Requiem

Extraordinary Form Requiem Mass at Santissima Trinità dei Pellegrini (Most Holy Trinity of Pilgrims) church in Rome

In earlier forms of the Roman Rite, some of which are still in use, a Requiem Mass differs in several ways from the usual Mass. Some parts that were of relatively recent origin, including some that have been excluded in the 1970 revision of the regular Mass, are omitted. Examples are the psalm Iudica at the start of Mass, the prayer said by the priest before reading the Gospel (or the blessing of the deacon, if a deacon reads it), and the first of the two prayers of the priest for himself before receiving Communion.^[3] Other omissions include the use of incense at the Introit and the Gospel, the kiss of peace, lit candles held by acolytes when a deacon chants the Gospel, and blessings. There is no Gloria in excelsis Deo and no recitation of the Creed; the Alleluia chant before the Gospel is replaced by a Tract, as in Lent; and the Agnus Dei is altered. Ite missa est is replaced with Requiescant in pace (May they rest in peace); the Deo gratias response is replaced with Amen. Black was the obligatory liturgical colour of the vestments in the earlier forms, while in the renewed liturgy "besides violet, white or black vestments may be worn at funeral services and at other Offices and Masses for the Dead",^[4] The sequence Dies irae, recited or sung between the Tract and the Gospel, was an obligatory part of the Requiem Mass before the changes as a result of the liturgical reform of the Second Vatican Council. As its opening words Dies irae ("Day of wrath") indicate, this poetic composition speaks of the Day of Judgment in fearsome terms; it then appeals to Jesus for mercy. In the extraordinary form of the Roman Rite, commemorations (i.e. collect, secret, and postcommunion of either lower-ranking liturgical feasts that occur on the same day or votive/seasonal commemorations) are absent from the liturgy; as a result, it is standard practice for a separate, smaller Requiem Missal containing only the rubrics and various Mass formularies for Masses for the dead to be used, rather than the full Missal containing texts that will never be used at Requiems.

Roman Rite

Black vestments used in Requiem Masses

In the liturgical reforms of the mid-20th century in the Roman Catholic Church, there was a significant shift in the funeral rites used by the Church. The theme of sorrow and grief was also made to emphasize the whole community's worship of God in which the deceased is entrusted to God's mercy, based on trust in the salvific value of the Passion, Death and Resurrection of Jesus Christ.^[5]

In the 1970s, 1980s and 1990s, term "Requiem Mass" was sometimes termed a "Mass of the Resurrection"^[6] or Mass of Christian Burial, although the former was never official terminology. In the official English ritual, Order of Christian Funerals, published by the Roman Catholic Bishops of England and Wales in 1990, the title is given as "Funeral Mass". Requiem Mass remains a suitable title for other Masses for the dead and for the Funeral Mass itself, (as the proper antiphons remain in force, Introit: "Eternal rest grant ... " / "Requiem æternam dona eis Domine"; Offertory: "Lord Jesus Christ, King of glory, deliver the souls of all the faithful departed ... " / "Domine Iesu Christe, Rex gloriæ, libera animas ...", Communion: "Let perpetual light shine ..." / "Lux æterna luceat eis, Domine..."). In line with those trend of the latter 21st century, the use of white vestments was made an allowable option by the Missal, though only by an indult; black remains the normal color of all Requiem Masses, including Funeral Masses. Violet, a color of penance, was also allowed by indult, since penance and reparation for the soul, presumably in Purgatory, is encouraged by the Church. The texts used for the liturgy experienced a similar change, with more options for the readings, some of which reinforce an overall theme of the promise of eternal life made by Jesus.^[7]

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Santissima Trinità dei Pellegrini, Rome

Santissima Trinità dei Pellegrini, Rome

The Chiesa della Santissima Trinità dei Pellegrini is a Roman Catholic church located on Via dei Pettinari #36 In the rione of Regola of central Rome, Italy. It stands a block away from the Palazzo Spada on Via Capo di Ferro, while a few blocks away on the Via dei Pettinari stands the Ponte Sisto.

