Fauré’s Requiem

Saturday, May 4th, 2024 @ 7:30pm
Southminster United Church, 15 Aylmer Ave, Ottawa

Visit the concert page for live streaming information and post-performance recording.


Word of Welcome from the Chair | An Introduction by the Music Director | Program | Program Notes | Performers | Rideau Chorale | Special Acknowledgement | Donors & Sponsors | Upcoming Concerts | Program Text & Translation


Welcome to our final performance in the 2023-24 season. Tonight you’ll hear two pieces by Gabriel Fauré, his Requiem and the beautiful Cantique de Jean Racine

Fauré was a great champion of modern music and provided an essential link between the Romantic tradition of Chopin, Schumann and Brahms and the Modernism of Debussy and Mahler. It’s not surprising then that Rideau Chorale is pairing him with two modern, locally-based composers.

Andrew Ager is an Ottawa-based composer and musician. His two pieces Garden Shadows and The Weathervane were inspired by the text of Canadian poet Bliss Carman. We are also very pleased to have him join us as our organist for this evening.

Kevin Reeves, Rideau Chorale’s Music Director and well-known local composer, conductor and film-maker, has drawn on Archibald Lampman’s poem In Beechwood Cemetery to compose a work specifically for this concert.

Rideau Chorale is a volunteer-run, charitable organization and we rely on the support of donors and sponsors. Your generosity allows us to stage these concerts and work alongside, and learn from, professional musicians.  Also key to our efforts are the dedicated volunteers, both choir members and others.

There is another group essential to our ability to share this wonderful musical experience and that is, of course, you. Thank you for allowing us the pleasure of singing for you. We continue to welcome singers from across the region. Check out our website for more information about our activities and how you can support Rideau Chorale.

Enjoy the performance!

Janice Manchee
Chair, Rideau Chorale Executive Committee


Fauré’s Requiem is a nostalgic piece for me because I had the opportunity to sing it with all the original members of the National Arts Centre Orchestra when the ensemble was just a year old.  Brian Law was the conductor, and Sir William McKie – former organist of Westminster Abbey – was also accompanying. He had retired to the Glebe and frequently came to St. Matthew’s Evensongs where I was singing in the choir.

A recording of me singing the ‘Pie Jesu’ was subsequently played at my father’s memorial service five years ago, and it’s sad to think that some of those orchestral players, including Sir William and Brian Law, are no longer with us.

In keeping with the Requiem theme, I wanted to write something for Rideau Chorale with the same instrumentation we’re using for Fauré’s work. For obvious reasons, In Beechwood Cemetery became my first choice not only because of the Ottawa connection, but because I’ve always admired Archibald Lampman’s poetry.

Aside from Fauré’s exquisite Cantique de Jean Racine, I felt that the two contrasting pieces by local composer Andrew Ager rounded out the concert nicely.

Thank you!

Kevin Reeves
Music Director, Rideau Chorale


Cantique de Jean Racine composed by Gabriel Fauré, text by Jean Racine (French – English)

Garden Shadows composed by Andrew Ager, text by Bliss Carman (English)

The Weathervane composed by Andrew Ager, text by Bliss Carman (English)

In Beechwood Cemetery composed by Kevin Reeves, text by Archibald Lampman (English)

Mordvin Lullaby composed by Matyas Seiber, arranged by Robert Docker (Instrumental)

Requiem composed by Gabriel Fauré (Latin – English – French)
Introit and Kyrie, Offertory, Sanctus, Pie Jesu, Agnus Dei, Libera Me, In Paradisum


Far from the shining salons and monumental churches of Paris that were to define his later years, Gabriel Fauré (1845-1924) grew up in relative obscurity in the Occitanie region of southern France, near the Pyrénées mountains. At the age of nine, his father was convinced by an official at the Paris Assemblée to send him to the newly established École de Musique Classique et Religieuse in Paris, a training school for organists and choirmasters headed by Louis Niedermeyer. He remained at the school for the next eleven years, studying mostly religious music, supplemented by a healthy diet of French literature. At Niedermeyer’s death in 1861, the composer Camille Saint-Saëns took over the instruction of the piano class and introduced the students to contemporary compositional techniques, something that was previously not on the syllabus. This exposure to the music of Schumann, Liszt, and Wagner had a profound impact on the young Fauré’s earlier compositions. 

