Requiem: Lacrimosa
Wolfgang Amadeus Mozart Lyrics


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Requiem aeternam dona eis, Domine, et lux perpetua luceat eis, te decet
hymnus, Deus in Sion, et tibi reddetur votum in Jerusalem; exaudi
orationem meam, ad te omnis caro veniet.
Requiem aeternam dona eis, Domine, et lux perpetua luceat eis.
Kyrie eleison, Christe eleison, Kyrie eleison.
Dies irae, dies illa solvet saeclum in favilla, teste David cum Sybilla.
Quantus tremor est futurus, quando judex est venturus, cuncta stricte
discussurus.
Tuba mirum spargens sonum per sepulchra regionum, coget omnes ante thronum.
Mors stupebit et natura, cum resurget creatura, judicanti responsura.
Liber scriptus proferetur, in quo totum continetur, unde mundus judicetur.
Judex ergo cum sedebit, quidquid latet apparebit, nil inultum remanebit.
Quid sum miser tunc dicturus? quem patronum rogaturus, cum vix justus
sit securus?
Rex tremandae maiestatis, qui salvandos salvas gratis, salva me, fons
pietatis.
Recordare Jesu pie, quod sum causa tuae viae, ne me perdas illa die.
Quaerens me sedisti lassus, redemisti crucem passus; tantus labor non
sit cassus.
Juste judex ultionis, donum fac remissionis ante diem rationis.
Ingemisco tanquam reus, culpa rubet vultus meus; supplicanti parce Deus.
Qui Mariam absolvisti, et latronem exaudisti, mihi quoque spem dedisti.
Preces meae non sum dignae, sed tu, bonus, fac benigne, ne perenni
cremer igne.
Inter oves locum praesta, et ab hoedis me sequestra, statuens in parte
dextra.
Confutatis maledictis, flammis acribus addictis, voca me cum benedictis.
Oro supplex et acclinis, cor contritum quasi cinis, gere curam mei finis.
Lacrymosa dies illa, qua resurget ex favilla judicandus homo reus.
Huic ergo parce Deus, pie Jesu Domine, dona eis requiem! Amen!
Domine Jesu Christe! Rex gloriae! Libera animas omnium fidelium defunctorum
de poenis inferni et de profundo lacu!
Libera eas de ore leonis, ne absorbeat eas Tartarus, ne cadant in obscurum:
Abrahae promisisti, et semini ejus.
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 Abrahae promisisti, et
semini ejus.
Sanctus, sanctus, sanctus Dominus Deus Sabaoth! pleni sunt coeli et terra
gloria tua.
Osanna in excelsis.
Benedictis, qui venit in nomine Domini.
Osanna in excelsis.
Agnus Dei, qui tollis peccata mundi, dona eis requiem.
Agnus Dei, qui tollis peccata mundi, dona eis requiem sempiternam.
Lux aeterna luceat eis, Domine, cum sanctis in aeternum, quia pius es.
Requiem aeternam dona eis, Domine, et lux perpetua luceat eis.

Ewige Ruhe gieb ihnen, Herr, und ewiges Licht leuchte ihnen; dir
gebuehret Lobgesang, Gott in Zion, und Anbetung soll dir werden in

