Dies irae: Difference between revisions
list of musical examples (i) sorted alphabetically, and (ii) split into classical / non-classical |
many further examples added to both lists |
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* [[Marc-Antoine Charpentier]] – {{lang|fr|Prose des morts –}} {{lang|la|Dies iræ}} H. 12 (1670) |
* [[Marc-Antoine Charpentier]] – {{lang|fr|Prose des morts –}} {{lang|la|Dies iræ}} H. 12 (1670) |
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* [[George Crumb]] – ''[[Black Angels (Crumb)|Black Angels]]'' (1970) |
* [[George Crumb]] – ''[[Black Angels (Crumb)|Black Angels]]'' (1970) |
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* [[Luigi Dallapiccola]] - ''[[Canti di prigionia]]'' |
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* [[Michael Daugherty]] – ''[[Metropolis Symphony]]'' 5th movement, "Red Cape Tango";<ref>{{Citation |title=About this Recording – 8.559635 – Daugherty, M.: Metropolis Symphony / Deus ex Machina (T. Wilson, Nashville Symphony, Guerrero) |url=http://www.naxos.com/mainsite/blurbs_reviews.asp?item_code=8.559635&catNum=559635&filetype=About%20this%20Recording&language=English |work=[[Naxos (company)|Naxos]] |archive-url=https://web.archive.org/web/20180806180608/https://www.naxos.com/mainsite/blurbs_reviews.asp?item_code=8.559635&catNum=559635&filetype=About%20this%20Recording&language=English |access-date=2022-03-16 |archive-date=2018-08-06 |lang=en |url-status=live}}</ref> ''[[Dead Elvis (composition)|Dead Elvis]]'' for bassoon and chamber ensemble{{cn|date=August 2022}} (1993) |
* [[Michael Daugherty]] – ''[[Metropolis Symphony]]'' 5th movement, "Red Cape Tango";<ref>{{Citation |title=About this Recording – 8.559635 – Daugherty, M.: Metropolis Symphony / Deus ex Machina (T. Wilson, Nashville Symphony, Guerrero) |url=http://www.naxos.com/mainsite/blurbs_reviews.asp?item_code=8.559635&catNum=559635&filetype=About%20this%20Recording&language=English |work=[[Naxos (company)|Naxos]] |archive-url=https://web.archive.org/web/20180806180608/https://www.naxos.com/mainsite/blurbs_reviews.asp?item_code=8.559635&catNum=559635&filetype=About%20this%20Recording&language=English |access-date=2022-03-16 |archive-date=2018-08-06 |lang=en |url-status=live}}</ref> ''[[Dead Elvis (composition)|Dead Elvis]]'' for bassoon and chamber ensemble{{cn|date=August 2022}} (1993) |
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* [[Ern%C5%91 Dohn%C3%A1nyi]] - no. 4 (E-flat minor) of "Four Rhapsodies" for Piano, op. 11 |
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* [[Alexander Glazunov]] – ''From the Middle Ages'' Suite, No. 2 "Scherzo", Op. 79 (1902) |
* [[Alexander Glazunov]] – ''From the Middle Ages'' Suite, No. 2 "Scherzo", Op. 79 (1902) |
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* [[Charles Gounod]] – ''[[Faust (opera)|Faust]]'' opera, act 4 (1859) |
* [[Charles Gounod]] – ''[[Faust (opera)|Faust]]'' opera, act 4 (1859) |
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* [[Jules Massenet]] - [[Ève (Massenet)|Eve]]<ref name=":0" /> (1874) |
* [[Jules Massenet]] - [[Ève (Massenet)|Eve]]<ref name=":0" /> (1874) |
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* [[Modest Mussorgsky]] – [[Songs and Dances of Death]], No. 3 "Trepak" (1875) |
* [[Modest Mussorgsky]] – [[Songs and Dances of Death]], No. 3 "Trepak" (1875) |
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* [[Nikolai Myaskovsky]] – [[Symphony No. 6 (Myaskovsky)|Symphony No. 6]], Op. 23 (1921–23) |
* [[Nikolai Myaskovsky]] – [[Symphony No. 6 (Myaskovsky)|Symphony No. 6]], Op. 23 (1921–23); Piano Sonata No.2, Op.13 |
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* [[Vítězslav Novák]] – used the theme near the end of his ''May Symphony'' |
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* [[Sergei Rachmaninoff]] – [[Piano Concerto No. 1 (Rachmaninoff)|Piano Concerto No. 1]], Op. 1 (1891); [[Symphony No. 1 (Rachmaninoff)|Symphony No. 1]], Op. 13 (1895); [[Suite No. 2 (Rachmaninoff)|Suite No. 2]], Op. 17 (1901); [[Symphony No. 2 (Rachmaninoff)|Symphony No. 2]], Op. 27 (1906–07); [[Piano Sonata No. 1 (Rachmaninoff)|Piano sonata No. 1]] (1908); ''[[Isle of the Dead (Rachmaninoff)|Isle of the Dead]]'', Op. 29 (1908); ''[[The Bells (symphony)|The Bells]]'' choral symphony, Op. 35 (1913); {{lang|fr|[[Études-Tableaux, Op. 39|Études-Tableaux]]}}, Op. 39 No. 2, 7 (1916); [[Piano Concerto No. 4 (Rachmaninoff)|Piano Concerto No. 4]], Op. 40 (1926); ''[[Rhapsody on a Theme of Paganini]]'', Op. 43 (1934); [[Symphony No. 3 (Rachmaninoff)|Symphony No. 3]], Op. 44 (1935–36); ''[[Symphonic Dances (Rachmaninoff)|Symphonic Dances]]'', Op. 45 (1940) |
* [[Sergei Rachmaninoff]] – [[Piano Concerto No. 1 (Rachmaninoff)|Piano Concerto No. 1]], Op. 1 (1891); [[Symphony No. 1 (Rachmaninoff)|Symphony No. 1]], Op. 13 (1895); [[Suite No. 2 (Rachmaninoff)|Suite No. 2]], Op. 17 (1901); [[Symphony No. 2 (Rachmaninoff)|Symphony No. 2]], Op. 27 (1906–07); [[Piano Sonata No. 1 (Rachmaninoff)|Piano sonata No. 1]] (1908); ''[[Isle of the Dead (Rachmaninoff)|Isle of the Dead]]'', Op. 29 (1908); ''[[The Bells (symphony)|The Bells]]'' choral symphony, Op. 35 (1913); {{lang|fr|[[Études-Tableaux, Op. 39|Études-Tableaux]]}}, Op. 39 No. 2, 7 (1916); [[Piano Concerto No. 4 (Rachmaninoff)|Piano Concerto No. 4]], Op. 40 (1926); ''[[Rhapsody on a Theme of Paganini]]'', Op. 43 (1934); [[Symphony No. 3 (Rachmaninoff)|Symphony No. 3]], Op. 44 (1935–36); ''[[Symphonic Dances (Rachmaninoff)|Symphonic Dances]]'', Op. 45 (1940) |
