The Requiem
or Requiem Mass
, also known as the Missa pro defunctis
(Latin, "Mass for the deceased") or Missa defunctorum
("Mass of the deceased"), is a liturgical service of the Roman Catholic Church celebrated by the priest presider for the repose of the soul of a particular deceased person or persons. It is frequently, but by no means always, celebrated in the context of a funeral.
Outside the Catholic Church, the ceremony is used in the Anglo-Catholic branch of Anglicanism and in certain Lutheran churches. A comparable service, with a wholly different ritual form and texts, exists in the Eastern Orthodox and Eastern Catholic Churches.
The term "Requiem" is the accusative form of the Latin noun requies
(rest, repose). The introit of the liturgy begins with the words "Requiem aeternam dona eis, Domine
" - "Grant them eternal rest, O Lord".
The Requiem Mass is notable for the large number of musical compositions that it has inspired, including the requiems of Mozart, Verdi and Fauré. Originally, such compositions were meant to be performed in liturgical service, with monophonic chant. Eventually the dramatic character of the text began to appeal to composers to an extent that they made the requiem a genre of its own, and the requiems of composers such as Verdi are essentially concert pieces rather than liturgical works.
Celebrations of the Requiem Mass were often referred to as "black Masses", from the colour of the vestments worn by the priest and the altar cloths. The term has no connection with the Satanist ritual of the same name. Since the liturgical reform of 1969-1970, the black colour has been replaced with purple.
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REQUIEM TICKETS
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The Roman Rite liturgy
This use of the word
requiem
comes from the opening words of the
Introit:
Requiem æternam dona eis, Domine, et lux perpetua luceat eis.
(Eternal rest grant unto them, O Lord, and let perpetual light shine upon them.) The requiem form of the
Tridentine Mass differs from the ordinary Mass in omitting certain joyful passages, such as the
Alleluia
, in never having the
Gloria
or the
Credo
, in adding the sequence
Dies Iræ
, in altering the
Agnus Dei
, in replacing
Ite missa est
with
Requiescant in pace
, and in omitting the final blessing. The Requiem Mass is still used in the Extraordinary Form of the Roman Rite, which was never abrogated by the Second Vatican Council, but has been increasingly celebrated around the world after support from Popes John Paul II and Benedict XVI.
The regular texts of the musical portions to be found in the Roman Catholic liturgy are the following:
Introit
:''Requiem æternam dona eis, Domine,
:''et lux perpetua luceat eis.
:''Te decet hymnus Deus, in Sion,
:''et tibi reddetur votum in Ierusalem.
:''Exaudi orationem meam;
:''ad te omnis caro veniet.
:''Requiem æternam dona eis, Domine,
:et lux perpetua luceat eis.
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::Eternal rest grant unto them, O Lord,
::and let perpetual light shine upon them.
::A hymn becomes you, O God, in Zion,
::and to you shall a vow be repaid in Jerusalem.
::Hear my prayer;
::to you shall all flesh come.
::Eternal rest grant unto them, O Lord,
::and let perpetual light shine upon them.”
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Kyrie eleison
This is as the
Kyrie the Ordinary of the
Mass:
:''Kyrie eleison;
:''Christe eleison;
:''Kyrie eleison
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::Lord have mercy;
::Christ have mercy;
::Lord have mercy.
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This is
Greek (????e ????s??, ???st? ????s??, ????e ????s??) Traditionally, each utterance is sung three times.
Gradual
:''Requiem æternam dona eis, Domine;
:''In memoria æterna erit justus,
:ab auditione mala non timebit.
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::Eternal rest grant unto them, O Lord.
::He shall be justified in everlasting memory,
::and shall not fear evil reports.”)
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Tract
:''Absolve, Domine,
:''animas omnium fidelium defunctorum
:''ab omni vinculo delictorum
:''et gratia tua illis
:''succurente mereantur
:''evadere iudicium ultionis,
:et lucis æterne beatitudine perfrui.
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::Forgive, O Lord,
::the souls of all the faithful departed
::from all the chains of their sins
::and may they deserve
::to avoid the judgment of revenge by your fostering grace,
::and enjoy the everlasting blessedness of light.”)
