View source for Dies irae

{{Short description|Latin sequence, liturgical hymn}}
{{Use Oxford spelling|date=May 2022}}
{{Use dmy dates|date=May 2022|cs1-dates=y}}
{{Other uses}}
{{distinguish|Deus Irae}}
[[File:MemlingJudgmentCentre.jpg|thumb|Centre panel from [[Hans Memling|Memling]]'s [[triptych]] ''[[The Last Judgment (Memling)|Last Judgment]]'' ({{circa|1467–1471}})]]
"'''{{lang|la|Dies irae|italic=no}}'''" ({{IPA|la-x-church|ˈdi.es ˈi.re|lang|link=yes}}; "the Day of Wrath") is a Latin [[Sequence (musical form)|sequence]] attributed to either [[Thomas of Celano]] of the [[Franciscans]] (1200–1265)<ref name="CathEncy">{{CathEncy |wstitle=Dies Iræ}}</ref> or to [[Latino Malabranca Orsini]] (d. 1294), lector at the [[Dominican Order|Dominican]] {{lang|la|studium}} at [[Santa Sabina]], the forerunner of the [[Pontifical University of Saint Thomas Aquinas]] (the {{lang|la|Angelicum}}) in Rome.<ref>{{Cite book |last=Crociani |first=G. |url=https://archive.org/embed/scrittivaridifi00crocgoog |title=Scritti vari di Filologia |date=1901 |publisher=Forzani &c. |location=[[Rome]] |page=488 |lccn=03027597 |oclc=10827264 |ol=23467162M |access-date=2022-03-15 |via=[[Internet Archive]] |lang=la}}</ref> The sequence dates from the 13th century at the latest, though it is possible that it is much older, with some sources ascribing its origin to [[Pope Gregory I|St. Gregory the Great]] (d. 604), [[Bernard of Clairvaux]] (1090–1153), or [[Bonaventure]] (1221–1274).<ref name=CathEncy />

It is a [[medieval Latin]] poem characterized by its [[accentual verse|accentual stress]] and rhymed lines. The [[metre (poetry)|metre]] is [[trochee|trochaic]]. The poem describes the [[Last Judgment]], the [[trumpet]] summoning souls before the throne of [[God]], where the saved will be delivered and the unsaved cast into eternal flames.

It is best known from its use in the [[Roman Rite]] [[Catholic]] [[Requiem Mass]] (Mass for the Dead or Funeral Mass). An English version is found in various [[Anglican Communion]] service books.

The first melody set to these words, a [[Gregorian chant]], is one of the most quoted in musical literature, appearing in the works of many composers. The final couplet, {{lang|la|[[Pie Jesu]]}}, has been often reused as an independent song.

==Use in the Roman liturgy==
The "{{Lang|la|Dies irae|italic=no}}" has been used in the [[Roman Rite]] [[liturgy]] as the sequence for the Requiem Mass for centuries, as made evident by the important place it holds in musical settings such as those by [[Requiem (Mozart)|Mozart]] and [[Requiem (Verdi)|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 Mass|Tridentine Latin liturgy]] is celebrated. It also formed part of the pre-conciliar liturgy of [[All Souls' Day]].

In the reforms to the [[Catholic Church]]'s [[Latin liturgical rites]] 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]], explained the rationale of the Consilium:
{{Quote|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 {{lang|la|"[[Libera me|Libera me, Domine]]"}}, "{{Lang|la|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 of the dead#Christianity|resurrection]].<ref>{{Cite book |last=Bugnini |first=Annibale |url=https://archive.org/details/reformofliturgy10000bugn |title=The Reform of the Liturgy: 1948–1975 |date=1990 |publisher=The Liturgical Press |isbn=9780814615713 |location=[[Collegeville, Minnesota]] |page=773 |translator-last=O'Connell |translator-first=Michael J. |chapter=Chapter 46: Funerals |lccn=90036986 |oclc=1151099486 |ol=1876823M |author-link=Annibale Bugnini |access-date=2022-03-15 |url-access=registration |via=[[Internet Archive]] |lang=en}}</ref>}}

"{{Lang|la|Dies irae|italic=no}}", slightly edited, remains in use ''[[ad libitum]]'' as a hymn in the [[Liturgy of the Hours]] on [[All Souls' Day]] and during the last week before [[Advent]], for which it is divided into three parts for the [[Liturgy of the Hours#Major hours|Office of Readings]], [[Lauds]] and [[Vespers]], with the insertion of a [[doxology]] after each part.<ref name="LHIV">{{Cite book |url={{GBurl|id=HzzPzgEACAAJ}} |title=Liturgia Horarum |publisher=Libreria Editrice Vaticana |year=2000 |isbn=9788820928124 |volume=IV |location=[[Vatican City]] |page=489 |oclc=44683882 |ol=20815631M |access-date=2022-03-15 |lang=la}}</ref>

===Indulgence===
In the [[Roman Catholic Church]] there was formerly an [[indulgence]] of three years for each recitation and a plenary indulgence for reciting the prayer daily for a month.<ref>(S. Paen. Ap., 9 March 1934). As cited in {{cite web|url=https://www-radiospada-org.translate.goog/2014/11/indulgenze-per-i-defunti-normativa-generale-e-per-il-mese-di-novembre/?_x_tr_sl=it&_x_tr_tl=en&_x_tr_hl=it&_x_tr_pto=wapp|language=it|title =Indulgences for the deceased: General regulations and for the month of November|date=2 November 2014}}</ref> This indulgence was not renewed in the Manual of Indulgences.<ref>(Manual of Indulgences, Section 29)</ref>

==Text==
The Latin text below is taken from the Requiem Mass in the 1962 [[Roman Missal]].<ref>{{Cite book |url=https://media.musicasacra.com/pdf/missale62.pdf |title=Missale Romanum |date=1962 |publisher=Typis Polyglottis Vaticanis |edition=3rd |location=[[Vatican City]] |page=706 |oclc=61411326 |access-date=2022-03-15 |archive-url=https://web.archive.org/web/20220216004904/https://media.musicasacra.com/pdf/missale62.pdf |archive-date=2022-02-16 |url-status=live |lang=la}}</ref> The first English version below, translated by [[William Josiah Irons]] in 1849,<ref>{{wikisource-inline|Dies Irae (Irons, 1912)|single=true}}</ref> albeit from a slightly different Latin text, replicates the rhyme and metre of the original.<ref>{{Cite book |url=https://hymnary.org/hymn/HPEC1940/468 |title=The Hymnal of the Protestant Episcopal Church in the United States of America |date=1940 |publisher=Church Pension Fund |location=[[New York City]] |page=468 |access-date=2022-03-15 |archive-url=https://web.archive.org/web/20160806040118/https://hymnary.org/hymn/HPEC1940/468 |archive-date=2016-08-06 |url-status=live |via=[[Hymnary.org]] |lang=en}}</ref> This translation, edited for more conformance to the official Latin, is approved by the Catholic Church for use as the funeral Mass sequence in the liturgy of the [[Personal ordinariate|Catholic  ordinariates for former Anglicans]].<ref>{{Cite web |title=The Order for Funerals for use by the Ordinariates erected under the auspices of the Apostolic Constitution Anglicanorum cœtibus |url=https://ordinariate.net/documents/resources/AC_Order_for_Funerals.pdf |url-status=live |archive-url=https://web.archive.org/web/20210214112446/https://ordinariate.net/documents/resources/AC_Order_for_Funerals.pdf |archive-date=2021-02-14 |access-date=2022-03-15 |website=[[Personal Ordinariate of the Chair of Saint Peter]] |language=en,la}}</ref> The second English version is a more [[Dynamic and formal equivalence|dynamic equivalence]] translation.

