Riccardo Muti Conductor Alberto Mizrahi Narrator Chicago Symphony Chorus Duain Wolfe Director Brahms Schicksalslied, Op

Home , Double Concerto (Brahms), Luigi Cherubini

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ONe huNDreD TweNTy-FirST SeaSON Chicago Symphony orchestra riccardo muti Music Director Pierre Boulez helen regenstein Conductor emeritus Yo-Yo ma Judson and Joyce green Creative Consultant Global Sponsor of the CSO

Thursday, March 15, 2012, at 8:00 Friday, March 16, 2012, at 1:30 Saturday, March 17, 2012, at 8:00 riccardo muti Conductor alberto mizrahi Narrator Chicago Symphony Chorus Duain Wolfe Director Brahms Schicksalslied, Op. 54 ChiCagO SyMphONy ChOruS Schoenberg Kol Nidre, Op. 39 alberTO Mizrahi ChiCagO SyMphONy ChOruS First Chicago Symphony Orchestra performances

IntermISSIon Cherubini requiem in C Minor introit and Kyrie gradual Dies irae Offertory Sanctus pie Jesu agnus Dei ChiCagO SyMphONy ChOruS These concerts are dedicated in loving memory to Charlie Manley, son of CSO Trustee John and Mary Manley.

These concerts are generously sponsored by Julie and Roger Baskes, Rhoda Lea and Henry S. Frank, John H. Hart and Carol Prins, and the Zell Family Foundation. This program is partially supported by grants from the Illinois Arts Council, a state agency, and the National Endowment for the Arts. CommentS by phillip huSCher

Johannes Brahms Born May 7, 1833, Hamburg, Germany. Died April 3, 1897, Vienna, Austria.

Schicksalslied, op. 54

n the summer of 1868, Brahms Hegel, his classmate at the Ijoined several of his friends on University of Tübingen. Schiller an excursion to view the North became his friend and published Sea naval base at Wilhelmshaven. his works—his poetry appeared in “Our friend, usually so cheery,” the print for the first time in 1791—but conductor and composer Albert when Brahms picked up the Song Dietrich later recalled, “was silent of Destiny, Hölderlin was still and serious on the journey. He told largely unknown. (His discovery is us how, early that morning, . . . he a twentieth-century phenomenon, had found Hölderlin’s poems in largely due to the influence of the bookcase and been profoundly Stefan George and Rainer Maria stirred by Hyperion’s Song of Rilke. Decades after Brahms, his Destiny.” Later, as the group rested poetry inspired several other com- by the sea, they noticed Brahms posers, including Benjamin Britten, sitting at a distance on the beach, Carl Orff, and Kaija Saariaho.) The writing. “It was the first sketch for novel Hyperion, the source of the the Schicksalslied,” Dietrich wrote. Schicksalslied, was published in two Brahms read Hölderlin for parts in 1797 and 1799. Hölderlin’s the first time earlier that decade. subject was the contemporary Born in 1770, the same year Turkish oppression of the Greeks. as Beethoven, Hölderlin was a The Song of Destiny is Hyperion’s contemporary of the philosopher despondent reflection on the

ComPoSeD FIrSt CSo InStrumentatIon 1870–1871 PerFormanCe four-part chorus, two flutes, February 10, 1953, two oboes, two clarinets, two FIrSt PerFormanCe Orchestra hall. Several bassoons, two horns, two October 18, 1871, collegiate choruses, george trumpets, three trombones, Karlsruhe, germany. The Schick conducting timpani, strings composer conducting moSt reCent aPProxImate CSo PerFormanCe PerFormanCe tIme June 26, 1975, ravinia 15 minutes Festival. Chicago Symphony Chorus, James levine conducting

