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91-828: Musical settings of the propers of the Requiem Mass are also called Requiems, and the term has subsequently been applied to other musical compositions associated with death, dying, and mourning, even when they lack religious or liturgical relevance. The term is also used for similar ceremonies outside the Catholic Church, especially in Western Rite Orthodox Christianity , the Anglo-Catholic tradition of Anglicanism , and in certain Lutheran churches. A comparable service , with

182-547: A color of penance, was also allowed by indult, since penance and reparation for the soul, presumably in Purgatory , is encouraged by the Church. The texts used for the liturgy underwent a similar change, and some of the new options for the readings reinforce an overall theme of Jesus' promise of eternal life. Requiem is also used to describe any sacred composition that sets to music religious texts which would be appropriate at

273-433: 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, a full Requiem is rarely served. However, at least in

364-486: A considerable duration, prevent them being readily used in an ordinary funeral service; the requiems of Gossec , Berlioz , Verdi , and Dvořák 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. Many composers have composed Requiems. Some of

455-713: A deacon chants the Gospel, and blessings. There is no Gloria in excelsis Deo and no recitation of the Creed ; the Alleluia chant before the Gospel is replaced by a Tract , as in Lent ; and the Agnus Dei is altered. Ite missa est is replaced with Requiescant in pace (May they rest in peace); the Deo gratias response is replaced with Amen ; and the final blessing for

546-748: A flame, love itself cleanses it from the residue of sin." In his 2007 encyclical Spe salvi , Pope Benedict XVI, referring to the words of Paul the Apostle in 1 Corinthians 3:12–15 about a fire that both burns and saves, spoke of the opinion that "the fire which both burns and saves is Christ himself, the Judge and Saviour. The encounter with him is the decisive act of judgement. Before his gaze all falsehood melts away. This encounter with him, as it burns us, transforms and frees us, allowing us to become truly ourselves. All that we build during our lives can prove to be mere straw, pure bluster, and it collapses. Yet in

637-468: A full remission of sin and punishment – and go to Heaven. According to the doctrine of the Catholic Church, those who die in God's grace and friendship imperfectly purified, although they are assured of their eternal salvation, undergo a purification after death, so as to achieve the holiness necessary to enter the joy of God . Unless "redeemed by repentance and God's forgiveness", mortal sin , whose object

728-710: A funeral in various BCPs used in the various Provinces of the Anglican Communion. Prior to these additions, Anglo-Catholics or High Church Anglicans often incorporated parts of the Roman Catholic Requiem Mass as part of a funeral service — typically passages from the Ordinary of the Mass. Within this service are several texts with rubrics stating that they should be said or sung by the priest or clerks. The first few of these texts are found at

819-650: 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 settings 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 German Requiem by Brahms . Such works include: In

910-434: A gradual and probably painful process. It can be advanced during life by voluntary self-mortification and penance and by deeds of generosity that show love of God rather than of creatures. If not completed before death, it can still be needed for entering the divine presence. A person seeking purification from sinful tendencies is not alone. Because of the communion of saints : "the holiness of one profits others, well beyond

1001-687: A joyful or marvelous final relinquishment of worldly attachments (non-fiery purgatory). The Eastern Orthodox churches have somewhat different formulations of an intermediate state. Most Protestant denominations do not endorse the Catholic formulation. Several other religions have concepts resembling Purgatory: Gehenna in Judaism , al-A'raf or the upper most layer of hell in Islam , Naraka in Hinduism . The word "purgatory" has come to refer to

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1092-456: A place. Purgatory pre-dates the specific Catholic tradition of purgatory as a transitional state or condition; it has a history that dates back before Christ, to related beliefs also in Judaism, that prayer for the dead contributes to their afterlife purification. The same practice appears in other traditions, such as the medieval Chinese Buddhist practice of making offerings on behalf of

1183-640: A result of the liturgical reform of the Second Vatican Council. As its opening words Dies irae ("Day of wrath") indicate, this poetic composition speaks of the Day of Judgment in fearsome terms; it then appeals to Jesus for mercy. In the extraordinary form of the Roman Rite, commemorations (i.e. collect, secret, and postcommunion of either lower-ranking liturgical feasts that occur on the same day or votive/seasonal commemorations) are absent from