{| class="wikitable"
!<!-- Stanza (unnecessary, and without it, the column becomes narrower.) -->
!Original
!Approved adaptation
![[Dynamic equivalence]]
|-
|style="text-align:right;"|I
|<poem>{{lang|la|Dies iræ, dies illa,
Solvet sæclum in favilla:
Teste David cum Sibylla.|italic=no}}</poem>
|<poem>Day of wrath and doom impending!
David's word with Sibyl's blending,
Heaven and earth in ashes ending!</poem>
|<poem>The day of wrath, that day,
will dissolve the world in ashes:
(this is) the testimony of [[David]] along with the [[Tiburtine Sibyl|Sibyl]].</poem>
|-
|style="text-align:right;"|II
|<poem>{{lang|la|Quantus tremor est futurus,
Quando iudex est venturus,
Cuncta stricte discussurus!|italic=no}}</poem>
|<poem>Oh, what fear man's bosom rendeth,
When from heaven the Judge descendeth,
On whose sentence all dependeth.</poem>
|<poem>How great will be the quaking,
when the Judge is about to come,
strictly investigating all things!</poem>
|-
|style="text-align:right;"|III
|<poem>{{lang|la|Tuba, mirum spargens sonum
Per sepulchra regionum,
Coget omnes ante thronum.|italic=no}}</poem>
|<poem>Wondrous sound the trumpet flingeth;
Through earth's sepulchres it ringeth;
All before the throne it bringeth.</poem>
|<poem>The [[Gabriel#Gabriel's horn|trumpet]], scattering a wondrous sound
through the sepulchres of the regions,
will summon all before the [[Throne of God|throne]].</poem>
|-
|style="text-align:right;"|IV
|<poem>{{lang|la|Mors stupebit, et natura,
Cum resurget creatura,
Iudicanti responsura.|italic=no}}</poem>
|<poem>Death is struck, and nature quaking,
All creation is awaking,
To its Judge an answer making.</poem>
|<poem>Death and nature will marvel,
when the creature will rise again,
to respond to the Judge.</poem>
|-
|style="text-align:right;"|V
|<poem>{{lang|la|Liber scriptus proferetur,
In quo totum continetur,
Unde mundus iudicetur.|italic=no}}</poem>
|<poem>Lo, the book, exactly worded,
Wherein all hath been recorded,
Thence shall judgement be awarded.</poem>
|<poem>The written [[Book of Life|book]] will be brought forth,
in which all is contained,
from which [[Last Judgment|the world shall be judged]].</poem>
|-
|style="text-align:right;"|VI
|<poem>{{lang|la|Iudex ergo cum sedebit,
Quidquid latet, apparebit:
Nil inultum remanebit.|italic=no}}</poem>
|<poem>When the Judge his seat attaineth,
And each hidden deed arraigneth,
Nothing unavenged remaineth.</poem>
|<poem>When therefore the Judge will sit,
whatever lies hidden, will appear:
nothing will remain unpunished.</poem>
|-
|style="text-align:right;"|VII
|<poem>{{lang|la|Quid sum miser tunc dicturus?
Quem patronum rogaturus,
Cum vix iustus sit securus?|italic=no}}</poem>
|<poem>What shall I, frail man, be pleading?
Who for me be interceding,
When the just are mercy needing?</poem>
|<poem>What then shall I, poor wretch [that I am], say?
Which patron shall I entreat,
when [even] the just may [only] hardly be sure?</poem>
|-
|style="text-align:right;"|VIII
|<poem>{{lang|la|Rex tremendæ maiestatis,
Qui salvandos salvas gratis,
Salva me, fons pietatis.|italic=no}}</poem>
|<poem>King of Majesty tremendous,
Who dost free salvation send us,
Fount of pity, then befriend us!</poem>
|<poem>[[Christ the King|King]] of fearsome majesty,
Who saves the redeemed freely,
save me, O fount of mercy.</poem>
|-
|style="text-align:right;"|IX
|<poem>{{lang|la|Recordare, Iesu pie,
Quod sum causa tuæ viæ:
Ne me perdas illa die.|italic=no}}</poem>
|<poem>Think, kind Jesu!{{thinsp|{{mdash}}}}my salvation
Caused Thy wondrous Incarnation;
Leave me not to reprobation.</poem>
|<poem>Remember, merciful Jesus,
that I am the cause of [[Stations of the Cross|Your journey]]:
lest You lose me in that day.</poem>
|-
|style="text-align:right;"|X
|<poem>{{lang|la|Quærens me, sedisti lassus:
Redemisti Crucem passus:
Tantus labor non sit cassus.|italic=no}}</poem>
|<poem>Faint and weary, Thou hast sought me,
On the Cross of suffering bought me.
Shall such grace be vainly brought me?</poem>
|<poem>Seeking me, You rested, tired:
You redeemed [me], having suffered the [[True Cross|Cross]]:
let not [[Passion of Jesus|such hardship]] be in vain.</poem>
|-
|style="text-align:right;"|XI
|<poem>{{lang|la|Iuste Iudex ultionis,
Donum fac remissionis
Ante diem rationis.|italic=no}}</poem>
|<poem>Righteous Judge, for sin's pollution
Grant Thy gift of absolution,
Ere the day of retribution.</poem>
|<poem>Just Judge of vengeance,
make a gift of [[Absolution|remission]]
before the day of reckoning.</poem>
|-
|style="text-align:right;"|XII
|<poem>{{lang|la|Ingemisco, tamquam reus:
Culpa rubet vultus meus:
Supplicanti parce, Deus.|italic=no}}</poem>
|<poem>Guilty, now I pour my moaning,
All my shame with anguish owning;
Spare, O God, Thy suppliant groaning!</poem>
|<poem>I sigh, like the guilty one:
my face reddens in guilt:
Spare the imploring one, O God.</poem>
|-
|style="text-align:right;"|XIII
|<poem>{{lang|la|Qui Mariam absolvisti,
Et latronem exaudisti,
Mihi quoque spem dedisti.|italic=no}}</poem>
|<poem>Through the sinful woman shriven,
Through the dying thief forgiven,
Thou to me a hope hast given.</poem>
|<poem>You Who absolved [[Mary Magdalene|Mary]],
and heard [[penitent thief|the robber]],
gave hope to me also.</poem>
|-
|style="text-align:right;"|XIV
|<poem>{{lang|la|Preces meæ non sunt dignæ:
Sed tu bonus fac benigne,
Ne perenni cremer igne.|italic=no}}</poem>
|<poem>Worthless are my prayers and sighing,
Yet, good Lord, in grace complying,
Rescue me from fires undying.</poem>
|<poem>My prayers are not worthy:
but You, [Who are] good, graciously grant
that I [[Christian views on Hell|be not burned up by the everlasting fire]].</poem>
|-
|style="text-align:right;"|XV
|<poem>{{lang|la|Inter oves locum præsta,
Et ab hædis me sequestra,
Statuens in parte dextra.|italic=no}}</poem>
|<poem>With Thy sheep a place provide me,
From the goats afar divide me,
To Thy right hand do Thou guide me.</poem>
|<poem>[[The Sheep and the Goats|Grant me a place among the sheep]],
and take me out from among the goats,
setting me on the right side.</poem>
|-
|style="text-align:right;"|XVI
|<poem>{{lang|la|Confutatis maledictis,
Flammis acribus addictis,
Voca me cum benedictis.|italic=no}}</poem>
|<poem>When the wicked are confounded,
Doomed to flames of woe unbounded,
Call me with Thy saints surrounded.</poem>
|<poem>Once the cursed have been silenced,
sentenced to acrid flames,
Call me, with the blessed.</poem>
|-
|style="text-align:right;"|XVII
|<poem>{{lang|la|Oro supplex et acclinis,
Cor contritum quasi cinis:
Gere curam mei finis.|italic=no}}</poem>
|<poem>Low I kneel, with heart's submission,
See, like ashes, my contrition,
Help me in my last condition.</poem>
|<poem>[Humbly] kneeling and bowed I pray,
[my] heart crushed as ashes:
take care of my end.</poem>
|-
|style="text-align:right;"|XVIII
|<poem>{{lang|la|Lacrimosa dies illa,
Qua resurget ex favílla
Iudicandus homo reus:
Huic ergo parce, Deus:|italic=no}}</poem>
|<poem>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.</poem>
|<poem>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.</poem>
|-
|style="text-align:right;"|XIX
|<poem>{{lang|la|Pie Iesu Domine,
Dona eis requiem. Amen.|italic=no}}</poem>
|<poem>Lord, all-pitying, Jesus blest,
Grant them Thine eternal rest. Amen.</poem>
|<poem>Merciful Lord Jesus,
grant them rest. Amen.</poem>
|}