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Sequence
:Dies iræ, dies illa
:Solvet sæclum in favilla,
:teste David cum Sibylla...
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:: Day of wrath! Day of mourning!,
:: a day that the world will dissolve in ashes,
:: as foretold by David and the Sibyl
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(See
Dies Iræ
for full text)
Offertory
:''Domine, Jesu Christe, Rex gloriæ,
:''libera animas omnium fidelium defunctorum
:''de pœnis inferni et de profundo lacu.
:''Libera eas de ore leonis,
:''ne absorbeat eas tartarus,
:''ne cadant in obscurum;
:''sed signifer sanctus Michæl
:''repræsentet eas in lucem sanctam,
:quam olim Abrahæ promisisti et semini ejus.
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::Lord Jesus Christ, King of glory,
::free the souls of all the faithful departed
::from infernal punishment and the deep pit.
::Free them from the mouth of the lion;
::do not let Tartarus swallow them,
::nor let them fall into darkness;
::but may the sign-bearer, Saint Michael,
::lead them into the holy light
::which you promised to Abraham and his seed.
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:''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 Abrahæ promisisti et semini ejus.
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::O Lord, we offer you
::sacrifices and prayers in praise;
::accept them on behalf of the souls
::whom we remember today.
::Make them pass over from death to life,
::as you promised to Abraham and his seed.
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Sanctus
This is as the
Sanctus
prayer in the Ordinary of the
Mass:
:''Sanctus, Sanctus, Sanctus,
:''Dominus Deus Sabaoth;
:pleni sunt coeli et terra gloria tua.
:Hosanna in excelsis.
:Benedictus qui venit in nomine Domini.
:Hosanna in excelsis.
(reprise)
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::Holy, Holy, Holy,
::Lord God of Hosts;
::Heaven and earth are full of your glory.
::Hosanna in the highest.
::Blessed is he who comes in the name of the Lord.
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Agnus Dei
This is as the
Agnus Dei
in the Ordinary of the
Mass, but with the petitions
miserere nobis
changed to
dona eis requiem
, and
dona nobis pacem
to
dona eis requiem sempiternam
:
:Agnus Dei, qui tollis peccata mundi, dona eis requiem,
:Agnus Dei, qui tollis peccata mundi, dona eis requiem,
:Agnus Dei, qui tollis peccata mundi, dona eis requiem sempiternam.
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:: Lamb of God, who takes away the sins of the world, grant them rest,
:: Lamb of God, who takes away the sins of the world, grant them rest,
:: Lamb of God, who takes away the sins of the world, grant them rest, eternal.
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Communion
:''Lux æterna luceat eis, Domine,
:''cum sanctis tuis in æternum,
:''quia pius es.
:''Requiem æternam dona eis, Domine;
:''et lux perpetua luceat eis ;
:''cum Sanctis tuis in aeternum,
: ''quia pius es.
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::May everlasting light shine upon them, O Lord,
::with your saints forever,
::for you are merciful.
::Grant them eternal rest, O Lord,
::and may everlasting light shine upon them.
::with your saints forever,
::for you are merciful.
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As with the regular Sunday or ferial Mass in penitential seasons, the
Gloria
(from the Ordinary) is always omitted in a Requiem Mass. In the Tridentine form of the Roman Rite and
Alleluia
(from the Proper) is also omitted, as being overly joyful, and is replaced by the Tract. Likewise, the Credo (which, like the Gloria, is used in the ordinary Mass only on more solemn feasts) is never used in the Requiem Mass. The
Dies iræ
was rendered optional in 1967 and was omitted altogether from the revised Mass in 1969; at the same time, the Tract was abolished and the Alleluia added to the Requiem Mass, except in Lent, when it is replaced also at ordinary Masses by a less joyful acclamation.
The Requiem Mass is often followed by
Absolution of the dead, which in turn will proceed to the burial of the body in the case of an actual funeral service.