1274-731: A setting of Psalm 92 dedicated to the memory of the composer's father "and the other countless victims of the Jewish tragedy in Europe", is considered the first major work of Holocaust commemoration. John Foulds 's A World Requiem 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 Ko Fan-long follow in this tradition, honouring victims of

1365-622: A vow shall be paid to Thee in Jerusalem : hear my prayer; all flesh shall come to Thee. Eternal rest give unto them, O Lord, and let perpetual light shine upon them. This is as the Kyrie in the Ordinary of the Mass : Kyrie, eleison. Christe, eleison. Kyrie, eleison. Lord, have mercy. Christ, have mercy. Lord, have mercy. This is Greek (Κύριε ἐλέησον, Χριστὲ ἐλέησον, Κύριε ἐλέησον). Each utterance

1456-483: A wholly different ritual form and texts, exists in the Eastern Orthodox and Eastern Catholic churches as well as some Methodist churches. The Mass and its settings draw their name from the introit of the liturgy, which begins with the words Requiem aeternam dona eis, Domine ( Latin for "Eternal rest grant them, O Lord"), which is cited from 2 Esdras — requiem is the accusative singular form of

1547-503: A wide range of historical and modern conceptions of postmortem suffering short of everlasting damnation. English-speakers also use the word analogously to mean any place or condition of suffering or torment, especially one that is temporary. The noun "Purgatory" (in Latin purgatorium , a place of cleansing, from the verb purgo , "to clean, cleanse" ) appeared perhaps only between 1160 and 1180, which encouraged speaking of Purgatory as

1638-458: Is a passing intermediate state after physical death for purifying or purging a soul. A common analogy is dross being removed from gold in a furnace. In Catholic doctrine , purgatory refers to the final cleansing of those who died in the State of Grace, and leaves in them only "the holiness necessary to enter the joy of heaven"; it is entirely different from the punishment of the damned and

1729-495: Is a summary in dialogue form of the Catechism of the Catholic Church . It deals with purgatory in the following exchange: 210. What is purgatory? 211. How can we help the souls being purified in purgatory? These two questions and answers summarize information in sections 1030–1032 and 1054 of the Catechism of the Catholic Church , published in 1992, which also speaks of purgatory in sections 1472−1473. The prayers of

1820-412: Is as follows: The Requiem Mass is notable for the large number of musical compositions that it has inspired, including settings by Mozart (though uncompleted), Verdi , Berlioz , Saint-Saëns , Brahms (from the vernacular German Lutheran Bible ), Dvořák , Fauré , Duruflé , and others. Originally, such compositions were meant to be performed in liturgical service, with monophonic chant. Eventually,

1911-457: Is as the Sanctus prayer in the Ordinary of the Mass : Sanctus, Sanctus, Sanctus Dominus Deus Sabaoth. Pleni sunt cæli et terra gloria tua. Hosanna in excelsis. Benedictus qui venit in nomine Domini. Hosanna in excelsis. Holy, holy, holy, Lord God of Hosts. Heaven and earth are full of Thy glory. Hosanna in the highest. Blessed is He Who cometh in

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2002-403: Is called the 'temporal punishment' of sin". "These two punishments must not be conceived of as a kind of vengeance inflicted by God from without, but as following from the very nature of sin. A conversion which proceeds from a fervent charity can attain the complete purification of the sinner in such a way that no punishment would remain." Joseph Ratzinger has paraphrased this as: "Purgatory

2093-471: Is clear that we cannot calculate the 'duration' of this transforming burning in terms of the chronological measurements of this world. The transforming 'moment' of this encounter eludes earthly time-reckoning – it is the heart's time, it is the time of 'passage' to communion with God in the Body of Christ." The popular conceptions of Purgatory that, especially in late medieval times, were common among Catholics of

2184-419: Is grave matter and is also committed with full knowledge and deliberate consent, "causes exclusion from Christ's kingdom and the eternal death of hell, for our freedom has the power to make choices for ever, with no turning back." Such sin "makes us incapable of eternal life, the privation of which is called the 'eternal punishment' of sin". Venial sin , while not depriving the sinner of friendship with God or

2275-588: 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

2366-814: 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". Music for the Requiem Mass Music for the Requiem Mass is any music that accompanies the Requiem , or Mass for the Dead, in the Catholic Church . This church service has inspired hundreds of compositions, including settings by Victoria , Mozart , Berlioz , Verdi , Fauré , Dvořák , Duruflé and Britten . For centuries settings of