2 disparity between man’s troubled first lines of the poem. (He also life in the present and the ever- considered asking the chorus simply glorious image of ancient Greece. to sing “ah”—“something like a The opening of Brahms’s drone.”) He quickly gave up that Schicksalslied is one of the most idea, but he worried that audiences inspired passages in all his wouldn’t be music—a glorious melody, given prepared to muted violins, unfolds over dark for a long chords and the quiet pounding instrumental of the timpani. Brahms marks it ending to a “Langsam und sehnsuchtsvoll” choral work, (slowly and yearning)—an unusu- and so, for the ally expressive direction from this premiere, he most poised of composers. By the insisted that time the alto voices of the chorus “orchestral finally enter, singing the first postlude” be lines of the poem, we are deep in printed in the heavenly, radiant world that the program German poet Friedrich Hölderlin Hölderlin depicts. Brahms sets the after the last first two stanzas of the poem in lines of the simple, yet rich, four-part choral Hölderlin poem. Brahms continued harmony—a hymn to celestial to struggle over his decision to wonders. With a single pianissimo return to the luminous music with chord in the winds, however, the which the piece began. “I simply mood changes dramatically. The say something the poet doesn’t third stanza shifts from idyll to fury say,” he finally wrote to a conduc- and from E-flat major to C minor. tor friend. But this unexpected The music rages and plummets into touch neither alters nor contradicts the “vague abyss.” Hölderlin’s point of view; instead, At first, Brahms didn’t know it simply leaves us with an image of how the Schicksalslied should end. Brahms, sitting alone on the shore Hölderlin leaves us at the abyss. at Wilhelmshaven, contemplating Brahms, sensing that music and lit- the tragic fate of man. erature operate differently, returns The Schicksalslied remains among to the calm beauty of his orchestral the least performed of Brahms’s opening—the music is now in major works. Three years after C major and reorchestrated (the the premiere, Theodore Thomas, solo flute has the grand, searching who was one of Brahms’s great- melody), and the original “Langsam est champions, gave the first U.S. und sehnsuchtsvoll” marking has performance in Boston, but even he been replaced by the simple Italian never programmed it with the new “adagio.” That instinct seemed Chicago Symphony Orchestra he right, but Brahms still wasn’t satis- founded in 1891. These are only the fied, and he drafted a new ending Chicago Symphony’s third perfor- that added the chorus, intoning the mances in its 121 seasons.

3 SChICkSalSlIeD Song oF DeStInY

Ihr wandelt droben im Licht You walk above in the light, Auf weichem Boden, selige Genien! Weightless tread a soft floor, blessed genii! Glänzende Götterlüfte Radiant the gods’ mild breezes Rühren Euch leicht, Gently play on you Wie die Finger der Künstlerin As the girl artist’s fingers Heilige Saiten. On holy strings.

Schicksallos, wie der schlafende Fateless the Heavenly breathe Säugling, atmen die Himmlischen; Like an unweaned infant asleep; Keusch bewahrt Chastely preserved In bescheidener Knospe In modest bud Blühet ewig For ever their minds Ihnen der Geist, Are in flower, Und die seligen Augen And their blissful eyes Blicken in stiller Eternally tranquil gaze, Ewiger Klarheit. Eternally clear.

Doch uns ist gegeben, But we are fated Auf keiner Stätte zu ruhn; To find no foothold, no rest, Es schwinden, es fallen And suffering mortals Die leidenden Menschen Dwindle and fall Blindlings von einer Headlong from one Stunde zur andern, Hour to the next, Wie Wasser von Klippe Hurled like water Zu Klippe geworfen, From ledge to ledge Jahrlang ins Ungewisse Downward for years hinab. To the vague abyss.

—Friedrich Hölderlin —Michael Hamburger

4 arnold Schoenberg Born September 13, 1874, Vienna, Austria. Died July 13, 1951, Brentwood, a suburb of Los Angeles, California.