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* [[Ottorino Respighi]] – quoted near the end of the second movement of {{lang|it|Impressioni Brasiliane}} (''Brazilian Impressions'')<ref>{{Cite web |last=Johnson |first=Edward |date=May 1984 |title=Respighi – Church Windows / Brazilian Impressions, CHAN 8317 |url=https://www.chandos.net/chanimages/Booklets/CH8317.pdf |url-status=live |archive-url=https://web.archive.org/web/20220316021118/https://www.chandos.net/chanimages/Booklets/CH8317.pdf |archive-date=2022-03-16 |access-date=2022-03-16 |publisher=[[Chandos Records]] |language=en |type=Media notes}}</ref> (1927) |
* [[Ottorino Respighi]] – quoted near the end of the second movement of {{lang|it|Impressioni Brasiliane}} (''Brazilian Impressions'')<ref>{{Cite web |last=Johnson |first=Edward |date=May 1984 |title=Respighi – Church Windows / Brazilian Impressions, CHAN 8317 |url=https://www.chandos.net/chanimages/Booklets/CH8317.pdf |url-status=live |archive-url=https://web.archive.org/web/20220316021118/https://www.chandos.net/chanimages/Booklets/CH8317.pdf |archive-date=2022-03-16 |access-date=2022-03-16 |publisher=[[Chandos Records]] |language=en |type=Media notes}}</ref> (1927) |
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* [[Camille Saint-Saëns]] – {{lang|fr|[[Danse macabre (Saint-Saëns)|Danse Macabre]]}} |
* [[Camille Saint-Saëns]] – {{lang|fr|[[Danse macabre (Saint-Saëns)|Danse Macabre]]}}; [[Symphony No. 3 (Saint-Saëns)|Symphony No. 3 (''Organ Symphony'')]], [[Requiem (Saint-Saëns)|Requiem]] (1878) |
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* [[Dmitri Shostakovich]] – [[Symphony No. 14 (Shostakovich)|Symphony No. 14]]; ''Aphorisms'', Op. 13 – No. 7, "Dance of Death" (1969) |
* [[Dmitri Shostakovich]] – [[Symphony No. 14 (Shostakovich)|Symphony No. 14]]; ''Aphorisms'', Op. 13 – No. 7, "Dance of Death" (1969) |
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* [[Kaikhosru Shapurji Sorabji]] – {{lang|la|[[Sequentia cyclica|Sequentia cyclica super "Dies iræ" ex Missa pro defunctis]]}} (1948–49) and nine other works<ref>{{Cite web |last=Roberge |first=Marc-André |title=Citations of the Dies irae |url=http://www.mus.ulaval.ca/roberge/srs/05-diesi.htm |url-status=live |archive-url=https://web.archive.org/web/20211027191548/https://roberge.mus.ulaval.ca/srs/05-diesi.htm |archive-date=2021-10-27 |access-date=2022-03-16 |website=Sorabji Resource Site |publisher=[[Université Laval]] |language=en}}</ref> |
* [[Kaikhosru Shapurji Sorabji]] – {{lang|la|[[Sequentia cyclica|Sequentia cyclica super "Dies iræ" ex Missa pro defunctis]]}} (1948–49) and nine other works<ref>{{Cite web |last=Roberge |first=Marc-André |title=Citations of the Dies irae |url=http://www.mus.ulaval.ca/roberge/srs/05-diesi.htm |url-status=live |archive-url=https://web.archive.org/web/20211027191548/https://roberge.mus.ulaval.ca/srs/05-diesi.htm |archive-date=2021-10-27 |access-date=2022-03-16 |website=Sorabji Resource Site |publisher=[[Université Laval]] |language=en}}</ref> |
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* [[Pyotr Ilyich Tchaikovsky]] – Modern Greek Song (In Dark Hell) Op. 16 No. 6<ref name=":0" /> (1872) |
* [[Pyotr Ilyich Tchaikovsky]] – Modern Greek Song (In Dark Hell) Op. 16 No. 6<ref name=":0" /> (1872); 6 Pieces on a Single Theme op 21<ref name=":0" /> (1873); [[Orchestral Suite No. 3 (Tchaikovsky)|Orchestral Suite No. 3]]<ref>{{AllMusic|class=album|id=w132203|tab=review|label=Tchaikovsky: Suite No. 3; Stravinsky: Divertimento|first=James|last=Leonard|access-date=2011-10-15}}</ref> (1884); ''[[Manfred Symphony]]'' <ref>{{Cite web |last=Lintgen |first=Arthur |title=Tchaikovsky: Manfred Symphony |url=http://www.arkivmusic.com/classical/album.jsp?album_id=138023 |url-status=dead |archive-url=https://web.archive.org/web/20180806145701/https://arkivmusic.com/classical/album.jsp?album_id=138023 |archive-date=2018-08-06 |access-date=2022-03-15 |website=[[Fanfare (magazine)|Fanfare]] |language=en |type=review}}</ref> (1885) |
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* [[Eugène Ysaÿe]] – [[Violin Sonata No. 2 (Ysaÿe)|Solo Violin Sonata in A minor, Op. 27, No. 2 "Obsession"]]{{refn|{{Cite web |last=Henken |first=John |title=Sonata in A minor for Solo Violin ("Obsession"), Op. 27, No. 2 (Eugène Ysaÿe) |url=https://www.laphil.com/musicdb/pieces/3446/sonata-in-a-minor-for-solo-violin-obsession-op-27-no-2 |archive-url=https://web.archive.org/web/20210512053151/https://www.laphil.com/musicdb/pieces/3446/sonata-in-a-minor-for-solo-violin-obsession-op-27-no-2 |url-status=live |archive-date=2021-05-12 |access-date=2020-12-04 |website=[[LA Phil]] |language=en}}}} (1923) |
* [[Eugène Ysaÿe]] – [[Violin Sonata No. 2 (Ysaÿe)|Solo Violin Sonata in A minor, Op. 27, No. 2 "Obsession"]]{{refn|{{Cite web |last=Henken |first=John |title=Sonata in A minor for Solo Violin ("Obsession"), Op. 27, No. 2 (Eugène Ysaÿe) |url=https://www.laphil.com/musicdb/pieces/3446/sonata-in-a-minor-for-solo-violin-obsession-op-27-no-2 |archive-url=https://web.archive.org/web/20210512053151/https://www.laphil.com/musicdb/pieces/3446/sonata-in-a-minor-for-solo-violin-obsession-op-27-no-2 |url-status=live |archive-date=2021-05-12 |access-date=2020-12-04 |website=[[LA Phil]] |language=en}}}} (1923) |
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* [[Bernd Alois Zimmermann]] – ''Musique pour les soupers du roi Ubu'' |
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It has also been used in many film scores and popular works, such as: |
It has also been used in many film scores and popular works, such as: |
