#Latin Requiem Mass
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Award-winning composer breathes new life into classic horror movie 'Frankenstein'
Get your capes pressed and wigs brushed for this live LA Opera young vocalists' performance. The Frankenstein movie music score is based on the scene where a priest intones a prayer over a burial and the text of the Latin Requiem Mass-chilling #Halloween
The special two-day showing of the 1931 classic cult film Frankenstein is being brought to life in epic experiential form just in time for Halloween.
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#classic cult film#Conductor Michael Shapiro#Frankenstein movie#Frankenstein movie score#Frankenstein music#LA Opera#Latin Requiem Mass#popular horror films
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#on fb I gave this context but frankly I don’t think you guys need it#screenshots of despair#actually translated text from the Latin requiem mass#plus a royal Albert hall music stand and a mezzo’s elbow#I. a wretch.
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I regret to inform everyone that Aurora is back on her Catholic bullshit
#;;out of lavender#it's my fault#i went to see a performance of a requiem in a cathedral#which was gorgeous#and the latin#and the stained glass#and the giant organ#and the hot priest#just#aurora's going back to weekly mass#she's going to cantor#i'm not sure i can make that a verb#but i'm doing it#i'm also going to get to my askbox eventually#i know i still have compliments to give
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the comedy in hannibal is unparalleled:
The Lacrimosa (Latin for "weeping/tearful"), also a name that derives from Our Lady of Sorrows, a title given to The Virgin Mary, is part of the Dies Irae sequence in the Roman Catholic Requiem Mass.
#this dramatic bish#as a pianist this floored me#hannibal's inner monologue is mozart's requiem#simply bc will missed an appt#SO DRAMATIC#hannibal memes#hannibal meta#hannibal crack#hannigram#hannibal x will#hannibal lecter#hannibal#will graham#nbc hannibal#hannibal nbc#murder husbands#mozart#lacrimosa#requiem#Sorbet#classical music#meme
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The commemoration of all the faithful departed is celebrated by the Church on November 2, or, if this falls on a Sunday or a solemnity, the feast is celebrated on November 3.
The Office of the Dead must be recited by the clergy on this day, and all the Masses are to be of Requiem except one of the current feast, where this is of obligation.
Through prayer, intercessions, alms, and visits to cemeteries, people commemorate the poor souls in purgatory and gain them indulgences.
The theological basis for the feast is the doctrine that the souls which, on departing from the body are not perfectly cleansed from venial sins, or have not fully atoned for past transgressions, are debarred from the Beatific Vision, and that the faithful on earth can help them by prayers, almsgiving, and especially the sacrifice of the Mass.
In the early days of Christianity, the names of the departed brethren were entered in the diptychs.
Later, in the sixth century, it was customary in Benedictine monasteries to hold a commemoration of the deceased members at Whitsuntide.
In Spain, there was such a day on Saturday before Sexagesima or before Pentecost, at the time of Saint Isidore (d. 636).
In Germany, there existed (according to the testimony of Widukind, Abbot of Corvey, c.980) a time-honoured ceremony of praying to the dead on October 1. This was accepted and sanctified by the Church.
Saint Odilo of Cluny ordered that the commemoration of all the faithful departed be held annually in the monasteries of his congregation.
From here, it spread among the other congregations of the Benedictines and among the Carthusians.
Of all the dioceses, Liège was the first to adopt it under Bishop Notger (d. 1008).
It is then found in the martyrology of Saint Protadius of Besançon (1053-66).
Bishop Otricus (1120-25) introduced it into Milan for October 15.
In Spain, Portugal and Latin America, priests say three Masses on this day.
A similar concession for the entire world was asked of Pope Leo XIII; he would not grant the favour but ordered a special Requiem on Sunday, 30 September 1888.
In the Greek Rite, this commemoration is held on the eve of Sexagesima Sunday, or on the eve of Pentecost.
The Armenians celebrate the passover of the dead on the day after Easter.
Catholic Encyclopedia, copyright 1907.
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Dies Irae
Eight notes.
