Introit[edit]

Requiem ternam dona eis, Domine,

et lux perpetua luceat eis.
Te decet hymnus Deus, in Sion,
et tibi reddetur votum in Ierusalem.
Exaudi orationem meam;
ad te omnis caro veniet.
Requiem ternam dona eis, Domine,
et lux perpetua luceat eis.
Grant them eternal rest, O Lord,
and let perpetual light shine upon them.
A hymn becomes you, O God, in Zion,
and to you shall a vow be repaid in Jerusalem.
Hear my prayer;
to you shall all flesh come.
Eternal rest grant unto them, O Lord,
and let perpetual light shine upon them.
Kyrie eleison[edit]
This is as the Kyrie in the Ordinary of the Mass:
Kyrie eleison;
Christe eleison;
Kyrie eleison.
Lord have mercy;
Christ have mercy;
Lord have mercy.
This is Greek (????e ????s??, ???st? ????s??, ????e ????s??). Each utterance is
sung three times, though sometimes that is not the case when sung polyphonically
.
Gradual[edit]
Requiem ternam dona eis, Domine :
et lux perpetua luceat eis.
In memoria terna erit iustus,
ab auditione mala non timebit.
Eternal rest grant unto them, O Lord :
and let perpetual light shine upon them.
He shall be justified in everlasting memory,
and shall not fear evil reports.
Tract[edit]
Absolve, Domine,
animas omnium fidelium defunctorum
ab omni vinculo delictorum
et gratia tua illis succurrente
mereantur evadere iudicium ultionis,
et lucis ternae beatitudine perfrui.
Forgive, O ,
the souls of all the faithful departed
from all the chains of their sins
and by the aid to them of your grace
may they deserve to avoid the judgment of revenge,
and enjoy the blessedness of everlasting light.

Sequence[edit]
Main article: Dies Irae
A sequence is a liturgical poem sung, when used, after the Tract (or Alleluia, i
f present). The sequence employed in the Requiem, Dies Irae, attributed to Thoma
s of Celano (c. 1200
c. 1260 1270), has been called "the greatest of hymns", worth
y of "supreme admiration".[1] The Latin text below is taken from the Requiem Mas
s in the 1962 Roman Missal. The first English version below, translated by Willi
am Josiah Irons in 1849,[2] replicates the rhyme and metre of the original. The
second English version is a more formal equivalence.
1
Dies ir, dies illa
Solvet sclum in favilla,
Teste David cum Sibylla.
Day of wrath and doom impending.
David's word with Sibyl's blending,
Heaven and earth in ashes ending.
The day of wrath, that day
will dissolve the world in ashes,
David being witness along with the Sibyl.
2
Quantus tremor est futurus,
Quando Judex est venturus,
Cuncta stricte discussurus!
Oh, what fear man's bosom rendeth,
When from heaven the Judge descendeth,
On whose sentence all dependeth.
How great will be the quaking,
when the Judge will come,
investigating everything strictly.
3
Tuba mirum spargens sonum,
Per sepulchra regionum,
Coget omnes ante thronum.
Wondrous sound the trumpet flingeth;
Through earth's sepulchres it ringeth;
All before the throne it bringeth.
The trumpet, scattering a wondrous sound
through the sepulchres of the regions,
will summon all before the throne.
4
Mors stupebit et natura,
Cum resurget creatura,
Judicanti responsura. Death is struck, and nature quaking,
All creation is awaking,
To its Judge an answer making. Death and nature will marvel,
when the creature will rise again,
to respond to the Judge.
5
Liber scriptus proferetur,
In quo totum continetur,
Unde mundus judicetur. Lo, the book, exactly worded,
Wherein all hath been recorded,
Thence shall judgement be awarded.
The written book will be brought forth,
in which all is contained,
from which the world shall be judged.
6
Judex ergo cum sedebit,
Quidquid latet apparebit:
Nil inultum remanebit. When the Judge his seat attaineth,
And each hidden deed arraigneth,
Nothing unavenged remaineth.
When therefore the Judge will sit,
whatever lies hidden will appear:
nothing will remain unpunished.
7
Quid sum miser tunc dicturus?
Quem patronum rogaturus,
Cum vix justus sit securus?
What shall I, frail man, be pleading?
Who for me be interceding,
When the just are mercy needing?
What then will I, poor wretch [that I am
], say?
Which patron will I entreat,
when [even] the just may [only] hardly be sure?