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* [[Bathory (band)|Bathory]] - on album ''[[Blood Fire Death]]'' (1988) |
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* [[Wendy Carlos]] and [[Rachel Elkind]] – Opening theme for ''[[The Shining (film)|The Shining]]''<ref>{{Cite book |last=Gengaro |first=Christine Lee |url={{GBurl|_S2AyYfGiaQC|pg=PA190}} |title=Listening to Stanley Kubrick: The Music in His Films |date=2013 |publisher=Rowman & Littlefield |isbn=978-0-8108-8564-6 |pages=189–190 |via=[[Google Books]] |lang=en}}</ref> (1980) |
* [[Wendy Carlos]] and [[Rachel Elkind]] – Opening theme for ''[[The Shining (film)|The Shining]]''<ref>{{Cite book |last=Gengaro |first=Christine Lee |url={{GBurl|_S2AyYfGiaQC|pg=PA190}} |title=Listening to Stanley Kubrick: The Music in His Films |date=2013 |publisher=Rowman & Littlefield |isbn=978-0-8108-8564-6 |pages=189–190 |via=[[Google Books]] |lang=en}}</ref> (1980) |
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* [[Gerald Fried]] – Opening theme for ''[[The Return of Dracula]]'', 1958 |
* [[Gerald Fried]] – Opening theme for ''[[The Return of Dracula]]'', 1958 |
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* [[Diamanda Galás]] – ''Masque of the Red Death'': Part I – ''[[The Divine Punishment]]'' |
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* [[Jerry Goldsmith]] – ''[[The Mephisto Waltz]]''<ref>{{Cite web |date=2016-06-13 |title=Supernatural Reality: The Sound of New Hollywood Horror in Count Yorga, The Mephisto Waltz, The Exorcist and The Omen |url=https://diaboliquemagazine.com/supernatural-reality-the-sound-of-new-hollywood-horror-in-count-yorga-the-mephisto-waltz-the-exorcist-and-the-omen/ |url-status=live |archive-url=https://web.archive.org/web/20200928012506/https://diaboliquemagazine.com/supernatural-reality-the-sound-of-new-hollywood-horror-in-count-yorga-the-mephisto-waltz-the-exorcist-and-the-omen/ |archive-date=2020-09-28 |access-date=2022-03-16 |website=Diabolique Magazine |language=en}}</ref> (1971) |
* [[Jerry Goldsmith]] – ''[[The Mephisto Waltz]]''<ref>{{Cite web |date=2016-06-13 |title=Supernatural Reality: The Sound of New Hollywood Horror in Count Yorga, The Mephisto Waltz, The Exorcist and The Omen |url=https://diaboliquemagazine.com/supernatural-reality-the-sound-of-new-hollywood-horror-in-count-yorga-the-mephisto-waltz-the-exorcist-and-the-omen/ |url-status=live |archive-url=https://web.archive.org/web/20200928012506/https://diaboliquemagazine.com/supernatural-reality-the-sound-of-new-hollywood-horror-in-count-yorga-the-mephisto-waltz-the-exorcist-and-the-omen/ |archive-date=2020-09-28 |access-date=2022-03-16 |website=Diabolique Magazine |language=en}}</ref> (1971) |
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* [[Donald Grantham]] – ''Baron Cimetiére's Mambo''<ref>{{Citation |last=Grantham |first=Donald |title=Composers on Composing for Band |chapter-url={{GBurl|_JwIAQAAMAAJ}} |volume=2 |pages=100–101 |year=2004 |editor-last=Camphouse |editor-first=Mark |chapter=Donald Grantham |place=[[Chicago]] |publisher=GIA |isbn=9781579993856 |access-date=2022-03-16 |author-link=Donald Grantham |lang=en}}</ref> (2004) |
* [[Donald Grantham]] – ''Baron Cimetiére's Mambo''<ref>{{Citation |last=Grantham |first=Donald |title=Composers on Composing for Band |chapter-url={{GBurl|_JwIAQAAMAAJ}} |volume=2 |pages=100–101 |year=2004 |editor-last=Camphouse |editor-first=Mark |chapter=Donald Grantham |place=[[Chicago]] |publisher=GIA |isbn=9781579993856 |access-date=2022-03-16 |author-link=Donald Grantham |lang=en}}</ref> (2004) |
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* [[Bernard Herrmann |
* [[Bernard Herrmann]] quoted in the main theme for [[Citizen Kane]]{{cn|date=August 2022}} (1941) |
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* [[Bernard Herrmann]] – ''[[Jason and the Argonauts (1963 film)|Jason and the Argonauts]]'' (1963) (quoted during the scene of the scattering of the hydra's teeth) |
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* [[Gottfried Huppertz]] – Score for ''[[Metropolis (1927 film)|Metropolis]]'' (1927) |
* [[Gottfried Huppertz]] – Score for ''[[Metropolis (1927 film)|Metropolis]]'' (1927) |
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* [[Jethro Tull (band)|Jethro Tull]] – The instrumental track "Elegy" featured on the band's 12th studio album ''[[Stormwatch (album)|Stormwatch]]'' is based on the melody.<ref name="Force10Edition">{{Cite AV media notes |last=Webb |first=Martin |title=And the Stormwatch Brews… |work=Stormwatch: The 40th Anniversary Force 10 Edition |publisher=Chrysalis Records |year=2019 |url=https://www.discogs.com/release/14280346-Jethro-Tull-Stormwatch-The-40th-Anniversary-Force-10-Edition |access-date=2022-03-16 |lang=en |archive-url=https://web.archive.org/web/20220316030610/https://www.discogs.com/release/14280346-Jethro-Tull-Stormwatch-The-40th-Anniversary-Force-10-Edition |archive-date=2022-03-16 |url-status=live}}</ref> |
* [[Jethro Tull (band)|Jethro Tull]] – The instrumental track "Elegy" featured on the band's 12th studio album ''[[Stormwatch (album)|Stormwatch]]'' is based on the melody.<ref name="Force10Edition">{{Cite AV media notes |last=Webb |first=Martin |title=And the Stormwatch Brews… |work=Stormwatch: The 40th Anniversary Force 10 Edition |publisher=Chrysalis Records |year=2019 |url=https://www.discogs.com/release/14280346-Jethro-Tull-Stormwatch-The-40th-Anniversary-Force-10-Edition |access-date=2022-03-16 |lang=en |archive-url=https://web.archive.org/web/20220316030610/https://www.discogs.com/release/14280346-Jethro-Tull-Stormwatch-The-40th-Anniversary-Force-10-Edition |archive-date=2022-03-16 |url-status=live}}</ref> |