Incense

Incense

Incense is aromatic biotic material that releases fragrant smoke when burnt. The term is used for either the material or the aroma. Incense is used for aesthetic reasons, religious worship, aromatherapy, meditation, and ceremony. It may also be used as a simple deodorant or insect repellent.

Gloria in excelsis Deo

Gloria in excelsis Deo

"Gloria in excelsis Deo" is a Christian hymn known also as the Greater Doxology and the Angelic Hymn/Hymn of the Angels. The name is often abbreviated to Gloria in Excelsis or simply Gloria.

Credo

Credo

In Christian liturgy, the credo is the Nicene-Constantinopolitan Creed – or its shorter version, the Apostles' Creed – in the Mass, either as a prayer, a spoken text, or sung as Gregorian chant or other musical settings of the Mass.

Alleluia

Alleluia

Alleluia is a Latin phrase in Christianity used to give praise to God. In Christian worship, Alleluia is used as a liturgical chant in which that word is combined with verses of scripture, usually from the Psalms. This chant is commonly used before the proclamation of the Gospel. In Western Christianity, congregations commonly cease using the word "Alleluia" during the period of Lent but restore it into their services at Easter. The form of praise "Alleluia" is used by Christians to thank and glorify God; it finds itself present in many prayers and hymns, especially those related to Eastertide, such as Jesus Christ Is Risen Today.

Tract (liturgy)

Tract (liturgy)

The tract is part of the proper of the Christian liturgical celebration of the Eucharist, used instead of the Alleluia in Lent or Septuagesima, in a Requiem Mass, and other penitential occasions, when the joyousness of an Alleluia is deemed inappropriate. Tracts are not, however, necessarily sorrowful.

Lent

Lent

Lent is the solemn Christian religious observance in the liturgical year commemorating the 40 days Jesus Christ spent fasting in the desert and enduring temptation by Satan, according to the Gospels of Matthew, Mark and Luke, before beginning his public ministry. Lent is observed in the Anglican, Eastern Orthodox, Lutheran, Methodist, Moravian, Oriental Orthodox, Church of the East, United Protestant and Roman Catholic traditions of Christianity. Some Anabaptist, Baptist, Reformed, and nondenominational Christian churches also observe Lent, although many churches in these traditions do not.

Liturgical colours

Liturgical colours

Liturgical colours are specific colours used for vestments and hangings within the context of Christian liturgy. The symbolism of violet, blue, white, green, red, gold, black, rose and other colours may serve to underline moods appropriate to a season of the liturgical year or may highlight a special occasion.

Vestment

Vestment

Vestments are liturgical garments and articles associated primarily with the Christian religion, especially by Eastern Churches, Catholics, Anglicans, and Lutherans. Many other groups also make use of liturgical garments; this was a point of controversy in the Protestant Reformation and sometimes since, in particular during the ritualist controversies in England in the 19th century.

Dies irae

Dies irae

"Dies irae" is a Latin sequence attributed to either Thomas of Celano of the Franciscans (1200–1265) or to Latino Malabranca Orsini, lector at the Dominican studium at Santa Sabina, the forerunner of the Pontifical University of Saint Thomas Aquinas in Rome. The sequence dates from the 13th century at the latest, though it is possible that it is much older, with some sources ascribing its origin to St. Gregory the Great, Bernard of Clairvaux (1090–1153), or Bonaventure (1221–1274).

Salvation

Salvation

Salvation is the state of being saved or protected from harm or a dire situation. In religion and theology, salvation generally refers to the deliverance of the soul from sin and its consequences. The academic study of salvation is called soteriology.

Resurrection

Resurrection

Resurrection or anastasis is the concept of coming back to life after death. In a number of religions, a dying-and-rising god is a deity which dies and is resurrected. Reincarnation is a similar process hypothesized by other religions, which involves the same person or deity coming back to a body, rather than the same one. Disappearance of a body is another similar, but distinct, belief in some religions.

