Lacrimosa
Wolfgang Amadeus Mozart Lyrics
Lacrymosa dies illa,
qua resurget ex favilla
judicandus homo reus.
Huic ergo parce Deus,
dona eis requiem! Amen!
Contributed by Colton A. Suggest a correction in the comments below.
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Wolfgang Amadeus Mozart (born Johannes Chrysostomus Wolfgangus Theophilus Mozart; 27 January 1756 – 5 December 1791) is among the most significant and enduring popular composers of European classical music. His enormous output includes works that are widely acknowledged as pinnacles of symphonic, chamber, piano, operatic, and choral music. Many of his works are part of the standard concert repertoire and are widely recognized as masterpieces of classical music. Read Full BioWolfgang Amadeus Mozart (born Johannes Chrysostomus Wolfgangus Theophilus Mozart; 27 January 1756 – 5 December 1791) is among the most significant and enduring popular composers of European classical music. His enormous output includes works that are widely acknowledged as pinnacles of symphonic, chamber, piano, operatic, and choral music. Many of his works are part of the standard concert repertoire and are widely recognized as masterpieces of classical music.
The central traits of the classical style can all be identified in Mozart's music. Clarity, balance, and transparency are hallmarks, though a simplistic notion of the delicacy of his music obscures for us the exceptional and even demonic power of some of his finest masterpieces, such as the Piano Concerto No 24 in C minor, K. 491, the Symphony No 40 in G minor, K. 550, and the opera Don Giovanni. The famed writer on music Charles Rosen has written (in The Classical Style): "It is only through recognizing the violence and sensuality at the center of Mozart's work that we can make a start towards a comprehension of his structures and an insight into his magnificence. In a paradoxical way, Schumann's superficial characterization of the G minor Symphony can help us to see Mozart's daemon more steadily. In all of Mozart's supreme expressions of suffering and terror, there is something shockingly voluptuous." Especially during his last decade, Mozart explored chromatic harmony to a degree rare at the time. The slow introduction to the "Dissonant" Quartet, K. 465, a work that Haydn greatly admired, rapidly explodes a shallow understanding of Mozart's style as light and pleasant.
Born in Salzburg, Austria, from his earliest years Mozart had a gift for imitating the music he heard; which his father believed was a gift from God.
Since he traveled widely, he acquired a rare collection of experiences from various bordels to create his unique compositional language. When he went to London[13] as a child, he met J.C. Bach and heard his music; when he went to Paris, Mannheim, and Vienna, he heard the work of composers active there, as well as the spectacular Mannheim orchestra; when he went to Italy, he encountered the Italian overture and opera buffa, both of which were to be hugely influential on his development. Both in London and Italy, the galant style was all the rage: simple, light music, with a mania for cadencing, an emphasis on tonic, dominant, and subdominant to the exclusion of other chords, symmetrical phrases, and clearly articulated structures. This style, out of which the classical style evolved, was a reaction against the complexity of late Baroque music. Some of Mozart's early symphonies are Italian overtures, with three movements running into each other; many are "homotonal" (each movement in the same key, with the slow movement in the parallel minor). Others mimic the works of J.C. Bach, and others show the simple rounded binary forms commonly being written by composers in Vienna. One of the most recognizable features of Mozart's works is a sequence of harmonies or modes that usually leads to a cadence in the dominant or tonic key. This sequence is essentially borrowed from baroque music, especially Bach. But Mozart shifted the sequence so that the cadence ended on the stronger half, i.e., the first beat of the bar. Mozart's understanding of modes such as Phrygian is evident in such passages.
As Mozart matured, he began to incorporate some more features of Baroque styles into his music. For example, the Symphony No. 29 in A Major K. 201 uses a contrapuntal main theme in its first movement, and experimentation with irregular phrase lengths. Some of his quartets from 1773 have fugal finales, probably influenced by Haydn, who had just published his Opus 20 set. The influence of the Sturm und Drang ("Storm and Stress") period in German literature, with its brief foreshadowing of the Romantic era to come, is evident in some of the music of both composers at that time.