Hell, this theme can be identified in fewer, especially when you know what you’re looking for. But eight notes is about all it takes, and you’ve got yourself one of the most iconic themes surrounding death, horror, and the macabre.
Even if you don’t know it by name, you almost certainly know it by sound.
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This is the first post the month of spooky and macabre music for Spooky Season! I wanted to start off with a classic and widely-used piece (or chant in this case). I’m planning a few of these, so keep an eye out throughout the month!
Art by @nynehells , go check them out!
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What is the Dies Irae?
From Latin, “Day of Wrath,” this sequence is dated as far back as the 13th century. While who formally wrote the chant is not entirely known (originally attributed, however, to Thomas of Celano, but that is now debated), the text is clearly based on a Biblical passage, Zep 1:14-16. Below is both the Latin-English translation of the Dies Irae’s opening stanza, and the referenced Bible text.
The poem does in fact end on a more hopeful note, but the opening lines are harrowing, and where a lot of music draws inspiration.
This is the most typical variation of the chant, in d minor. Already off to a great start, as d minor is often called one of the darkest and saddest keys in the circle. The closeness of the starting pitches (Me-Re/F-E is only a half step) adds tension, and the whole step resolution to our home note (Te-Do/C-D) is weak, leaving our ears a bit put off. We don’t travel far - only the distance of a Perfect Fourth, another interval full of tension, with little release. All this combined with such intense lyrics, it’s no wonder the music is so commonly used with death. Sung as a slow chant, and you’ve created a menacing piece of music that has haunted the world over for literal centuries.
Dies Irae in Music
The Dies Irae is ubiquitous in classical music and horror/thriller scores. We’ll take a quick look at some of the more popular uses of the piece! Two classical pieces and two modern pop culture references.
Hilariously, for purposes of this post, the first two examples don’t directly use the Dies Irae chant; instead, they set the text to frenetic, intense music (and I also like them :) )
Requiem - Mozart
The Dies Irae is part of the Ordinary, and so it’s included in Requiems, which is a Mass for the Dead. Mozart’s Requiem was the last piece he worked on before his death (passed before completing it), and it’s a huge choral work.
The Dies Irae appears relatively early on, and it’s a mood changer. Fast, aggressive, chaotic…it truly sounds like impending doom.
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The goal of this movement seems to make audiences feel the frantic energy of the text. It SCREAMS Day of Wrath!!
Requiem - Verdi
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Another use of the frantic energy depicted in the text. Verdi’s Dies Irae is also loud, bombastic, and quite literally hits you hard right away. Hear that gun-shot bass drum and timpani! The strings absolutely fly by; Intense and fast chromatic lines in the trumpets sound as though they’re heralding in one’s doom. (This one’s my favorite btw)
Common to both of these examples: dynamics are turned up to 11, their tempi are fast and relentless, and both use wicked scalar motion which, combined with the speed, create a blast of sound that simply pummel listeners.
Some more recent uses of the Dies Irae in media up next! For these two, we actually hear the chant proper, not use of the text.
The Shining Theme
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I mean, it's quite literally the Dies Irae! This movie even uses the second half of the chant that a lot of pieces and references don't get into. Right off the bat, hearing the Dies Irae, we know this film is going to include a lot of death (which is exactly what occurs). The main theme is played on this funky organ/synth, adding atmosphere, with little room for release.
Sweeney Todd
So, I’m gonna just link Sideways’ video on this musical, because he just does a better job than I ever could. Please watch this video because it’s oh so good.
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The TL;DW of the video is: the Dies Irae is used throughout the music of Sweeney Todd. It’s literally baked into (pun intended) the score. Invert notes here, play it backwards there, change the rhythm a bit, or reharmonize it this way, and you can create an entire musical that hints at the themes of death right off the bat! It’s very clever writing.
Closing Thoughts
It’s obviously very difficult to separate the Dies Irae and the concept of Death, since even from its inception the text and music has, uh, been like that! The intense energy of the text lends itself to frantic music, and composers have taken advantage of this for a long time. Even when just hinting at the chant, the music takes on a more sinister, intense mood, and composers can take and morph the primary chant into what they want, while still implying Death.