Requiem is also used to describe any sacred composition that sets to music religious texts which would be appropriate at a funeral, or to describe such compositions for liturgies other than the Roman Catholic Mass. Among the earliest examples of this type are the German settings composed in the 17th century by Heinrich Schütz and Michael Praetorius, whose works are Lutheran adaptations of the Roman Catholic requiem, and which provided inspiration for the German Requiem by Brahms.^[8]

Such works include:

• Greek Orthodox Church—Parastas
• Russian Orthodox Church—Panikhida
• Anglican (English) Requiem

Eastern Christian rites

In the Eastern Orthodox and Greek-Catholic Churches, the requiem is the fullest form of memorial service (Greek: μνημόσυνο, Slavonic: Оpеlо). The normal memorial service is a greatly abbreviated form of Matins, but the Requiem contains all of the psalms, readings, and hymns normally found in the All-Night Vigil (which combines the Canonical Hours of Vespers, Matins and First Hour), providing a complete set of propers for the departed. The full requiem will last around three-and-a-half hours. In this format it more clearly represents the original concept of parastas, which means literally, "standing throughout (the night)." Often, there will be a Divine Liturgy celebrated the next morning with further propers for the departed.

Because of their great length, a full Requiem is rarely served. However, at least in the Russian liturgical tradition, a Requiem will often be served on the eve before the Glorification (canonization) of a saint, in a special service known as the "Last Panikhida".

Anglicanism

The Book of Common Prayer contained no Requiem Mass, but instead a service named "The Order for the Burial of the Dead". Since the liturgical reform movement, provision has been made for a Eucharist to be celebrated at a funeral in various BCPs used in the various Provinces of the Anglican Communion. Prior to these additions, Anglo-Catholics or High Church Anglicans often incorporated parts of the Roman Catholic Requiem Mass as part of a funeral service — typically passages from the Ordinary of the Mass. Within this service are several texts with rubrics stating that they should be said or sung by the priest or clerks. The first few of these texts are found at the beginning of the service, while the rest are prescribed for the burial itself. These texts are typically divided into seven, and collectively known as "funeral sentences". Composers who have set the Anglican burial service to music include William Croft, Thomas Morley, Thomas Tomkins, Orlando Gibbons and Henry Purcell. The text of these seven sentences, from the 1662 Book of Common Prayer, is as follows:

• I am the resurrection and the life, saith the Lord: he that believeth in me, though he were dead, yet shall he live: and whosoever liveth and believeth in me shall never die. (John 11:25-26)
• I know that my Redeemer liveth, and that he shall stand at the latter day upon the earth. And though after my skin worms destroy this body, yet in my flesh shall I see God: whom I shall see for myself, and mine eyes shall behold, and not another. (Job 19:25-27)
• We brought nothing into this world, and it is certain we can carry nothing out. The Lord gave, and the Lord hath taken away; blessed be the Name of the Lord. (1 Timothy 6:7 and Job 1:21)
• Man that is born of a woman hath but a short time to live, and is full of misery. He cometh up, and is cut down, like a flower; he fleeth as it were a shadow, and never continueth in one stay. (Job 14:1-2)
• In the midst of life we are in death: of whom may we seek for succour, but of thee, O Lord, who for our sins art justly displeased? Yet, O Lord God most holy, O Lord most mighty, O holy and most merciful Saviour, deliver us not into the bitter pains of eternal death. (Media vita in morte sumus)
• Thou knowest, Lord, the secrets of our hearts; shut not thy merciful ears to our prayer; but spare us, Lord most holy, O God most mighty, O holy and merciful Saviour, thou most worthy judge eternal, suffer us not, at our last hour, for any pains of death, to fall from thee.
• I heard a voice from heaven, saying unto me, Write, From henceforth blessed are the dead which die in the Lord: even so saith the Spirit: for they rest from their labours. (Revelation 14:13)

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Heinrich Schütz

Heinrich Schütz

Heinrich Schütz was a German early Baroque composer and organist, generally regarded as the most important German composer before Johann Sebastian Bach, as well as one of the most important composers of the 17th century. He is credited with bringing the Italian style to Germany and continuing its evolution from the Renaissance into the Early Baroque. Most of his surviving music was written for the Lutheran church, primarily for the Electoral Chapel in Dresden. He wrote what is traditionally considered the first German opera, Dafne, performed at Torgau in 1627, the music of which has since been lost, along with nearly all of his ceremonial and theatrical scores. Schütz was a prolific composer, with more than 500 surviving works.