Over the course of his working life, Mozart switched his focus from instrumental music to operas, and back again. He wrote operas in each of the styles current in Europe: opera buffa, such as The Marriage of Figaro, Don Giovanni, or Così fan tutte; opera seria, such as Idomeneo; and Singspiel, of which Die Zauberflöte is probably the most famous example by any composer. In his later operas, he developed the use of subtle changes in instrumentation, orchestration, and tone colour to express or highlight psychological or emotional states and dramatic shifts. Here his advances in opera and instrumental composing interacted. His increasingly sophisticated use of the orchestra in the symphonies and concerti served as a resource in his operatic orchestration, and his developing subtlety in using the orchestra to psychological effect in his operas was reflected in his later non-operatic compositions.
The central traits of the classical style can all be identified in Mozart's music. Clarity, balance, and transparency are hallmarks, though a simplistic notion of the delicacy of his music obscures for us the exceptional and even demonic power of some of his finest masterpieces, such as the Piano Concerto No 24 in C minor, K. 491, the Symphony No 40 in G minor, K. 550, and the opera Don Giovanni. The famed writer on music Charles Rosen has written (in The Classical Style): "It is only through recognizing the violence and sensuality at the center of Mozart's work that we can make a start towards a comprehension of his structures and an insight into his magnificence. In a paradoxical way, Schumann's superficial characterization of the G minor Symphony can help us to see Mozart's daemon more steadily. In all of Mozart's supreme expressions of suffering and terror, there is something shockingly voluptuous." Especially during his last decade, Mozart explored chromatic harmony to a degree rare at the time. The slow introduction to the "Dissonant" Quartet, K. 465, a work that Haydn greatly admired, rapidly explodes a shallow understanding of Mozart's style as light and pleasant.
Born in Salzburg, Austria, from his earliest years Mozart had a gift for imitating the music he heard; which his father believed was a gift from God.
Since he traveled widely, he acquired a rare collection of experiences from various bordels to create his unique compositional language. When he went to London[13] as a child, he met J.C. Bach and heard his music; when he went to Paris, Mannheim, and Vienna, he heard the work of composers active there, as well as the spectacular Mannheim orchestra; when he went to Italy, he encountered the Italian overture and opera buffa, both of which were to be hugely influential on his development. Both in London and Italy, the galant style was all the rage: simple, light music, with a mania for cadencing, an emphasis on tonic, dominant, and subdominant to the exclusion of other chords, symmetrical phrases, and clearly articulated structures. This style, out of which the classical style evolved, was a reaction against the complexity of late Baroque music. Some of Mozart's early symphonies are Italian overtures, with three movements running into each other; many are "homotonal" (each movement in the same key, with the slow movement in the parallel minor). Others mimic the works of J.C. Bach, and others show the simple rounded binary forms commonly being written by composers in Vienna. One of the most recognizable features of Mozart's works is a sequence of harmonies or modes that usually leads to a cadence in the dominant or tonic key. This sequence is essentially borrowed from baroque music, especially Bach. But Mozart shifted the sequence so that the cadence ended on the stronger half, i.e., the first beat of the bar. Mozart's understanding of modes such as Phrygian is evident in such passages.
As Mozart matured, he began to incorporate some more features of Baroque styles into his music. For example, the Symphony No. 29 in A Major K. 201 uses a contrapuntal main theme in its first movement, and experimentation with irregular phrase lengths. Some of his quartets from 1773 have fugal finales, probably influenced by Haydn, who had just published his Opus 20 set. The influence of the Sturm und Drang ("Storm and Stress") period in German literature, with its brief foreshadowing of the Romantic era to come, is evident in some of the music of both composers at that time.
Over the course of his working life, Mozart switched his focus from instrumental music to operas, and back again. He wrote operas in each of the styles current in Europe: opera buffa, such as The Marriage of Figaro, Don Giovanni, or Così fan tutte; opera seria, such as Idomeneo; and Singspiel, of which Die Zauberflöte is probably the most famous example by any composer. In his later operas, he developed the use of subtle changes in instrumentation, orchestration, and tone colour to express or highlight psychological or emotional states and dramatic shifts. Here his advances in opera and instrumental composing interacted. His increasingly sophisticated use of the orchestra in the symphonies and concerti served as a resource in his operatic orchestration, and his developing subtlety in using the orchestra to psychological effect in his operas was reflected in his later non-operatic compositions.