Kol Nidre, op. 39

or many years, it has been a be used on Yom Kipper—the Ffamily Yom Kippur custom in Day of Atonement, the most the Los Angeles home of Randol solemn of Jewish holidays. The Schoenberg, the composer’s timing couldn’t have been more grandson, to listen to a recording of persuasive, for Schoenberg was his grandfather’s Kol Nidre before growing increasingly alarmed the daylong fasting began. One by recent reports from Europe, of the recordings in the family’s where members of his family still collection is a tape of the rehearsal lived. Schoenberg, who was born conducted by the composer before Jewish in Vienna, converted to the premiere in October 1938, at Christianity in his twenties and the Ambassador Hotel’s Coconut returned to Judaism in 1933, when Grove Ballroom, which the liberal he emigrated from Nazi-ruled Fairfax Temple rented for its Germany, accepted the project at Yom Kippur services. (Randol once. He began work on August 1 Schoenberg is well known as an and completed the score on attorney who has fought to restore September 22, less than two weeks Nazi-confiscated art to its rightful before he conducted the first per- owners; his most celebrated case, formance at Yom Kippur services. settled in 2006, involved the return Little more than a month after the of five important paintings by premiere came Kristallnacht, the Gustav Klimt.) wave of anti-Jewish pogroms that In the summer of 1938, the destroyed synagogues, homes, and Fairfax Temple rabbi, Jakob businesses throughout Germany Sonderling, asked Schoenberg and Austria and marked a turning to make an arrangement of the point in Nazi Germany’s opposition traditional Kol Nidre melody to of Jews.

ComPoSeD InStrumentatIon aPProxImate 1938 speaker, mixed chorus, two PerFormanCe tIme flutes and piccolo, oboe, 18 minutes FIrSt PerFormanCe clarinet, e-flat clarinet and October 4, 1938, los bass clarinet, bassoon, angeles, California. The two horns, two trumpets, composer conducting two trombones and tuba, These are the first timpani, percussion, strings Chicago Symphony Orchestra performances

5 When Schoenberg began his poor acoustics. The orchestra was research for his Kol Nidre, he made up of players from the music studied the traditional text and department of Twentieth Century took issue with its premise that Fox, and Schoenberg wrote a letter “all obligations that have been to a studio executive thanking him assumed during the year are sup- for his help in supporting “this dig- posed to be canceled on the Day of nified achievement” and asking him Atonement,” as he put it in a letter to tell the musicians how pleased he to Paul Dessau years later, and was with their performance. decided to alter the words. He also dissected the traditional melody postscript on Brahms and with characteristic surgical preci- ASchoenberg. When Brahms sion, concluding that it was, in fact, died in 1897, Schoenberg was just not so much a melody as a “number twenty-two years old. He had only of melismas which resemble each been composing for some five years other up to a point.” As the basis of and had yet to write any of the his composition, Schoenberg “chose music we know today. He had once the phrases that a number of ver- shaken Brahms’s hand at a meet- sions had in common and put them ing of the Society of Composers into a reasonable order.” in Vienna. In recent years, he had In composing a new Kol Nidre, bought a ticket to hear each of Schoenberg was particularly eager the great man’s new works—the to “vitriolize out the cello sentimen- Double Concerto and the Fourth tality of the Bruchs, etc.,” referring Symphony among them—as they to Max Bruch’s popular 1881 Kol were premiered in Vienna, and he Nidre and distancing himself from snapped up the scores as soon as the world of late-nineteenth century they were published. romanticism he had already so deci- Two years after Brahms’s sively, even infamously, left behind. death, when Schoenberg intro- Schoenberg’s Kol Nidre is largely duced Transfigured Night, his first a tonal work, but it is also a stark, important work, he began his own strong modernist statement from singular journey into a new way of the man who gave us the twelve- writing music, and he left the world tone system. It was Sonderling’s of Brahms behind. Later, he often idea to begin the work with an mentioned his indebtedness to introduction based on the oral Brahms (along with Bach, Mozart, Jewish tradition of the Kabbalah. Beethoven, and Wagner), but the The following Kol Nidre text itself link between Schoenberg’s increas- is set as a formal dialogue between ingly advanced, atonal, and ulti- the speaker and the chorus. mately twelve-tone language and Little is known about the 1938 the old-world harmonies of Brahms premiere under the composer’s eluded most listeners. Then, in baton. Schoenberg wrote to his an essay begun in 1933 (five years music publisher that “the effect before he composed Kol Nidre) was great,” despite the ballroom’s and refined in 1947, Schoenberg