Michael Praetorius

Michael Praetorius

Michael Praetorius was a German composer, organist, and music theorist. He was one of the most versatile composers of his age, being particularly significant in the development of musical forms based on Protestant hymns.

Johannes Brahms

Johannes Brahms

Johannes Brahms was a German composer, pianist, and conductor of the mid-Romantic period. Born in Hamburg into a Lutheran family, he spent much of his professional life in Vienna. He is sometimes grouped with Johann Sebastian Bach and Ludwig van Beethoven as one of the "Three Bs" of music, a comment originally made by the nineteenth-century conductor Hans von Bülow.

Greek Orthodox Church

Greek Orthodox Church

The term Greek Orthodox Church has three meanings. The broader meaning designates "the entire body of Orthodox (Chalcedonian) Christianity, sometimes also called 'Eastern Orthodox,' 'Greek Catholic,' or generally 'the Greek Church'". The narrower meaning designates "any of several independent churches within the worldwide communion of [Eastern] Orthodox Christianity that retain the use of the Greek language in formal ecclesiastical settings". The third is the Church of Greece, the Eastern Orthodox church operating within the modern borders of Greece.

Russian Orthodox Church

Russian Orthodox Church

The Russian Orthodox Church, alternatively legally known as the Moscow Patriarchate, is an autocephalous Eastern Orthodox Christian church. It has 194 dioceses inside Russia. The primate of the ROC is the Patriarch of Moscow and all Rus'.

Eastern Orthodox Church

Eastern Orthodox Church

The Eastern Orthodox Church, also called the Orthodox Church, is the second-largest Christian church, with approximately 220 million baptized members. It operates as a communion of autocephalous churches, each governed by its bishops via local synods. The church has no central doctrinal or governmental authority analogous to the head of the Catholic Church—the pope—but the Ecumenical Patriarch of Constantinople is recognized by them as primus inter pares. As one of the oldest surviving religious institutions in the world, the Eastern Orthodox Church has played a prominent role in the history and culture of Eastern and Southeastern Europe. The Eastern Orthodox Church officially calls itself the Orthodox Catholic Church.

Eastern Catholic Churches

Eastern Catholic Churches

The Eastern Catholic Churches or Oriental Catholic Churches, also called the Eastern-Rite Catholic Churches, Eastern Rite Catholicism, or simply the Eastern Churches, are 23 Eastern Christian autonomous particular churches of the Catholic Church, in full communion with the Pope in Rome. Although they are distinct theologically, liturgically, and historically from the Latin Church, they are all in full communion with it and with each other. Eastern Catholics are a distinct minority within the Catholic Church; of the 1.3 billion Catholics in communion with the Pope, approximately 18 million are members of the eastern churches.

Greek language

Greek language

Greek is an independent branch of the Indo-European family of languages, native to Greece, Cyprus, southern Italy, southern Albania, and other regions of the Balkans, the Black Sea coast, Asia Minor, and the Eastern Mediterranean. It has the longest documented history of any Indo-European language, spanning at least 3,400 years of written records. Its writing system is the Greek alphabet, which has been used for approximately 2,800 years; previously, Greek was recorded in writing systems such as Linear B and the Cypriot syllabary. The alphabet arose from the Phoenician script and was in turn the basis of the Latin, Cyrillic, Armenian, Coptic, Gothic, and many other writing systems.

Church Slavonic

Church Slavonic

Church Slavonic, also known as Church Slavic, New Church Slavonic or New Church Slavic, is the conservative Slavic liturgical language used by the Eastern Orthodox Church in Belarus, Bosnia and Herzegovina, Bulgaria, North Macedonia, Montenegro, Poland, Ukraine, Russia, Serbia, the Czech Republic and Slovakia, Slovenia and Croatia. The language appears also in the services of the Russian Orthodox Church Outside of Russia, the American Carpatho-Russian Orthodox Diocese, and occasionally in the services of the Orthodox Church in America.