Added movements
Some settings contain additional texts, such as the devotional motet
Pie Jesu
(in the settings of
Dvorák, Fauré, and Duruflé—Fauré set it as a soprano solo in the center).
Libera me
(from the
Absolution) and
In paradisum
(from the
burial service, which in the case of a funeral follows after the Mass) conclude some compositions. Other added movements have been composed as well, such as the Psalms
Out of the Deep
(130) and
The Lord is My Shepherd
(23) included in
John Rutter's setting.
Libera Me
:''Libera me, Domine, de morte aeterna, in die illa tremenda:
:''Quando caeli movendi sunt et terra.
:''Dum veneris judicare saeculum per ignem.
:''Tremens factus sum ego, et timeo, dum discussio venerit, atque ventura ira.
:''Quando caeli movendi sunt et terra.
:''Dies illa, dies irae, calamitatis et miseriae, dies magna et amara valde.
:''Dum veneris judicare saeculum per ignem.
:''Requiem aeternam dona eis, Domine: et lux perpetua luceat eis.
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:: Deliver me, O Lord, from death eternal on that fearful day,
:: when the heavens and the earth shall be moved,
:: when thou shalt come to judge the world by fire.
:: I am made to tremble, and I fear, till the judgment be upon us, and the coming wrath,
:: when the heavens and the earth shall be moved.
:: That day, day of wrath, calamity, and misery, day of great and exceeding bitterness,
:: when thou shalt come to judge the world by fire.
:: Rest eternal grant unto them, O Lord: and let light perpetual shine upon them.
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In paradisum
:''In paradisum deducant te Angeli:
:''in tuo adventu suscipiant te Martyres,
:''et perducant te in civitatem sanctam Jerusalem.
:''Chorus Angelorum te suscipiat,
:''et cum Lazaro quondam paupere aeternam habeas requiem.
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:: May angels lead you into paradise;
:: may the martyrs receive you at your coming
:: and lead you to the holy city of Jerusalem.
:: May a choir of angels receive you,
:: and with Lazarus, who once was poor, may you have eternal rest.
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Pie Jesu
The
Pie Jesu
combines and paraphrases of the final verse of the
Dies irae
and the
Agnus Dei
.
:''Pie Jesu Domine, dona eis requiem.
:Dona eis requiem sempiternam.
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:: O sweet Lord Jesus, grant them rest;
:: grant them everlasting rest.
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Musical compositions
For many centuries the texts of the requiem were sung to
Gregorian melodies. The
Requiem by
Johannes Ockeghem, written sometime in the latter half of the 15th century, is the earliest surviving
polyphonic setting. There was a setting by the elder composer
Dufay, possibly earlier, which is now lost: Ockeghem's may have been modelled on it.
[1] Many early requiems employ different texts that were in use in different liturgies around Europe before the
Council of Trent set down the texts given above. The requiem of
Brumel, circa 1500, is the first to include the
Dies Iræ
. In the early polyphonic settings of the Requiem, there is considerable textural contrast within the compositions themselves: simple chordal or
fauxbourdon-like passages are contrasted with other sections of contrapuntal complexity, such as in the Offertory of Ockeghem's Requiem.
In the 16th century, more and more composers set the Requiem mass. 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.
Other composers who wrote Requiems before 1550 include
Pedro de Escobar,
Antoine de Févin,
Cristóbal Morales, and
Pierre de La Rue; that by La Rue is probably the second oldest, after Ockeghem's.
Over 2,000 requiems 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.e. without necessary accompanying instrumental parts), whereas beginning around 1600 composers more often preferred to use instruments to accompany a choir, and also include vocal soloists. 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.
Fauré omits the
Dies iræ
, while the very same text had often been set by French composers in previous centuries as a stand-alone work.
Sometimes composers divide an item of the liturgical text into two or more movements; because of the length of its text, the
Dies iræ
is the most frequently divided section of the text (as with Mozart, for instance). The
Introit
and
Kyrie
, being immediately adjacent in the actual Roman Catholic liturgy, are often composed as one movement.
Musico-thematic relationships among movements of Requiems can be found as well.