6 reaffirmed Brahms’s influence caused something of a stir at the on his own music, and stated his time, and although it may not have claim that Brahms was, in fact, significantly changed the way musi- more inventive in his use of rhythm cians viewed Brahms’s place in the and more complex in the way pantheon of great composers, it did he developed musical ideas than make people listen to Schoenberg’s Wagner. “Brahms the Progressive” own music differently. kol nIDre rabbi The Kabalah tells a legend: At the beginning God said: “Let there be light.” Out of space a flame burst out. God crushed that light to atoms. Myriads of sparks are hidden in our world, but not all of us behold them. The self-glorious, who walks arrogantly upright, will never perceive one; but the meek and modest, eyes downcast, he sees it— “A light is sown for the pious.” Bischiwo Schel Malo Uwischiwo Schel Mato In the name of God, we solemnly proclaim that every transgressor, be it that he was unfaithful to Our People because of fear, or mislead by false doctrines of any kind, out of weakness or greed: we give him leave to be one with us in prayer tonight. A light is sown for the pious, a light is sown for the repenting sinner. (Kol Nidre) All vows, oaths, promises and plights of any kind, wherewith we pledged ourselves counter to our inherited faith in God, Who is One, Everlasting, Unseen, Unfathomable, we declare these null and void. We repent that these obligations have estranged us from the sacred task we were chosen for.

(Please turn the page quietly.) 7 Chorus We repent. rabbi We repent. Chorus We repent. rabbi We shall strive from this day of atonement till the next to avoid such and similar obligations, so that the Yom Kippur to follow may come to us for good. Chorus All vows and oaths and promises and plights of any kind wherewith we pledged ourselves counter to our inherited faith in God, Who is One, Everlasting, Unseen, Unfathomable, we declare these null and void. We repent that these obligations have estranged us from the sacred task we were chosen for. We shall strive from this day of atonement till the next to avoid such and similar obligations, so that the Yom Kippur to follow may come to us for good. rabbi and Chorus Whatever binds us to falsehood may be absolved, released, annulled, made void and of no power. Chorus Hence all such vows shall be no vows, and all such bonds shall be no bonds, all such oaths shall be no oaths. We repent. Null and void be our vows. We repent them. A light is sown for the sinner. rabbi We give him leave to be one with us in prayer tonight. Chorus We repent.

8 luigi Cherubini Born September 14, 1760, Florence, Italy. Died March 15, 1842, Paris, France.

requiem in C minor

n 1841, shortly before Luigi Johannes Brahms, the most ICherubini died, he had his historically aware composer of portrait painted by his close friend, the nineteenth century, revered the popular neoclassical artist Cherubini, and he hung a copy of Jean-Auguste-Dominique Ingres. the Ingres painting on the wall (A detail of this painting appears of his study in Vienna (Cherubini above; a color reproduction appears was in select company: a portrait on page 7; Maestro Muti’s com- of Bach and a large white bust of ments on the music of Cherubini Beethoven were the only other begin on page 6.) The painting composer likenesses in the room). now hangs in the Louvre, where it Brahms, too, thought the muse is admired by millions of visitors ridiculous, and he covered her up each year. It has become the lasting with a piece of cardboard. Brahms image of a major composer who is owned and regularly studied scores regularly overlooked, if not nearly by composers whose names no forgotten today. After Ingres had longer meant anything to Viennese shown the portrait to Cherubini, he audiences, but he found Cherubini’s added the figure of a muse behind neglect particularly deplorable— the composer, laying a wreath on his and he was probably unnerved to head. Cherubini was furious when think that so impeccably trained he saw the finished painting— and polished an artist could fade according to Ingres, he stared at it from the public eye so quickly. for some time and then left without Born four years after Mozart, saying a word—claiming that Ingres and outliving Beethoven by fifteen, was out of line deciding who had Cherubini was a name to be reck- been blessed by the Muses, and he oned with for a good half century. stopped speaking to him for weeks. Beethoven, remarkably, said that