Matins

Matins

Matins is a canonical hour in Christian liturgy, originally sung during the darkness of early morning.

Prime (liturgy)

Prime (liturgy)

Prime, or the First Hour, is one of the canonical hours of the Divine Office, said at the first hour of daylight, between the dawn hour of Lauds and the 9 a.m. hour of Terce. It remains part of the Christian liturgies of Eastern Christianity, but suppressed within the Latin liturgical rites by the Second Vatican Council. In the Coptic Church, a denomination of Oriental Orthodox Christianity, the office of Prime is prayed at 6 am in eastward direction of prayer by all members in this denomination, both clergy and laity, being one of the seven fixed prayer times. Latin Catholic clergy under obligation to celebrate the Liturgy of the Hours may still fulfil their obligation by using the edition of the Roman Breviary promulgated by Pope John XXIII in 1962, which contains Prime. Like all the liturgical hours, except the Office of Readings, it consists mainly of Psalms. It is one of the Little Hours.

Proper (liturgy)

Proper (liturgy)

The proper is a part of the Christian liturgy that varies according to the date, either representing an observance within the liturgical year, or of a particular saint or significant event. The term is used in contrast to the ordinary, which is that part of the liturgy that is reasonably constant, or at least selected without regard to date, or to the common, which contains those parts of the liturgy that are common to an entire category of saints, such as apostles or martyrs.

The Requiem Mass is notable for the large number of musical compositions that it has inspired, including settings by Mozart (though uncompleted),^[9] Verdi, Berlioz, Saint-Saëns, Brahms (from the vernacular German Lutheran Bible), Dvořák, Fauré, Duruflé, and others. Originally, such compositions were meant to be performed in liturgical service, with monophonic chant. Eventually, the dramatic character of the text began to appeal to composers to an extent that they made the requiem a genre of its own, and the compositions of composers such as Verdi are essentially concert pieces rather than liturgical works.

Many of the texts in the Requiem Mass have been set to music, including:

History of musical compositions

Incipit of the Gregorian chant introit for a Requiem Mass, from the Liber Usualis

For many centuries the texts of the requiem were sung to Gregorian melodies. The Requiem by Johannes Ockeghem, written sometime in the latter half of the 15th century, is the earliest surviving polyphonic setting. There was a setting by the elder composer Dufay, possibly earlier, which is now lost: Ockeghem's may have been modelled on it.^[10] Many early compositions reflect the varied texts that were in use in different liturgies around Europe before the Council of Trent standardised texts used in liturgies. The requiem of Brumel, circa 1500, is the first to include the Dies Iræ. In the early polyphonic settings of the Requiem, there is considerable textural contrast within the compositions themselves: simple chordal or fauxbourdon-like passages are contrasted with other sections of contrapuntal complexity, such as in the Offertory of Ockeghem's Requiem.^[10]

In the 16th century, more and more composers set the Requiem Mass. In contrast to practice in setting the Mass Ordinary, many of these settings used a cantus-firmus technique, something which had become quite archaic by mid-century. In addition, these settings used less textural contrast than the early settings by Ockeghem and Brumel, although the vocal scoring was often richer, for example in the six-voice Requiem by Jean Richafort which he wrote for the death of Josquin des Prez.^[10] Other composers before 1550 include Pedro de Escobar, Antoine de Févin, Cristóbal Morales, and Pierre de La Rue; that by La Rue is probably the second oldest, after Ockeghem's.

A portion of the manuscript of Mozart's Requiem, K 626 (1791), showing his heading for the first movement

Over 2,000 Requiem compositions have been composed to the present day. Typically the Renaissance settings, especially those not written on the Iberian Peninsula, may be performed a cappella (i.e. without necessary accompanying instrumental parts), whereas beginning around 1600 composers more often preferred to use instruments to accompany a choir, and also include vocal soloists. There is great variation between compositions in how much of liturgical text is set to music.

Most composers omit sections of the liturgical prescription, most frequently the Gradual and the Tract. Fauré omits the Dies iræ, while the very same text had often been set by French composers in previous centuries as a stand-alone work.

