The Latin text with my own rough English translation beneath is as follows: In Paradisum deducant te Angeli; May the Angels lead you into Paradise; in tuo adventu suscipiant te Martyres, in your coming, may the martyrs receive you, et perducant te in civitatem sanctam Jerusalem and guide you into the holy city Jerusalem Chorus Angelorum te suscipiat, May the Choirs of Angels receive you, et cum Lazaro quondam paupere, and with the once poor Lazarus, aeternam habeas requiem may you have eternal life While translating, I was suddenly caught up into the beauty of this piece. Please take a moment to stop and listen before continuing. When such a person dies, they are greeted by the saints and angels who come to receive that soul and guide it into heaven here represented by Jerusalem. There, the soul sees the glory of heaven with the Choirs of Angels singing praise to God. It is a powerful welcoming committee. The purpose of this leading and receiving is to take us to the Eternal Father.
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In paradisum deducant te Angeli: in tuo adventu suscipiant te Martyres, et perducant te in civitatem sanctam Ierusalem. May the Angels lead thee into paradise: may the Martyrs receive thee at thy coming, and lead thee into the holy city of Jerusalem. May the choir of Angels receive thee, and mayest thou have eternal rest with Lazarus , who once was poor. History of musical compositions[ edit ] For many centuries the texts of the requiem were sung to Gregorian melodies.
The Requiem by Johannes Ockeghem , written sometime in the later half of the 15th century, is the earliest surviving polyphonic setting. In contrast to practice in setting the Mass Ordinary, many of these settings used a cantus-firmus technique, something which had become quite archaic by mid-century. In addition, these settings used less textural contrast than the early settings by Ockeghem and Brumel, although the vocal scoring was often richer, for example in the six-voice Requiem by Jean Richafort which he wrote for the death of Josquin des Prez.
Over 2, Requiem compositions have been composed to the present day. Typically the Renaissance settings, especially those not written on the Iberian Peninsula , may be performed a cappella i. There is great variation between compositions in how much of liturgical text is set to music. Most composers omit sections of the liturgical prescription, most frequently the Gradual and the Tract.
The Introit and Kyrie, being immediately adjacent in the actual Roman Catholic liturgy, are often composed as one movement. Musico-thematic relationships among movements within a Requiem can be found as well. A counter-reaction to this tendency came from the Cecilian movement , which recommended restrained accompaniment for liturgical music, and frowned upon the use of operatic vocal soloists.
Many composers have composed a Requiem. Some of the most notable include the following in chronological order : Ockeghem : Requiem , the earliest to survive, written in the mid-to-late 15th century Morales : Two notable requiems: Officium defunctorum ca. Guerrero : Requiem Missa pro defunctis ,
Useful for funerals, memorial services, Remembrance Day. Customers who bought this item also bought How shall I sing that majesty Ken Naylor, arr. Alistair Warwick Notes on the piece This edition presents the music in modern notation. The use of stem-less notes on a five-line stave shows the pitch and relative rhythmic values without imposing a rigid rhythm as is the case in some other attempts to reproduce this chant for those unused to neums on the traditional four-line stave. The chant may be sung at any convenient pitch. In Gregorian chant the music always moves along freely.
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Music for the Requiem Mass
chant: In paradisum