Requiem: Dies irae
Wolfgang Amadeus Mozart Lyrics
Dies iræ, dies illa
Solvet sæclum en favilla
Teste davidcum sybilla
Quantus tremor est futurus
Quando judex est venturus
Cunta stricte discus surus
Dies iræ, dies illa
Solvet sæclum en favilla
Quantus tremor est futurus
Quando judex est venturus
Cuncta stricte discus surus
Quantus tre-e-mo-or e-est fu-u-turus
Dies irae, Dies illa
Quantus tre-e-mo-or e-est fu-u-turus
Dies iræ, Dies illa
Quantus tre-e-mo-or e-est fu-u-turus
Quando judex est venturus
Cuncta stricte discus surus
Cuncta stricte
Stricte discus surus
Cuncta stricte
Stricte discus surus
Writer(s): Verdi
Contributed by Samantha F. Suggest a correction in the comments below.
To comment on specific lyrics, highlight them
Requiem: Dies irae
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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Richard Bonnette
@Princeofspeed Z Ah, I see. Well, hopefully this helps others who are curious as to what the hymn means! It is a pity the original meaning cannot be well captured in Latin-to-English translations.
Have a good day, sir!
Pax tecum.
Richard Bonnette
@Princeofspeed Z If you used google translate, your entire translation is off. Google cannot translate dead languages worth it's own soul (however much that would be worth ....). Your last line is off, but unfortunately, my Latin is too rusty to correct it.
For Rafal's reply, "Dies Irae" literally means "Day of wrath". So, yes, you got that wrong, too.
Because Latin is more efficient than English,, the verb and additional demonstrative words have to be added to make sense in English.
A better translation might read like below (again, this is not perfect in any way):
(Dies Irae, Illa Dies, Solvet saeclum in favilla.)
Day of Wrath, that day shall dissolve the world into ashes.
(Teste David cum Sibylla.)
David's word with Sibyl's. (A direct object is implied from the previous sentence)
(Quantus tremor est futurus,)
How much fear is to come,
(quando judex est venturus,)
When the judge will come
(cuncta stricte discussurus!)
together will strictly judge!
The Latin reads in future tense - the great, terribly day which is TO COME. venturus and futurus combine with "est" to form the future tense of the verbs "to come", and "to be".
The translation given by Prince is terribly inadequate, but very good, given that he knew little to no Latin.
Fortunately for you (and me), there are a lot of Latin teachers who know how to translate this -- oh, and there is also a more flower-y version online at https://www.personal.psu.edu/glm7/m097.htm, which gives the lines a rhythm, rhyme, and blend which I cannot do here. Also ... it makes more sense than my failure-of-an-attempt. Go ahead and view the lyrics there! They're awesome!
A pdf file can be viewed here. Dies Irae is under the Sequence, which is the set of stanzas said immediately after the Gradual (Gradual - Latin for "Step" - is a quote from an Old Testament reading such as Psalms or one of the Prophets - in preparation for the "glad tidings" of the Mass and the coming of Communion) and is said before the Gospel (means "glad tidings" - taken from the New testament). The Sequence was commonly a popular, non-traditional poem which explained the Mass in a wealth of beautiful words and rich meanings. They often could be sung to a popular tune, making them extremely popular among the laity. They were removed during a 1570 council after there were so many that the sequence starting adding too much extra pomp and circumstance to the Mass. The Sequences have all now been taken from the Masses, and only left for Easter, Christmas, Pentecost, Corpus Christi, and of course, Requiem Masses for the Dead. Here, just look at the link, before I start saying anything else: http://manlywarringahchoir.org.au/files/2011/01/English-Translation-of-Mozart-Requiem.pdf
Anthony Hoad
Day of wrath and doom Impending,
David's words with Sibyl's blending, Heaven and Earth in ashes ending.
Oh what fear man's bosom rendeth, when from heaven the Judge descendeth,
on whose sentence all dependeth.
Wondrous sound the trumpet flingeth, through earth's sepulchers it ringeth,
All before the Throne in bringeth.
From the dust of earth returning: man for judgement must prepare him.
Spare O God, in mercy spare him.
Lord all-pitying, Jesus blest, Grant them thine eternal rest. Amen
Atziluth (Emanation)
Du-Sollst - Dies Irae (Pour forth from the chaos - Day of Wrath)
Maud Pie
Try listening to songs like this while doing homework. Feels like writing names in a death note.
Arwinnd X
This is actually not a song, but part of Holy Mass for example on funerals.
John Adams
well, it is a small part of a grander piece about death
Franco Tenorio
I'm going to do this while eating a potato chip
Thirteen1355
@hauaywkos Death Note Theme is dies irae.
[author]👑🎗
Me listening to this because it is my homework: laughs in choir kid
Maximus
A musical piece so iconic, the refrences in the comments are poniting to at least 4 franchises at once
khonsu the 2nd
now a spot in atomic heart!
Richard nixon
I'm here Because of warhammer 40k
[Insert Creativity Here]
Is it weird that I’ve never heard this song in my life, and if I have I don’t remember it at all and it isn’t familiar to me in the slightest