Sometimes composers divide an item of the liturgical text into two or more movements; because of the length of its text, the Dies iræ is the most frequently divided section of the text (as with Mozart, for instance). The Introit and Kyrie, being immediately adjacent in the actual Roman Catholic liturgy, are often composed as one movement.

Musico-thematic relationships among movements within a Requiem can be found as well.

Requiem in concert

Beginning in the 18th century and continuing through the 19th, many composers wrote what are effectively concert works, which by virtue of employing forces too large, or lasting such a considerable duration, prevent them being readily used in an ordinary funeral service; the requiems of Gossec, Berlioz, Verdi, and Dvořák are essentially dramatic concert oratorios. A counter-reaction to this tendency came from the Cecilian movement, which recommended restrained accompaniment for liturgical music, and frowned upon the use of operatic vocal soloists.

Notable compositions

Many composers have composed Requiems. Some of the most notable include the following (in chronological order):

Modern treatments

In the 20th century the requiem evolved in several new directions. The genre of War Requiem is perhaps the most notable, which comprise compositions dedicated to the memory of people killed in wartime. These often include extra-liturgical poems of a pacifist or non-liturgical nature; for example, the War Requiem of Benjamin Britten juxtaposes the Latin text with the poetry of Wilfred Owen, Krzysztof Penderecki's Polish Requiem includes a traditional Polish hymn within the sequence, and Robert Steadman's Mass in Black intersperses environmental poetry and prophecies of Nostradamus. Holocaust Requiem may be regarded as a specific subset of this type. The Requiem Ebraico (Hebrew Requiem) (1945) by Austrian-American composer Eric Zeisl, a setting of Psalm 92 dedicated to the memory of the composer's father "and the other countless victims of the Jewish tragedy in Europe", is considered the first major work of Holocaust commemoration. John Foulds's A World Requiem was written in the aftermath of the First World War and initiated the Royal British Legion's annual festival of remembrance. Recent requiem works by Taiwanese composers Tyzen Hsiao and Ko Fan-long follow in this tradition, honouring victims of the February 28 Incident and subsequent White Terror.

The 20th century saw the development of the secular Requiem, written for public performance without specific religious observance, such as Max Reger's Requiem (1915), the setting of a German poem titled Requiem and dedicated to victims of World War I, and Frederick Delius's Requiem, completed in 1916 and dedicated to "the memory of all young Artists fallen in the war";^[11] Paul Hindemith's When Lilacs Last in the Dooryard Bloom'd: A Requiem for Those We Love, commissioned in 1945 (premiered 1946) after the passing of Franklin Delano Roosevelt, and based on Walt Whitman's elegy written after the passing of Abraham Lincoln; and Dmitry Kabalevsky's Requiem (Op. 72; 1962), a setting of a poem written by Robert Rozhdestvensky especially for the composition.^[12]

Herbert Howells's unaccompanied Requiem uses Psalm 23 ("The Lord is my shepherd"), Psalm 121 ("I will lift up mine eyes"), "Salvator mundi" ("O Saviour of the world" in English), "Requiem aeternam" (two different settings), and "I heard a voice from heaven". John Rutter combines in his Requiem (1985) some of the parts of the Latin Requiem with two complete psalms, Psalm 130 "Out of the deep" and his earlier composition The Lord is my Shepherd, and juxtaposes more biblical verses within the Latin movements.

Some composers have written purely instrumental works bearing the title of Requiem, as famously exemplified by Britten's Sinfonia da Requiem. 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 me".

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Music for the Requiem Mass

Music for the Requiem Mass

The Music for the Requiem Mass is any music that accompanies the Requiem, a Mass in the Catholic Church for the deceased. It has inspired a large number of compositions, including settings by Mozart, Berlioz, Donizetti, Verdi, Bruckner, Dvořák, Fauré and Duruflé. Originally, such compositions were meant to be performed in liturgical service, with monophonic chant. Eventually the dramatic character of the text began to appeal to composers to an extent that they made the requiem a genre of its own, and the compositions of composers such as Verdi are essentially concert pieces rather than liturgical works.

