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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 Requiem in D minor, K. 626, is a Requiem Mass by Wolfgang Amadeus Mozart (1756–1791). Mozart composed part of the Requiem in Vienna in late 1791, but it was unfinished at his death on 5 December the same year.
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.
Autumn 1800: Abbé Maximilian Stadler compares all known manuscript copies (including Walsegg's) and editions of the score, notes copying errors, and determines precisely which parts of the Requiem were written by Mozart. After 1802: Abbé Stadler receives leaves 11 through 32 (Dies irae to Confutatis) of Mozart's Requiem autograph from Constanze.
Drawing for Messa da Requiem (undated) 1. Requiem. Introit (chorus) Kyrie (soloists, chorus) 2. Dies irae. Dies irae (chorus) Tuba mirum (chorus) Mors stupebit (bass) Liber scriptus (mezzo-soprano, chorus – chorus only in original version) Quid sum miser (soprano, mezzo-soprano, tenor) Rex tremendae (soloists, chorus) Recordare (soprano ...
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]
Completions that did not try to emulate Mozart's style, but rather completed the requiem in the style of the editor. Knud Vad [] (2000) followed Süssmayr's completion until the "Sanctus" and "Benedictus", inserting 4 bars in piano for the "Sanctus", composing a double fugue for the Osanna with Süssmayr's theme, adding more modulations to the "Benedictus" and composing a transition back to D ...