Jerusalem; erhoehe mein Gebet, zu dir kommt alles Fleisch. Ewige Ruhe
gieb ihnen, Herr, und ewiges Licht leuchte ihnen. Herr erbarme dich!
Christe erbarme dich! Herr erbarme dich!
Tag der Zornes, Tag der Klage, der die Welt in Asche wandelt, wie
Sybill' und David zeuget. Welches Zagen wird sie fassen, wenn der
Richter wird erscheinen, Recht und Unrecht streng zu richten.
Die Posaune wundertoenend durch die grabgewoelbten Hallen, Alle vor den
Richter fordert. Tod und Leben wird erbeben, wenn die Welt sich wird
erheben, Rechenschaft dem Herrn zu geben. Ein geschrieben Buch
erscheinet, darin alles ist enthalten, was die Welt einst suehnen soll.
Wird sich dann der Richter setzen, tritt zu Tage was verborgen; nichts
wird ungeraecht verbleiben. Was werd', Armer, ich dann sprechen?
welchen Mittler soll ich rufer, da selbst der Gerechte zittert?
Herr, dess' Allmacht Schrecken zeuget, der ich fromm den Frommen
neiget, rette mich Urquell der Gnade!
Ach! gedenke, treuer Jesu, dass du einst fuer mich gelitten; lass mich
jetzt nich untergehen! Muede, hast du mich gesuchet, Kreuzestod auf
dich genommen; lass die Mueh' nicht fruchtlos werden. Richter im
Gericht der Rache, lass von mir die Gnade finden, eh' der letzte Tag
erscheinet. Schuldich seufze ich und bange, Schuld erroethet meine
Wange; Herr, lass Flehen dich versoehnen! Der Marien hat erloeset, und
erhoeret hat den Schaecher, mir auch Hoffnung hat gegeben. All' mein
Flehen ist nicht wuerdig, doch, du guter, uebe Gnade, lass mich ewig
nicht verderben. Lass mich unter deiner Heerde, von der Strafe
freigesprochen, dann zu deiner Rechten steh'n.
Wenn Empoerung, fluch und Rache wird gebuesst in heissen Flammen, o!
dann rufe mich zu dir! Flehend demuthvoll ich rufe, und mein Herz beugt
sich im Staube: sorgend denk' ich der Erloesung!
Thraenenvollster aller Tage, wenn die Welt der Asch' entsteiget,
suendvoll sich dem Richter neiget: Herr, dann wolle ihr verzeihen!
treuer Jesu, Weltenrichter, sel'ge Ruhe ihr verleihen! Amen!
Herr Jesu Christ! Koenig der Ehren! Befreie die seelen allen treuen
Abgeschiedenen von den Strafen del Hoelle und von dem tiefen Abgrunde.
Errette sie aus dem Rachen der Loewen, dass die Hoelle nicht
verschlinge, und sie nicht fallen in die Tiefe: sondern das Panier des
hast Abraham und seinem Geschlechte.
Opfer und gebet bringen dir, Herr, lobsingend wir dar. Nimm es gneadig
an fuer jene Seelen, deren wir heut' gedenken: Lass sie, o Herr, vom
Tode zu dem Leben uebergehen, welches du verheissen hast Abraham und
seinem Geschlechte.
Heilig, heilig, heilig ist der Herr Gott Zebaoth! Voll sind Himmel und
Erde deiner Ehre! Hosanna in der Hoehe!
Gesegnet sei, der da kommt im Namen des Herrn! Hosanna in der Hoehe!
Lamm Gottes, das du traegst die Suende der Welt, schenke ihnen Ruhe.
Lamm Gottes, das du traegst die Suende der Welt, schenke ihnen ewige
Ruhe. Ewiges Licht leuchte ihnen, Herr, mit allen deinen Heiligen in




Ewigkeit, denn du bist ewig gut. Ewige Ruhe gieb ihnen, Herr, und
ewiges Licht leuchte ihnen.

Overall Meaning

The song Requiem: Lacrimosa by Wolfgang Amadeus Mozart is a Latin hymn that is sung during a Christian funeral or a mass for the dead. The lyrics describe the day of judgment when the world will be turned to ash and a trumpet will sound to call all souls before the throne of the judge. The song begins with a plea for eternal rest and light. It then moves on to describe the terror and fear that will grip the souls when they stand before the judge. It is a cry for mercy and a plea for salvation. In the end, the song asks for eternal rest for the souls and for them to be granted a place among the saints.


The song is divided into several sections, and each section is marked by a different mood and tone. The first section is a plea for eternal rest and light. The second section is the Dies Irae, which describes the terror and fear of the day of judgment. The third section is the Confutatis, which is a plea for mercy and an acknowledgment of one's sins. The fourth section is the Lacrymosa, which is a prayer for mercy and salvation. The fifth and final section is a prayer for eternal rest and light.


