Solace & Solidarity
Saturday, April 25th, 2026 @ 7:30pm
Southminster United Church, 15 Aylmer Ave, Ottawa
Visit the concert page for the livestream and post-performance recording.
CONTENTS
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
WORD OF WELCOME FROM THE CHAIR
Rideau Chorale is ending our 10th Anniversary season with music that speaks to both solace and solidarity – supporting one another through challenging times.
Tonight we’ll be sharing Maurice Duruflé’s beautiful Requiem and Leonard Bernstein’s powerful anti-war Chichester Psalms.
Joining us tonight are two wonderful soloists. Mezzo-soprano Sonya Sweeney is an Ottawa-based talent who has performed nationally. Treble Paul McAnerney is also Ottawa-based and has performed at the National Arts Centre.
We are pleased to have Matthew Larkin join us on organ, Michelle Gott on harp and Zak Pulak on percussion.
Our thanks to these talented professionals for their contributions to this evening.
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.
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
AN INTRODUCTION BY THE MUSIC DIRECTOR
Welcome to Rideau Chorale’s final concert of the season!
The two works being presented tonight are not as well-known as Mozart’s or Fauré’s Requiem, but they are nonetheless masterpieces of the 20th century. Both originated as large-scale works with orchestra and subsequently pared down to chamber size, which, happily for community organizations such as ours, makes them much more economically viable.
I feel both works organically wrote themselves, while the composers just happened to be there – one from Gregorian chant, the other from more modern influences, such as Broadway musicals, thus contrasting one another in no small way.
We are fortunate in this city to have artists such as Matthew Larkin, who is essentially our full orchestra, and friends and colleagues, Zac Pulak, Michelle Gott, Sonya Sweeney, Paul McAnerney, and Jean-Sebastien Kennedy. Enjoy the evening!
Kevin Reeves
Music Director, Rideau Chorale
PROGRAM
Chichester Psalms composed by Leonard Bernstein (Hebrew – English)
I. Psalm 108:2; Psalm 100
II. Psalm 23; Psalm 2:1-4
III. Psalm 131; Psalm 133:1
INTERMISSION
Requiem composed by Maurice Duruflé (Latin – English)
I. Introit
II. Kyrie eleison
III. Offertory (Domine Jesu Christe)
IV. Sanctus
V. Pie Jesu
VI. Agnus Dei
VII. Communion (Lux aeterna)
VIII. Libera me
IX. In Paradisum
PROGRAM NOTES
As the early spring sun gradually thaws the ground and the first signs of buds appear on the trees, people naturally incline to music that feeds this newfound sense of hope for new life and a cyclical rebirth. Today’s programme celebrates this age-old feeling with two mid-twentieth-century pieces written on either side of the Atlantic that, though composed in two very different traditions by two very different people, encapsulate a similar hope for peace, renewal, and a better world.
Our first selection, Leonard Bernstein’s Chichester Psalms (1965), is a hopeful, exalting work with a message that feels evergreen. Born in Lawrence, Massachusetts, in 1918, Bernstein was the descendant of Jewish immigrants who migrated to the United States from Rivne, in present-day Ukraine. The young Bernstein excelled as a pianist during his teenage years and was raised with an equal respect for jazz, musical theatre, and European art music. George Gershwin’s music, in particular, was enormously impactful on Bernstein’s later compositional style.
Bernstein went on to graduate cum laude from Harvard University with a Bachelor of Arts in composition and enrolled at the Curtis Institute of Music in Philadelphia in 1939, where he studied conducting under Fritz Reiner. Subsequently, he moved to New York City, where he worked as a sessional pianist and singing coach until his big break, when he made his conducting debut at the New York Philharmonic in 1943. On this occasion, the guest conductor Bruno Walter came down with the flu, and Bernstein was tapped to replace him on the same day, without any rehearsal, on a live radio broadcast. The concert went so well that news of Bernstein’s great success was reported on the front page of the next day’s New York Times and lauded as a classic American success story.
This event launched Bernstein’s career; the next few years were filled with non-stop touring, and his newfound success in conducting opened the possibility to write and conduct his own compositions. In 1958, Bernstein was appointed as the first entirely American-born and trained Music Director of the New York Philharmonic. Here, he was a key figure in the modern revival of Gustav Mahler’s music, and generated a series of televised concerts, most notably the ‘Young People’s Concerts,’ wonderfully accessible programs which introduced generations of children and teens to classical music.
Of course, Bernstein is best known as the composer of West Side Story (1957), a modern adaptation of Shakespeare’s Romeo and Juliet set in the Upper West Side of Manhattan, which explores the ethnic tensions between two opposing teenage street gangs living in the same densely inhabited neighbourhood. Over the course of his life, he would go on to write three operas, several ballets, numerous musicals, orchestral and chamber works, among many others. A truly modern composer who was equally comfortable in the world of popular music and high art, he won seven Emmy Awards, two Tonys, 16 Grammy Awards, and an Academy Award nomination.