In his last year at the school in 1865, he won first prize in the school’s composition competition for his Cantique de Jean Racine, op.11. This piece for mixed choir and organ is a setting of the seventeenth-century playwright Jean Racine’s 1688 Hymnes traduites du bréviaire romain (Hymns translated from the Roman breviary). This particular text is a paraphrase of Censors paterni luminis, a Matins hymn traditionally attributed to Saint Ambrose. While he was only twenty years old when he composed the Cantique, the short piece shows traits later found in his Requiem. His penchant for simple, sweeping lyrical melodies reminiscent of Mendelssohn is something he carried forward for the rest of his career. 

After finishing school, Fauré took on a series of appointments as a church organist and teacher, first in Rennes and later back in Paris, leaving him little time for composition. During this time he became a regular attendee of the salons of his former teacher Saint-Saëns and the celebrated Pauline Viardot. He would go on to form the Société Nationale de Musique with the friends he met at these gatherings. When Saint-Saëns left his post at the Église de la Madeleine in 1877, Fauré was given the prestigious position of second organist and choirmaster. Though the appointment was incredible on paper, he referred to it as his ‘mercenary job,’ as he had to spend most of his time on tedious, time-consuming tasks like organizing daily services and teaching music lessons. He earned no royalties on his published music because he sold his songs to his publisher with full copyright. By the mid-1880s, he was married with two children and often too busy to compose anytime other than during summer holidays. It was during a vacation in 1887 that he started to compose the first version of his Requiem

Known to his friends as a lively and congenial person, it is no surprise that Fauré’s Requiem does not dwell on the potential torments of the Last Judgment. Traditional settings of the Mass for the dead such as Mozart’s Requiem are often more theatrical, choosing to dramatize both the potential wrath of God as well as the hope for eternal peace. Fauré eschews the former, opting instead to take the word Requiem (rest) very literally. In his own words, “[the work] is of a sweet nature, like that of the composer himself.”  Written slowly from 1887 to 1900, the Requiem was intended solely to please Fauré himself and provide a less gloomy alternative to the regular funeral music he was tasked with at the church of the Madeleine. His views did not, however, align with those of the priest, who reprimanded him after he tried out an early version of the piece in 1888, saying “Monsieur Fauré, we don’t need all these novelties; the Madeleine’s repertoire is quite rich enough.” 

While the clergy’s response was disappointing, the piece was very well-received among his peers and garnered glowing reviews. It went through several phases of development from the years 1888-1899, with Fauré adding two additional movements (the Offertorium and Libera me) and modifying the orchestration. Despite his initial trepidation, after repeated requests by his editor, he agreed to write a concert version of the Requiem that could be played by a standard orchestra. He had originally scored the piece very intimately as a reaction against Berlioz’s Requiem, which employed a massive Romantic orchestra to emphasize the very drama and suffering that was such anathema to Fauré. The final version was premiered in 1900 in Lille, thirteen years after he first began work on it.

When Fauré died in 1924, the Requiem was performed in its full version at his funeral in the church of the Madeleine. His music, often described as Hellenic in reference to its clarity, balance, and serenity, can’t help but be compared to the church itself. The Madeleine is a breathtaking building, standing high above the Rue Royale and staring down the Place de la Concorde, its Neo-classical colonnade gives it the air of a nineteenth-century Acropolis. Its immense interior, thick with incense, is illuminated by circular skylights that make the gilded walls and arches shine. Though this is a concert performance, try to picture the progression of Fauré’s own funeral as the piece takes the listener on a journey from the somber Introit to the angelic In Paradisum, from darkness to light eternal.  

Andrew Ager has written a number of symphonic, operatic, vocal, and instrumental works, which have been performed in Canada and abroad. His music is described as a fusion of classical and contemporary. He is currently studying orchestration with Mikhail Gregorovich Bogdanov of the Tchaikovsky State Moscow Conservatory and is in a three-year project of revising and cataloguing his works. He explained his inspiration for the two pieces on offer this evening in the following way. 

“I came across the poetry of Bliss Carman many years ago when I picked up a volume of his works at an eccentric secondhand bookstore on Toronto’s Bloor Street in The Annex. The lyrical, strophic nature of the poems appealed to me as a composer. Garden Shadows was commissioned by Kevin James, who is playing in tonight’s orchestra, about twenty years ago, in a version for solo viola and choir. Lilting and gentle, it describes the poet’s sense of feeling his beloved’s presence in the mysterious shadowy world of a garden at different times of day. The Weathervane was originally composed in a version for unaccompanied choir, as part of a commission by the Toronto Chamber Choir. It evokes the movements of a weathervane atop a house at the edge of the sea, in fine weather and foul.”