Concert requiems
Beginning in the 18th century and continuing through the 19th, many composers wrote what are effectively concert requiems, which by virtue of employing forces too large, or lasting such a considerable duration, prevent them being readily used in an ordinary funeral service; the requiems of
Gossec,
Berlioz,
Verdi, and
Dvorák are essentially dramatic concert
oratorios. 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.
Non-Roman Catholic requiems
Requiem
is also used to describe any sacred composition that sets to music religious texts which would be appropriate at a funeral, or to describe such compositions for liturgies other than the Roman Catholic Mass. Among the earliest examples of this type are the German requiems composed in the 17th century by
Heinrich Schütz and
Michael Praetorius, whose works are Lutheran adaptations of the Roman Catholic requiem, and which provided inspiration for the mighty
German Requiem
by
Brahms.
[2]
Such requiems would include:
- * Greek Orthodox Church—Parastas
- * Russian Orthodox Church—Panikhida
- * Lutheran (German) requiems
- * Anglican (English) requiems
Eastern Orthodox Requiem
In the
Eastern Orthodox and
Greek-Catholic Churches, the requiem is the fullest form of
memorial service (
Greek:
Parastas
,
Slavonic:
Panikhida
). The normal memorial service is a greatly abbreviated form of
Matins, but the Requiem contains all of the psalms, readings, and hymns normally found the
All-Night Vigil (which combines the
Canonical Hours of
Vespers,
Matins and
First Hour), providing a complete set of
propers for the departed. The full requiem will last around three and a half hours. In this format it more clearly represents the original concept of
parastas
, which means literally, "standing throughout (the night)." Often, there will be a
Divine Liturgy celebrated the next morning with further propers for the departed.
Because of their great length, full requiems are rarely served. However, at least in the
Russian liturgical tradition, a Requiem will often be served on the eve before the
Glorification (canonization) of a
saint, in a special service known as the "Last Panikhida."
Anglican burial service
The
Anglican Book of Common Prayer
contains seven texts which are collectively known as "funeral sentences"; several composers have written settings of these seven texts, which are generally known collectively as a "burial service." Composers who have set the Anglican burial service to music include
Thomas Morley,
Orlando Gibbons, and
Henry Purcell. The text of these seven sentences, from the 1662
Book of Common Prayer
, is:
- I am the resurrection and the life, saith the Lord: he that believeth in me, though he were dead, yet shall he live: and whosoever liveth and believeth in me shall never die.
- I know that my Redeemer liveth, and that he shall stand at the latter day upon the earth. And though after my skin worms destroy this body, yet in my flesh shall I see God: whom I shall see for myself, and mine eyes shall behold, and not another.
- We brought nothing into this world, and it is certain we can carry nothing out. The Lord gave, and the Lord hath taken away; blessed be the Name of the Lord.
- Man that is born of a woman hath but a short time to live, and is full of misery. He cometh up, and is cut down, like a flower; he fleeth as it were a shadow, and never continueth in one stay.
- In the midst of life we are in death: of whom may we seek for succour, but of thee, O Lord, who for our sins art justly displeased? Yet, O Lord God most holy, O Lord most mighty, O holy and most merciful Saviour, deliver us not into the bitter pains of eternal death.
- Thou knowest, Lord, the secrets of our hearts; shut not thy merciful ears to our prayer; but spare us, Lord most holy, O God most mighty, O holy and merciful Saviour, thou most worthy judge eternal, suffer us not, at our last hour, for any pains of death, to fall from thee.
- I heard a voice from heaven, saying unto me, Write, From henceforth blessed are the dead which die in the Lord: even so saith the Spirit: for they rest from their labours.
Recent developments
In the 20th century the requiem evolved in several new directions. The genre of war requiems is perhaps the most notable, which comprise of compositions dedicated to the memory of people killed in wartime. These often include extra-liturgical poems of a pacifist or non-liturgical nature; for example, the
War Requiem
of
Benjamin Britten juxtaposes the Latin text with the poetry of
Wilfred Owen, and
Robert Steadman's
Mass in Black
intersperses
environmental poetry and
prophecies of
Nostradamus.