I actually have two more classical pieces that use the Dies Irae that I’d like to talk about in a bit more depth separate from this post (plus this one is already long as is!). One of them is often cited as one of the first and most known uses of the chant to imply character death in the music; the other uses the theme a bit differently. I’m just excited to write and look at a bit more because they’ve got spooky and macabre elements!
Thanks for listening and your time!
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迷宮電子回廊
Labyrinth Corridor, Tempting Souls
(Ode to Joy, free me)
(Ode to Joy, free me)
Ah, a melody sinking into overwritten myths
(Ode to Joy, free me)
Now, shall we set free the floating corridors in the digital realm?
(Love asks, "Is punishment justified?" Sing the Bell)
While playfully judging one another,
Beyond the anonymous Veil,
We become spirits
Dancing in the final judgment Underground
Surrounded by faceless choir, a lonely soloist
Sing aloud with great joy, you who have no place to go, for this is the truth
The era's agitator has raised the curtain to joy
Let the audience come, to the new world where zeros and ones bloom and dance
(Together, in the labyrinth corridors, sing the Bell)
Ah, the rearranged order is already meaningless
(Ode to Joy, free me)
Now, let us connect our thoughts with a sweet poison corridor
(Love asks, "Is punishment justified?" Sing the Bell)
A game more cruel than dreams
Everyone will come to realize
With their prayers,
The ferocious surface world of the ego
Let us resonate with mercy to the faceless choir
A forbidden salvation, the music pouring into the weak flock, is the light
Lost in fragile waves, the era's lost child
Come now, to the new world confined by zeros and ones
(Together, in the labyrinth corridors, let your tempting soul love...)
Captivated by the cracks, and still...
Falling further and further
Examine the lamentation, foolish schemes that drive one mad
Now, ask your heart right here and now,
Do you believe in the almighty existence that should be ruled?
Do you believe,
Do you not believe,
Do you believe?
(Ode to Joy, the maze's love asks, "Is punishment justified?" Sing the Bell)
(Ode to Joy, lured into the corridors)
A game more cruel than dreams
Everyone within the Veil will surely wish for it
A perfect world toward the myth
Let us resonate with mercy to the faceless choir
A forbidden salvation, the music pouring into the weak flock, is the light
Lost in fragile waves,
The era's lost child
Come now, to the new world confined by zeros and ones
(In the labyrinth corridors, love becomes a perfect world)
t/n: 'An die Freude, Libera me' means, the word 'An die Freude' is a german phrase which means "to joy" or "Ode to Joy", which was later set to music by Ludwig van Beethoven in his Ninth Symphony. 'Libera me' is a Latin phrase means "Deliver me" or "Free me" often used in the context of religious texts, particularly in the Requiem Mass or Missa pro defunctis in Latin, it is a Catholic liturgical service held to pray for the souls of the deceased.
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"His voice quavering, the son of Seamus Heaney has told mourners of his father's final words, minutes before his death.
At a requiem mass in Dublin, crowded with mourners, Michael Heaney described how the poet and Nobel laureate, who died last week at the age of 74, had chosen Latin for the message to his wife, Marie. His last words were "in a text message he wrote to my mother just minutes before he passed away, in his beloved Latin and they read: 'Noli timere' – 'don't be afraid.'"
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I don't really like when people say things like "there was no need to be this dramatic" or "it had no right to be that epic" about videogame soundtracks.
listen.
If you can make me fire that gun to the beat because it's that good.
If you can make me tense up because you refuse to make that beat drop until it's gonna make me scream when it does.
If you can make me memorize the lyrics to the goddamn requiem mass in latin so that I can sing along because I have to sing along
then you have every right and in fact are required to do it
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You’re listening to Mozart’s last written notes 🎶✝️
This beautiful passage, Lacrimosa, belongs to the Requiem written by the composer in his last months of life. In fact, all he managed to write before his death was the Introitus, Kyrie and Lacrimosa, just three out of many passages corresponding to a full traditional mass for the dead in Latin language.