Because the last two stanzas differ markedly in structure from the preceding stanzas, some scholars consider them to be an addition made in order to suit the great poem for liturgical use. The penultimate stanza, {{lang|la|[[Lacrimosa (Requiem)|Lacrimosa]]}}, discards the consistent scheme of rhyming triplets in favour of a pair of rhyming couplets. The last stanza, {{lang|la|[[Pie Jesu|Pie Iesu]]}}, abandons rhyme for [[assonance]], and, moreover, its lines are [[catalectic]].

In the liturgical reforms of 1969–71, stanza 19 was deleted and the poem divided into three sections: 1–6 (for [[Liturgy of the Hours#Major hours|Office of Readings]]), 7–12 (for [[Lauds]]) and 13–18 (for [[Vespers]]). In addition, {{lang|la|"Qui Mariam absolvisti"}} in stanza 13 was replaced by {{lang|la|"Peccatricem qui solvisti"}} so that that line would now mean, "You who absolved the sinful woman". This was because modern scholarship denies the common mediæval identification of the [[Jesus and the woman taken in adultery|woman taken in adultery]] with Mary Magdalene, so Mary could no longer be named in this verse. In addition, a [[doxology]] is given after stanzas 6, 12 and 18:<ref name=LHIV />

{| class="wikitable"
|- 
!Original
!Approved adaptation
!Dynamic equivalence
|-
|<poem>{{lang|la|O tu, Deus majestatis,
alme candor Trinitatis
nos conjunge cum beatis. Amen.|italic=no}}</poem>
|<poem>O God of majesty
nourishing light of the Trinity
join us with the blessed. Amen.</poem>
|<poem>You, God of majesty,
gracious splendour of the [[Trinity]]
conjoin us with the [[Beatific vision|blessed]]. Amen.</poem>
|}

===Manuscript sources===
The text of the sequence is found, with slight verbal variations, in a 13th-century manuscript in the [[Biblioteca Nazionale Vittorio Emanuele III]] at Naples. It is a [[Franciscan]] calendar missal that must date between 1253 and 1255 for it does not contain the name of [[Clare of Assisi]], who was canonized in 1255, and whose name would have been inserted if the manuscript were of later date.

===Inspiration===
A major inspiration of the hymn seems to have come from the [[Vulgate]] translation of [[Book of Zephaniah|Zephaniah]] 1:15–16:

{{Verse translation |lang=la
|Dies iræ, dies illa, dies tribulationis et angustiæ, dies calamitatis et miseriæ, dies tenebrarum et caliginis, dies nebulæ et turbinis, dies tubæ et clangoris super civitates munitas et super angulos excelsos.
|That day is a day of wrath, a day of tribulation and distress, a day of calamity and misery, a day of darkness and obscurity, a day of clouds and whirlwinds, a day of the trumpet and alarm against the fenced cities, and against the high bulwarks. ([[Douay–Rheims Bible]])
}}

Other images come from the [[Book of Revelation]], such as {{bibleverse|Revelation|20:11–15}} (the book from which the world will be judged), {{bibleverse|Matthew|25:31–46}} (sheep and goats, right hand, contrast between the blessed and the accursed doomed to flames), {{bibleverse|1 Thessalonians|4:16}} (trumpet), {{bibleverse|2 Peter|3:7}} (heaven and earth burnt by fire), and {{bibleverse|Luke|21:26}} ("men fainting with fear... they will see the Son of Man coming"). 

From the [[Jewish liturgy]], the prayer [[Unetanneh Tokef]] appears to be related: "We shall ascribe holiness to this day, For it is awesome and terrible"; "the great trumpet is sounded", etc.

===Other translations===
A number of English translations of the poem have been written and proposed for liturgical use. A very loose [[Protestantism|Protestant]] version was made by [[John Newton]]; it opens:

{{poemquote|Day of judgment! Day of wonders!
Hark! the trumpet's awful sound,
Louder than a thousand thunders,
Shakes the vast creation round!
How the summons will the sinner's heart confound!}}

[[Jan Kasprowicz]], a Polish poet, wrote a hymn entitled {{lang|la|"Dies iræ"}} which describes the [[Last Judgment|Judgment day]]. The first six lines (two stanzas) follow the original hymn's metre and rhyme structure, and the first stanza translates to "The trumpet will cast a wondrous sound".