Line by Line Meaning

Requiem aeternam dona eis, Domine, et lux perpetua luceat eis, te decet hymnus, Deus in Sion, et tibi reddetur votum in Jerusalem; exaudi orationem meam, ad te omnis caro veniet.
Grant them eternal rest, Lord, and let perpetual light shine upon them. To you, God, in Zion, a hymn is due, and a vow will be fulfilled in Jerusalem. Hear my prayer, for all flesh will come to you.


Kyrie eleison, Christe eleison, Kyrie eleison.
Lord, have mercy. Christ, have mercy. Lord, have mercy.


Dies irae, dies illa solvet saeclum in favilla, teste David cum Sybilla.
Day of wrath, that day will dissolve the world into ashes, as testified by David and the Sibyl.


Quantus tremor est futurus, quando judex est venturus, cuncta stricte discussurus.
What trembling there will be when the judge comes to examine everything strictly.


Tuba mirum spargens sonum per sepulchra regionum, coget omnes ante thronum.
The trumpet, scattering a wonderful sound throughout the regions of the dead, will summon all before the throne.


Mors stupebit et natura, cum resurget creatura, judicanti responsura.
Death and nature will be astonished when creation rises to answer the judge.


Liber scriptus proferetur, in quo totum continetur, unde mundus judicetur.
The written book will be brought forth, in which everything is contained, by which the world will be judged.


Judex ergo cum sedebit, quidquid latet apparebit, nil inultum remanebit.
Therefore, when the judge takes his seat, whatever is hidden will be revealed, nothing will remain unpunished.


Quid sum miser tunc dicturus? quem patronum rogaturus, cum vix justus sit securus?
What will I, a wretch, say then? To which protector shall I appeal when even the just may hardly be secure?


Rex tremandae maiestatis, qui salvandos salvas gratis, salva me, fons pietatis.
King of tremendous majesty, who freely saves those worthy of salvation, save me, fount of mercy.


Recordare Jesu pie, quod sum causa tuae viae, ne me perdas illa die.
Kind Jesus, remember that I am the reason for your journey, do not abandon me on that day.


Quaerens me sedisti lassus, redemisti crucem passus; tantus labor non sit cassus.
Seeking me, you sat tired, you redeemed me by suffering on the cross; may such great toil not be in vain.


Juste judex ultionis, donum fac remissionis ante diem rationis.
Just judge of vengeance, grant me the gift of forgiveness before the day of reckoning.


Ingemisco tanquam reus, culpa rubet vultus meus; supplicanti parce Deus.
I sigh as a guilty one, my face reddens in guilt; spare a supplicant, God.


Qui Mariam absolvisti, et latronem exaudisti, mihi quoque spem dedisti.
You who pardoned Mary and listened to the thief, have given me hope as well.


Preces meae non sum dignae, sed tu, bonus, fac benigne, ne perenni cremer igne.
My prayers are not worthy, but you, O good one, be gracious, lest I am consumed by everlasting fire.


Inter oves locum praesta, et ab hoedis me sequestra, statuens in parte dextra.
Grant me a place among the sheep, and separate me from the goats, placing me at your right hand.


Confutatis maledictis, flammis acribus addictis, voca me cum benedictis.
When the cursed have been confounded and given over to the bitter flames, call me with the blessed.


Oro supplex et acclinis, cor contritum quasi cinis, gere curam mei finis.
I pray humbly and bowed, my heart contrite as ashes, take care of my end.


Lacrymosa dies illa, qua resurget ex favilla judicandus homo reus.
That tearful day on which from the ashes will arise the guilty man to be judged.


Huic ergo parce Deus, pie Jesu Domine, dona eis requiem! Amen!
Therefore, spare him, O God, merciful Lord Jesus, grant them rest! Amen!