This composition is one of the most thrilling pieces of music ever written, connecting the concepts of life and death through music in a way never seen before at the time, and a crucial rise for this type of music structure that gives birth to other famous Requiem masses such as Verdi’s and Faure’s.
Mozart died in 1791 at 35 years old having written more than 600 works through a life that wasn’t easy in any sense. Alfred Einstein’s biography of Mozart is one of the best out there, if you are interested in discovering more about this prestigious composer.
His life and work gave music and society more than we could have ever asked for.
#classical music#music#classical composers#art#spirituality#inspiration#mozart#requiem#wolfgang#death#mass#church#christianity#spiritual#choir#choir music#composition
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Good Omens S3 speculation playlist
These pieces have sort of drifted into becoming the soundtrack for all my wild speculations about what Season 3 might bring, acting as placeholder music until David Arnold works his Euterpean magic -- see what you think! :D
Dies Irae (Karl Jenkins Requiem (link goes to youtube playlist of the full album, 'cos it's awesome and seriously worth listening to)) -- this is far and away my favourite version of the Dies Irae; it feels particularly appropriate for GO because it's borderline bebop and sounds like something Crowley'd have playing loudly in the Bentley while driving like fury to save the world (or possibly invading Heaven to rescue his True Love) if he felt Queen wouldn't quite cut it. Plus, per this post, the four-note Dies Irae motif appears a few times in the score to S1 (appropriately enough!) -- why not try listening to the OST again and finding them all? ;D
Dancing Mad (Nobuo Uematsu FF6) -- bit of an oddball association, I know; I happened to be reading a post making jokes about Kakfa (as in Franz Kakfa) shortly after the release of S2, only I mis-parsed 'Kafka' as 'Kefka' (as in Kefka Palazzo) and was promptly deluged with mental images of the Ineffables being badass adorable together to the tune of Dancing Mad! XD Plus, I like the image of Heaven suddenly hearing the organ notes at 11:32 crescendoing in the background, and the elevator doors slamming open right when the vocal-ish bit kicks in at 11:51 to reveal a certain VERY cheesed-off serpent who's in a rescuing mood :D (He does love to be dramatic, after all ^^)
Adiemus (Karl Jenkins Symphonic Adiemus) -- I just really like this track, and it feels kind of appropriate for a moment of renewed hope and building optimism after a moment of what Tolkien called 'eucatastrophe' and TVTropes calls 'Near Villain Victory' -- something we're almost certain to get in S3
In Caelum Fero (Karl Jenkins Symphonic Adiemus) -- from the same album as Adiemus above (In Caelum Fero is the first track, actually, so I've make the link one that takes you to the start of the playlist). It sounds threatening and dramatic and hopeful by turns -- appropriate for the Apocalyptic situation that's brewing for S3 -- and the title translates from the Latin as 'I will bear you to Heaven', which matches up to The Final Fifteen in two or three different ways! ;_; (#FuckTheMetatronWithACactus)
Sanctus (Karl Jenkins The Armed Man: A Mass For Peace) -- ever since I first heard this track waay back in 2001, I've associated it with the image of hordes of angels marching to war; it certainly sounds ominous enough!