Requiem (Mozart)

Requiem (Mozart)

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. A completed version dated 1792 by Franz Xaver Süssmayr was delivered to Count Franz von Walsegg, who commissioned the piece for a requiem service on 14 February 1792 to commemorate the first anniversary of the death of his wife Anna at the age of 20 on 14 February 1791.

Requiem (Verdi)

Requiem (Verdi)

The Messa da Requiem is a musical setting of the Catholic funeral mass (Requiem) for four soloists, double choir and orchestra by Giuseppe Verdi. It was composed in memory of Alessandro Manzoni, whom Verdi admired. The first performance, at the San Marco church in Milan on 22 May 1874, marked the first anniversary of Manzoni's death. The work was at one time referred to as the Manzoni Requiem. Considered too operatic to be performed in a liturgical setting, it is usually given in concert form of around 90 minutes in length. Musicologist David Rosen calls it "probably the most frequently performed major choral work composed since the compilation of Mozart's Requiem".

Requiem (Berlioz)

Requiem (Berlioz)

The Grande Messe des morts, Op. 5, by Hector Berlioz was composed in 1837. The Grande Messe des Morts is one of Berlioz's best-known works, with a tremendous orchestration of woodwind and brass instruments, including four antiphonal offstage brass ensembles. The work derives its text from the traditional Latin Requiem Mass. It has a duration of approximately ninety minutes, although there are faster recordings of under seventy-five minutes.

Requiem (Saint-Saëns)

Requiem (Saint-Saëns)

The Requiem, full title Messe de Requiem, Op. 54, is a Requiem Mass composed by Camille Saint-Saëns in 1878 for soloists, choir and orchestra. He composed it in memory of his friend and patron, Albert Libon, and conducted the first performance on 22 May 1878 at Saint-Sulpice in Paris, with Charles-Marie Widor as the organist. It was first published the same year.

A German Requiem (Brahms)

A German Requiem (Brahms)

A German Requiem, to Words of the Holy Scriptures, Op. 45 by Johannes Brahms, is a large-scale work for chorus, orchestra, a soprano and a baritone soloist, composed between 1865 and 1868. It comprises seven movements, which together last 65 to 80 minutes, making this work Brahms's longest composition. A German Requiem is sacred but non-liturgical, and unlike a long tradition of the Latin Requiem, A German Requiem, as its title states, is a Requiem in the German language.

Requiem (Dvořák)

Requiem (Dvořák)

Antonín Dvořák's Requiem in B♭ minor, Op. 89, B. 165, is a funeral Mass scored for soloists, choir and orchestra. It was composed in 1890 and performed for the first time on 9 October 1891, in Birmingham, England, with the composer conducting.

Requiem (Fauré)

Requiem (Fauré)

Gabriel Fauré composed his Requiem in D minor, Op. 48, between 1887 and 1890. The choral-orchestral setting of the shortened Catholic Mass for the Dead in Latin is the best-known of his large works. Its focus is on eternal rest and consolation. Fauré's reasons for composing the work are unclear, but do not appear to have had anything to do with the death of his parents in the mid-1880s. He composed the work in the late 1880s and revised it in the 1890s, finishing it in 1900.

Requiem (Duruflé)

Requiem (Duruflé)

The Requiem, Op. 9, is a 1947 setting of the Latin Requiem by Maurice Duruflé for a solo voice, mixed choir, and organ, or orchestra with organ. The thematic material is mostly taken from the Mass for the Dead in Gregorian chant. The Requiem was first published in 1948 by Durand in an organ version.

Kyrie

Kyrie

Kyrie, a transliteration of Greek Κύριε, vocative case of Κύριος (Kyrios), is a common name of an important prayer of Christian liturgy, also called the Kyrie eleison.

Sanctus

Sanctus

The Sanctus is a hymn in Christian liturgy. It may also be called the epinikios hymnos when referring to the Greek rendition and parts of it are sometimes called "Benedictus". Tersanctus is another, rarer name for the Sanctus. The same name is sometimes used for the Trisagion.

Pie Jesu

Pie Jesu

"Pie Jesu" is a text from the final 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.