2457-646: Is no Gloria , Alleluia or Credo in these musical settings. Some text extracts have been set to music independently, such as the Pie Jesu in the settings of Fauré (1880s), Dvořák (1890s), Duruflé (1940s) and Rutter (later). Pie Jesu are late words in the Dies irae and they are followed by the final words of the Agnus Dei : Pie Jesu Domine, dona eis requiem. Dona eis requiem sempiternam. Merciful Lord Jesus, grant them rest; grant them eternal rest. Settings sometimes include passages from

2548-585: Is not related to the forgiveness of sins for salvation. A forgiven person can be freed from his "unhealthy attachment to creatures" by fervent charity in this world, and otherwise by the non-vindictive "temporal (i.e. non-eternal) punishment" of purgatory. In late medieval times, metaphors of time, place and fire were frequently adopted. Catherine of Genoa (fl. 1500) re-framed the idea as ultimately joyful. It has been portrayed in art as an unpleasant (voluntary but not optional) "punishment" for unregretted minor sins and imperfect contrition (fiery purgatory) or as

2639-481: Is not, as Tertullian thought, some kind of supra-worldly concentration camp where man is forced to undergo punishment in a more or less arbitrary fashion. Rather it is the inwardly necessary process of transformation in which a person becomes capable of Christ, capable of God, and thus capable of unity with the whole communion of saints". This purification from our sinful tendencies has been compared to rehabilitation of someone who needs to be cleansed of any addiction,

2730-703: Is now lost: Ockeghem's may have been modelled on it. Many early compositions 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

2821-572: Is probably the second oldest, after Ockeghem's. Over 2,000 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.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

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2912-438: Is purgatory: an inner fire." He further said that: "'The soul', Catherine says, 'presents itself to God still bound to the desires and suffering that derive from sin and this makes it impossible for it to enjoy the beatific vision of God'.…The soul is aware of the immense love and perfect justice of God and consequently suffers for having failed to respond in a correct and perfect way to this love; and love for God itself becomes

3003-422: Is sung three times, though sometimes that is not the case when sung polyphonically. From 4 Esdras 2:34–35; Psalm 112 :6 Requiem æternam dona eis, Domine: et lux perpetua luceat eis. In memoria æterna erit iustus: ab auditione mala non timebit. Eternal rest give unto them, O Lord; and let perpetual light shine upon them. The just shall be in everlasting remembrance; he shall not fear

3094-484: 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

3185-490: The 1962 Roman Missal . An early English version was translated by William Josiah Irons in 1849. Domine Iesu 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 Michael repræsentet eas in lucem sanctam: Quam olim Abrahæ promisisti, et semini eius. Lord Jesus Christ, King of glory, deliver

3276-548: The Eastern Orthodox and Greek-Catholic Churches, the requiem is the fullest form of memorial service ( Greek : μνημόσυνο , Slavonic : Оpеlо ). The normal memorial service is a greatly abbreviated form of Matins , but the Requiem contains all of the psalms, readings, and hymns normally found in the All-Night Vigil (which combines the Canonical Hours of Vespers , Matins and First Hour ), providing

3367-614: The Eastern Orthodox Church spoke at the council. The Council of Trent repeated the same two points and moreover in its 4 December 1563 Decree Concerning Purgatory recommended avoidance of speculations and non-essential questions: Let the more difficult and subtle "questions", however, and those which do not make for "edification" (cf. 1Tm 1,4), and from which there is very often no increase in piety, be excluded from popular discourses to uneducated people. Likewise, let them not permit uncertain matters, or those that have

3458-486: The February 28 Incident and subsequent White Terror . The 20th century saw the development of the secular Requiem, written for public performance without specific religious observance, such as Max Reger's Requiem (1915), the setting of a German poem titled Requiem and dedicated to victims of World War I, and Frederick Delius 's Requiem , completed in 1916 and dedicated to "the memory of all young Artists fallen in

3549-726: The Latin Church have not necessarily found acceptance in the Eastern Catholic Churches , of which there are 23 in full communion with the Pope. Some have explicitly rejected the notions of punishment by fire in a particular place that are prominent in the popular picture of Purgatory. The representatives of the Eastern Orthodox Church at the Council of Florence (1431–1449) argued against these notions, while declaring that they do hold that there