Domine Jesu Christe! Rex gloriae! Libera animas omnium fidelium defunctorum de poenis inferni et de profundo lacu!
Lord Jesus Christ! King of glory! Deliver the souls of all the faithful departed from the punishments of hell and from the deep lake!


Libera eas de ore leonis, ne absorbeat eas Tartarus, ne cadant in obscurum: Abrahae promisisti, et semini ejus.
Deliver them from the lion's mouth, lest hell engulf them, lest they descend into darkness: as you promised Abraham and his seed.


Hostias et preces tibi, Domine, laudis offerimus.
We offer you, Lord, sacrifices and prayers of praise.


Tu suscipe pro animabus illis, quarum hodie memoriam facimus: fac eas, Domine, de morte transire ad vitam, quam olim Abrahae promisisti, et semini ejus.
Receive them for the souls we remember today. Give them, Lord, passage from death to the life promised to Abraham and his seed.


Sanctus, sanctus, sanctus Dominus Deus Sabaoth! pleni sunt coeli et terra gloria tua.
Holy, holy, holy Lord God of Hosts! Heaven and earth are full of your glory.


Osanna in excelsis.
Hosanna in the highest.


Benedictis, qui venit in nomine Domini.
Blessed is he who comes in the name of the Lord.


Agnus Dei, qui tollis peccata mundi, dona eis requiem.
Lamb of God, who takes away the sins of the world, grant them rest.


Agnus Dei, qui tollis peccata mundi, dona eis requiem sempiternam.
Lamb of God, who takes away the sins of the world, grant them eternal rest.


Lux aeterna luceat eis, Domine, cum sanctis in aeternum, quia pius es.
May eternal light shine upon them, Lord, with your saints forever, for you are kind.




Writer(s): Wolfgang Amadeus Mozart, James Lloyd Morrison

Contributed by Ellie G. Suggest a correction in the comments below.
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Most interesting comments from YouTube:

@gunterangel

Exactly ! Actually Mozart did only compose the first eight bars himself, then he pretty quickly died on december, the 05 th.,1791.

That is until the crescendo to the word "reus", sung in forte, ( until 0:44 ) !

Franz Xaver Süßmayr,
Mozart's pupil and assistent,
and also Godfather of his youngest son, Franz Xaver, who had just been born in the same year 1791, would complete the work at the behest of Mozart's widow, Constanze.

( Yes, another composer, who helped in completing the work, was Joseph Eybler, who btw. had been highly estimated by Mozart especially as a composer of sacral music, but he only contributed to the orchestrations of the previous movements after the Kyrie-fugue, and his contributions were rather small, as he seemed less enthusiastic about this job at Constanze's plea, hence Constanze went to Süßmayr soon.)

Süßmayr would die equally as young as his master, just 37 years old, in 1803.

So from 0:44 onwards it is actually Süßmayr's genius at work !

To give the smoothest cohesion Süßmayr stayed permanently in Mozart's chosen metrum, that swaying 12/8, and also kept Mozart's sighing rhythmic pattern of accompaniment in the first violins throughout the entire piece until the end, which he closed with a simple and humble "A-men!" in form of a simple V-I chord cadence, that he avoided to compose out expandedly for instance in form of a fugue.

But some forty years ago there were indeed some scetches of Mozart discovered, which indicate, that he probably intended to close the Lacrimosa with a real fugue on the word "Amen".

This alternative ending with an "Amen"-fugue was tried in the eighties of the 20th. century by contemporary composer and musicologist, Richard Maunder, who used Mozart's scetches as basis for his fugue.

There is a recording of Christopher Hogwood and The Acadamy of Ancient Music from 1988.

Celebrating the 200th.anniversary
of Mozart's death in 1991 also Duncan Druce and Robert.D.Levin came up with their own reconstructions of the Mozart Requiem and with their own "Amen"-fugues for the Lacrimosa.

Hogwood also recorded the Druce version in 1991.

You can find this alternative versions also here on YT (, if not deleted due to copyright reasons .)