I'll Be Your Mirror (Velvet Underground) -- I got into Velvet Underground entirely because of Good Omens! I love this track in particular because it sounds so utterly perfect for one of the Ineffables trying to bolster the other's confidence (in my imagination, it's usually Crowley trying to boost Aziraphale, 'cos that poor angel's self-esteem is atrocious :( *hugs*)
Pale Blue Eyes (Velvet Underground) -- Crowley's fave VU song, I gather :D Plus, despite the title, this particular love song was apparently written for someone with hazel eyes (just like our angel!) :D
I Found A Reason (Velvet Underground) -- I can't offhand remember seeing this song mentioned in fandom discussions of VU, which seems a bit of a shame; it feels just so darn PERFECT as a summary of how the Ineffables feel about each other! <3
Edit/addition 18/02/2024:
The Dark Morris Song (Steeleye Span, Wintersmith album) -- this one's an absolute bop, is connected to Discworld (so Aziraphale would probably approve!) and is very thematically appropriate for the Ineffable Husbands; Pterry thought up the Dark Morris (danced in secrecy and silence, in black costumes, deep in the forest, to welcome the winter -- first mentioned in Reaper Man, becomes a plot point in Wintersmith) as a counterpart and counterbalance to the traditional Morris dance to welcome the summer. The whole 'balance of light and dark' thing is a big part of the Ineffables' story <3
The Good Witch (Steeleye Span, Wintersmith album) -- also a very good match for the Ineffable Husbands' vibe; the first half of the song is about a witch being good and loving and caring even if she is 'ugly' or gets tagged as 'wicked' for whatever reason (A. J. Crowley, anyone???), and the second half is the actual Terry Pratchett doing a spoken-word reading of his passage about what 'cackling' means for Discworld witches -- which matches up uncomfortably well with what the impossibly high standards Heaven imposes on Aziraphale have already done to his psyche in terms of c-PTSD and compassion fatigue, and what they might still do in the worst-case scenario...
Stranger In Paradise (Alexander Armstrong version) -- I just feel like this coincidentally matches the Vibes (tm) of bits and pieces of the Ineffable Husbands' story! "Won't you answer the fervent prayer/Of this stranger in Paradise/Don't send me in dark despair/From all that I hunger for!" -- The Final Fifteen/Ineffable Breakup, anyone? "If I stand starry-eyed/That's a danger in Paradise" -- danger of angel/demon relationships being discovered. "I saw your face/And I ascended" [...] "Somewhere in space/I am suspended/Until I know/ There's a chance that you care" -- bits of 'Before the Beginning' and The Final Fifteen! Plus, the title alone feels perfect for Azzy's feelings/situation at the end of S2... Brb, crying!
#good omens#good omens meta#sort of#music#karl jenkins#adiemus#dies irae#the armed man#the armed man a mass for peace#velvet underground#the velvet underground#i'll be your mirror#pale blue eyes#i found a reason#dancing mad#steeleye span#wintersmith#the good witch#terry pratchett#sir terry pratchett#pterry#gnu terry pratchett#fuck the metatron#alexander armstrong#stranger in paradise
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Personnel File 6: Luche Lazarus
We're trying to speed things up a little so that we don't post poor Tredd directly on the first day of Legends Week, which is why this is a bit early for once.
Let's take a look at the Kingsglaive's (unofficial?) second-in-command, who followed his commander into treason and burned brightly, if briefly. Thanks as always to @capsource for all the stills unless otherwise noted.
From the Facebook blurb:
From the tumblr blurb: A man who holds a leader-like position in the Kingsglaive. His intellect and always composed nature have earned him the trust of his fellow glaive and he is a very methodical person.
Name: Luche - Perhaps a phonetic spelling of Luce (Latin and Italian) in the ecclesiastical/italian style, a word meaning light. Derived from luceo (I shine, I become visible), and lux (light, life, glory, sight). In the ecclesiastical context, both are used in the phrase from the Requiem mass: Let perpetual light shine on them (Et lux perpetua luceat eis).
Lazarus - Hebrew via Latin via Greek - Lazarus is the Christian Bible form of the Hebrew name Eleazar, meaning God has helped, where it is the name of two prominent figures - one a friend of Jesus whom he raised from the dead, the other a fictional beggar who goes to heaven after death while the man who refused to help him is sent to hell (and thus https://en.wiktionary.org/wiki/Lazarus_layer, from Marx).
It later spawned the term lazar, another word for leper via the Order of St. Lazarus, a hospitaller and military organization whose mission was to treat those with leprosy founded in Jerusalem, was ousted from there and continued in mainland Europe, resisting orders to merge or disband from the pope, instead turning to support from the Kings of France, etc.
Equipment: -Battle Uniform: Luche wears the flame-variation of the Glaive uniform: the garland-patterned dickie attached with braided leather underarm straps; the two-part curved pauldron on the left shoulder with a raised silver flame-pattern held in place by a wide, cross-body leather strap; the Kingsglaive badge on the right breast; one elbow brace/armor on each elbow; and there’s not belt, but instead he hangs his sheath directly from the cross-body strap that keeps the pauldron attached, which causes the sheath to hang behind his body.
