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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 ...
Pie Jesu" (/ ˈ p iː. eɪ ˈ j eɪ. z uː,-s uː / PEE-ay-YAY-zu; original Latin: "Pie Iesu" /ˈpi.e ˈje.su/) is a text from the final (nineteenth) couplet of the hymn "Dies irae", and is often included in musical settings of the Requiem Mass as a motet. The phrase means "pious Jesus" in the vocative.
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.
He does not set the Agnus Dei separately, but rather combined the text of Pie Jesu, a motet derived from the final couplet of the usual Dies irae, with that of the Agnus Dei, commonly heard later in the standard Requiem Mass. He includes a text from the burial service, Libera me. Introit – Kyrie; Sequence: Dies irae; Recordare; Ingemisco
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
A Hymn of St Columba is a composition for choir and organ written in 1962 by the English composer Benjamin Britten. It is a setting of a Latin hymn attributed to Saint Columba , the founder of Iona Abbey , and was published by Boosey & Hawkes .
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 .
In more motion, "Dies irae" (day of wrath) is expressed by fortissimo chords, giving way to the prayer for rest in the same motion, but piano, with a crescendo on "dona eis, Domine", but suddenly softening on a last "et lux perpetua luceat eis". Then the choir repeats the opening statement of the baritone fully in unison.