.269, H.427), Luigi Cherubini, Antonin Dvořák, Gabriel Fauré, Maurice Duruflé, John Rutter, Karl Jenkins, Kim André Arnesen and Fredrik Sixten include a "Pie Jesu" as an independent movement. Decidedly, the best known is the "Pie Jesu" from Fauré's Requiem.
The words "Dona eis, Domine, dona eis requiem" begin with more expansion, but reach alternating between only two notes on two repetitions of "sempiternam requiem". The last call begins as the first and leads again to alternating between two notes in even lower range, until the last "requiem" has a gentle upward motion.
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.
Requiem aeternam dona eis, Domine, ... Jesu pie, quod sum causa tuae viae; ... dona eis requiem sempiternam. VIII. Communio
The best-known part of Lloyd Webber's Requiem, the "Pie Jesu" segment, combines the traditional Pie Jesu text with that of the Agnus Dei from later in the standard Requiem Mass. It was originally performed by Sarah Brightman , who premiered the selection in 1985 in a duet with boy soprano Paul Miles-Kingston ; a music video of their duet was ...
Five of its seven movements are based on text from the Latin Requiem Mass, while the second movement is a setting of "Out of the deep" and the sixth movement is an anthem The Lord is my Shepherd (Psalm 23) which Rutter had earlier written. The first movement combines the Introit and Kyrie, the third is Pie Jesu, with soprano solo. The central ...
The Mass and its settings draw their name from the introit of the liturgy, which begins with the words Requiem aeternam dona eis, Domine (Latin for "Eternal rest grant them, O Lord"), which is cited from 2 Esdras—requiem is the accusative singular form of the Latin noun requies, "rest, repose". [2]
The Lacrimosa (Latin for "weeping/tearful"), is part of the Dies Irae sequence in the Catholic Requiem Mass. Its text comes from the Latin 18th and 19th stanzas of the sequence. [ 1 ] Many composers, including Mozart , Berlioz , and Verdi have set the text as a discrete movement of the Requiem .