Kevin Reeves, Rideau Chorale’s Music Director, has composed a piece specifically for this concert entitled In Beechwood Cemetery, with text by Archibald Lampman, one of Canada’s Confederation poets, specializing in poems about nature.  Lampman had a low-paying clerk’s job at the Ottawa post office and died at the age of 37 in 1899.  He is buried in Beechwood Cemetery, and fittingly, it is his text which is on a plaque by its entrance. The work is scored for the same forces as is being used for the Requiem – two violins, viola, cello, double bass, two French horns and harp.

Renée Olo
PhD Candidate, Historical Musicology, University of Pennsylvania


Kevin Reeves, Music Director & Conductor

As a chorus master, Kevin has prepared choirs for many international conductors – mostly through the National Arts Centre – including Trevor Pinnock, Franz Paul Decker, Lydia Adams, Jiri Belohlavek, Iwan Edwards, Robert Cooper, Jean-Francois Rivest and Pinchas Zukerman. Kevin is also a composer and three years ago presented the world premiere of his comic opera ‘Nosferatu’ – based on the filming of the 1922 silent classic.  He has also recently completed a full-length opera based on the true story of Anahareo and Grey Owl’s life in the bush.

In his spare time, Kevin directs documentaries, short films, dramas and Classical music videos and has won several international awards as a result. His hobbies include drawing caricatures, collecting original cartoon art, painting landscapes, and watching a lot of television – good and bad.


Ania Hejnar, Soprano

Local soprano Ania Hejnar has been performing for international platforms since graduating with her Masters in Vocal Performance, including Carnegie Hall, Maison Symphonique, the NAC, and Varnus Hall. She has performed for Prime Minister Justin Trudeau and Her Excellency the Right Honourable Mary Simon. Ania is a versatile performer as a classical singer, crossover musician, actor, voiceover artist and can be heard singing national anthems for many sports teams in Ottawa, including the Ottawa Senators. Ania is the music and drama teacher at Glebe Montessori School and maintains a private studio where she teaches voice and violin.

Phillip Holmes, Baritone

Phillip Holmes, bass-baritone, lives on the family farm in Clarendon, Quebec.  

In 2006 Phillip completed a Bachelor of Music Degree in Voice Performance, at the University of Ottawa. 

Phillip has sung with the Ottawa Choral Society, the Cantata Singers, CAMAC, the Cathedral Choir of Men and Boys, The Valley Festival, Seventeen Voyces Toronto’s MacMillan Singers, and Germany’s Bachakademie Festival Chor. He has performed as a soloist in Mendelssohn’s Elijah, Brahms’ Requiem, Handel’s Messiah, Faure’s Requiem, Rossini’s Stabat Mater, Rutter’s Mass for the Children, Orff’s Carmina Burana, and Vaughn William’s Five Mystical Songs.

Phillip has been teaching high school Theatre Arts for the past 16 years having directed numerous award-winning high school musicals.  In that time, he was also a founding director of the classical music festival Under the Pines.


Andrew Ager: Organ
Brigitte Amyot: Violin 1
Maria Nenoiu: Violin 2
Kevin James: Viola
Gregory Weeks: Cello
Patrick Bigelow: Bass
Martin Bender: Horn 1
Anik Caissie: Horn 2
Jessie Fleet: Harp


Executive Committee Members

Chair: Janice Manchee
Treasurer: Hélène Caron
Membership Coordinator & Secretary: Hilary Esmonde-White
Members-At-Large: Frances Isaac, Mark Olo, Krisha Séguin (Assistant Secretary)

Artistic Leadership

Music Director: Kevin Reeves
Accompanist: Carson Becke

Performing Members

Soprano: Susan Ambrose, Stephanie Barrett, Gabrielle Dewalt, Hilary Esmonde-White, Sylvia Grambart, Paula Hurtig, Elizabeth Irvine, Frances Isaac, Aditi Magdalena, Lucia Marc, Krisha Séguin, Liz Tromp, Anna van Holst Pellekaan, Dorothy Wood, Allison Woyiwada, Nancy Savage, Huguette Voyer.

Alto:  Miriam Bayly, Elspeth Butterworth, Hélène Caron, Janice Gray, Isabella Grigoroff, Olivia Hadwen, Angela Kelly, Lori Marsh, An Ngo, Pamela Robinson, Margaret Shatzky, Mary Wilson.