8
Rex tremend majestatis,
Qui salvandos salvas gratis,
Salva me, fons pietatis.
King of Majesty tremendous,
Who dost free salvation send us,
Fount of pity, then befriend us!
King of fearsome majesty,
Who freely savest those that are to be saved,
save me, O font of mercy.
9
Recordare, Jesu pie,
Quod sum causa tu vi:
Ne me perdas illa die. Think, kind Jesu!
my salvation
Caused Thy wondrous Incarnation;
Leave me not to reprobation.
Remember, merciful Jesus,
that I am the cause of Thy way:
lest Thou lose me in that day.
10
Qurens me, sedisti lassus:
Redemisti Crucem passus:
Tantus labor non sit cassus.
Faint and weary, Thou hast sought me,
On the Cross of suffering bought me.
Shall such grace be vainly brought me? Seeking me, Thou sattest tired:
Thou redeemedst [me], having suffered the Cross:
let not so much hardship be in vain.
11
Juste Judex ultionis,
Donum fac remissionis,
Ante diem rationis.
Righteous Judge, for sin's pollution
Grant Thy gift of absolution,
Ere the day of retribution.
Just Judge of vengeance,
make a gift of remission
before the day of reckoning.
12
Ingemisco, tamquam reus:
Culpa rubet vultus meus:
Supplicanti parce, Deus.
Guilty, now I pour my moaning,
All my shame with anguish owning;
Spare, O God, Thy suppliant groaning! I sigh, like the guilty one:
my face reddens in guilt:
Spare the supplicating one, O God.
13
Qui Mariam absolvisti,
Et latronem exaudisti,
Mihi quoque spem dedisti.
Through the sinful woman shriven,
Through the dying thief forgiven,
Thou to me a hope hast given. Thou who absolvedst Mary,
and heardest the robber,
gavest hope to me, too.
14
Preces me non sunt dign;
Sed tu bonus fac benigne,
Ne perenni cremer igne. Worthless are my prayers and sighing,
Yet, good Lord, in grace complying,
Rescue me from fires undying. My prayers are not worthy:
but do Thou, [who art] good, graciously grant
that I not be burned up by the everlasting fire.
15
Inter oves locum prsta.
Et ab hdis me sequestra,
Statuens in parte dextra.
With Thy sheep a place provide me,
From the goats afar divide me,
To Thy right hand do Thou guide me.
Grant me a place among the sheep,
and take me out from among the goats,
setting me on the right side.
16
Confutatis maledictis,
Flammis acribus addictis,
Voca me cum benedictis. When the wicked are confounded,
Doomed to flames of woe unbounded,

Call me with Thy saints surrounded.

Once the cursed have been silenced,
sentenced to acrid flames:
Call Thou me with the blessed.
17
Oro supplex et acclinis,
Cor contritum quasi cinis,
Gere curam mei finis. Low I kneel, with heart's submission,
See, like ashes, my contrition,
Help me in my last condition. [Humbly] kneeling and bowed I pray,
[my] heart crushed as ashes:
take care of my end.
18
Lacrimosa dies illa,
Qua resurget ex favilla,
Judicandus homo reus.
Huic ergo parce, Deus: Ah! that day of tears and mourning,
From the dust of earth returning
Man for judgement must prepare him,
Spare, O God, in mercy spare him.
Tearful [will be] that day,
on which from the glowing embers will arise
the guilty man who is to be judged.
Then spare him, O God.
19
Pie Jesu Domine,
Dona eis requiem. Amen. Lord, all-pitying, Jesus blest,
Grant them Thine eternal rest. Amen.
Merciful Lord Jesus,
grant them rest. Amen.
Offertory[edit]
Domine Jesu Christe, Rex glori,
libera animas omnium fidelium defunctorum
de p nis inferni et de profundo lacu.
Libera eas de ore leonis,
ne absorbeat eas tartarus,
ne cadant in obscurum;
sed signifer sanctus Michael
reprsentet eas in lucem sanctam,
quam olim Abrah promisisti et semini eius.
Lord Jesus Christ, King of glory,
free the souls of all the faithful departed
from infernal punishment and the deep pit.
Free them from the mouth of the lion;
do not let Tartarus swallow them,
nor let them fall into darkness;
but may the standard-bearer Saint Michael,
lead them into the holy light
which you once promised to Abraham and his seed.
Hostias et preces tibi, Domine,
laudis offerimus;
tu suscipe pro animabus illis,
quarum hodie memoriam facimus.
Fac eas, Domine, de morte transire ad vitam.
Quam olim Abrah promisisti et semini eius.
O Lord, we offer You
sacrifices and prayers of praise;
accept them on behalf of those souls
whom we remember today.
Let them, O Lord, pass over from death to life,
as you once promised to Abraham and his seed.
Sanctus[edit]

This is as the Sanctus prayer in the Ordinary of the Mass:

Sanctus, Sanctus, Sanctus,
Dominus Deus Sabaoth;
pleni sunt caeli et terra gloria tua.
Hosanna in excelsis.
Benedictus qui venit in nomine Domini.
Hosanna in excelsis.
Holy, Holy, Holy,
Lord God of Hosts;
Heaven and earth are full of your glory.
Hosanna in the highest.
Blessed is he who comes in the name of the Lord.
Hosanna in the highest.
Agnus Dei[edit]
This is as the Agnus Dei in the Ordinary of the Mass, but with the petitions mis
erere nobis changed to dona eis requiem, and dona nobis pacem to dona eis requie
m sempiternam:
Agnus Dei, qui tollis peccata mundi, dona eis requiem,
Agnus Dei, qui tollis peccata mundi, dona eis requiem,
Agnus Dei, qui tollis peccata mundi, dona eis requiem sempiternam.
Lamb of God, who takes away the sins of the world, grant them rest,
Lamb of God, who takes away the sins of the world, grant them rest,
Lamb of God, who takes away the sins of the world, grant them eternal rest.
Communion[edit]
Lux terna luceat eis, Domine,
cum sanctis tuis in ternum,
quia pius es.
Requiem ternam dona eis, Domine;
et lux perpetua luceat eis;
cum Sanctis tuis in ternum,
quia pius es.
May everlasting light shine upon them, O Lord,
with your Saints forever,
for you are kind.
Grant them eternal rest, O Lord,
and may everlasting light shine upon them;
with your Saints forever,
for you are merciful.
As mentioned above, there is no Gloria, Alleluia or Credo in these musical setti
ngs.
Pie Jesu[edit]
Main article: Pie Jesu
Some extracts too have been set independently to music, such as Pie Jesu in the
settings of Dvork, Faur, Durufl and John Rutter.
The Pie Jesu consists of the final words of the Dies Irae followed by the final
words of the Agnus Dei.
Pie Jesu Domine, dona eis requiem.

Dona eis requiem sempiternam.

Merciful Lord Jesus, grant them rest;
grant them eternal rest.
Musical Requiem settings sometimes include passages from the "Absolution at the
bier" (Absolutio ad feretrum) or "Commendation of the dead person" (referred to
also as the Absolution of the dead), which in the case of a funeral, follows the
conclusion of the Mass.
Libera Me[edit]
Main article: Libera Me
Libera me, Domine, de morte terna, in die illa tremenda:
Quando c li movendi sunt et terra.
Dum veneris iudicare sculum per ignem.
Tremens factus sum ego, et timeo, dum discussio venerit, atque ventura ira.
Quando c li movendi sunt et terra.
Dies illa, dies ir, calamitatis et miseri, dies magna et amara valde.
Dum veneris iudicare sculum per ignem.
Requiem ternam dona eis, Domine: et lux perpetua luceat eis.
Deliver me, O Lord, from death eternal on that fearful day,
when the heavens and the earth shall be moved,
when thou shalt come to judge the world by fire.
I am made to tremble, and I fear, till the judgment be upon us, and the coming w
rath,
when the heavens and the earth shall be moved.
That day, day of wrath, calamity, and misery, day of great and exceeding bittern
ess,
when thou shalt come to judge the world by fire.
Rest eternal grant unto them, O Lord: and let light perpetual shine upon them.
In paradisum[edit]
Main article: In paradisum
In paradisum deducant te Angeli:
in tuo adventu suscipiant te Martyres,
et perducant te in civitatem sanctam Ierusalem.
Chorus Angelorum te suscipiat,
et cum Lazaro quondam paupere ternam habeas requiem.
May
may
and
May
and

the angels lead you into paradise;

the martyrs receive you at your arrival
lead you to the holy city Jerusalem.
choirs of angels receive you
with Lazarus, once (a) poor (man), may you have eternal rest.

History of musical compositions[edit]

For many centuries the texts of the requiem were sung to Gregorian melodies. The
Requiem by Johannes Ockeghem, written sometime in the later half of the 15th ce
ntury, 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 b
een modelled on it.[3] Many early compositions employ different texts that were
in use in different liturgies around Europe before the Council of Trent set down
the texts given above. The requiem of Brumel, circa 1500, is the first to inclu
de the Dies Ir. In the early polyphonic settings of the Requiem, there is conside
rable textural contrast within the compositions themselves: simple chordal or fa
uxbourdon-like passages are contrasted with other sections of contrapuntal compl
exity, such as in the Offertory of Ockeghem's Requiem.[3]
In the 16th century, more and more composers set the Requiem mass. In contrast t

o practice in setting the Mass Ordinary, many of these settings used a cantus-fi
rmus technique, something which had become quite archaic by mid-century. In addi
tion, these settings used less textural contrast than the early settings by Ocke
ghem 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.[3] Other composers before 1550 include Pedro de Escobar, Antoine de Fvin,
Cristbal Morales, and Pierre de La Rue; that by La Rue is probably the second old
est, after Ockeghem's.
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 inst
ruments to accompany a choir, and also include vocal soloists. There is great va
riation 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. Faur omits the Dies ir, 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 movem
ents; because of the length of its text, the Dies ir is the most frequently divid
ed section of the text (as with Mozart, for instance). The Introit and Kyrie, be
ing immediately adjacent in the actual Roman Catholic liturgy, are often compose
d as one movement.
Musico-thematic relationships among movements within a Requiem can be found as w
ell.
Requiem in concert[edit]
Beginning in the 18th century and continuing through the 19th, many composers wr
ote 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 Dvork
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.