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* [[Robert Lopez]] and [[Kristen Anderson-Lopez]] – [[Frozen II (soundtrack)]], "[[Into the Unknown (Disney song)|Into the Unknown]]"<ref name="Cohn">{{Cite news |last=Cohn |first=Gabe |date=2019-12-04 |orig-date=2019-11-29 |title=How to Follow Up 'Frozen'? With Melancholy and a Power Ballad |work=[[The New York Times]] |location=[[New York City]] |url=https://www.nytimes.com/2019/11/29/movies/frozen-2-songs.html |url-status=live |access-date=2019-11-30 |archive-url=https://web.archive.org/web/20220202082519/https://www.nytimes.com/2019/11/29/movies/frozen-2-songs.html |archive-date=2022-02-02 |issn=1553-8095 |lang=en}}</ref> (2019) |
* [[Robert Lopez]] and [[Kristen Anderson-Lopez]] – [[Frozen II (soundtrack)]], "[[Into the Unknown (Disney song)|Into the Unknown]]"<ref name="Cohn">{{Cite news |last=Cohn |first=Gabe |date=2019-12-04 |orig-date=2019-11-29 |title=How to Follow Up 'Frozen'? With Melancholy and a Power Ballad |work=[[The New York Times]] |location=[[New York City]] |url=https://www.nytimes.com/2019/11/29/movies/frozen-2-songs.html |url-status=live |access-date=2019-11-30 |archive-url=https://web.archive.org/web/20220202082519/https://www.nytimes.com/2019/11/29/movies/frozen-2-songs.html |archive-date=2022-02-02 |issn=1553-8095 |lang=en}}</ref> (2019) |
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* [[Harry Manfredini]] – main title theme for ''[[Friday the 13th Part VI: Jason Lives]]'' (1986) |
* [[Harry Manfredini]] – main title theme for ''[[Friday the 13th Part VI: Jason Lives]]'' (1986) |
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* [[The Melvins]] - on their album "[[Nude with Boots]]" (2008) |
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* [[Alan Menken]], [[Stephen Schwartz (composer)|Stephen Schwartz]] – [[The Hunchback of Notre Dame (1996 film)|''The Hunchback of Notre Dame'']] (1996) soundtrack; "[[The Bells of Notre Dame]]" features passages from the first and second stanzas as lyrics.<ref>{{Citation |title=Chorus, David Ogden Stiers, Paul Kandel & Tony Jay – The Bells of Notre Dame |url=https://genius.com/Chorus-david-ogden-stiers-paul-kandel-and-tony-jay-the-bells-of-notre-dame-lyrics |archive-url=https://web.archive.org/web/20211016031838/https://genius.com/Chorus-david-ogden-stiers-paul-kandel-tony-jay-and-mary-kay-bergman-the-bells-of-notre-dame-lyrics |access-date=2021-05-12 |archive-date=2021-10-16 |lang=en,la |url-status=live}}</ref> |
* [[Alan Menken]], [[Stephen Schwartz (composer)|Stephen Schwartz]] – [[The Hunchback of Notre Dame (1996 film)|''The Hunchback of Notre Dame'']] (1996) soundtrack; "[[The Bells of Notre Dame]]" features passages from the first and second stanzas as lyrics.<ref>{{Citation |title=Chorus, David Ogden Stiers, Paul Kandel & Tony Jay – The Bells of Notre Dame |url=https://genius.com/Chorus-david-ogden-stiers-paul-kandel-and-tony-jay-the-bells-of-notre-dame-lyrics |archive-url=https://web.archive.org/web/20211016031838/https://genius.com/Chorus-david-ogden-stiers-paul-kandel-tony-jay-and-mary-kay-bergman-the-bells-of-notre-dame-lyrics |access-date=2021-05-12 |archive-date=2021-10-16 |lang=en,la |url-status=live}}</ref> |
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* [[Ennio Morricone]] – "Penance" from his [[The Mission (soundtrack)|score]] for ''[[The Mission (1986 film)|The Mission]]''<ref>{{Cite web |last=Tagg |first=Philip |title=Musemes from Morricone's music for The Mission |url=https://www.tagg.org/xpdfs/MissionMusemes.pdf |url-status=live |archive-url=https://web.archive.org/web/20211112043441/https://www.tagg.org/xpdfs/MissionMusemes.pdf |archive-date=2021-11-12 |access-date=2022-03-16 |language=en |type=analysis}}</ref> (1986) |
* [[Ennio Morricone]] – "Penance" from his [[The Mission (soundtrack)|score]] for ''[[The Mission (1986 film)|The Mission]]''<ref>{{Cite web |last=Tagg |first=Philip |title=Musemes from Morricone's music for The Mission |url=https://www.tagg.org/xpdfs/MissionMusemes.pdf |url-status=live |archive-url=https://web.archive.org/web/20211112043441/https://www.tagg.org/xpdfs/MissionMusemes.pdf |archive-date=2021-11-12 |access-date=2022-03-16 |language=en |type=analysis}}</ref> (1986) |
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* [[Lionel Newman]] - [[Compulsion (1959 film)]] |
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* [[Leonard Rosenman]] – the main theme of ''[[The Car]]'' (1977) |
* [[Leonard Rosenman]] – the main theme of ''[[The Car]]'' (1977) |
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* [[Stephen Sondheim]] – ''[[Sweeney Todd: The Demon Barber of Fleet Street|Sweeney Todd]]'' – quoted in "The Ballad of Sweeney Todd" and the accompaniment to "Epiphany"<ref>{{Cite book |last=Zadan |first=Craig |url=https://archive.org/details/sondheimco0000zada |title=Sondheim & Co |publisher=Perennial Library |year=1989 |isbn=9780060156497 |edition=2nd |page=248 |lccn=86045165 |via=[[Internet Archive]]}}</ref> (1979) |
* [[Stephen Sondheim]] – ''[[Sweeney Todd: The Demon Barber of Fleet Street|Sweeney Todd]]'' – quoted in "The Ballad of Sweeney Todd" and the accompaniment to "Epiphany"<ref>{{Cite book |last=Zadan |first=Craig |url=https://archive.org/details/sondheimco0000zada |title=Sondheim & Co |publisher=Perennial Library |year=1989 |isbn=9780060156497 |edition=2nd |page=248 |lccn=86045165 |via=[[Internet Archive]]}}</ref> (1979) |