Tenor: Keith Bider, Guy Bujold, Janice Manchee, Yves Menard, Ian Nicol, Peter Robb.

Bass: Dave Dawson, Don Leek, Greg Lopinski, Marty McCurdy, David Oliver, Geoffrey Oliver, Mark Olo, John Royle, Tim Schobert, Jacob Zwiers.


Webmaster and Technology: Emily Walpole
Choir Coordinator: Miriam Carpenter


Rideau Chorale deeply appreciates the contributions of our volunteers.

Score Procurement: Hilary Esmonde-White, Anna van Holst Pellekaan.
Section Leads: Liz Tromp (Soprano), Mary Wilson (Alto), Keith Bider (Tenor), Mark Olo (Bass).
Set-up: Susan Ambrose, Dave Dawson, Sylvia Grambart, Elizabeth Irvine, Angela Kelly, Greg Lopinski, Lori Marsh, Geoffrey Oliver, John Royle, Mary Wilson.
Sponsorship & Fundraising: Guy Bujold, Paula Hurting, Janice Manchee, Yves Menard, Mark Olo, Liz Tromp.
Supplies & Storage:  Paula Hurtig, Dorothy Wood.
Website: Hilary Esmonde-White, Janice Manchee.
Concert Team: Frances Isaac, Janice Manchee, Mark Olo, Krisha Séguin.
Concert Marshall: Anna van Holst Pellekaan.
Concert Program: Mark Olo, with special thanks to Renée Olo.
Front of House: Grace Carpenter, Ian Carpenter, Edith Fraser, Penny MacDonald, Linda Russell, Janice Seline.

Concert Staff

Audio & Video: Zachary Spence
Technical Support: Abijah Zwiers
Graphics: Emily Walpole


Rideau Chorale and its members respectfully acknowledge that the land on which we gather, rehearse, and perform our music is the traditional unceded territory of Algonquin Anishnaabeg People.  We are grateful to have the opportunity to be present in and perform on this land.



Rideau Chorale wishes to acknowledge the generosity of our valued donors in helping us to present this concert. Gifts such as these make it possible for the choir to cover the considerable costs involved. If you are interested in making a donation (tax-deductible), learn more on our website.


We would also like to thank the the individuals and businesses whose generous sponsorships have supported this concert. We encourage you to patronize our business sponsors and let them know that you appreciate their support of Rideau Chorale.


Livestreaming for this concert sponsored in loving memory of music lover Yolande Rivest-Caron (1929-2024). / La transmission en direct de ce concert est commanditée à la douce mémoire de Yolande Rivest-Caron (1929-2024) amatrice de musique.






Stay tuned for news about Rideau Chorale’s 2024-25 season at our website.


Cantique de Jean Racine composed by Gabriel Fauré, text by Jean Racine

Verbe égal au Très-Haut, notre unique espérance, Jour éternel de la terre et des cieux, 
De la paisible nuit nous rompons le silence.
Divin Sauveur, jette sur nous les yeux.


Word, equal to the Almighty, our sole hope,
Eternal day of the earth and the heavens,
We break the silence of the peaceful night.
Divine savior, cast your eyes upon us.

Répands sur nous le feu de ta grâce Puissante
Que tout l’enfer fuie au son de ta voix.
Dissipe le sommeil d’une âme languissante
Qui la conduit à l’oubli de tes lois.


Pour on us the fire of your powerful grace
So all hell flees at the sound of your voice.
Dispel the sleep of a languishing soul
Who lives forgetful of your laws.

Ô Christ, sois favorable à ce peuple fidèle
Pour te benir maintenant rassemblé.
Reçois les chants qu’il offre à ta gloirei immortelle
Et de tes dons qu’il retourne comblé.


O Christ, look kindly on your faithful people
Assembled now to glorify you.
Receive the songs that we offer to your immortal glory
And let us depart, crowned with your gifts.

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Garden Shadows composed by Andrew Ager, text by Bliss Carman

When the dawn winds whisper
To the standing corn,
And the rose of morning
From the dark is born,
All my shadowy garden
Seems to grow aware
Of a fragrant presence,
Half expected there.

In the golden shimmer
Of the burning noon,
When the birds are silent,
And the poppies swoon,
Once more I behold her
Smile and turn her face,
With its infinite regard,
Its immortal grace.

When the twilight silvers
Every nodding flower,
And the new moon hallows
The first evening hour,
Is it not her footfall
Down the garden walks,
Where the drowsy blossoms
Slumber on their stalks?