3640-581: 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 ". The Book of Common Prayer contained no Requiem Mass, but instead a service named "The Order for the Burial of the Dead". Since the liturgical reform movement, provision has been made for a Eucharist to be celebrated at

3731-799: The "Absolution at the bier" ( Absolutio ad feretrum ) or "Commendation of the dead person" (referred to also as the Absolution of the dead ), which in the case of a funeral, follows the conclusion of the Mass. Libera me, Domine, de morte æterna, in die illa tremenda: Quando cæli movendi sunt et terra: Dum veneris iudicare sæculum per ignem. Tremens factus sum ego, et timeo, dum discussio venerit, atque ventura ira. Quando cæli movendi sunt et terra. Dies illa, dies iræ, calamitatis et miseriæ, dies magna et amara valde. Dum veneris iudicare sæculum per ignem. Requiem æternam dona eis, Domine: et lux perpetua luceat eis. Deliver me, O Lord, from death eternal in that awful day . When

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3822-487: The 1970 revision of the regular Mass, are omitted. Examples are the psalm Iudica at the start of Mass, the prayer said by the priest before reading the Gospel (or the blessing of the deacon, if a deacon reads it), and the first of the two prayers of the priest for himself before receiving Communion. Other omissions include the use of incense at the Introit and the Gospel, the kiss of peace, lit candles held by acolytes when

3913-402: The Catholic Church defined, for the first time, its teaching on purgatory, in summary two points: The council declared: [I]f they die truly repentant in charity before they have made satisfaction by worthy fruits of penance for (sins) committed and omitted, their souls are cleansed after death by purgatorical or purifying punishments, … And to relieve punishments of this kind, the offerings of

4004-518: The Church. The theme of sorrow and grief was also made to emphasize the whole community's worship of God in which the deceased is entrusted to God's mercy, based on trust in the salvation value of the Passion , Death and Resurrection of Jesus Christ. In the 1970s, 1980s and 1990s, the Requiem Mass was sometimes termed a "Mass of the Resurrection" or Mass of Christian Burial, although the former

4095-512: The Eastern Orthodox Church, Oriental Orthodox Churches , and elements of the Anglican , Lutheran , and Methodist traditions hold that for some there is cleansing after death and pray for the dead , knowing it to be efficacious. The Reformed Churches teach that the departed are delivered from their sins through the process of glorification . Rabbinical Judaism also believes in the possibility of after-death purification and may even use

4186-549: The Father of mercies the remission of the temporal punishments due for their sins". On the cusp of the Reformation, St Catherine of Genoa (1447–1510) re-framed the theology of purgatory as voluntary, loving and even joyful: "As for paradise, God has placed no doors there. Whoever wishes to enter, does so. An all-merciful God stands there with His arms open, waiting to receive us into His glory. I also see, however, that

4277-490: The Latin noun requies , "rest, repose". The Roman Missal as revised in 1970 employs this phrase as the first entrance antiphon among the formulas for Masses for the dead, and it remains in use to this day. In earlier forms of the Roman Rite, some of which are still in use, a Requiem Mass differs in several ways from the usual Mass. Some parts that were of relatively recent origin, including some that have been excluded in

4368-477: The Latin text with the poetry of Wilfred Owen , Krzysztof Penderecki 's Polish Requiem includes a traditional Polish hymn within the sequence, and Robert Steadman 's Mass in Black intersperses environmental poetry and prophecies of Nostradamus . Holocaust Requiem may be regarded as a specific subset of this type. The Requiem Ebraico (Hebrew Requiem) (1945) by Austrian-American composer Eric Zeisl ,

4459-589: 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 before 1550 include Pedro de Escobar , Antoine de Févin , Cristóbal Morales , and Pierre de La Rue ; that by La Rue

4550-461: The Mass for the Dead were to be chanted in liturgical service monophonically . Later the settings became polyphonic , Victoria's famous 1605 a cappella work being an example. By Mozart's time (1791) it was standard to embed the dramatic and long Day of Wrath sequence, and to score with orchestra . Eventually many settings of the Requiem, not least Verdi's (1874), were essentially concert pieces unsuitable for church service. The following are

4641-628: The Name of the Lord. Hosanna in the highest. 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. Lamb of God , Who takest away

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4732-405: 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