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* [[John Williams]] – "Old Man Marley" [[leitmotif]] from his [[Home Alone (soundtrack)|score]] for ''[[Home Alone]]''<ref>{{Citation |last=Hoyt |first=Alia |title=Why Sountracks love the Day of Wrath Theme |date=2018-03-22 |url=https://entertainment.howstuffworks.com/why-soundtracks-love-day-wrath.htm |type=analysis}}</ref> (1990) |
* [[John Williams]] – "Old Man Marley" [[leitmotif]] from his [[Home Alone (soundtrack)|score]] for ''[[Home Alone]]''<ref>{{Citation |last=Hoyt |first=Alia |title=Why Sountracks love the Day of Wrath Theme |date=2018-03-22 |url=https://entertainment.howstuffworks.com/why-soundtracks-love-day-wrath.htm |type=analysis}}</ref> (1990) |
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* [[Hans Zimmer]] – "Rock House Jail" from [[The Rock (soundtrack)|''The Rock'' soundtrack]] |
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"Dies irae" (Latin pronunciation: [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 Angelicum) in Rome.[2] 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 (d. 604), Bernard of Clairvaux (1090–1153), or Bonaventure (1221–1274).[1]
It is a medieval Latin poem characterized by its accentual stress and rhymed lines. The metre is trochaic. The poem describes the Last Judgment, the trumpet summoning souls before the throne of God, where the saved will be delivered and the unsaved cast into eternal flames.
It is best known from its use in the Roman Rite Requiem (Mass for the Dead or Funeral Mass). An English version is found in various Anglican Communion service books.
The first melody set to these words, a Gregorian chant, is one of the most quoted in musical literature, appearing in the works of many composers. The final couplet, Pie Jesu, has been often reused as an independent song.
Use in the Roman liturgy
The "Dies irae" has been used in the Extraordinary Form of the Roman Rite liturgy as the sequence for the Requiem Mass for centuries, as made evident by the important place it holds in musical settings such as those by Mozart and Verdi. It appears in the Roman Missal of 1962, the last edition before the implementation of the revisions that occurred after the Second Vatican Council. As such, it is still heard in churches where the Tridentine Latin liturgy is celebrated. It also formed part of the pre-conciliar liturgy of All Souls' Day.
In the reforms to the Catholic Church’s Latin liturgical rites ordered by the Second Vatican Council, the "Consilium for the Implementation of the Constitution on the Liturgy", the Vatican body charged with drafting and implementing the reforms (1969–70), eliminated the sequence as such from funerals and other Masses for the Dead. A leading figure in the post-conciliar liturgical reforms, Archbishop Annibale Bugnini, explains the rationale of the Consilium:
They got rid of texts that smacked of a negative spirituality inherited from the Middle Ages. Thus they removed such familiar and even beloved texts as "Libera me, Domine", "Dies irae", and others that overemphasized judgment, fear, and despair. These they replaced with texts urging Christian hope and arguably giving more effective expression to faith in the resurrection.[3]
"Dies irae" remains as a hymn ad libitum in the Liturgy of the Hours during the last week before Advent, divided into three parts for the Office of Readings, Lauds and Vespers.[4]
Text
The Latin text below is taken from the Requiem Mass in the 1962 Roman Missal.[5] The first English version below, translated by William Josiah Irons in 1849,[6] albeit from a slightly different Latin text, replicates the rhyme and metre of the original.[7] This translation, edited for more conformance to the official Latin, is approved by the Catholic Church for use as the funeral Mass sequence in the liturgy of the Anglican ordinariate.[8] The second English version is a more formal equivalence translation.
Original | Approved adaptation | Formal equivalence | |
---|---|---|---|
I |
Dies iræ, dies illa, |
Day of wrath and doom impending! |
The day of wrath, that day, |
Because the last two stanzas differ markedly in structure from the preceding stanzas, some scholars consider them to be an addition made in order to suit the great poem for liturgical use. The penultimate stanza, Lacrimosa, discards the consistent scheme of rhyming triplets in favour of a pair of rhyming couplets. The last stanza, Pie Iesu, abandons rhyme for assonance, and, moreover, its lines are catalectic.
In the liturgical reforms of 1969–71, stanza 19 was deleted and the poem divided into three sections: 1–6 (for Office of Readings), 7–12 (for Lauds) and 13–18 (for Vespers). In addition, "Qui Mariam absolvisti" in stanza 13 was replaced by "Peccatricem qui solvisti" so that that line would now mean, "You who absolved the sinful woman". This was because modern scholarship denies the common mediæval identification of the woman taken in adultery with Mary Magdalene, so Mary could no longer be named in this verse. In addition, a doxology is given after stanzas 6, 12 and 18:[4]
Original | Approved adaptation | Formal equivalence |
---|---|---|
O tu, Deus majestatis, |
O God of majesty |
Manuscript sources
The text of the sequence is found, with slight verbal variations, in a 13th-century manuscript in the Biblioteca Nazionale Vittorio Emanuele III at Naples. It is a Franciscan calendar missal that must date between 1253 and 1255 for it does not contain the name of Clare of Assisi, who was canonized in 1255, and whose name would have been inserted if the manuscript were of later date.