Holocaust requiems may be regarded as a specific subset of this type. The
World Requiem
of
John Foulds was written in the aftermath of the
First World War and initiated the
Royal British Legion's annual festival of remembrance. Recent requiem works by
Taiwanese composers
Tyzen Hsiao and
Fan-Long Ko follow in this tradition, honouring victims of the
2-28 Incident and subsequent
White Terror.
Lastly, the 20th century saw the development of secular requiems, written for public performance without specific religious observance (e.g., Kabalevsky's
War Requiem,
to poems by Robert Rozhdestvensky).
Herbert Howells's unaccompanied
Requiem
uses
Psalm 23 ("The Lord is my shepherd"), Psalm 121 ("I will lift up mine eyes"), "Salvator mundi" ("O Saviour of the world," in English), "Requiem aeternam" (two different settings), and "I heard a voice from heaven." Some composers have written purely instrumental works bearing the title of
requiem
, as famously exemplified by Britten's
Sinfonia da Requiem
.
Hans Werner Henze's
Das Floß der Medusa
, written in 1968 as a requiem for
Che Guevara, is properly speaking an
oratorio; Henze's
Requiem is instrumental but retains the traditional Latin titles for the movements.
Igor Stravinsky's
Requiem canticles
mixes instrumental movements with segments of the "Introit," "Dies irae," "Pie Jesu," and "Libera me."
One of the most recent compositions referencing a Requiem is the orchestral piece
Requiem for a Dream, written by
Clint Mansell. The most basic interpretation of the song is that somehow this dreamer is unable to live out his or her hopes, and the song is a way of saying the oppression of this dream is an
injustice.
Famous Requiems
See also:
Requiems
Many composers have written Requiems. Some of the most famous include:
- Ockeghem's Requiem
, the earliest to survive, written sometime in the mid-to-late 15th century
- Victoria's Requiem of 1603, (part of a longer Office for the Dead)
- Mozart's Requiem in D minor
(Mozart died before its completion)
- Berlioz' Grande Messe des Morts
- Verdi's Requiem
- Brahms' Ein deutsches Requiem
, based on passages from Luther's Bible.
- Fauré's Requiem in D minor
- Dvorák's Requiem, Op. 89
- Britten's War Requiem
, which incorporated poems by Wilfred Owen.
- Duruflé's Requiem
, based almost exclusively on the chants from the Graduale Romanum.
- Rutter's Requiem
, includes selected Psalms.
- Ligeti's Requiem
Benjamin Britten's
Sinfonia da Requiem
and
Arthur Honegger's
Symphonie Liturgique
use titles from the traditional Requiem as subtitles of movements.
Other Requiem composers
Renaissance
- Giovanni Francesco Anerio
- Gianmatteo Asola
- Giulio Belli
- Antoine Brumel
- Manuel Cardoso
- Joan Cererols
- Pierre Certon
- Clemens non Papa
- Guillaume Dufay (lost)
- Pedro de Escobar
- Antoine de Févin
- Francisco Guerrero
- Jacobus de Kerle
- Orlande de Lassus
- Duarte Lobo
- Jean Maillard
- Jacques Mauduit
- Manuel Mendes
- Cristóbal de Morales
- Johannes Ockeghem (the earliest to survive)
- Giovanni Pierluigi da Palestrina
- Costanzo Porta
- Johannes Prioris
- Jean Richafort
- Pierre de la Rue
- Claudin de Sermisy
- Jacobus Vaet
- Tomás Luis de Victoria
Baroque
- Heinrich Ignaz Franz von Biber
