Dies Irae is the Gregorian chant Latin sequence sung at the Roman Catholic Requiem mass. It dates from at least the thirteenth century and is often attributed to Thomas of Celano of the Franciscan Order or the Dominican Latino Malabranca Orsini. In some sources its origin is ascribed to St. Gregory the Great, St. Bernard of Clairvaux, or St. Bonaventure. The text describes the day of judgment, the last trumpet summoning souls before the throne of God, where the saved will be delivered and the unsaved cast into eternal flames.
Salve, Regina, Mater misericordiae,
vita, dulcedo, et spes nostra, salve.
Ad te clamamus exsules filii Hevæ,
Ad te suspiramus, gementes et flentes
in hac lacrimarum valle.
Eia, ergo, advocata nostra, illos tuos
misericordes oculos ad nos converte;
Et Jesum, benedictum fructum ventris tui,
nobis post hoc exsilium ostende.
O clemens, O pia, O dulcis Virgo Maria.
Salve Regina, also known as Hail Holy Queen, is one of four Marian chant antiphons sung at different seasons within the Christian liturgical calendar of the Roman Catholic Church. It is traditionally sung at compline in the time from the Saturday before Trinity Sunday until the Friday before the first Sunday of Advent. It is also the final prayer of the rosary. There are two typical chant versions referred to as the solemn tone (above) and the simple tone (below). The solemn chant is in the Dorian mode while the simple chant is in the Lydian mode.
See a list of other popular chant themes here.
Nigel Allcoat – Symphonie Improvisée on ‘Salve Regina’ – St Nicolas du Chardonnet, Paris
Wm. Glenn Osborne – Postlude on ‘Salve Regina’ – Cathedral of Mary Our Queen, Baltimore
William Porter – Improvisation: Four Modal Variations on Salve Regina: I (Theme and Plein jeu)
William Porter – Improvisation: Four Modal Variations on Salve Regina: II (Scherzo)
William Porter – Improvisation: Four Modal Variations on Salve Regina: III (Meditation)
William Porter – Improvisation: Four Modal Variations on Salve Regina: IV (Introduction and Passacaglia)