ComPoSeD onlY PrevIouS CSo InStrumentatIon 1816 PerFormanCeS four-part mixed chorus, two February 23 & 24, 1967, oboes, two clarinets, two FIrSt PerFormanCe Orchestra hall. Chicago bassoons, two horns, two January 21, 1817, paris. The Symphony Chorus, Carlo trumpets, three trombones, composer conducting Maria giulini conducting tam-tam, timpani, strings

aPProxImate PerFormanCe tIme 44 minutes

9 Cherubini was the greatest com- a grand time ridiculing Cherubini poser among his contemporaries. right down to the coarse Florentine Beethoven had written Cherubini accent with which he always spoke an outright fan letter about the French, but the obituary notice opera Medea in the 1790s. The two he wrote when the composer died men met when Cherubini visited in 1842 is filled with the praise, Vienna in 1805 and attended the insight, and astute judgment of one premiere of Beethoven’s Leonore. of history’s greatest critics acknowl- (Cherubini privately said he found edging a fellow giant. Beethoven’s vocal writing un- tutored.) When Cherubini’s Faniska herubini was born in Florence, was staged in Vienna in 1806, both Cwhere, as the son of a profes- Beethoven and Haydn were in the sional keyboard player, he began audience and spoke glowingly of lessons at the age of six and started the work. Mendelssohn admired rigorous training in counterpoint Cherubini the opera composer for two years later. His earliest compo- “his sparkling fire, his clever and sitions included masses and other unexpected transitions, and the liturgical works, and then, at the neatness and grace with which he age of twenty, his first opera. That writes.” Schumann, possibly antici- form proved to be his calling card, pating the day when people would and he enjoyed success with both no longer know Cherubini’s music serious and comic operas in Italy in any depth, said, “the more we and in London before moving to come to understand him the more Paris in 1786, where he lived for we come to respect him.” Bruckner much of the rest of his life. In Paris, learned how to write his own sacred he had a string of hits, including music by copying out movements of Lodoïska in 1791 and Medea in 1797 Cherubini’s masses to study. Verdi (decades later, Brahms still singled spoke glowingly of Cherubini’s it out as “the work we musicians work, and even Wagner, the great recognize among ourselves as the challenger of musical tradition, highest peak of dramatic music”). called him “certainly the greatest His fame continued to spread. Les of musical architects, a kind of deux journées was so popular in Palladio, rather stiffly symmetrical, Vienna that it was staged by two but so beautiful and so assured.” rival theaters on successive nights. Berlioz, a born rebel, initially His most celebrated works were his locked horns with Cherubini, so-called rescue operas, which were who was the director of the Paris particularly apt during revolu- Conservatory when Berlioz tionary times, when hairbreadth entered—they first came to blows escapes were everyday occurrences. over library rules—but he learned In the first years of the nineteenth immeasurably from the model of century, when Beethoven decided his teacher’s music and, in the end, to write an opera, Cherubini’s understood Cherubini’s true impor- works were the obvious models. In tance. In his Memoirs, Berlioz has fact, it was Emanuel Schikaneder’s