Inspiration
A major inspiration of the hymn seems to have come from the Vulgate translation of Zephaniah 1:15–16:
Dies iræ, dies illa, dies tribulationis et angustiæ, dies calamitatis et miseriæ, dies tenebrarum et caliginis, dies nebulæ et turbinis, dies tubæ et clangoris super civitates munitas et super angulos excelsos. |
That day is a day of wrath, a day of tribulation and distress, a day of calamity and misery, a day of darkness and obscurity, a day of clouds and whirlwinds, a day of the trumpet and alarm against the fenced cities, and against the high bulwarks. (Douay–Rheims Bible) |
Other images come from the Book of Revelation, such as Revelation 20:11–15 (the book from which the world will be judged), Matthew 25:31–46 (sheep and goats, right hand, contrast between the blessed and the accursed doomed to flames), 1 Thessalonians 4:16 (trumpet), 2 Peter 3:7 (heaven and earth burnt by fire), and Luke 21:26 ("men fainting with fear... they will see the Son of Man coming").
From the Jewish liturgy, the prayer Unetanneh Tokef appears to be related: "We shall ascribe holiness to this day, For it is awesome and terrible"; "the great trumpet is sounded", etc.
Other translations
A number of English translations of the poem have been written and proposed for liturgical use. A very loose Protestant version was made by John Newton; it opens:
Day of judgment! Day of wonders!
Hark! the trumpet's awful sound,
Louder than a thousand thunders,
Shakes the vast creation round!
How the summons will the sinner's heart confound!
Jan Kasprowicz, a Polish poet, wrote a hymn entitled "Dies iræ" which describes the Judgment day. The first six lines (two stanzas) follow the original hymn's metre and rhyme structure, and the first stanza translates to "The trumpet will cast a wondrous sound".
The American writer Ambrose Bierce published a satiric version of the poem in his 1903 book Shapes of Clay, preserving the original metre but using humorous and sardonic language; for example, the second verse is rendered:
Ah! what terror shall be shaping
When the Judge the truth's undraping –
Cats from every bag escaping!
The Rev. Bernard Callan (1750–1804), an Irish priest and poet, translated it into Gaelic around 1800. His version is included in a Gaelic prayer book, The Spiritual Rose.[9]
Literary references
- Walter Scott used the first two stanzas in the sixth canto of his narrative poem "The Lay of the Last Minstrel" (1805).
- Johann Wolfgang von Goethe used the first, the sixth and the seventh stanza of the hymn in the scene "Cathedral" in the first part of his drama Faust (1808).
- Oscar Wilde's "Sonnet on Hearing the Dies Iræ Sung in the Sistine Chapel" (Poems, 1881), contrasts the "terrors of red flame and thundering" depicted in the hymn with images of "life and love".
- In Gaston Leroux's 1910 novel The Phantom of the Opera, Erik (the Phantom) has the chant displayed on the wall of his funereal bedroom.[10]
- It is the inspiration for the title and major theme of the 1964 novel Deus Iræ by Philip K. Dick and Roger Zelazny. The English translation is used verbatim in Dick's novel Ubik two years later.
Music
Musical settings
The words of "Dies iræ" have often been set to music as part of the Requiem service. In some settings, it is broken up into several movements; in such cases, "Dies iræ" refers only to the first of these movements, the others being titled according to their respective incipits.
The original setting was a sombre plainchant (or Gregorian chant). It is in the Dorian mode.[11] In four-line neumatic notation, it begins:
In 5-line staff notation:
The earliest surviving polyphonic setting of the Requiem by Johannes Ockeghem does not include "Dies iræ". The first polyphonic settings to include the "Dies iræ" are by Engarandus Juvenis (1490) and Antoine Brumel (1516) to be followed by many composers of the renaissance. Later, many notable choral and orchestral settings of the Requiem including the sequence were made by composers such as Mozart, Berlioz, Verdi, and Stravinsky. Giovanni Battista Martini ended his set of (mostly humorous) 303 canons with a set of 20 on extracts of the sequence poem.[12][13]
Musical quotations
The traditional Gregorian melody has been used as a theme or musical quotation in many classical compositions, including:
- Thomas Adès – Totentanz[14] (2013)
- Charles-Valentin Alkan – Souvenirs: Trois morceaux dans le genre pathétique, Op. 15 (No. 3: Morte) (1837)
- Eric Ball – "Resurgam"[15] (1950)
- Hector Berlioz – Symphonie fantastique (1830), Requiem (1837)
- Ernest Bloch – Suite Symphonique[16] (1944)
- Johannes Brahms – Six Pieces for Piano, Op. 118, No. 6, Intermezzo in E-flat minor[17] (1893)
- Mario Castelnuovo-Tedesco – 24 Caprichos de Goya, Op. 195: "XII. No hubo remedio" (plate 24)[18] (1961)
- Marc-Antoine Charpentier – Prose des morts – Dies iræ H. 12 (1670)
- George Crumb – Black Angels (1970)
- Luigi Dallapiccola - Canti di prigionia
- Michael Daugherty – Metropolis Symphony 5th movement, "Red Cape Tango";[19] Dead Elvis for bassoon and chamber ensemble[citation needed] (1993)
- Ernő Dohnányi - no. 4 (E-flat minor) of "Four Rhapsodies" for Piano, op. 11
- Alexander Glazunov – From the Middle Ages Suite, No. 2 "Scherzo", Op. 79 (1902)
- Charles Gounod – Faust opera, act 4 (1859)
- Joseph Haydn – Symphony No. 103, "The Drumroll" (1795)
- Gustav Holst – The Planets, movement 5, "Saturn, the Bringer of Old Age"[20]
- Arthur Honegger – La Danse des Morts, H. 131[21] (1938)
- Hans Huber quotes the melody in the second movement ("Funeral March") of his Symphony No. 3 in C major,[22] Op. 118 (Heroic, 1908).