He also appears to wear the version that has a belt underneath his jacket that is packed full of small pouches, and a brace of throwing daggers around his right thigh. All of these are standard on this uniform set (though a few like Sonitus seem to wear a belt and no thigh daggers with this get-up). Luche also has some sort of thin dangling straps behind his shoulder like the ones hanging from Libertus’s shoulder but longer, and worn where Nyx wears his ribbons.
Luche is one of the few who doesn't wear their face cloth- perhaps to better issue clear commands.
A few of his clones in the first battle (distinguishable from Luche by their varied blades and the fact they wear their face cloths), seem to have the straps as well.
[[Luche Clones - note the different blades. But they demonstrate his uniform parts well - the straps and a bead on the glaive with the standard blade, and the underbelt and thigh holsters on the glaive with the dark blade with a silver edge.]]
Luche’s blade is long and thin, with a slight curve not unlike Nyx’s Galahdan kukri, but without the reinforced spine or hook at the base and has a similarly thin black and silver hilt. It seems to match Pelna’s, what little we see of it, as well as the traitor glaive whose neck Nyx snaps on the airship.
Luche's hair is similar to Nyx and Libertus, with the long bangs pulled back from the forehead, though of course he lacks the braids or longer hair in back.
- Casual - Luche wears a front-fastend shirt in the classic Insomnian black and silver that seems fairly nice. It has reflective wing- or flame-like patterns along the side. The closures almost resemble the Glaive uniforms or a variety of simple frogs as found in the Tangzhuang, etc. Axis, Sonitus, Tredd, and at least one other unnamed glaive seem to wear a similar garment to this under his uniform, rather than the standard glaive blade whose hilt peeks above the collars of other uniforms, as Luche, indicating he, like Crowe, Nyx, and probably Pelna, is just wearing half his uniform to this hangout.
- Standard Uniform - Luche’s standard uniform is just that, standard, down to the gloves. The one exception is the silver lines between the buttons on his chest - a detail he shares with Nyx and Libertus alone, perhaps a sign of rank.
Personality: Luche is someone who stays calm under pressure, as befits someone in command, though he seems fairly friendly with most of the glaive. He has an eye for politics and a tendency toward sarcasm. His taunting of Nyx with Crowe’s death could be a sign of a strategic mind or indicate a cruel or ruthless streak. Luna is able to use his desire for power and resentment of his perception as unworthy to goad him into putting on the ring and burning himself.
Rank: Luche is the glaive most often seen in command. He orchestrates the glaives throughout the first battle, as well as providing the after action report afterwards. During the assault on the airships, he gives command to Nyx, which implies he has authority to pass field command.
Relationships:
- Loyal glaives - Luche is shown with Nyx and the others at Yamachang’s, so he’s part of their friend group on some level, though he does stand to the side while the others are sitting down, so it could be that he’s not that close. Perhaps he pulled away as he went deeper into the traitor’s plot? It’s fair to assume that being from Galahd like Nyx and Libertus, he has some history with them.
Luche is the one who shoots Nyx with the hollow points at the ambush point, waiting until Nyx sees him before shooting, and takes credit for being the one to kill Crowe, which he taunts Nyx with, so it seems either not all is good between them, or he's overcompensating to deal with killing them.
-Traitors - Luche doesn’t interact directly with the other traitors, though he’s clearly working with them, as evidenced by his behavior in the briefing room, when he riles up Libertus before Tredd joins in. He stands with them as they watch the announcement of the treaty, but doesn’t actually speak or interact with them. How closely did the fellow traitors work together?
- Drautos - Drautos seems to be directly communicating with only Luche during the Glaive's opening battle, and asks Luche for the report as soon as he gets on scene, so Luche seems to have Drautos’ trust and respect. Luche knows about the surrender terms, presumably from Drautos, and the others believe he has the trust and/or clearance from Drautos to know. Luche is also quick to support Drautos’ orders in the briefing room, though perhaps his alternative motive is also to sow doubt among the other glaives.