The American writer [[Ambrose Bierce]] published a satiric version of the poem in his 1903 book ''Shapes of Clay'', preserving the original metre but using humorous and sardonic language; for example, the second verse is rendered:

{{poemquote|Ah! what terror shall be shaping
When the Judge the truth's undraping&nbsp;–
Cats from every bag escaping!}}

The Rev. Bernard Callan (1750–1804), an Irish priest and poet, translated it into Gaelic around 1800. His version is included in a Gaelic prayer book, ''The Spiritual Rose''.<ref>{{Cite book |last=Kennedy |first=Matthew |url={{GBurl|id=q6JVAAAAcAAJ}} |title=The Spiritual Rose; Or Method Of Saying The Rosaries Of The Most Holy Name Of Jesus And The Blessed Virgin, With Their Litanies: Also The Meditations And Prayers, Adapted To the Holy Way Of The Cross, &c. |date=1825 |publisher=Greacen, Printer |location=[[Monaghan]] |oclc=299179233 |ol=26201026M |access-date=2022-03-16 |via=[[Google Books]] |lang=en,Irish}}</ref>

===Literary references===
* [[Walter Scott]] used the first two stanzas in the sixth canto of his narrative poem "[[The Lay of the Last Minstrel]]" (1805).
* [[Johann Wolfgang von Goethe]] used the first, the sixth and the seventh stanza of the hymn in the scene "[[Faust: The First Part of the Tragedy#Cathedral|Cathedral]]" in the first part of his drama ''[[Goethe's Faust|Faust]]'' (1808).
* [[Oscar Wilde]]'s "[[:s:Sonnet: On Hearing the Dies Iræ Sung in the Sistine Chapel|Sonnet on Hearing the Dies Iræ Sung in the Sistine Chapel]]" (''Poems'', 1881), contrasts the "terrors of red flame and thundering" depicted in the hymn with images of "life and love".
* In [[Gaston Leroux]]'s 1910 novel ''[[The Phantom of the Opera (novel)|The Phantom of the Opera]]'', Erik (the Phantom) has the chant displayed on the wall of his funereal bedroom.<ref>{{Cite book |last=Leroux |first=Gaston |url={{GBurl|OTcmIoJPZ8cC}} |title=The Phantom of the Opera |date=1911 |publisher=[[Grosset & Dunlap]] |isbn=9780758318008 |location=[[New York City]] |page=164 |oclc=4373384 |author-link=Gaston Leroux |access-date=2022-03-15 |via=[[Google Books]]}}</ref>
* It is the inspiration for the title and major theme of the 1964 novel {{lang|la|[[Deus Irae|Deus Iræ]]}} by [[Philip K. Dick]] and [[Roger Zelazny]]. The English translation is used verbatim in Dick's novel ''[[Ubik]]'' two years later.

==Music==
{{See also|Music for the Requiem Mass}}<!--Note that the audio file uses classical Latin pronunciation, which is slightly different from ecclesial Latin when a "c" or a "g" precede an "i" or an "e"-->The words of "{{Lang|la|Dies iræ}}" have often been set to music as part of the [[Requiem]] service. In some settings, it is broken up into several movements; in such cases, "{{Lang|la|Dies iræ}}" refers only to the first of these movements, the others being titled according to their respective [[incipit]]s.

The earliest surviving polyphonic setting of the Requiem by [[Johannes Ockeghem]] does not include "{{Lang|la|Dies iræ}}". The first polyphonic settings to include the "{{Lang|la|Dies iræ}}" are by [[Engarandus Juvenis]] (1490) and [[Antoine Brumel]] (1516) to be followed by many composers of the renaissance. Later, many notable choral and orchestral settings of the Requiem including the sequence were made by composers such as [[Marc-Antoine Charpentier|Charpentier]], [[Michel Richard Delalande|Delalande]], [[Requiem (Mozart)|Mozart]], [[Requiem (Berlioz)|Berlioz]], [[Requiem (Verdi)|Verdi]], [[War Requiem|Britten]] and [[Requiem Canticles|Stravinsky]]. [[Giovanni Battista Martini]] ended his set of (mostly humorous) 303 canons with a set of 20 on extracts of the sequence poem.<ref>{{Cite book |last=Martini |first=Giovanni |url=https://purl.stanford.edu/bh700pn2251 |title=Canoni |publisher=manuscript |pages=134–148 |access-date=2022-10-04 |archive-url=https://web.archive.org/web/20221004183815/https://purl.stanford.edu/bh700pn2251 |archive-date=2022-10-04 |url-status=bot: unknown}}</ref><ref>{{Cite web |last=Ellis |first=Gabriel |date=April 5, 2018 |title=Breaking the canon: Padre Martini's vision for the canonic genre |url=https://library.stanford.edu/blogs/stanford-libraries-blog/2018/04/breaking-canon-padre-martinis-vision-canonic-genre |website=Stanford Libraries Blog}}</ref>

=== 13th-Century Gregorian Chant ===
{{Listen |type=music|filename=Dies.irae.ogg|title="Dies irae" (plainchant)}}

The original Gregorian setting, dating back to the 13th century, was a sombre [[Plainsong|plainchant]] (or [[Gregorian chant]]). 

It is in the [[Dorian mode]].<ref>{{Cite book |last=Vorderman |first=Carol |title=Help your Kids With Music |date=2015 |publisher=[[Dorling-Kindersley]] |isbn=9781465485489 |edition=1st American |location=[[London]] |page=143}}</ref> In four-line [[Neume|neumatic]] notation, it begins:
[[File:Dies irae.gif|alt=The "Dies iræ" melody in four-line neumatic chant notation.]]

In 5-line [[Staff (music)|staff]] notation:
:<score sound="1">
<<
  \new Staff \with {
    \remove Time_signature_engraver
  }
  \relative c' { \set Staff.midiInstrument = #"tuba" \tempo 8 = 90 \set Score.tempoHideNote = ##t
    \cadenzaOn
    f8 e f d e c d d \breathe
    f8 f([ g)] f([ e)] d([ c)] e f e d4. \breathe
    a8 c([ d)] d d([ c)] e f e d4. \bar "||"
  }
  \addlyrics {
    Di -- es i -- ræ di -- es il -- la,
    Sol -- vet sae -- clum in fa -- vil -- la:
    Tes -- te Da -- vid cum Si -- byl -- la
  }
>>
</score> <!-- instead of [[File:Dies Irae Treble.JPG]] -->