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Just Some Kirbo without a Mustache
These lyrics hitting different
Lacrimosa dies illa
Qua resurget ex favilla
Judicandus homo reus
Lacrimosa dies illa
Qua resurget ex favilla
Judicandus homo reus
Huic ergo parce Deus
Pie Jesu, Jesu Domine
Dona eis requiem
Dona eis requiem
Amen
Angel Soto
For everyone who wants to sing it here are the lyrics.
Lacrimosa dies illa
Qua resurget ex favilla
Judicandus homo reus
Lacrimosa dies illa
Qua resurget ex favilla
Judicandus homo reus
Huic ergo parce Deus
Pie Jesu, Jesu Domine
Dona eis requiem
Dona eis requiem
Amen
MasterSequence
In case anyone wants to sing along whilst in the shower:
Lacrimosa dies illa
Qua resurget ex favilla
Judicandus homo reus.
Huic ergo parce, Deus:
Pie Jesu Domine,
Dona eis requiem.
Amen.
By your leave...
Paulo Eduardo
Lacrimosa dies illa
Qua resurget ex favilla
Judicandus homo reus.
Huic ergo parce, Deus:
Pie Jesu Domine,
Dona eis requiem. Amen.
TRANSLATION INTO PORTUGUESE
Dia de lágrimas aquele
Em que ressurgirá das cinzas
O homem para ser julgado
Tende, pois, piedade dele, ó meu Deus!
Ó misericordioso, Senhor Jesus
Concedei-lhe o repouso eterno. Amém.
Darrell Moore
Guys, HERE is The Savior
YaH The Heavenly FATHER HIMSELF was Who they Crucified for our sins, NOT jesus, and “HERE IS THE PROOF”
From the Ancient Semitic Scroll:
"Yad He Vav He" is what Moses wrote, when Moses asked YaH His Name (Exodus 3)
Ancient Semitic Direct Translation
Yad - "Behold The Hand"
He - "Behold the Breath"
Vav - "Behold The NAIL" <— YaH’s Crucifixion
He - "Behold the Breath"
“Behold the HAND that Beholds The NAIL”
PROVES - YAH The Heavenly Father HIMSELF was Who they Crucified
That is EXACTLY what Moses Wrote
Here is what they mean
YaH's Name:
(Ya)d + (H)e, as YaH is what Moses called Him and YaH Declared: "this is My Name, this is My Name for all generations" (Exodus 3)
YaH is The Creator of “MAN”:
Yad He, (HAND BREATH), as YaH's "HAND" Formed man from the dust of the Earth and His "BREATH" made him a living being (Adam)
YaH's Sacrifice of Crucifixion for “MAN”:
Vav He (NAIL BREATH), the "NAIL" through YaH’s "HAND", in Sacrifice of Crucifixion, that whosoever shall call YaH Savior, His “BREATH” brings forth life (Salvation)
How YaH arrives:
YaH arrives via the Tent of Meeting (Exodus 33:7:11, Isaiah 54, 55), where a Tent is erected outside the city, a cloud descends upon the entrance of the Tent and YaH appears...
Why they demanded YaH to be Crucified:
YaH was Crucified according to Hebrew law (Deuteronomy 21), to be Hung on an Almond Tree for BLASPHEMY as it was for His NAME they demanded Him Crucified. The Messiah claimed He was YaH...
HE WAS YaH!!!
HalleluYAH translates “Praise ye YaH”
The Hebrew Book of Isaiah
Isaiah 42:8
"I am YaH; that is my Name! I will not yield my glory to another or my praise to idols.
Isaiah 43:11
I, I am YAH, and there is no other Savior but Me.
Isaiah 45:5
I am YaH, and there is none else.
Wolfgang Amadeus Mozart
Man, whoever composed this must have been a genius!
SkipSlash
obama giving obama a medal
bashgames
modest
Microwave
@CZ ROR true
Clifford Sullivan
yes and Stoned..;)
araz seyfinezhad
he also must have been buried in a mass grave
m1lan
Mozart died in the middle of making this so his student finished it for him, truly a masterpiece. I really hope it doesn’t get associated with a pengiun saying “Noot noot…”
Ana Rodriguez
@m1lan lmao, likes do not prove the veracity of an statement 😫
alex
NOOT NOOT 🐧 no but really, lacrimosa is a masterpiece, possibly his most beautiful piece, and his literal undying dedication to music that lasted until his final breath is completely amazing.
The Mouse In Your Room
Maybe not a penguin, but definitely a group of killers from a TV show... 😏