10 staging of Lodoïska in Vienna in Cherubini was commissioned 1802 that served as the immedi- to write the C minor Requiem by ate inspiration for Beethoven’s Louis XVIII—he had reclaimed Fidelio, the only rescue opera that the throne after Napoleon’s defeat is still regularly performed today. in 1814—who wanted to honor In the world of opera, Cherubini the anniversary of the execution was eventually overshadowed by a of his older brother, Louis XVI, new batch of young composers, but on January 21, 1817. This was he continued to flourish in other Cherubini’s first Requiem Mass (he forms (he finished a splendid string would write just one other, twenty quintet, the first in a projected years later). By choosing to write triptych, just before he died). When for chorus and orchestra without the sixteen-year-old Mendelssohn the added display of vocal soloists, went to visit him in 1825, he called Cherubini proved himself a master Cherubini “an extinct volcano, of concentrated power and classi- throwing out occasional sparks and cal poise—the most Palladian of flashes,” but he later realized that composers, as Wagner noted. This although Cherubini was no longer is music of the greatest economy, in the latest name in fashion, he was which every note and instrumental something more profound—a color is carefully chosen for maxi- genuine classic. mum effect. In its austere grandeur, and with its singular combination he Requiem in C minor, of passion and purity, Cherubini’s Tcomposed in 1816, stands at the C minor Requiem stands apart, as very peak of Cherubini’s achieve- one of the timeless monuments of ment. Beethoven said he found the sacred art. work more satisfying than Mozart’s Requiem. (In fact, Cherubini’s herubini begins with a mas- Requiem was sung at a memorial Cterstroke (and one that would service for Beethoven in Vienna later be attributed to Brahms in his shortly after his death.) Berlioz’s German Requiem) by choosing to obituary singled out the work’s create a special, dark, veiled sound “wealth of ideas, grandeur of form, world for the opening movement. nobility of style” and treasured its Cherubini completely omits violins, “immeasurable worth.” Schumann as well as all the high wind instru- said the piece “stands without ments. This is music of cello and an equal in the world.” Brahms bassoon melodies, brightened only conducted the Requiem on several by the burnished colors of the occasions, and clearly thought of it violas, divided into two parts. The as a model when he wrote his own voices never rise into the upper German Requiem some fifty years reaches of their registers. Even the later. “Cherubini,” he said, refer- timpani, when it enters, is muted ring specifically to the Requiem, with a piece of felt. The effect of “was the great master from whom beginning in near darkness is so everything has proceeded.” stunning that we cannot blame

11 Brahms, who greatly admired for subtle color, structural clarity, this score, for wanting to cre- and compositional mastery. The ate something similar in his own Offertory, another large movement requiem. Cherubini’s short second in interwoven chapters, is crowned movement, the Gradual, scored just by a display of contrapuntal writing for chorus and low strings, with as impressive as any in the litera- no winds at all, restricts our view ture, before or since—a triple fugue even farther as the music begins to on three subjects at “quam olim open up; it is like the drawing of a Abrahae.” The Sanctus is thrilling, curtain to prepare for the blast of bold, and majestic. The delicate the Dies irae. Pie Jesu—the dynamic range is For the opening of the Dies irae, piano to triple piano—returns to Cherubini has saved yet another the opening string sonority, with masterstroke—after a fortissimo divided violas and no violins. The call to attention from the horns, final pages of the Agnus Dei are trumpets, and trombones, he writes among music’s most magical: the a single, isolated crash from the chorus intones its parting words tam-tam. From there, the Dies on a monotone C, over and over, irae movement begins to unfold. as the orchestra slowly unwinds The Dies irae is a poem of eighteen through its last cadences. The powerful sentences. Most compos- effect is hypnotic and unforget- ers divide it into several separate table. It inspired a number of later movements—ten, in the case of composers, including Berlioz, to Verdi’s Requiem Mass. But, for try something similar, although Cherubini, it is a single large canvas none ever surpassed Cherubini’s of masterly overall design and vivid chilling combination of simplicity individual details, each an urgent and power. response to the text—a grand brass climax at “Tuba mirum,” postscript on art and friend- the sounding of the last trumpet Aship. Ingres sent Cherubini an in “Mors stupebit.” Everything apology for adding the muse to his from the tam-tam crash forward portrait. Cherubini, in turn, sent is carefully calculated, brilliantly the painter a three-voice canon paced, and dramatically apt. As inscribed to “Ingres amabile, pittor he moves toward the last lines, chiarissimo.” This tiny piece, dedi- Cherubini gradually relaxes the cated to a dear friend and beloved musical tension until he arrives painter, was his last composition. at a magnificent, spacious adagio What Cherubini did not know for “Lacrymosa.” For a generation was that his own tomb, in Paris’s of music-lovers who do not know Père Lachaise cemetery, would be Cherubini’s operas, this movement modeled after the Ingres portrait, alone gives a sense of his skill in complete with the muse. matching drama and music. Each of the following movements Phillip Huscher is the program annota- is composed with the same ear tor for the Chicago Symphony Orchestra.