==== Musical quotations ====
{{More citations needed section|date=February 2025}}
The traditional Gregorian melody gained widespread recognition through its use in [[Hector Berlioz|Berlioz]]'s ''[[Symphonie fantastique]]''. Since then, it has become associated with themes of death and terror, especially during the 19th century.<ref>{{Cite book |url=https://www.worldcat.org/title/1109413253 |title=The Oxford handbook of music and Medievalism |date=2020 |publisher=Oxford University Press |isbn=978-0-19-065844-1 |editor-last=Meyer |editor-first=Stephen C. |series=Oxford handbooks |location=New York |oclc=1109413253 |editor-last2=Yri |editor-first2=Kirsten}}</ref> After Berlioz, it was used as a [[theme (music)|theme]] or [[musical quotation]] in many classical compositions, including:
<!-- Note this section is for notable classical compositions only. The composition must include the musical theme; merely setting the text is not enough to qualify for the list. All entries must be sourced either here or the Gregorian "Dies iræ" must at least be mentioned in the works' article; see talk page. -->
* [[Thomas Adès]] – ''[[Totentanz (Adès)|Totentanz]]''<ref>{{Cite magazine |last=Cadagin |first=Joe |date=August 2020 |title=ADÈS: Totentanz |url=https://www.metguild.org/Opera_News_Magazine/2020/8/Recordings/AD%C3%88S__Totentanz.html |url-status=live |magazine=[[Opera News]] |location=[[New York City]] |publisher=[[Metropolitan Opera Guild]] |volume=85 |issue=2 |issn=1938-1506 |archive-url=https://web.archive.org/web/20220316035027/https://www.metguild.org/Opera_News_Magazine/2020/8/Recordings/AD%C3%88S__Totentanz.html |archive-date=2022-03-16 |access-date=2022-03-16 |lang=en}}</ref> (2013)
* [[Charles-Valentin Alkan]] – ''Souvenirs'': {{lang|fr|[[Trois morceaux dans le genre pathétique]]}}, Op. 15 (No. 3: {{lang|fr|Morte}}) (1837)
* [[Eric Ball (composer)|Eric Ball]] – "Resurgam"<ref>{{Cite web |title=Pontins Championship 2003 – Test Piece Reviews: Resurgam |url=https://www.4barsrest.com/articles/2003/art343g.asp |url-status=live |archive-url=https://web.archive.org/web/20210526060344/https://www.4barsrest.com/articles/2003/art343g.asp |archive-date=2021-05-26 |access-date=2021-05-26 |website=4barsrest.com |language=en}}</ref> (1950)
* [[Ernest Bloch]] – {{lang|fr|Suite Symphonique}}<ref>{{Citation |last=Simmons |first=Walter |title=Voices in the Wilderness: Six American Neo-romantic Composers |url={{GBurl|7nLdveK1n7gC}} |year=2004 |publisher=Scarecrow |isbn=0-8108-4884-8 |access-date=2022-03-16}}</ref> (1944)
* [[Johannes Brahms]] – [[Six Pieces for Piano, Op. 118 (Brahms)|Six Pieces for Piano, Op. 118]], No. 6, Intermezzo in E-flat minor<ref>{{AllMusic |class=composition |id=mc0002665730 |label=Intermezzo for piano in E-flat minor, Op. 118/6 |first=Robert |last=Cummings |access-date=2014-07-17}}</ref> (1893)
* [[Mario Castelnuovo-Tedesco]] – {{lang|es|24 [[Caprichos]] de Goya}}, Op. 195: "XII. {{lang|es|No hubo remedio}}" (plate 24)<ref>{{Cite web |last=Wade |first=Graham |title=Tedesco: ''24 Caprichos de Goya'', Op. 195 |url=http://www.naxos.com/mainsite/blurbs_reviews.asp?item_code=8.572252-53&catNum=572252&filetype=About%20this%20Recording&language=English |url-status=live |archive-url=https://web.archive.org/web/20180806180342/https://www.naxos.com/mainsite/blurbs_reviews.asp?item_code=8.572252-53&catNum=572252&filetype=About%20this%20Recording&language=English |archive-date=2018-08-06 |access-date=2022-03-16 |website=[[Naxos (company)|Naxos]] |language=en}}</ref> (1961)
* [[Frédéric Chopin]] - Prelude No. 2 in A Minor, Opus 28 (1839), sometimes referred to as "Presentiment to Death" (or "Prelude to Death").<ref>[https://therenaissanceofficial.org/categories/review/a-prelude-to-death/ ''A Prelude to Death: An analysis of Prelude op.28, No. 2 (Prelude in A-Minor): Frederic Chopin''. Sreemani, Swapnil. March 10, 2021. The Renaissance Voice of Change.]</ref> 
* [[George Crumb]] – ''[[Black Angels (Crumb)|Black Angels]]'' (1970)
* [[Luigi Dallapiccola]] – ''[[Canti di prigionia]]''
* [[Michael Daugherty]] – ''[[Metropolis Symphony]]'' 5th movement, "Red Cape Tango";<ref>{{Citation |title=About this Recording – 8.559635 – Daugherty, M.: Metropolis Symphony / Deus ex Machina (T. Wilson, Nashville Symphony, Guerrero) |url=http://www.naxos.com/mainsite/blurbs_reviews.asp?item_code=8.559635&catNum=559635&filetype=About%20this%20Recording&language=English |work=[[Naxos (company)|Naxos]] |archive-url=https://web.archive.org/web/20180806180608/https://www.naxos.com/mainsite/blurbs_reviews.asp?item_code=8.559635&catNum=559635&filetype=About%20this%20Recording&language=English |access-date=2022-03-16 |archive-date=2018-08-06 |lang=en |url-status=live}}</ref> ''[[Dead Elvis (composition)|Dead Elvis]]'' for bassoon and chamber ensemble{{cn|date=August 2022}} (1993)
* [[Ernő Dohnányi]] – no. 4 (E-flat minor) of "Four Rhapsodies" for Piano, op. 11
* [[Alberto Ginastera]] – ''[[Bomarzo (opera)|Bomarzo]]'', Op. 34 (1967)<ref>{{Cite web |title=El renacimiento |url=https://www.pagina12.com.ar/diario/suplementos/radar/9-777-2003-06-08.html |date=2003-06-08 |last=Fischerman |first=Diego |language=es}}</ref>
* [[Alexander Glazunov]] – [[Symphony No. 5 (Glazunov)|Symphony No. 5]] (4th movement), Op. 55 (1885), ''From the Middle Ages'' Suite, No. 2 "Scherzo", Op. 79 (1902)
* [[Benjamin Godard]] – ''Dante'' opera, act 4, No. 35 Suite du Finale "Partons !" (1890)
* [[Charles Gounod]] – ''[[Faust (opera)|Faust]]'' opera, act 4 (1859), ''[[Mors et vita]]'', part II, oratorio (1886)
* [[Kirk Hammet]] – ''The Incantation'' (5:57-6:35) on the EP ''[[Portals (EP)|Portals]]'' (2022)
* [[Gustav Holst]] – ''[[The Planets]]'', movement 5, "Saturn, the Bringer of Old Age"<ref>{{Cite book |last=Greenberg |first=Robert |url={{GBurl|stN2MAEACAAJ}} |title=The 30 Greatest Orchestral Works |date=2011 |publisher=The Teaching Company |isbn=9781598037708 |series=[[The Great Courses]] |oclc=1285468511 |ol=28263230M |author-link=Robert Greenberg}}</ref>
* [[Arthur Honegger]] – {{lang|fr|La Danse des Morts}}, H. 131<ref>{{Cite book |last=Spratt |first=Geoffrey K. |url={{GBurl|f7okJL8HJRsC}} |title=The Music of Arthur Honegger |date=1987 |publisher=[[Cork University Press]] |isbn=9780902561342 |page=640 |oclc=16754628 |access-date=2022-03-16}}</ref> (1938)
* [[Hans Huber (composer)|Hans Huber]] quotes the melody in the second movement ("Funeral March") of his Symphony No. 3 in C major,<ref>{{Cite web |last=Barnett |first=Rob |title=Hans Huber |url=https://www.rodoni.ch/busoni/amicicoevi/huber.html |url-status=live |archive-url=https://web.archive.org/web/20211031232455/https://www.rodoni.ch/busoni/amicicoevi/huber.html |archive-date=2021-10-31 |access-date=2022-03-16 |language=en |type=review}}</ref> Op. 118 (''Heroic'', 1908).