Let's give Süßmayr the credit he deserves !

And he was even ten years younger than his master, Mozart, just aged 25, when he had completed Mozart's Requiem, and by doing so arguably preserved Mozart's last major work for the future.

And isn't it really ominous, that Mozart had died, just when he was writing music for those lyrics of the Latin funeral mass, that deal with the individual judgement by God, which according to the Christian faith each human being has to face immediately after his last breath ?!

" Full of tears that day,
when from the ashes shall rise
a guilty man to be judged... .."

....and gone he was ! ✝️



@gunterangel

@@bboynew
Yeah, it well could be !

What makes this matter even more difficult is that Mozart and Süßmayr had staggering similar handwritings, and Süßmayr, in the manuscript given to Count Walsegg, who had commissioned the work, even intentionally tried to make his own handwriting impossible to differ from Mozart's, probably in order to fool the Count by making him believe he had recieved an one-hundred-percent-Mozart-work.

Also that Süßmayr had picked up Mozart's own notes from the beginning again at the first 'Dona eis requiem', like some sort of "reprise", was very resourceful and empathetic from him.
Hence the 'Lacrimosa' ist really the most difficult part to separate their individual styles.

Whereas the 'Sanctus' and 'Agnus Dei' are easily recognizable NOT Mozart and 100% Süßmayr, especially the counterpoint in the 'Hosanna'-part sounds too unwieldy to be from Mozart imho.

The 'Benedictus' with the soloists-quartet, although assumably 100% Süßmayr, sounds again remarkably "Mozartian" ,
and there are even speculations today, that maybe Süßmayr could have relied on little pieces of paper ( "kleine Zettelchen")
with rough and short scetches from Mozart's hand, which Mozart's widow, Constanze, had occassionally mentioned and which presumably had gone lost.



@sergentgoose8964

Forever set, a precious moon is lost.

The others mourn him, with ceremony grand.

Rising up to heaven, the mighty moon of frost

With a melody from the mourning band.

..

Harvest Barren, wine spilled, lover slumber

beside the bloody scarlet eyes.

Though cut in half, shall be your number

'tis not lost, wherein your advantage lies.

..

Amuse yourself with the entr'acte.

Seek out new friends once in a bind.

Perhaps to the east one can be tracked

the one most needed, you're sure to find.



@iWorkYuhurd

“The calendar loses a precious component.
The remaining months gather to mourn.
The mourners play a melody,
While the eleventh moon quietly rises.

The chrysanthemum withers and falls,
To lie on the ground beside bloody Scarlet Eyes.
But you will remain supreme.
Even after losing half your limbs.

Enjoy the interlude.
Search out new allies.
East is the direction to go.
You will find one who awaits you."



@gunterangel

Actually Mozart did only compose the first eight bars himself, then he pretty quickly died on december, the 05 th.,1791.

That is until the crescendo to the word "reus", sung in forte, ( until 0:44 ) !

Franz Xaver Süßmayr,
Mozart's pupil and assistent,
and also Godfather of his youngest son, Franz Xaver, who was just born in the same year 1791, would complete the work at the behest of Mozart's widow, Constanze.

( Another composer, who helped in completing the work, was Joseph Eybler, but he only contributed to the orchestrations of the previous movements after the Kyrie-Fugue.)

Süßmayr would die equally as young as his master, just 37 years old, in 1803.

So from 0:44 onwards it is actually Süßmayr's genius at work !

To give the smoothest cohesion Süßmayr stayed permanently in Mozart's chosen metrum, 12/8, and also kept Mozart's rhythmic pattern of accompaniment in the first violins throughout the entire piece until the end, which he closed with a simple and humble "A-men!", that he avoided to compose out expandedly for instance in form of a fugue.

But some forty years ago there were indeed some scetches of Mozart dicovered, that indicates, that he probably intended to close the Lacrimosa with a real fugue on the word "Amen".

This alternative ending with an "Amen"-fugue was tried in the eighties of the 20th. century by contemporary composer and musicologist, Richard Maunder, who used Mozart's scetches as basis for his fugue.