Death: Luche is burned to the death by the Ring of the Lucii after he takes it from Luna and puts it on after Luna goads him by talking about the power it conveys. It’s odd that the ring burns him completely and he cannot remove it, while Ravus can. Perhaps the ring and the kings resented his actions against his liege more than Ravus’s attack against a declared enemy, or perhaps it was their bloodlines, as Ravus was betting on.
Behind the Scenes: Luche was modeled (face and mocop) on Greg Blackford, who has done some other small roles and modelling. Luche’s Voice Actor is Todd Haberkorn, who has had an extensive career voicing many games (including additional work on Comrades) and anime (including Natsu from Fairy Tail and others, too many to list).
Thanks for joining us on another deep dive, and as always, we would love to hear your thoughts and theories about Luche, or even if you notice something we missed.
Best of luck in all your creating of theories, stories, art, and more.
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Song choices
Just some ramblings behind my current au on ao3, you can find it here if you're interested
you are my sunshine my only sunshine
The song itself is rather heartbreaking and melancholic, which does set the tone of the story. Though Joker gives Medea the nickname 'sunshine', her life is far from being very bright. In a way, Joker is very possessive of his 'sunshine', as he grows jealous of it being turned towards others, and is fiercely determined for her to retain her smile. Nobody can take it away but him. And only him.
lacrimosa
Latin for weeping/sorrowful. It's also a name for 'Our Lady of Sorrows' which is given to the Virgin Mary. Being a lady of sorrows seemed rather fitting for Medea, matching her mood for much of this piece. Interestingly enough, lacrimosa is also a part of a sequence for a mass.
I was looking at the text of it, and while it wasn't intended, the stanzas seemed to also fit – with Medea being granted her eternal rest at the very end.
Latin
Lacrimosa dies illa
Qua resurget ex favilla
Judicandus homo reus.
Huic ergo parce, Deus:
Pie Jesu Domine,
Dona eis requiem. Amen.
English
Full of tears will be that day
When from the ashes shall arise
The guilty man to be judged;
Therefore spare him, O God,
Merciful Lord Jesus,
Grant them eternal rest. Amen.
confessions of a broken heart, father to daughter
The last part in the series looks at each of Medea's father figures regardless if she or they acknowledge it. But the title of this actually isn't a song, rather it's inspired by Lindsey Lohan's "Confessions of a broken heart (daughter to father)". Since father and daughter swap places in the fic title, it focuses on each of her fathers' POV on her.
#a child of sorrows au#jason todd#medea#fem jason todd#my writing#in which Joker is Medea's bio dad#tragedy#late at night musings
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Dies Irae, or Day of Wrath
I have been thinking about this for weeks, and I’m just going to dump out the jumble of thoughts in my head, without necessarily trying to come to any kind of conclusion. I am not a musicologist or a music historian, just a former orchestra nerd who watched Amadeus probably a few dozen times as a teenager (30 years ago lol), so grain of salt and all that.
Dies Irae! Blackbeard’s dramatic theme! Sounds amazing as the backdrop to the Hot Topic Boat, and also the backdrop to Black Pete’s 1000% bullshit Blackbeard story!
So there’s the first thing, right? It’s the music for the legend, not the guy. It’s big blustery music that goes with a big blustery persona, in contrast to the tenderness of Gnossiene #5.
It’s also, of course, just a little bit anachronistic: composed by Mozart in 1791 as part of the Requiem that was unfinished at the time of Mozart’s death. Not quite as anachronistic as Gnossiene, but not period either. (As far as I can tell, the only classical music in the soundtrack that’s actually period is a Telemann concerto that I think plays during one of the King George bits.)
And Dies Irae does actually translate to Day of Wrath; it’s a medieval Latin text (ecclesiastical Latin, even!) about the judgement day, used in Catholic funeral masses for centuries until the reforms of Vatican II in the 1960s.
The day of wrath, that day,
will dissolve the world in ashes:
(this is) the testimony of David along with the Sibyl.
How great will be the quaking,
when the Judge is about to come,
strictly investigating all things!