4823-542: The Purgatory of popular imagination, is also absent in the Catholic Church's doctrine. Purgatory and indulgences are defined (i.e. official Catholic) doctrines, unlike limbo . Catholicism bases its teaching also on the practice of praying for the dead, in use within the church ever since the church began, and mentioned in the deuterocanonical book 2 Maccabees 12:46 . At the Second Council of Lyon in 1274,

4914-700: The Requiem in the 19th century as composers began to treat the form more liberally. From 4 Esdras 2:34–35; Psalm 65 :1-2 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. Eternal rest give unto them, O Lord, and let perpetual light shine upon them. A hymn, O God, becometh Thee in Zion ; and

5005-540: The appearance of falsehood, to be brought out and discussed publicly. Those matters on the contrary, which tend to a certain curiosity or superstition, or that savor of filthy lucre, let them prohibit as scandals and stumbling blocks to the faithful. Catholic doctrine on purgatory is presented as composed of the same two points in the Compendium of the Catechism of the Catholic Church , first published in 2005, which

5096-413: The avenging judgment. And enjoy the bliss of everlasting light. A sequence is a liturgical poem sung, when used, after the Tract (or Alleluia, if present). The sequence employed in the Requiem, Dies irae , attributed to Thomas of Celano (c. 1200 – c. 1260–1270), has been called "the greatest of hymns", worthy of "supreme admiration". The Latin text is included in the Requiem Mass in

5187-465: The beginning of the service, while the rest are prescribed for the burial itself. These texts are typically divided into seven, and collectively known as "funeral sentences". Composers who have set the Anglican burial service to music include William Croft , Thomas Morley , Thomas Tomkins , Orlando Gibbons and Henry Purcell . The text of these seven sentences, from the 1662 Book of Common Prayer ,

5278-491: The church calls purgatory, "so as to achieve the holiness necessary to enter the joy of heaven ". Though in popular imagination Purgatory is pictured as a place rather than a process of purification, the idea of Purgatory as a physical place is not part of the church's doctrine. However, the church's understanding has typically been that purgatory has a temporal (temporary, terminating, non-eternal) component with only God being outside of time. Fire, another important element of

5369-538: The composition. 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". John Rutter combines in his Requiem (1985) some of the parts of the Latin Requiem with two complete psalms, Psalm 130 "Out of

5460-559: The congregation is omitted. Black was the obligatory liturgical colour of the vestments in the earlier forms (including the Missal of 1962), while in the renewed liturgy "the colour black may be used, where it is the practice, in Masses for the Dead". The sequence Dies irae , recited or sung between the Tract and the Gospel, was an obligatory part of the Requiem Mass before the changes as

5551-508: The dead was adopted by Christians from the beginning, a practice that presupposes that the dead are thereby assisted between death and their entry into their final abode. The New American Bible Revised Edition , authorized by the United States Catholic bishops, says in a note to the 2 Maccabees passage: "This is the earliest statement of the doctrine that prayers and sacrifices for the dead are efficacious. …The author…uses

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5642-579: The dead, who are said to suffer numerous trials. The Catholic church found specific Old Testament support in after-life purification in 2 Maccabees 12:42–45, part of the Catholic , Eastern Orthodox , Oriental Orthodox and Church of the East biblical canons but regarded as apocryphal by Protestants and major branches of Judaism. According to the Catechism of the Catholic Church , praying for

5733-427: The dead. Protestants usually do not recognize purgatory as such: following their doctrine of sola scriptura , they claim Jesus is not recorded mentioning or otherwise endorsing it, and the old-covenant work 2 Maccabees is not accepted by them as scripture. The Catholic Church holds that "all who die in God's grace and friendship but still imperfectly purified" undergo a process of purification after death, which

5824-426: The deep" and his earlier composition The Lord is my Shepherd , and juxtaposes more biblical verses within the Latin movements. 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

5915-512: The divine presence is so pure and light-filled – much more than we can imagine – that the soul that has but the slightest imperfection would rather throw itself into a thousand hells than appear thus before the divine presence." So purgatory is a state of both joy and voluntary pain: Again the soul perceives the grievousness of being held back from seeing the divine light; the soul’s instinct too, being drawn by that uniting look, craves to be unhindered” Pope Benedict XVI recommended to theologians