* [[Alexander Kastalsky]] – Requiem for Fallen Brothers, movements 3 and 4 (1917) <ref>{{Cite web |title=Kastalsky, A.: Requiem for Fallen Brothers (Dennis, Beutel, Cathedral Choral Society, The Clarion Choir, Orchestra of St.{{nbsp}}Luke's, Slatkin) |url=https://www.naxos.com/catalogue/item.asp?item_code=8.574245 |url-status=live |archive-url=https://web.archive.org/web/20200809204446/https://www.naxos.com/catalogue/item.asp?item_code=8.574245 |archive-date=2020-08-09 |access-date=2022-03-16 |website=[[Naxos (company)|Naxos]] |language=en}}</ref>
* [[Aram Khachaturian]] – [[Piano Concerto (Khachaturian)|Piano Concerto]] Op. 38 (1936), Symphony No. 1 (1934), ''[[Symphony No. 2 (Khachaturian)|Symphony No. 2]]'' (1944), Concerto-Rhapsody for Piano and Orchestra, [[Cello Concerto (Khachaturian)|Cello Concerto]] in E minor, Concerto-Rhapsody for Cello and Orchestra, Violin Concerto in D minor
* {{ill|Teofil Klonowski|pl}} – ''Preludes on Polish Church Hymns: Dies Irae'' <ref name=":0">{{Cite web |title=Quotes – Musical Quotations of the Dies Irae plainchant melody |date=24 April 2022 |url=https://diquotes.victoryvinny.com/quotes/ |access-date=2022-06-14 |language=en-US}}</ref>(1867)
* [[György Ligeti]] – ''[[Le Grand Macabre]]'' (1974–77)
* [[Franz Liszt]] – ''[[Totentanz (Liszt)|Totentanz]]'' (1849)
* [[Gustav Mahler]] – [[Symphony No. 2 (Mahler)|Symphony No. 2]], movements 1 and 5 (1888–94)
* [[Jules Massenet]] – [[Ève (Massenet)|Eve]]<ref name=":0" /> (1874)
* [[Nikolai Medtner]] – Piano Quintet in C, movement 2 (Op.posth)
* [[Modest Mussorgsky]] – [[Songs and Dances of Death]], No. 3 "Trepak" (1875)
* [[Edvard Mirzoyan]] – Introduction and Perpetuum Mobile (1957)
* [[Nikolai Myaskovsky]] – [[Symphony No. 4 (Myaskovsky)|Symphony No. 4]] (first movement), [[Symphony No. 6 (Myaskovsky)|Symphony No. 6]], Op. 23 (1921–23); Piano Sonata No.2, Op.13, Symphony No. 26, Op. 79 (halfway into first movement), [[Symphony No. 8 (Myaskovsky)|Symphony No. 8]] Op. 26 (fourth movement), [[Symphony No. 9 (Myaskovsky)|Symphony No. 9]] Op. 28 (third movement)
* [[Vítězslav Novák]] – used the theme near the end of his ''May Symphony''
* [[Sergei Rachmaninoff]] – [[Piano Concerto No. 1 (Rachmaninoff)|Piano Concerto No. 1]], Op. 1 (1891); [[Symphony No. 1 (Rachmaninoff)|Symphony No. 1]], Op. 13 (1895); [[Six moments musicaux (Rachmaninoff)|Six moments musicaux]], Op. 16 No. 3 (1896); [[Suite No. 2 (Rachmaninoff)|Suite No. 2]], Op. 17 (1901); [[Symphony No. 2 (Rachmaninoff)|Symphony No. 2]], Op. 27 (1906–07); [[Piano Sonata No. 1 (Rachmaninoff)|Piano sonata No. 1]] (1908); ''[[Isle of the Dead (Rachmaninoff)|Isle of the Dead]]'', Op. 29 (1908); ''[[The Bells (symphony)|The Bells]]'' choral symphony, Op. 35 (1913); {{lang|fr|[[Études-Tableaux, Op. 39|Études-Tableaux]]}}, Op. 39 No. 2, 5, 7 (1916); [[Piano Concerto No. 4 (Rachmaninoff)|Piano Concerto No. 4]], Op. 40 (1926); ''[[Rhapsody on a Theme of Paganini]]'', Op. 43 (1934); [[Symphony No. 3 (Rachmaninoff)|Symphony No. 3]], Op. 44 (1935–36); ''[[Symphonic Dances (Rachmaninoff)|Symphonic Dances]]'', Op. 45 (1940)
* [[Ottorino Respighi]] – quoted near the end of the second movement of {{lang|it|Impressioni Brasiliane}} (''Brazilian Impressions'')<ref>{{Cite web |last=Johnson |first=Edward |date=May 1984 |title=Respighi – Church Windows / Brazilian Impressions, CHAN 8317 |url=https://www.chandos.net/chanimages/Booklets/CH8317.pdf |url-status=live |archive-url=https://web.archive.org/web/20220316021118/https://www.chandos.net/chanimages/Booklets/CH8317.pdf |archive-date=2022-03-16 |access-date=2022-03-16 |publisher=[[Chandos Records]] |language=en |type=Media notes}}</ref> (1927)
* [[Camille Saint-Saëns]] – {{lang|fr|[[Danse macabre (Saint-Saëns)|Danse Macabre]]}}; [[Symphony No. 3 (Saint-Saëns)|Symphony No. 3 (''Organ Symphony'')]], [[Requiem (Saint-Saëns)|Requiem]] (1878)
* [[Dmitri Shostakovich]] – [[Symphony No. 14 (Shostakovich)|Symphony No. 14]]; ''Aphorisms'', Op. 13 – No. 7, "Dance of Death" (1969)
* [[Kaikhosru Shapurji Sorabji]] – {{lang|la|[[Sequentia cyclica|Sequentia cyclica super "Dies iræ" ex Missa pro defunctis]]}} (1948–49) and nine other works<ref>{{Cite web |last=Roberge |first=Marc-André |title=Citations of the Dies irae |url=http://www.mus.ulaval.ca/roberge/srs/05-diesi.htm |url-status=live |archive-url=https://web.archive.org/web/20211027191548/https://roberge.mus.ulaval.ca/srs/05-diesi.htm |archive-date=2021-10-27 |access-date=2022-03-16 |website=Sorabji Resource Site |publisher=[[Université Laval]] |language=en}}</ref>
* [[Pyotr Ilyich Tchaikovsky]] – Modern Greek Song (In Dark Hell) Op. 16 No. 6<ref name=":0" /> (1872); 6 Pieces on a Single Theme op 21<ref name=":0" /> (1873); [[Orchestral Suite No. 3 (Tchaikovsky)|Orchestral Suite No. 3]]<ref>{{AllMusic|class=album|id=w132203|tab=review|label=Tchaikovsky: Suite No. 3; Stravinsky: Divertimento|first=James|last=Leonard|access-date=2011-10-15}}</ref> (1884); ''[[Manfred Symphony]]'' <ref>{{Cite web |last=Lintgen |first=Arthur |title=Tchaikovsky: Manfred Symphony |url=http://www.arkivmusic.com/classical/album.jsp?album_id=138023 |url-status=dead |archive-url=https://web.archive.org/web/20180806145701/https://arkivmusic.com/classical/album.jsp?album_id=138023 |archive-date=2018-08-06 |access-date=2022-03-15 |website=[[Fanfare (magazine)|Fanfare]] |language=en |type=review}}</ref> (1885)
* [[Frank Ticheli]] – Vesuvius (1999) for wind band
* [[Eugène Ysaÿe]] – [[Violin Sonata No. 2 (Ysaÿe)|Solo Violin Sonata in A minor, Op. 27, No. 2 "Obsession"]]{{refn|{{Cite web |last=Henken |first=John |title=Sonata in A minor for Solo Violin ("Obsession"), Op. 27, No. 2 (Eugène Ysaÿe) |url=https://www.laphil.com/musicdb/pieces/3446/sonata-in-a-minor-for-solo-violin-obsession-op-27-no-2 |archive-url=https://web.archive.org/web/20210512053151/https://www.laphil.com/musicdb/pieces/3446/sonata-in-a-minor-for-solo-violin-obsession-op-27-no-2 |url-status=live |archive-date=2021-05-12 |access-date=2020-12-04 |website=[[LA Phil]] |language=en}}}} (1923)
* [[Bernd Alois Zimmermann]] – ''Musique pour les soupers du roi Ubu''
* [[Antonio Estévez]] - ''Cantata Criolla'' <ref>{{cite web |title=Cantata Criolla |url=https://www.hollywoodbowl.com/musicdb/pieces/1146/cantata-criolla |website=Hollywood Bowl |access-date=23 February 2024 |language=en}}</ref>(1954)

