Dies Irae - Day of Wrath
Oct 31, 2018 22:15:25 GMT
Post by Admin on Oct 31, 2018 22:15:25 GMT
Dies irae (Latin pronunciation: [ˈdi.ɛs ˈi.rɛ]; "Day of Wrath") is a Latin hymn attributed to either Thomas of Celano of the Franciscans (1200 – c. 1265) or to Latino Malabranca Orsini (d. 1294), lector at the Dominican studium at Santa Sabina, the forerunner of the Pontifical University of Saint Thomas Aquinas, Angelicum in Rome. The hymn dates from at least the thirteenth century, though it is possible that it is much older, with some sources ascribing its origin to St. Gregory the Great (d. 604), Bernard of Clairvaux (1090–1153), or Bonaventure (1221–1274).
It is a Medieval Latin poem characterized by its accentual stress and rhymed lines. The metre is trochaic. The poem describes the Last Judgment, trumpet summoning souls before the throne of God, where the saved will be delivered and the unsaved cast into eternal flames.
The hymn is best known from its use as a sequence in the Requiem (Mass for the Dead or Funeral Mass).
Use in the Roman liturgy
The Dies irae has been used in the Roman liturgy as the sequence for the Requiem Mass for centuries, as evidenced by the important place it holds in musical settings such as those by Mozart and Verdi. It appears in the Roman Missal of 1962, the last edition before the implementation of the revisions that occurred after the Second Vatican Council. As such, it is still heard in churches where the Tridentine Latin liturgy is celebrated. It also formed part of the traditional liturgy of All Souls' Day.
In the reforms to the Roman Catholic liturgy ordered by the Second Vatican Council, the "Consilium for the Implementation of the Constitution on the Liturgy", the Vatican body charged with drafting and implementing the reforms (1969–70), eliminated the sequence as such from funerals and other Masses for the Dead. A leading figure in the post-conciliar liturgical reforms, Archbishop Annibale Bugnini, explains the rationale of the Consilium:
It is a Medieval Latin poem characterized by its accentual stress and rhymed lines. The metre is trochaic. The poem describes the Last Judgment, trumpet summoning souls before the throne of God, where the saved will be delivered and the unsaved cast into eternal flames.
The hymn is best known from its use as a sequence in the Requiem (Mass for the Dead or Funeral Mass).
Use in the Roman liturgy
The Dies irae has been used in the Roman liturgy as the sequence for the Requiem Mass for centuries, as evidenced by the important place it holds in musical settings such as those by Mozart and Verdi. It appears in the Roman Missal of 1962, the last edition before the implementation of the revisions that occurred after the Second Vatican Council. As such, it is still heard in churches where the Tridentine Latin liturgy is celebrated. It also formed part of the traditional liturgy of All Souls' Day.
In the reforms to the Roman Catholic liturgy ordered by the Second Vatican Council, the "Consilium for the Implementation of the Constitution on the Liturgy", the Vatican body charged with drafting and implementing the reforms (1969–70), eliminated the sequence as such from funerals and other Masses for the Dead. A leading figure in the post-conciliar liturgical reforms, Archbishop Annibale Bugnini, explains the rationale of the Consilium:
They got rid of texts that smacked of a negative spirituality inherited from the Middle Ages. Thus they removed such familiar and even beloved texts as Libera me, Domine, Dies irae, and others that overemphasized judgment, fear, and despair. These they replaced with texts urging Christian hope and arguably giving more effective expression to faith in the resurrection.
[Emphasis - The Catacombs]