Dies Irae

(from "Requiem")

Voicing: SATB

Composer: Michael John Trotta

$3.10

Pulsating rhythmic ostinatos, cluster harmonies, and soaring soprano lines are all present in this exciting a cappella concert work. Based on the 13th-century Dies Irae chant, the exciting minor texture contrasts driving rhythms and beautiful legato singing while remaining accessible to most choirs.

Dies Irae
Michael John Trotta

Dies Irae – Michael John Trotta

Pulsating rhythmic ostinatos, cluster harmonies, and soaring soprano lines are all present in this exciting a cappella concert work, possessing all the elements you’d expect from the composer of Veni, Veni Emmanuel. Based on the 13th-century Dies Irae chant, the exciting minor texture contrasts driving rhythms and beautiful legato singing while still remaining accessible. A perfect way to showcase your choir as a concert opener, closer, or for festival use.

Dies irae, dies illa,
solvet saeclum in favilla,
teste David cum Sibylla.

Mors stupebit et natura,
cum resurget creatura,
judicanti responsura.

Recordare, Jesu pie,
ne me perdas (illa die).
Huic ergo parce,
Deus, dona eis requiem.

Day of wrath and day of judgment,
Earth shall perish in an instant,
as foretold by prophets ancient.

Death and nature both are shaken,
as creation re-awakens,
to its Judge an answer making.

O Lord Jesus, merciful Jesus, save them.
O Lord Jesus, spare them,
grant to them eternal rest.

Fueled by a passion for combining tradition and innovation, American composer Michael John Trotta (b.1978) creates music that resonates with modern audiences around the world. From Carnegie Hall to cathedrals and concert halls around the world, he creates “elegant, singable music with a strong, spiritual heft” (Choir and Organ Magazine).

Seasoned by his experience as a conductor at the primary, secondary, and university levels – as well as a church music director – his works are infused with an “intimate knowledge of the human voice and a rare sensitivity to the capabilities of a choral ensemble” (Fanfare). The “dynamic interplay of time-honored musical gestures with present-day sonorities” (Choral Scholar) create “tender harmonies and a palette of glowing vocal and instrumental colors” (Gramophone).

In addition to a significant output of music for unaccompanied choir, he has written nine choral-orchestral works on a larger scale. His most recent work, “Requiem,” was recorded by Tenebrae Choir (Nigel Short, conductor).

His select concert and sacred music is published by Hampton Roads Music Group and is distributed by GIA/Walton. For more information, a complete list of compositions, or to get in touch, visit his official website www.mjtrotta.com.

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Dies iræ, dies illa,
Solvet sæclum in favilla:
Teste David cum Sibylla.

Day of wrath and doom impending!
David’s word with Sibyl’s blending,
Heaven and earth in ashes ending!

The day of wrath, that day,
will dissolve the world in ashes:
(this is) the testimony of David along with the Sibyl.

II

Quantus tremor est futurus,
Quando Iudex est venturus,
Cuncta stricte discussurus!

Oh, what fear man’s bosom rendeth,
When from heaven the Judge descendeth,
On whose sentence all dependeth.

How great will be the quaking,
when the Judge is about to come,
strictly investigating all things!

III

Tuba, mirum spargens sonum
Per sepulchra regionum,
Coget omnes ante thronum.

Wondrous sound the trumpet flingeth;
Through earth’s sepulchres it ringeth;
All before the throne it bringeth.

The trumpet, scattering a wondrous sound
through the sepulchres of the regions,
will summon all before the throne.

IV

Mors stupebit, et natura,
Cum resurget creatura,
Iudicanti responsura.

Death is struck, and nature quaking,
All creation is awaking,
To its Judge an answer making.

Death and nature will marvel,
when the creature will rise again,
to respond to the Judge.

V

Liber scriptus proferetur,
In quo totum continetur,
Unde mundus iudicetur.

Lo, the book, exactly worded,
Wherein all hath been recorded,
Thence shall judgement be awarded.

The written book will be brought forth,
in which all is contained,
from which the world shall be judged.

VI

Iudex ergo cum sedebit,
Quidquid latet, apparebit:
Nil inultum remanebit.

When the Judge his seat attaineth,
And each hidden deed arraigneth,
Nothing unavenged remaineth.

When therefore the Judge will sit,
whatever lies hidden, will appear:
nothing will remain unpunished.

VII

Quid sum miser tunc dicturus?
Quem patronum rogaturus,
Cum vix iustus sit securus?

What shall I, frail man, be pleading?
Who for me be interceding,
When the just are mercy needing?

What then shall I, poor wretch [that I am], say?
Which patron shall I entreat,
when [even] the just may [only] hardly be sure?

VIII

Rex tremendæ maiestatis,
Qui salvandos salvas gratis,
Salva me, fons pietatis.

King of Majesty tremendous,
Who dost free salvation send us,
Fount of pity, then befriend us!

King of fearsome majesty,
Who saves the redeemed freely,
save me, O fount of mercy.

IX

Recordare, Iesu pie,
Quod sum causa tuæ viæ:
Ne me perdas illa die.

Think, kind Jesu! — my salvation
Caused Thy wondrous Incarnation;
Leave me not to reprobation.

Remember, merciful Jesus,
that I am the cause of Your journey:
lest You lose me in that day.

X

Quærens me, sedisti lassus:
Redemisti Crucem passus:
Tantus labor non sit cassus.