There is a recording of Christopher Hogwood and The Acadamy of Ancient Music from 1988.

Celebrating the 200th.anniversary a
of Mozart's death in 1991 also Duncan Druce and Robert.D.Levin came up with their own reconstructions of the Mozart Requiem and with their own "Amen"-fugues for the Lacrimosa.

Hogwood also recorded the Druce version in 1991.

You can find this alternative versions also here on YT (, if not deleted due to copyright reasons .)

Let's give Süßmayr the credit he deserves !

And he was even ten years younger than his master, Mozart, just aged 25, when he had completed Mozart's Requiem, and by doing so arguably preserved Mozart's last work for the future.

And isn't it really ominous, that Mozart had died, just when he was writing about the individual judgement by God, that each human, who had died, has to face immediately after his last breath ?!

" Full of tears that day,
when from the ashes shall rise
a guilty man to be judged... .."

....and gone he was ! ✝️



@gunterangel

Actually Mozart did only compose the first eight bars himself, then he pretty quickly died on december, the 05 th.,1791.

That is until the crescendo to the word "reus", sung in forte, ( until 0:44 ) !

Franz Xaver Süßmayr,
Mozart's pupil and assistent,
and also Godfather of his youngest son, Franz Xaver, who was just born in the same year 1791, would complete the work at the behest of Mozart's widow, Constanze.

Süßmayr would die equally as young as his master, just 37 years old, in 1803.

So from 0:44 onwards it is actually Süßmayr's genius at work !

To give the smoothest cohesion Süßmayr stayed permanently in Mozart's chosen metrum, 12/8, and also kept Mozart's rhythmic pattern of accompaniment in the first violins throughout the entire piece until the end, which he closed with a simple and humble "A-men!", that he avoided to compose out expandedly for instance in form of a fugue.

But some forty years ago there were indeed some scetches of Mozart dicovered, that indicates, that he probably intended to close the Lacrimosa with a real fugue on the word "Amen".

This alternative ending with an "Amen"-fugue was tried in the eighties of the 20th. century by contemporary composer and musicologist, Richard Maunder, who used Mozart's scetches as basis for his fugue.

There is a recording of Christopher Hogwood and The Acadamy of Ancient Music from 1988.

Celebrating the 200th.anniversary a
of Mozart's death in 1991 also Duncan Druce and Robert.D.Levin came up with their own reconstructions of the Mozart Requiem and with their own "Amen"-fugues for the Lacrimosa.

Hogwood also recorded the Druce version in 1991.

You can find this alternative versions also here on YT (, if not deleted due to copyright reasons .)

Let's give Süßmayr the credit he deserves !

And he was even ten years younger than his master, Mozart, just aged 25, when he had completed Mozart's Requiem, and by doing so arguably preserved Mozart's last work for the future.

And isn't it really ominous, that Mozart had died, just when he was writing about the individual judgement by God, that each human, who had died, has to face immediately after his last breath ?!

" Full of tears that day,
when from the ashes shall rise
a guilty man to be judged... .."

....and gone he was ! ✝️



All comments from YouTube:

@moisttowelettes3640

“Damn that test was hard”
“Yeah especially the back”
“Th- the back”

@natestathes

😂🤣😂🤣😂

@thephilosopher7173

whats the reference?

@gabrielalejandrodoldan4722

Oh no...
No, noo, nooo, Noooo!!!

@4f52

@@thephilosopher7173 School

@theOGsavage

@@thephilosopher7173 the student forgot the last page of the test/exam

112 More Replies...

@user-vb6rp4ys8x

I can't believe it. I listened to this song first when I was 17 when it had come out. Now I am 232 years old and it still hits my heart.

@gabers_123

💀

@Eltenshi_exe

I wanted to go to the concert in the Louis XV castle at Versailles, but the leprosy hits me so hard 💀😭

@joshuatrue2856

Real. Still hits hard to this day.

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