- Alexander Kastalsky – Requiem for Fallen Brothers, movements 3 and 4 (1917) [23]
- Aram Khachaturian – Symphony No. 2 (1944)
- Teofil Klonowski - Preludes on Polish Church Hymns: Dies Irae [24](1867)
- György Ligeti – Le Grand Macabre (1974–77)
- Franz Liszt – Totentanz (1849)
- Jean-Baptiste Lully – Dies iræ LWV 64/1 (1683)
- Gustav Mahler – Symphony No. 2, movements 1 and 5 (1888–94)
- Jules Massenet - Eve[24] (1874)
- Modest Mussorgsky – Songs and Dances of Death, No. 3 "Trepak" (1875)
- Nikolai Myaskovsky – Symphony No. 6, Op. 23 (1921–23); Piano Sonata No.2, Op.13
- Vítězslav Novák – used the theme near the end of his May Symphony
- Sergei Rachmaninoff – Piano Concerto No. 1, Op. 1 (1891); Symphony No. 1, Op. 13 (1895); Suite No. 2, Op. 17 (1901); Symphony No. 2, Op. 27 (1906–07); Piano sonata No. 1 (1908); Isle of the Dead, Op. 29 (1908); The Bells choral symphony, Op. 35 (1913); Études-Tableaux, Op. 39 No. 2, 7 (1916); Piano Concerto No. 4, Op. 40 (1926); Rhapsody on a Theme of Paganini, Op. 43 (1934); Symphony No. 3, Op. 44 (1935–36); Symphonic Dances, Op. 45 (1940)
- Ottorino Respighi – quoted near the end of the second movement of Impressioni Brasiliane (Brazilian Impressions)[25] (1927)
- Camille Saint-Saëns – Danse Macabre; Symphony No. 3 (Organ Symphony), Requiem (1878)
- Dmitri Shostakovich – Symphony No. 14; Aphorisms, Op. 13 – No. 7, "Dance of Death" (1969)
- Kaikhosru Shapurji Sorabji – Sequentia cyclica super "Dies iræ" ex Missa pro defunctis (1948–49) and nine other works[26]
- Pyotr Ilyich Tchaikovsky – Modern Greek Song (In Dark Hell) Op. 16 No. 6[24] (1872); 6 Pieces on a Single Theme op 21[24] (1873); Orchestral Suite No. 3[27] (1884); Manfred Symphony [28] (1885)
- Eugène Ysaÿe – Solo Violin Sonata in A minor, Op. 27, No. 2 "Obsession"[29] (1923)
- Bernd Alois Zimmermann – Musique pour les soupers du roi Ubu
It has also been used in many film scores and popular works, such as:
- Bathory - on album Blood Fire Death (1988)
- Wendy Carlos and Rachel Elkind – Opening theme for The Shining[30] (1980)
- Gerald Fried – Opening theme for The Return of Dracula, 1958
- Diamanda Galás – Masque of the Red Death: Part I – The Divine Punishment
- Jerry Goldsmith – The Mephisto Waltz[31] (1971)
- Donald Grantham – Baron Cimetiére's Mambo[32] (2004)
- Bernard Herrmann quoted in the main theme for Citizen Kane[citation needed] (1941)
- Bernard Herrmann – Jason and the Argonauts (1963) (quoted during the scene of the scattering of the hydra's teeth)
- Gottfried Huppertz – Score for Metropolis (1927)
- Jethro Tull – The instrumental track "Elegy" featured on the band's 12th studio album Stormwatch is based on the melody.[33]
- Robert Lopez and Kristen Anderson-Lopez – Frozen II (soundtrack), "Into the Unknown"[34] (2019)
- Harry Manfredini – main title theme for Friday the 13th Part VI: Jason Lives (1986)
- The Melvins - on their album "Nude with Boots" (2008)
- Alan Menken, Stephen Schwartz – The Hunchback of Notre Dame (1996) soundtrack; "The Bells of Notre Dame" features passages from the first and second stanzas as lyrics.[35]
- Ennio Morricone – "Penance" from his score for The Mission[36] (1986)
- Lionel Newman - Compulsion (1959 film)
- Leonard Rosenman – the main theme of The Car (1977)
- Stephen Sondheim – Sweeney Todd – quoted in "The Ballad of Sweeney Todd" and the accompaniment to "Epiphany"[37] (1979)
- John Williams – "Old Man Marley" leitmotif from his score for Home Alone[38] (1990)
- Hans Zimmer – "Rock House Jail" from The Rock soundtrack
References
- ^ a b Herbermann, Charles, ed. (1913). Catholic Encyclopedia. New York: Robert Appleton Company. .
- ^ Crociani, G. (1901). Scritti vari di Filologia (in Latin). Rome: Forzani &c. p. 488. LCCN 03027597. OCLC 10827264. OL 23467162M. Retrieved 2022-03-15 – via Internet Archive.
- ^ Bugnini, Annibale (1990). "Chapter 46: Funerals". The Reform of the Liturgy: 1948–1975. Translated by O'Connell, Michael J. Collegeville, Minnesota: The Liturgical Press. p. 773. ISBN 9780814615713. LCCN 90036986. OCLC 1151099486. OL 1876823M. Retrieved 2022-03-15 – via Internet Archive.
- ^ a b Liturgia Horarum (in Latin). Vol. IV. Vatican City: Libreria Editrice Vaticana. 2000. p. 489. ISBN 9788820928124. OCLC 44683882. OL 20815631M. Retrieved 2022-03-15.
- ^ Missale Romanum (PDF) (in Latin) (3rd ed.). Vatican City: Typis Polyglottis Vaticanis. 1962. p. 706. OCLC 61411326. Archived (PDF) from the original on 2022-02-16. Retrieved 2022-03-15.
- ^
The full text of Dies Irae (Irons, 1912) at Wikisource
- ^ The Hymnal of the Protestant Episcopal Church in the United States of America. New York City: Church Pension Fund. 1940. p. 468. Archived from the original on 2016-08-06. Retrieved 2022-03-15 – via Hymnary.org.
- ^ "The Order for Funerals for use by the Ordinariates erected under the auspices of the Apostolic Constitution Anglicanorum cœtibus" (PDF). Personal Ordinariate of the Chair of Saint Peter (in English and Latin). Archived (PDF) from the original on 2021-02-14. Retrieved 2022-03-15.