It has also been used in many film scores and popular works, such as:

* [[Led Zeppelin]] – ''Stairway to Heaven'' on the album ''[[Led Zeppelin IV]]'' (1971)

* [[Michel F. April]] – main theme of [[Dead by Daylight]] soundtrack

* [[Francis Monkman]] – additional track ''"Dies Irae"'' on ''[[Sky (Sky album)|Sky (1979 studio album by Sky)]]' (1979)''

*[[Hugo Friedhofer]] – opening scene of ''[[Between Heaven and Hell (film)]]' ' (1956)
* [[Bathory (band)|Bathory]] – on album ''[[Blood Fire Death]]'' (1988)
* [[Wendy Carlos]] and [[Rachel Elkind]] – Opening theme for ''[[The Shining (film)|The Shining]]''<ref>{{Cite book |last=Gengaro |first=Christine Lee |url={{GBurl|_S2AyYfGiaQC|pg=PA190}} |title=Listening to Stanley Kubrick: The Music in His Films |date=2013 |publisher=Rowman & Littlefield |isbn=978-0-8108-8564-6 |pages=189–190 |via=[[Google Books]] |lang=en}}</ref> (1980)
* [[The Newton Brothers]] - ''[[Doctor Sleep (2019 film)|Doctor Sleep]]'', the sequel to ''The Shining'' (2019)<ref>{{cite magazine | url=https://www.rollingstone.com/music/music-news/doctor-sleep-soundtrack-906341/ | title='Doctor Sleep' Soundtrack Revisits 'The Shining,' Introduces Us to New Villains | magazine=[[Rolling Stone]] | date=31 October 2019 }}</ref>
* [[Danny Elfman]] – "Making Christmas" from ''[[The Nightmare Before Christmas]]'' (1993)
* [[Gerald Fried]] – Opening theme for ''[[The Return of Dracula]]'', 1958
* [[Diamanda Galás]] – ''Masque of the Red Death'': Part I – ''[[The Divine Punishment]]''
* [[Jerry Goldsmith]] – ''[[The Mephisto Waltz]]''<ref>{{Cite web |date=2016-06-13 |title=Supernatural Reality: The Sound of New Hollywood Horror in Count Yorga, The Mephisto Waltz, The Exorcist and The Omen |url=https://diaboliquemagazine.com/supernatural-reality-the-sound-of-new-hollywood-horror-in-count-yorga-the-mephisto-waltz-the-exorcist-and-the-omen/ |url-status=live |archive-url=https://web.archive.org/web/20200928012506/https://diaboliquemagazine.com/supernatural-reality-the-sound-of-new-hollywood-horror-in-count-yorga-the-mephisto-waltz-the-exorcist-and-the-omen/ |archive-date=2020-09-28 |access-date=2022-03-16 |website=Diabolique Magazine |language=en}}</ref> (1971), ''[[Poltergeist (1982 film)|Poltergeist]]''<ref>{{cite web |last=Reeves |first=Rachel |title=Terror on the Turntable: Step Into the Light of Jerry Goldsmith’s Classic Poltergeist Score |work=[[Dread Central]] |date=October 13, 2021 |url=https://www.dreadcentral.com/news/415699/terror-on-the-turntable-step-into-the-light-of-jerry-goldsmiths-classic-poltergeist-score/ |access-date=March 10, 2025}}</ref> (1982)
* [[Donald Grantham]] – ''Baron Cimetiére's Mambo''<ref>{{Citation |last=Grantham |first=Donald |title=Composers on Composing for Band |chapter-url={{GBurl|_JwIAQAAMAAJ}} |volume=2 |pages=100–101 |year=2004 |editor-last=Camphouse |editor-first=Mark |chapter=Donald Grantham |place=[[Chicago]] |publisher=GIA |isbn=9781579993856 |access-date=2022-03-16 |author-link=Donald Grantham |lang=en}}</ref> (2004)
* [[Bernard Herrmann]] quoted in the main theme for ''[[Citizen Kane]]''{{cn|date=August 2022}} (1941)
* [[Bernard Herrmann]] – ''[[Jason and the Argonauts (1963 film)|Jason and the Argonauts]]'' (1963) (quoted during the scene of the scattering of the hydra's teeth)
* [[Gottfried Huppertz]] – Score for ''[[Metropolis (1927 film)|Metropolis]]'' (1927)
* [[Jethro Tull (band)|Jethro Tull]] – The instrumental track "Elegy" featured on the band's 12th studio album ''[[Stormwatch (album)|Stormwatch]]'' is based on the melody.<ref name="Force10Edition">{{Cite AV media notes |last=Webb |first=Martin |title=And the Stormwatch Brews… |work=Stormwatch: The 40th Anniversary Force 10 Edition |publisher=Chrysalis Records |year=2019 |url=https://www.discogs.com/release/14280346-Jethro-Tull-Stormwatch-The-40th-Anniversary-Force-10-Edition |access-date=2022-03-16 |lang=en |archive-url=https://web.archive.org/web/20220316030610/https://www.discogs.com/release/14280346-Jethro-Tull-Stormwatch-The-40th-Anniversary-Force-10-Edition |archive-date=2022-03-16 |url-status=live}}</ref>
* [[Robert Lopez]] and [[Kristen Anderson-Lopez]] – [[Frozen II (soundtrack)|''Frozen II'' (soundtrack)]], "[[Into the Unknown (Disney song)|Into the Unknown]]"<ref name="Cohn">{{Cite news |last=Cohn |first=Gabe |date=2019-12-04 |orig-date=2019-11-29 |title=How to Follow Up 'Frozen'? With Melancholy and a Power Ballad |work=[[The New York Times]] |location=[[New York City]] |url=https://www.nytimes.com/2019/11/29/movies/frozen-2-songs.html |url-status=live |access-date=2019-11-30 |archive-url=https://web.archive.org/web/20220202082519/https://www.nytimes.com/2019/11/29/movies/frozen-2-songs.html |archive-date=2022-02-02 |issn=1553-8095 |lang=en}}</ref> (2019)