6006-488: The doctrine. The council made no mention of purgatory as a third place or as containing fire, which are absent also in the declarations by the Councils of Florence (1431–1449) and of Trent (1545–1563). Popes John Paul II and Benedict XVI have written that the term does not indicate a place, but a condition of existence. The Church of England , mother church of the Anglican Communion , officially denounces what it calls "the Romish Doctrine concerning Purgatory", but

6097-446: 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 compositions of composers such as Verdi are essentially concert pieces rather than liturgical works. Many of the texts in the Requiem Mass have been set to music, including: For many centuries the texts of the requiem were sung to Gregorian melodies. The Requiem by Johannes Ockeghem , written sometime in

6188-407: The end of the twelfth century Purgatory started to be represented as a physical place, Le Goff states that the concept involves the idea of a purgatorial fire, which he suggests "is expiatory and purifying not punitive like hell fire". At the Second Council of Lyon in 1274, when the Catholic Church defined, for the first time, its teaching on purgatory, the Eastern Orthodox Church did not adopt

6279-439: The eternal happiness of heaven, "weakens charity, manifests a disordered affection for created goods, and impedes the soul's progress in the exercise of the virtues and the practice of the moral good; it merits temporal punishment", for "every sin, even venial, entails an unhealthy attachment to creatures, which must be purified either here on earth, or after death in the state called purgatory. This purification frees one from what

6370-399: The evil hearing. Absolve, Domine, animas omnium fidelium defunctorum ab omni vinculo delictorum. Et gratia tua illis succurrente, mereantur evadere iudicium ultionis. Et lucis æternae beatitudine perfrui. Absolve, O Lord, the souls of all the faithful departed from every bond of sin. And by the help of Thy grace may they be enabled to escape

6461-417: The harm that the sin of one could cause others. Thus recourse to the communion of saints lets the contrite sinner be more promptly and efficaciously purified of the punishments for sin". The Catholic Church states that, through the granting of indulgences for manifestations of devotion, penance and charity by the living, it opens for individuals "the treasury of the merits of Christ and the saints to obtain from

6552-407: The heavens and the earth shall be moved: When Thou shalt come to judge the world by fire. Dread and trembling have laid hold on me, and I fear exceedingly because of the judgment and of the wrath to come. When the heavens and the earth shall be moved. O that day, that day of wrath, of sore distress and of all wretchedness, that great day and exceeding bitter. When Thou shalt come to judge

6643-460: The holy city of Jerusalem. May the choir of Angels receive thee, and with Lazarus , who once was poor, mayest thou have eternal rest. 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. There was a setting by the elder composer Guillaume Du Fay , possibly earlier, which

6734-421: 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. Many early compositions reflect the varied texts that were in use in different liturgies around Europe before the Council of Trent standardised texts used in liturgies. The requiem of Brumel , circa 1500,

6825-521: 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 within a Requiem can be found as well. Beginning in the 18th century and continuing through the 19th, many composers wrote what are effectively concert works, which by virtue of employing forces too large, or lasting such

6916-415: The liturgy; as a result, it is standard practice for a separate, smaller Requiem Missal containing only the rubrics and various Mass formularies for Masses for the dead to be used, rather than the full Missal containing texts that will never be used at Requiems. In the liturgical reforms of the mid-20th century in the Catholic Church's Roman Rite , there was a significant shift in the funeral rites used by

7007-552: The living faithful are of advantage to these, namely, the sacrifices of Masses, prayers, alms , and other duties of piety, which have customarily been performed by the faithful for the other faithful according to the regulations of the Church. A century and a half later, the Council of Florence repeated the same two points in practically the same words, again excluding certain elements of the purgatory of popular imagination, in particular fire and place, against which representatives of

7098-530: The most notable include the following (in chronological order): In the 20th century the requiem evolved in several new directions. The genre of War Requiem is perhaps the most notable, which comprise 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

7189-506: The pain of this encounter, when the impurity and sickness of our lives become evident to us, there lies salvation. His gaze, the touch of his heart heals us through an undeniably painful transformation 'as through fire'. But it is a blessed pain, in which the holy power of his love sears through us like a flame, enabling us to become totally ourselves and thus totally of God. The pain of love becomes our salvation and our joy. In his 2007 encyclical Spe salvi , Pope Benedict XVI teaches: It

7280-401: The presentation of purgatory by Catherine of Genoa, for whom purgatory is not an external but an inner fire: "In her day it was depicted mainly using images linked to space: a certain space was conceived of in which Purgatory was supposed to be located. Catherine, however, did not see purgatory as a scene in the bowels of the earth: for her it is not an exterior but rather an interior fire. This