12 reQuIem maSS

IntroIt anD kYrIe

Requiem aeternam dona eis Domine: Eternal rest give to them, O Lord; et lux perpetua luceat eis. and let perpetual light shine upon them.

Te decet hymnus Deus in Sion, A hymn, O God, becometh Thee in Sion; et tibi reddetur votum in Jerusalem: and a vow shall be paid to Thee in Jerusalem: exaudi orationem meam, O Lord, hear my prayer; ad te omnis caro veniet. all flesh shall come to Thee.

Requiem aeternam dona eis Domine: Eternal rest give to them, O Lord; et lux perpetua luceat eis. and let perpetual light shine upon them.

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

graDual

Requiem aeternam dona eis Domine, Eternal rest give to them, O Lord, and et lux perpetua luceat eis in memoria let perpetual light shine upon them. aeterna erit justus ab auditione mala The memory of the just lives eternally, non timebit. and he will not fear damnation.

DIeS Irae

Dies irae, dies illa, Dreaded day, that day of ire solvet saeclum in favilla: when the world shall melt in fire, teste David cum Sibylla. told by Sibyl and David’s lyre.

Quantus tremor est futurus, Fright men’s hearts shall rudely shift, quando judex est venturus, as the Judge through gleaming rift cuncta stricte discussurus! comes each soul to closely sift.

(Please turn the page quietly.) 13 Tuba mirum spargens sonum Then the trumpet’s shrill refrain per sepulcra regionum, piercing tombs by hill and plain, coget omnes ante thronum. souls to judgment shall arraign.

Mors stupebit et natura, Death and nature stand aghast, cum resurget creatura, as the bodies rising fast, judicanti responsura. hie to hear the sentence passed.

Liber scriptus proferetur, Then before Him shall be placed, in quo totum continetur, that whereon the verdict’s based, unde mundus judicetur. book wherein each deed is traced.

Judex ergo cum sedebit, When the Judge His seat shall gain, quidquid latet, apparebit: all that’s hidden shall be plain, nil inultum remanebit. nothing shall unjudged remain.

Quid sum miser tunc dicturus? Wretched man, what can I plead, Quem patronum rogaturus whom to ask to intercede, cum vix justus sit securus? when the just much mercy need?

Rex tremendae majestatis, Thou, O awe-inspiring Lord, qui salvandos salvas gratis, saving e’en when unimplored, salva me, fons pietatis. save me, mercy’s fount adored.

Recordare, Jesu pie, Ah! Sweet Jesus, mindful be, quod sum causa tuae viae: that Thou cam’st on earth for me, ne me perdas illa die. cast me not this day from Thee.

Quarens me, sedisti lassus: Seeking me thy strength was spent, redemisti crucem passus: ransoming Thy limbs were rent, tantus labor non sit cassus. is this toil to no intent?

Juste judex ultionis, Thou, awarding pains condign, donum fac remissionis, Mercy’s ear to me incline, ante diem rationis. ere the reckoning Thou assign.