- André Campra
- Marc-Antoine Charpentier
- Johann Joseph Fux
- Jean Gilles
- Antonio Lotti (Requiem in F Major)
- Claudio Monteverdi (lost)
- Michael Praetorius
- Heinrich Schütz
- Jan Dismas Zelenka
Classical period
- Wolfgang Amadeus Mozart
- Luigi Cherubini
- Florian Leopold Gassmann
- François-Joseph Gossec
- Michael Haydn
- Andrea Luchesi
- José Maurício Nunes Garcia
- Antonio Salieri
Romantic era
- Hector Berlioz
- João Domingos Bomtempo
- Johannes Brahms
- Anton Bruckner, Requiem in D minor [3]
- Ferruccio Busoni
- Carl Czerny
- Gaetano Donizetti
- Antonín Dvorák
- Gabriel Fauré
- Charles Gounod
- Franz Liszt
- Giacomo Puccini [Introit only]
- Max Reger
- Camille Saint-Saëns
- Robert Schumann
- Franz von Suppé
- Charles Villiers Stanford
- Giuseppe Verdi
- Richard Wetz
- See also:
Messa per Rossini
20th century
- Ray Vincent Adams
- Mark Alburger
- Malcolm Archer
- Vyacheslav Artyomov
- Osvaldas Balakauskas
- Benjamin Britten
- Vladimir Dashkevich
- Edison Denisov
- Alfred Desenclos
- Ralph Dunstan
- Maurice Duruflé
- Hans Werner Henze
- Herbert Howells
- Karl Jenkins
- Alemdar Karamanov
- Joonas Kokkonen
- Cyrillus Kreek
- György Ligeti
- Andrew Lloyd Webber
- Fernando Lopes-Graça
- Frigyes Hidas
- Frank Martin
- Krzysztof Penderecki
- Ildebrando Pizzetti
- Jocelyn Pook
- Zbigniew Preisner
- Christopher Rouse
- John Rutter
- Robert Rønnes
- Shigeaki Saegusa
- Alfred Schnittke
- Valentin Silvestrov
- Robert Steadman
- Igor Stravinsky
- Toru Takemitsu
- John Tavener
- Virgil Thomson
- Erkki-Sven Tüür
- Malcolm Williamson
- Howard Goodall
21st century
- Björk, (Heartbeat aka 'Prayer of the Heart')
- Christian Favre
- Carlo Forlivesi
- Jocelyn Hagen
- Tyzen Hsiao
- Karl Jenkins
- Fan-Long Ko
- Kentaro Sato
- Somtow Sucharitkul
- Savage Sun
- Virgin Black
- Mack Wilberg
- Mark j Dawson
- Troy Banarzi
Requiems by language (other than Latin)
English with Latin
- Ray Vincent Adams
- Benjamin Britten
- Evgeni Kostitsyn
- Herbert Howells
- John Rutter
- Mack Wilberg
- Somtow Sucharitkul
German
- Michael Praetorius
- Heinrich Schütz
- Franz Schubert
- Johannes Brahms
French, English, German with Latin
Polish with Latin
- Krzysztof Penderecki
- Zbigniew Preisner
Russian
- Sergei Taneyev - Cantata John of Damascus
, Op.1 (Text by Alexey Tolstoy)
- Dmitri Kabalevsky - War Requiem
(Text by Robert Rozhdestvensky)
- Elena Firsova - Requiem
, Op.100 (Text by Anna Akhmatova)
- Vladimir Dashkevich - Requiem
(Text by Anna Akhmatova)
Taiwanese
- Tyzen Hsiao - Ilha Formosa: Requiem for Formosa's Martyrs
, 2001 (Text by Min-yung Lee, 1994)
- Fan-Long Ko - 2-28 Requiem
, 2008. (Text by Li Kuei-Hsien)
Nonlinguistic
- Benjamin Britten - Sinfonia de Requiem
- Carlo Forlivesi - Requiem
, for 8-channel tape [4]
- Hans Werner Henze - Requiem
(instrumental)
See also
- Mass (music)
- Memorial
- Oratorio
- Church music
- Vocal music
- Month's Mind
Notes
- Fabrice Fitch: "Requiem (2)", Grove Music Online, ed. L. Macy (Accessed January 21, 2007)
- A rather exhaustive list of requiem composers can be found on this site.
- p. 8, Kinder (2000) Keith William. Westport, Connecticut. ''The Wind and Wind-Chorus Music of Anton Bruckner'' Greenwood Press
- ALM Records ALCD-76 Silenziosa Luna