7371-547: The saints in Heaven and the good deeds, works of mercy , prayers, and indulgences of the living have a twofold effect: they help the souls in purgatory atone for their sins and they make the souls' own prayers for the living effective, since the merits of the saints in Heaven, on Earth, and in Purgatory are part of the treasury of merit . Whenever the Eucharist is celebrated, souls in Purgatory are purified – i.e., they receive

7462-691: The sins of the world, grant them rest. Lamb of God, Who takest away the sins of the world, grant them rest. Lamb of God, Who takest away the sins of the world, grant them eternal rest. 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 æternum: quia pius es. May light eternal shine upon them, O Lord, with Thy Saints for evermore: for Thou art gracious. Eternal rest give to them, O Lord, and let perpetual light shine upon them: With Thy Saints for evermore, for Thou art gracious. As mentioned above, there

7553-875: The souls of all the faithful departed from the pains of hell and from the bottomless pit: deliver them from the lion's mouth, that Tartarus swallow them not up, that they fall not into darkness, but let the standard-bearer holy Michael lead them into that holy light: Which Thou didst promise of old to Abraham and to his seed. 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 eius. We offer to Thee, O Lord, sacrifices and prayers: do Thou receive them in behalf of those souls of whom we make memorial this day. Grant them, O Lord, to pass from death to that life, Which Thou didst promise of old to Abraham and to his seed. This

7644-434: The souls of all the faithful departed ... " / " Domine Iesu Christe, Rex gloriæ, libera animas ... "; Communion, "Let perpetual light shine ..." / " Lux æterna luceat eis, Domine... "). In keeping with those trends of the latter 21st century, the use of white vestments was made an allowable option by the Missal, though only by an indult; black remains the normal color of all Requiem Masses, including Funeral Masses. Violet,

7735-487: The story to demonstrate belief in the resurrection of the just, and in the possibility of expiation for the sins of otherwise good people who have died. This belief is similar to, but not quite the same as, the Catholic doctrine of purgatory." Sacred Tradition , by reference to certain texts of scripture , speaks of the process as involving a cleansing fire. According to Jacques Le Goff , in Western Europe toward

7826-579: The texts that have been set to music. Note that the Libera Me and the In Paradisum are not part of the text of the Catholic Mass for the Dead itself, but a part of the burial rite that immediately follows. In Paradisum was traditionally said or sung as the body left the church, and the Libera Me is said/sung at the burial site before interment. These became included in musical settings of

7917-530: The war"; Paul Hindemith 's When Lilacs Last in the Dooryard Bloom'd: A Requiem for Those We Love , commissioned in 1945 (premiered 1946) after the passing of Franklin Delano Roosevelt , and based on Walt Whitman's elegy written after the passing of Abraham Lincoln ; and Dmitry Kabalevsky 's Requiem (Op. 72; 1962), a setting of a poem written by Robert Rozhdestvensky especially for

8008-424: The word "purgatory" to describe the similar rabbinical concept of Gehenna , though Gehenna is also sometimes described as more similar to hell or Hades . Some Christians, typically Roman Catholics , recognize the doctrine of purgatory. The Eastern Orthodox are less likely to use the term, although they acknowledge an intermediate state after death and before final judgment, and consequentially offer prayers for

8099-560: The world by fire. Eternal rest grant unto them, O Lord, and let perpetual light shine upon them. 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 æternam habeas requiem. May the Angels lead thee into paradise: may the Martyrs receive thee at thy coming, and lead thee into

8190-578: Was never official terminology. In the official English ritual, Order of Christian Funerals , published by the Bishops of England and Wales in 1990, the title is given as "Funeral Mass". "Requiem Mass" remains a suitable title for other Masses for the dead and for the Funeral Mass itself (as the proper antiphons remain in force: Introit, "Eternal rest grant ... " / " Requiem æternam dona eis Domine "; Offertory, "Lord Jesus Christ, King of glory, deliver

8281-436: 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 before 1550 include Pedro de Escobar , Antoine de Févin , Cristóbal de Morales , and Pierre de la Rue ; that by la Rue is probably the second oldest, after Ockeghem's. Purgatory Purgatory ( Latin : purgatorium , borrowed into English via Anglo-Norman and Old French )

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