* [[Harry Manfredini]] – main title theme for ''[[Friday the 13th Part VI: Jason Lives]]'' (1986)
* [[The Melvins]] – on their album "[[Nude with Boots]]" (2008)
* [[Alan Menken]], [[Stephen Schwartz (composer)|Stephen Schwartz]] – [[The Hunchback of Notre Dame (1996 film)|''The Hunchback of Notre Dame'']] (1996) [[The Hunchback of Notre Dame (soundtrack)|soundtrack]]; "[[The Bells of Notre Dame]]" features passages from the first and second stanzas as lyrics.<ref>{{Citation |title=Chorus, David Ogden Stiers, Paul Kandel & Tony Jay – The Bells of Notre Dame |url=https://genius.com/Chorus-david-ogden-stiers-paul-kandel-and-tony-jay-the-bells-of-notre-dame-lyrics |archive-url=https://web.archive.org/web/20211016031838/https://genius.com/Chorus-david-ogden-stiers-paul-kandel-tony-jay-and-mary-kay-bergman-the-bells-of-notre-dame-lyrics |access-date=2021-05-12 |archive-date=2021-10-16 |lang=en,la |url-status=live}}</ref>
* [[Ennio Morricone]] – "Penance" from his [[The Mission (soundtrack)|score]] for ''[[The Mission (1986 film)|The Mission]]''<ref>{{Cite web |last=Tagg |first=Philip |title=Musemes from Morricone's music for The Mission |url=https://www.tagg.org/xpdfs/MissionMusemes.pdf |url-status=live |archive-url=https://web.archive.org/web/20211112043441/https://www.tagg.org/xpdfs/MissionMusemes.pdf |archive-date=2021-11-12 |access-date=2022-03-16 |language=en |type=analysis}}</ref> (1986)
* [[Lionel Newman]] – ''[[Compulsion (1959 film)|Compulsion]]''
* [[Leonard Rosenman]] – the main theme of ''[[The Car (1977 film)|The Car]]'' (1977)
* [[Stephen Sondheim]] – ''[[Sweeney Todd: The Demon Barber of Fleet Street|Sweeney Todd]]'' – quoted in "The Ballad of Sweeney Todd" and the accompaniment to "Epiphany"<ref>{{Cite book |last=Zadan |first=Craig |url=https://archive.org/details/sondheimco0000zada |title=Sondheim & Co |publisher=Perennial Library |year=1989 |isbn=9780060156497 |edition=2nd |page=248 |lccn=86045165 |via=[[Internet Archive]]}}</ref> (1979)
* [[John Williams]] – "Old Man Marley" [[leitmotif]] from his [[Home Alone (soundtrack)|score]] for ''[[Home Alone]]''<ref>{{Citation |last=Hoyt |first=Alia |title=Why Sountracks love the Day of Wrath Theme |date=2018-03-22 |url=https://entertainment.howstuffworks.com/why-soundtracks-love-day-wrath.htm |type=analysis}}</ref> (1990) and quoted in ''[[Close Encounters of the Third Kind (soundtrack)|Close Encounters of the Third Kind]]'' (1977) and ''[[Star Wars (film)|Star Wars: Episode IV - A New Hope]]'' (1977) when Luke discovers that Imperial Stormtroopers have killed his uncle and aunt.
* [[Hans Zimmer]] – "The Rightful King" from [[The Lion King (1994 soundtrack)|''The Lion King'' soundtrack]], "Rock House Jail" from ''[[The Rock (film)|The Rock]]'' soundtrack, and "House Atreides" from [[Dune (2021 film)|the 2021 Dune adaptation]].
* [[Guy Gross]] – "Salve me Lacrimosa" from the American-Australian television series ''[[Farscape]]''
* [[Cristobal Tapia de Veer]] – ''[[The White Lotus]]'' opening credits
* [[Symphony X]] – Their album [[V – The New Mythology Suite]] references this work multiple times, such as in the song "A Fool's Paradise".
* [[Jeff Russo]] – Mullen's entrance to the Joint Session of Congress from the television series ''[[Zero Day (American TV series)|Zero Day]]'' score (unknown if included on the 2025 soundtrack).
* [[Lorien Testard]] - "Spring Meadows - Beaneath the Blue Tree" from the 2025 [[role-playing video game]] [[Clair Obscur: Expedition 33]].
 
<!-- Note this section is for notable classical compositions only. All entries must be sourced either here or the *Gregorian* "Dies iræ" must at least be mentioned in the works' article; see talk page. -->

==References==
{{reflist}}

==External links==
* {{Commons category-inline|Dies Irae}}
* {{Wikisource-inline|Dies Irae}}
* [http://www.franciscan-archive.org/de_celano/opera/diesirae.html "Dies Iræ"], [[Franciscan]] Archive. Includes two Latin versions and a literal English translation.
* [http://www.projectwittenberg.org/etext/hymnals/tlh/wrath.txt Day of Wrath, O Day of Mourning] (translation by [[William Josiah Irons]])
* A website cataloging [https://diquotes.victoryvinny.com/quotes/ Musical Quotations of the Dies Irae plainchant melody] in secular classical music

{{Tridentine Latin Mass}}

{{Authority control}}

[[Category:13th-century Christian texts]]
[[Category:13th-century Latin literature]]
[[Category:13th-century poems]]
[[Category:Book of Zephaniah]]
[[Category:Catholic liturgy]]
[[Category:Judgment in Christianity]]
[[Category:Latin religious words and phrases]]
[[Category:Christian hymns in Latin]]
[[Category:Requiems]]
[[Category:Works of uncertain authorship]]
[[Category:Last Judgment]]