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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 ...
Thomas also wrote Fregit victor virtualis and Sanctitatis nova signa in honor of Francis. Life of St. Clare of Assisi, on the early life of Saint Clare of Assisi, and the hymn "Dies Irae" are also traditionally attributed to him, but the authorship of both works is in fact uncertain.
Sequentia cyclica super "Dies irae" ex Missa pro defunctis, commonly known as Sequentia cyclica, is a piano composition by Kaikhosru Shapurji Sorabji. Written between 1948 and 1949, it is a set of 27 variations on the medieval sequence Dies irae and is widely considered one of Sorabji's greatest works.
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.
Other well-known sequences include the ninth-century Swan Sequence, Tommaso da Celano's Dies Irae, St. Thomas Aquinas' Pange lingua in praise of the Eucharist, the anonymous medieval hymn Ave maris stella ("Hail, star of the sea!"), and the Marian sequence Stabat Mater by Jacopone da Todi.
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He translated the Dies Iræ of Thomas of Celano in the well-known hymn commencing Day of wrath! O day of mourning!. [1 Irons wrote, besides the works mentioned ...
Dies Iræ (13th century) - Thomas of Celano's celebrated sequence on the Last Judgment . Paradise Lost (1667) and Paradise Regained (1671) - John Milton 's English epics on the fall and salvation of the human race.