- ^ Kennedy, Matthew (1825). The Spiritual Rose; Or Method Of Saying The Rosaries Of The Most Holy Name Of Jesus And The Blessed Virgin, With Their Litanies: Also The Meditations And Prayers, Adapted To the Holy Way Of The Cross, &c (in English and Irish). Monaghan: Greacen, Printer. OCLC 299179233. OL 26201026M. Retrieved 2022-03-16 – via Google Books.
- ^ Leroux, Gaston (1911). The Phantom of the Opera. New York City: Grosset & Dunlap. p. 164. ISBN 9780758318008. OCLC 4373384. Retrieved 2022-03-15 – via Google Books.
- ^ Vorderman, Carol (2015). Help your Kids With Music (1st American ed.). London: Dorling-Kindersley. p. 143. ISBN 9781465485489.
- ^ Martini, Giovanni. Canoni. manuscript. pp. 134–148.
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value (help) - ^ Ellis, Gabriel (2018-04-05). "Breaking the canon: Padre Martini's vision for the canonic genre". Stanford Libraries Blog.
- ^ Cadagin, Joe (August 2020). "ADÈS: Totentanz". Opera News. Vol. 85, no. 2. New York City: Metropolitan Opera Guild. ISSN 1938-1506. Archived from the original on 2022-03-16. Retrieved 2022-03-16.
- ^ "Pontins Championship 2003 – Test Piece Reviews: Resurgam". 4barsrest.com. Archived from the original on 2021-05-26. Retrieved 2021-05-26.
- ^ Simmons, Walter (2004), Voices in the Wilderness: Six American Neo-romantic Composers, Scarecrow, ISBN 0-8108-4884-8, retrieved 2022-03-16
- ^ Cummings, Robert. Intermezzo for piano in E-flat minor, Op. 118/6 at AllMusic. Retrieved 2014-07-17.
- ^ Wade, Graham. "Tedesco: 24 Caprichos de Goya, Op. 195". Naxos. Archived from the original on 2018-08-06. Retrieved 2022-03-16.
- ^ "About this Recording – 8.559635 – Daugherty, M.: Metropolis Symphony / Deus ex Machina (T. Wilson, Nashville Symphony, Guerrero)", Naxos, archived from the original on 2018-08-06, retrieved 2022-03-16
- ^ Greenberg, Robert (2011). The 30 Greatest Orchestral Works. The Great Courses. The Teaching Company. ISBN 9781598037708. OCLC 1285468511. OL 28263230M.
- ^ Spratt, Geoffrey K. (1987). The Music of Arthur Honegger. Cork University Press. p. 640. ISBN 9780902561342. OCLC 16754628. Retrieved 2022-03-16.
- ^ Barnett, Rob. "Hans Huber" (review). Archived from the original on 2021-10-31. Retrieved 2022-03-16.
- ^ "Kastalsky, A.: Requiem for Fallen Brothers (Dennis, Beutel, Cathedral Choral Society, The Clarion Choir, Orchestra of St. Luke's, Slatkin)". Naxos. Archived from the original on 2020-08-09. Retrieved 2022-03-16.
- ^ a b c d "Quotes – Musical Quotations of the Dies Irae plainchant melody". Retrieved 2022-06-14.
- ^ Johnson, Edward (May 1984). "Respighi – Church Windows / Brazilian Impressions, CHAN 8317" (PDF) (Media notes). Chandos Records. Archived (PDF) from the original on 2022-03-16. Retrieved 2022-03-16.
- ^ Roberge, Marc-André. "Citations of the Dies irae". Sorabji Resource Site. Université Laval. Archived from the original on 2021-10-27. Retrieved 2022-03-16.
- ^ Leonard, James. Tchaikovsky: Suite No. 3; Stravinsky: Divertimento at AllMusic. Retrieved 2011-10-15.
- ^ Lintgen, Arthur. "Tchaikovsky: Manfred Symphony". Fanfare (review). Archived from the original on 2018-08-06. Retrieved 2022-03-15.
- ^ Henken, John. "Sonata in A minor for Solo Violin ("Obsession"), Op. 27, No. 2 (Eugène Ysaÿe)". LA Phil. Archived from the original on 2021-05-12. Retrieved 2020-12-04.
- ^ Gengaro, Christine Lee (2013). Listening to Stanley Kubrick: The Music in His Films. Rowman & Littlefield. pp. 189–190. ISBN 978-0-8108-8564-6 – via Google Books.
- ^ "Supernatural Reality: The Sound of New Hollywood Horror in Count Yorga, The Mephisto Waltz, The Exorcist and The Omen". Diabolique Magazine. 2016-06-13. Archived from the original on 2020-09-28. Retrieved 2022-03-16.
- ^ Grantham, Donald (2004), "Donald Grantham", in Camphouse, Mark (ed.), Composers on Composing for Band, vol. 2, Chicago: GIA, pp. 100–101, ISBN 9781579993856, retrieved 2022-03-16
- ^ Webb, Martin (2019). And the Stormwatch Brews…. Stormwatch: The 40th Anniversary Force 10 Edition (Media notes). Chrysalis Records. Archived from the original on 2022-03-16. Retrieved 2022-03-16.
- ^ Cohn, Gabe (2019-12-04) [2019-11-29]. "How to Follow Up 'Frozen'? With Melancholy and a Power Ballad". The New York Times. New York City. ISSN 1553-8095. Archived from the original on 2022-02-02. Retrieved 2019-11-30.
- ^ Chorus, David Ogden Stiers, Paul Kandel & Tony Jay – The Bells of Notre Dame (in English and Latin), archived from the original on 2021-10-16, retrieved 2021-05-12
- ^ Tagg, Philip. "Musemes from Morricone's music for The Mission" (PDF) (analysis). Archived (PDF) from the original on 2021-11-12. Retrieved 2022-03-16.
- ^ Zadan, Craig (1989). Sondheim & Co (2nd ed.). Perennial Library. p. 248. ISBN 9780060156497. LCCN 86045165 – via Internet Archive.
- ^ Hoyt, Alia (2018-03-22), Why Sountracks love the Day of Wrath Theme (analysis)
External links
Media related to Dies Irae at Wikimedia Commons
Works related to Dies Irae at Wikisource
- "Dies Iræ", Franciscan Archive. Includes two Latin versions and a literal English translation.
- Day of Wrath, O Day of Mourning (translation by William Josiah Irons)
- A website cataloging Musical Quotations of the Dies Irae plainchant melody in secular classical music