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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 ...
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.
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.
Currently, the Dies Irae is sung in churches where the Tridentine Mass is celebrated. [6] The Christmas sequence Laetabundus , not present in the Roman Missal, is found in the Dominican Missal. This sequence is permitted for the Third Mass of Christmas, the Epiphany, and Candlemas.
dies irae: Day of wrath: Reference to the Judgment Day in Christian eschatology. The title of a famous Medieval Latin hymn by Tommaso da Celano in the 13th century and used in the Requiem Mass. dies non juridicum: Day without judiciary: Days under common law (traditionally Sunday), during which no legal process can be served and any legal ...
The Dies irae begins, evoking Last Judgment in "thunderous chords, a jagged rising phrase, a wailing chant lurching backwards and forwards, giant bass-drum blows on the offbeat, precipitous woodwind scales, strings tremolando, uprushes of violins, and rapid rhythmic figures splayed out by the trumpets". [27]
Hans Werner Henze's Das Floß der Medusa, written in 1968 as a requiem for Che Guevara, is properly speaking an oratorio; Henze's Requiem is instrumental but retains the traditional Latin titles for the movements. Igor Stravinsky's Requiem Canticles mixes instrumental movements with segments of the "Introit", "Dies irae", "Pie Jesu" and "Libera ...
Most of the text is in Latin, except for the Kyrie, which is Koine Greek.As had become customary, Fauré did not set the Gradual and Tract sections of the Mass. He followed a French Baroque tradition by not setting the Requiem sequence (the Dies irae), only its section Pie Jesu.