Ingemisco, tamquam reus: I, felon-like, my lot bewail, culpa rubet vultus meus: suffused cheeks my shame unveil: supplicanti parce Deus. God! O let my prayers prevail.

Qui Mariam absolvisti, Mary’s soul Thou madest white, et latronem exaudisti, didst to heaven the thief invite; mihi quoque spem dedisti. hope in me these now excite.

14 Preces meae non sunt dignae: Prayers o’mine in vain ascend: sed tu bonus fac benigne, Thou art good and wilt forefend ne perenni cremer igne. in quenchless fire my life to end.

Inter oves locum praesta, When the cursed by shame opprest, et ab haedis me sequestra, enter flames at Thy behest, statuens in parte dextra. call me then to join the blest.

Confutatis maledictis, Place amid Thy sheep accord, flammis acribus addictis, keep me from the tainted horde, voca me cum benedictis. set me in Thy sight, O Lord.

Oro supplex et acclinis, Prostrate, suppliant, now no more, cor contritum quasi cinis: unrepenting, as of yore, gere curam mei finis. save me, dying, I implore.

Lacrimosa dies illa, Mournful day! That day of sighs, qua resurget ex favilla when from dust shall man arise, judicandus homo reus: stained with guilt his doom to know.

Huic ergo parce Deus. Mercy, Lord, on him bestow. Pie Jesu Domine, Jesus kind! Thy souls release, dona eis requiem. lead them thence to realms of peace. Amen. Amen.

oFFertorY

Domine Jesu Christe, Rex gloriae, O Lord Jesus Christ, King of Glory, libera animas omnium fidelium deliver the souls of all the faithful defunctorum de poenis inferni, departed from the pains of hell et de profundo lacu; and from the bottomless pit; libera eas de ore leonis, deliver them from the lion’s mouth, ne absorbeat eas tartarus, that hell engulf them not, ne cadant in obscurum: nor they fall into darkness, sed signifer sanctus Michael but let the holy standard-bearer Michael repraesentet eas in lucem sanctam: bring them into that holy light which quam olim Abrahae promisisti, Thou once didst promise to Abraham et semini ejus. and his seed.

Hostias et precis tibi Domine We offer Thee, O Lord, sacrifices and laudis offerimus: prayers of praise; tu suscipe pro animabus illis, do Thou accept them for those souls quarum hodie memoriam facimus: whom we this day commemorate;

(Please turn the page quietly.) 15 fac eas, Domine, de morte transire Grant them, O Lord, to pass from ad vitam. death to that life Quam olim Abrahae promisisti, which Thou once didst promise to et semini ejus. Abraham and his seed.

SanCtuS

Sanctus, sanctus, sanctus, Holy, holy, holy, Dominus Deus Sabaoth. Lord God of Hosts. Pleni sunt coeli et terra gloria tua. The heavens and earth are full of Thy glory. Hosanna in excelsis. Hosanna in the highest. Benedictus qui venit in Blessed is He who cometh in the name nomine Domini. of the Lord. Hosanna in excelsis. Hosanna in the highest.

PIe JeSu

Pie Jesu, Domine, dona eis Dearest Lord Jesus, give unto them requiem sempiternam. eternal rest.

agnuS DeI

Agnus Dei, qui tollis peccata mundi: Lamb of God, Who takest away the dona eis requiem. sins of the world: Give unto them rest. Agnus Dei, qui tollis peccata mundi: Lamb of God, Who takest away the dona eis requiem. sins of the world: Give unto them rest. Agnus Dei, qui tollis peccata mundi: Lamb of God, who takest away the sins of the world: dona eis requiem sempiternam. Give unto them eternal rest.

Lux aeterna luceat eis Domine: May eternal light shine upon them, O Lord, cum sanctis tuis in aeternum, quia with Thy saints forever, for Thou pius es. art kind. Requiem aeternam dona eis Domine: Grant them everlasting rest, O Lord; et lux perpetua luceat eis. and let perpetual light shine upon them.