Etc, etc. Very dramatic, death, judgement, fire. Again, works perfectly with a guy with a head made of smoke, flaming eyes, big scary flag, yadda yadda.
The other thing about the Requiem is the unfinished part: famously, it was one of the last pieces of music that Mozart wrote, and in fact only the first part of it was fully completed, so even this part was missing some of the final touches. And it’s got all this mythos around it, mostly because his wife needed for him to have finished it so she could get paid the rest of the commission, but then all of the mythology about whether he thought he was being poisoned, or being paid to write his own funeral mass, etc, etc.
Which brings me back around to Amadeus, because that’s the most popular version of that myth, based on a play which got turned into an opera that got turned into a play that became a movie. (Which as I said, I saw a bunch of times as a teenager. Yes, we were a nerdy household.)
It’s music that goes with a legend, an idea of a genius and how he fell!
And also, and this may be one of those [I’ve connected the dots/you haven’t connected shit] moments, but: every time I watch the manic montage in the party boat, it reminds me of something in Amadeus. It’s been enough years since I’ve watched it that I couldn’t tell you the exact scene, but something with the fisheye lens and the costuming and the face powder, and then specifically the playing with the coat as if pretending to fart? Definitely an Amadeus thing.
Something about someone who is at the peak of his game, professionally, but also perceived as being a little bit out of control? I dunno. Someone who is more myth than man? Perhaps.
(Also something something Salieri - Izzy something something?)
The music choices are just all so INTERESTING, is what I’m saying.
#my friend Jaz noted that it's also a Final Fantasy theme?#which is hilarious#Mozart is always a solid choice#I put the Lacrimosa onto my fic playlist#ofmd#ofmd meta#this has all been rattling around in my head for weeks#the bombast of it all#and then the meta level of the legend
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It’s none of my business, and I was never even close to this person, and I have no evidence that what she is doing with her life now isn’t just as meaningful, and goodness knows I’m not making music like I once did, and am also pretty boring, but. I feel weirdly disappointed that a person I went to college with is no longer composing and is, as far as I can tell from social media, mostly occupied with being a suburban mom and wife of some kind of finance man. Again, absolutely something I have no business being disappointed by, and a valid life choice. When we were in college, she wrote a requiem for unaccompanied chamber choir. It used traditional latin requiem mass texts and these very spare, crystalline harmonies, until it closed with a setting of Dylan Thomas’ “And Death Shall Have No Dominion.” Lux aeterna ended so so gently and there was a silent moment and then the choir switched to english and in came all this rich gorgeous dissonance and I remember just being dissolved by it.
#to write that and then not write music!#but I also wrote stuff in college (not music) and then never again#and had five-hour piano practice sessions in college and then never again#a million 'better' composers have written requiems but hers remains one of my favorites#being there for the premier might have been part of it#the magic of being in the room when a piece of music that didn't exist before is performed for the first time
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RIP (Requiescat in Pace)
The abbreviation frequently found on gravestones has an #ancient history tied to Catholic funeral ceremonies. Found on gravestones throughout the world, R.I.P. is an abbreviation that has a rich history. The letters stand for a Latin phrase, requiescat in pace. The direct translation in English is “rest in peace,” though the Latin words are actually part of a much longer prayer for the deceased.
The first use of the Latin phrase dates to the 8th century and is meant to be a prayer for the deceased person, praying that they may experience eternal rest in #Heaven. It corresponds with the Catholic belief in #purgatory and the phrase remains a central part of Catholic #funeral ceremonies today.
The prayer is most commonly found in the following verse and response: #Requiem æternam dona ei, Domine ℟. Et lux perpetua luceat ei: ℣. Requiescat in pace. ℟. Amen. ℣. Eternal rest, grant unto him/her, O LORD, ℟. And let perpetual light shine upon him/her. ℣. May he/she rest in #peace. ℟. Amen.
This #prayer is also frequently set to music, especially in #Latin “Requiem” Masses. Composers such as Bach and Mozart created their own compositions that feature this prayer.
Text from Catholic Imagery - Facebook & Instagram.
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