In the starry quiet,
When the soul is free,
And a vernal message
Stirs the lilac tree,
Surely I have felt her
Pass and brush my cheek,
With the eloquence of love
That does not need to speak.

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The Weathervane composed by Andrew Ager, text by Bliss Carman

I saw a painted weather-vane
That stood above the sands,—
A little shining mermaiden
That turned and waved her hands.

She turned and turned and waved and waved,
Then faced toward the hill,
Then faced about and back again,
Then suddenly stood still.

And every time the wind came up
Out of the great cool sea,
She’d spin and spin and whirl her arms
As if in dancing glee.

And when the wind came down the road
With scent of new-mown hay,
She whirled about and danced again
In ecstasy of play.

It seemed as if her madcap heart
Could never quite decide
Whether her heaven was on the hill
Or on the drifting tide.

And would she rather be a sprite
To guard some singing stream,
And sparkle in the summer field
And through the forest gleam?

Or would she be an ocean child,
A spirit of the deep,
To run upon the billows wild
And in their cradle sleep?

And still she turned and veered between
The river and the sea,
And many a time I thought her hands
Were praying to be free.And then there came a night of storm,
Of wind and dark and snow,
And in the morn my weather-vane
Had vanished in the blow.

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In Beechwood Cemetery composed by Kevin Reeves, text by Archibald Lampman

Here the dead sleep–the quiet dead. No sound
Disturbs them ever, and no storm dismays.
Winter mid snow caresses the tired ground,
And the wind roars about the woodland ways.
Springtime and summer and red autumn pass,
With leaf and bloom and pipe of wind and bird,
And the old earth puts forth her tender grass,
By them unfelt, unheeded and unheard.
Our centuries to them are but as strokes
In the dim gamut of some far-off chime.
Unaltering rest their perfect being cloaks–
A thing too vast to hear or feel or see–
Children of Silence and Eternity,
They know no season but the end of time.

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Requiem composed by Gabriel Fauré

Introit and Kyrie (Introïtus et Kyrie)

Requiem aeternam dona eis, Domine,
et lux perpetua luceat eis.
Te decet hymnus, Deus, in Sion,
et tibi reddetur votum in Jerusalem.
Exaudi orationem meam: ad te omnis caro veniet.


Give them eternal rest, Lord,
and may light perpetual shine upon them.
A hymn becomes you, God, in Zion,
and a vow shall be paid to you in Jerusalem.
Hear my prayer: to you all flesh shall come.


Donne-leur le repos éternel, Seigneur ; 
et que la lumière brille à jamais sur eux ; 
C’est de la montagne de Sion que notre louange doit s’élever vers toi,
c’est de Jérusalem qu’il faut offrir nos sacrifices. 
Exauce ma prière : 
et tout être de chair parviendra jusqu’à toi.

Kyrie eleison. Christe eleison.


Lord, have mercy. Christ, have mercy. Lord, have mercy.


Seigneur, ayez pitié. 
Christ, ayez pitié. 
Seigneur, ayez pitié.

Offertory (Offertoire)

O Domine Jesu Christe, rex gloriae,
libera animas defunctorum
de poenis inferni et de profundo lacu.
O Domine Jesu Christe, rex gloriae,
libera animas defunctorum de ore leonis,
ne absorbeat Tartarus, ne cadant in obscurum.


O Lord Jesus Christ, king of glory,
deliver the souls of the departed
from the punishments of hell and from the deep lake.
O Lord Jesus Christ, king of glory,
deliver the souls of the departed from the mouth of the lion,
lest Tartarus swallow them up, lest they fall into darkness.


Seigneur Jésus Christ, Roi de gloire : 
délivrez les âmes de tous les fidèles défunts des 
peines de l’enfer et des marécages sans fond. 
Délivrez-les de la gueule du lion ; 
qu’ils ne soient pas engloutis par l’abîme, 
qu’ils ne tombent pas dans la nuit. 
Mais que saint Michel, avec son étendard 
les introduise dans la lumière divine 
que jadis vous avez promise à Abraham et à sa descendance.

Hostias et preces tibi, Domine, laudis offerimus:
tu suscipe pro animabus illis
quarum hodie memoriam facimus.
Fac eas, Domine, de morte transire ad vitam
quam olim Abrahae promisisti et semini eius. Amen.


We offer prayers and sacrifices of praise to you, Lord:
you receive them on behalf of those souls
whose memory we recall today.
Cause them, Lord, to pass from death to the life
which you once promised to Abraham and his seed. Amen.