Faint and weary, Thou hast sought me,
On the Cross of suffering bought me.
Shall such grace be vainly brought me?

Seeking me, You rested, tired:
You redeemed [me], having suffered the Cross:
let not such hardship be in vain.

XI

Iuste Iudex ultionis,
Donum fac remissionis
Ante diem rationis.

Righteous Judge, for sin’s pollution
Grant Thy gift of absolution,
Ere the day of retribution.

Just Judge of vengeance,
make a gift of remission
before the day of reckoning.

XII

Ingemisco, tamquam reus:
Culpa rubet vultus meus:
Supplicanti parce, Deus.

Guilty, now I pour my moaning,
All my shame with anguish owning;
Spare, O God, Thy suppliant groaning!

I sigh, like the guilty one:
my face reddens in guilt:
Spare the imploring one, O God.

XIII

Qui Mariam absolvisti,
Et latronem exaudisti,
Mihi quoque spem dedisti.

Through the sinful woman shriven,
Through the dying thief forgiven,
Thou to me a hope hast given.

You Who absolved Mary,
and heard the robber,
gave hope to me also.

XIV

Preces meæ non sunt dignæ:
Sed tu bonus fac benigne,
Ne perenni cremer igne.

Worthless are my prayers and sighing,
Yet, good Lord, in grace complying,
Rescue me from fires undying.

My prayers are not worthy:
but You, [Who are] good, graciously grant
that I be not burned up by the everlasting fire.

XV

Inter oves locum præsta,
Et ab hædis me sequestra,
Statuens in parte dextra.

With Thy sheep a place provide me,
From the goats afar divide me,
To Thy right hand do Thou guide me.

Grant me a place among the sheep,
and take me out from among the goats,
setting me on the right side.

XVI

Confutatis maledictis,
Flammis acribus addictis,
Voca me cum benedictis.

When the wicked are confounded,
Doomed to flames of woe unbounded,
Call me with Thy saints surrounded.

Once the cursed have been silenced,
sentenced to acrid flames,
Call me, with the blessed.

XVII

Oro supplex et acclinis,
Cor contritum quasi cinis:
Gere curam mei finis.

Low I kneel, with heart’s submission,
See, like ashes, my contrition,
Help me in my last condition.

[Humbly] kneeling and bowed I pray,[my] heart crushed as ashes:
take care of my end.

XVIII

Lacrimosa dies illa,
Qua resurget ex favílla
Iudicandus homo reus:
Huic ergo parce, Deus:

Ah! that day of tears and mourning,
From the dust of earth returning
Man for judgement must prepare him,
Spare, O God, in mercy spare him.

Tearful [will be] that day,
on which from the glowing embers will arise
the guilty man who is to be judged:
Then spare him, O God.

XIX

Pie Iesu Domine,
Dona eis requiem. Amen.

Lord, all-pitying, Jesus blest,
Grant them Thine eternal rest. Amen.

Merciful Lord Jesus,
grant them rest. Amen.

Fueled by a passion for combining tradition and innovation, American composer Michael John Trotta (b.1978) creates music that resonates with modern audiences around the world. From Carnegie Hall to cathedrals and concert halls around the world, he creates “elegant, singable music with a strong, spiritual heft” (Choir and Organ Magazine).

Seasoned by his experience as a conductor at the primary, secondary, and university levels – as well as a church music director – his works are infused with an “intimate knowledge of the human voice and a rare sensitivity to the capabilities of a choral ensemble” (Fanfare). The “dynamic interplay of time-honored musical gestures with present-day sonorities” (Choral Scholar) create “tender harmonies and a palette of glowing vocal and instrumental colors” (Gramophone).

In addition to a significant output of music for unaccompanied choir, he has written nine choral-orchestral works on a larger scale. His most recent work, “Requiem,” was recorded by Tenebrae Choir (Nigel Short, conductor).

His select concert and sacred music is published by Hampton Roads Music Group and is distributed by GIA/Walton. For more information, a complete list of compositions, or to get in touch, visit his official website www.mjtrotta.com.

He commands an intimate knowledge of the human voice and a rare sensitivity to the capabilities of a choral ensemble. This, combined with his degrees in music education and a doctorate in choral conducting, make him a favorite conductor with ensembles in the United States and around the world.

Trotta’s unique blend of engaging and artistic music creates opportunities to experience new music and empowers individuals to realize their artistic potential. His engaging style fuses tradition and innovation to bring artistry and excellence within reach for thousands of musicians each year.

Driven by a desire to support hardworking directors who work to bring out the best in their ensembles, Trotta has developed keynotes that connect conductors to the educational and artistic goals that drew them to the profession in the first place. “Your Perfect Choir,” “Developing Artistry,” and “Empowering Ensembles” create experiences that connect people to the power of music and its ability transcend barriers and teach us more about each other and ourselves.

An ardent advocate for under-resourced and overworked arts organizations, Trotta has pioneered the development of the consortium model of commissioning. As a result, the opportunity to premiere a major work for choir and orchestra is now within reach for more choirs than ever before. Passionate about removing barriers to new music and artistic excellence, Trotta has created and funded a new initiative that distributes grants to choir directors and scholarships to future choral directors.

When he is not traveling for guest conducting or composer residencies, Dr. Trotta resides in the New York City metro area and spends his time at the beach in New Jersey with his wife Rachel and his daughter Gabriella.