Nous vous offrons, Seigneur, ce sacrifice et ces prières. 
Acceptez-les pour ceux dont nous faisons mémoire. 
Faites-les passer, Seigneur, de la mort à la vie, 
que jadis vous avez promise à Abraham et à sa descendance.


Sanctus, sanctus, sanctus Dominus Deus Sabaoth:
pleni sunt caeli et terra gloria tua.
Hosanna in excelsis.


Holy, holy, holy Lord God of hosts:
heaven and earth are full of your glory.
Hosanna in the highest.


Saint, Saint, Saint, 
Seigneur Dieu de Sabaoth. 
Le ciel et la terre sont remplis de ta gloire. 
Hosanna au plus haut des cieux ! 
Béni soit celui qui vient au nom du Seigneur. 
Hosanna au plus haut des cieux !

Pie Jesu

Pie Jesu, Domine, dona eis requiem.
Pie Jesu, Domine, dona eis sempiternam requiem.


Blessed Jesus, Lord, give them rest.
Blessed Jesus, Lord, give them eternal rest.


Bon Seigneur Jésus : 
donne-leur le repos éternel.

Agnus Dei

Agnus Dei, qui tollis peccata mundi,
dona eis requiem.
Agnus Dei, qui tollis peccata mundi,
dona eis sempiternam requiem.
Lux aeterna luceat eis, Domine,
cum sanctis tuis in aeternum, quia pius es.


Lamb of God, who takes away the sins of the world,
give them rest.
Lamb of God, who takes away the sins of the world,
give them eternal rest.
May eternal light shine on them, Lord,
with your saints for ever, for you are good.


Agneau de Dieu, qui porte les péchés du monde : 
donne-leur le repos. 
Agneau de Dieu, qui porte les péchés du monde : 
donne-leur le repos. 
Agneau de Dieu, qui porte les péchés du monde : 
donne-leur le repos éternel.

Requiem aeternam dona eis, Domine,
et lux perpetua luceat eis.


Give them eternal rest, Lord,
and may light perpetual shine upon them.


Que la lumière éternelle luise pour eux, Seigneur 
En compagnie de vos saints durant l ’éternité, grâce à votre bonté. 
Donnez-leur, Seigneur, le repos éternel.

Libera me

Libera me, Domine, de morte aeterna,
in die illa tremenda:
quando caeli movendi sunt et terra;
dum veneris iudicare saeculum per ignem.
Tremens factus sum ego, et timeo,
dum discussio venerit, atque ventura ira.


Deliver me, Lord, from eternal death,
on that terrible day:
when the heavens and earth will be shaken;
when you will come to judge the age with fire.
I am made to tremble, and I am afraid,
since trial and anger are coming.


Délivre-moi, Seigneur, de la mort éternelle, 
en ce jour redoutable: 
où le ciel et la terre seront ébranlés 
quand tu viendras éprouver le monde par le feu. 
Voici que je tremble et que j’ai peur, 
devant le jugement qui approche, 
et la colère qui doit venir. 

Dies illa, dies irae, calamitatis et miseriae,
Dies illa, dies magna et amara valde.
Requiem aeternam dona eis, Domine,
et lux perpetua luceat eis.


That day, a day of anger, disaster and sorrow,
That day, a mighty day, and one exceedingly bitter.
Give them eternal rest, Lord,
and may light perpetual shine upon them.


Ce jour-là doit être jour de colère, 
jour de calamité et de misère, 
jour mémorable et très amer 
quand tu viendras éprouver le monde par le feu: 
donne-leur le repos éternel, Seigneur, 
et que la lumière brille à jamais sur eux.

In Paradisum

In paradisum deducant angeli:
in tuo adventu suscipiant te martyres,
et perducant te in civitatem sanctam Jerusalem.
Chorus angelorum te suscipiat,
et cum Lazaro quondam paupere,
aeternam habeas requiem.


May the angels lead you into paradise:
may the martyrs receive you as you arrive,
and bring you into the holy city of Jerusalem.
May the choir of angels receive you,
and with Lazarus, once a beggar,
may you have eternal rest.


Que les Anges te conduisent au Paradis; 
que les Martyres t’accueillent à ton arrivée, 
et t’introduisent dans la Jérusalem du ciel. 
Que les Anges, en chœur, te reçoivent, 
et avec celui qui fut jadis le pauvre Lazare, 
que tu jouisses du repos éternel.

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