Tonight’s selection, the Chichester Psalms (1965), was composed during a sabbatical that Bernstein took from the New York Philharmonic during the 1964/1965 season. The original intention of this break was to set aside time to work on a new musical based on Thornton Wilder’s play, The Skin of Our Teeth. Unfortunately, in the fall of 1964, Bernstein found himself in a dark and uninspired mindset. He was reeling over the recent murder of his friend, the composer Marc Blitzstein, and was still profoundly shaken by the recent assassination of President Kennedy. The Skin of Our Teeth was ultimately scrapped in January of 1965. It is rumoured that tensions between the show’s two writers contributed to the cancellation, and Bernstein’s mental state certainly did not help.
Concurrently, Bernstein had received a commission request from the Reverend Walter Hussey, Dean of Chichester Cathedral in Sussex, England, to compose a piece for the cathedral’s 1965 choral festival. Hussey wanted a piece suitable for combined choirs and suggested a potential setting of Psalm 2. He added, “Many of us would be delighted if there was a hint of West Side Story about the music.” Though the Reverend Hussey suggested a setting of Psalm 2, Bernstein opted to set a suite of different psalms to music, originally titled Psalms of Youth, which he later changed to the Chichester Psalms, feeling that the former implied that the music was easy to sing. Adding to the difficulty of the music, the Psalms are sung entirely in their original Hebrew, to the delight of Hussey, who loved the originality.
This was his first work since he composed his third symphony, Kaddish, in memory of John F. Kennedy, the year prior. Both Psalms and Kaddish feature choruses singing Hebrew text with orchestra, but the tone could not be any different. Kaddish, like the Aramaic prayer recited by Jewish people in memory of the dead, is mournful and despairing, but Psalms is celebratory and life-affirming. Kaddish was a product of a period of experimentation with atonality; it is an overwhelmingly serialist piece, which reflects its turmoil. However, when composing Psalms, Bernstein dispensed with the serialism in favour of lyricism and tonality. Psalms, according to Bernstein, is “the most accessible, B-Majorish tonal piece I’ve ever written.”
When The Skin of Our Teeth fell through, Bernstein salvaged musical material originally intended for the musical and used it in his new sacred composition. Not only did he use this repurposed material, but he also honoured the Reverend Hussey’s request to sprinkle in a “hint of West Side Story” by using scrapped material originally composed for that production as well. The overall effect is an enchanting mix between modern harmony and ancient text.
The work begins with text from Psalm 108 (“Awake, psaltery and harp”). There is a prominent jazzy minor seventh interval in the introductory phrase, which will return later in the final movement. The number seven (sheva) is important in Hebrew numerology, representing completion, holiness, as well as the seven days of creation. This is not the only way the number is woven into the work—its rhythmic structures are also often grouped in sevens. The second part begins with a sweet setting of Psalm 23 (“The Lord is my Shepherd”) sung by a boy soloist accompanied by harp. The voice of the child and harp evokes the voice of the young King David, the original author of the psalms, and uses melodies originally written for The Skin of Our Teeth. This morphs into a frantic setting of Psalm 2 (“Why Do the Nations Rage?”), which uses music cut from West Side Story. The soloist and upper voices return with the Psalm 23 melody, but there is a lingering agitation that does not go away. Part 3 is the longest and most intense part of the piece. The strings open with an intense introduction, recalling the minor seventh motive from the first movement. Then, the voices take over and present a rocking, hushed rendition of Psalm 131 (“Lord, Lord, my heart is not haughty”), followed by Psalm 133 (“Behold how good”), in the style of a Lutheran chorale. This brings the work to a conclusion in a plea for peace and a better world.
The Chichester Psalms was premiered in New York City in a sold-out performance at Philharmonic Hall on July 15 of 1965, ahead of its festival premiere at Chichester. It received wide acclaim both at home and in England, where its commissioners were extremely pleased with its unique blend of Biblical Hebrew verse, Christian choral tradition, and Bernstein’s own jazz-inflected compositional style. Certainly, the musical language and message of the Chichester Psalms feel relevant to this day. Bernstein’s appeal for unity and light during unambiguously troubled times reminds us that there is, indeed, light at the end of the darkness. Winter turns into spring, and conflict turns toward peace.
Our second selection of the evening is the Requiem, composed by Maurice Duruflé in 1947. Born in 1902, about fifteen years before Bernstein, Duruflé spent his childhood in the small town of Louviers in Normandy, just downstream from Rouen on the Seine River. Perhaps the most consequential event of his childhood was his parents’ decision to enrol him as a student in the Rouen Cathedral Choir School, at that time the only functioning cathedral school left after the closure of hundreds like it following the French Revolution. Students at choir schools such as this received intensive training in singing, piano, organ, as well as improvisation and composition. Likewise, it was here that the young Duruflé fell in love with the ancient tradition of plainchant, otherwise known as Gregorian chant, as the choristers chanted Mass and Vespers every day.
Upon finishing at the choir school, Duruflé moved to Paris, where he completed his education at the Conservatoire. Here, he studied with the biggest names in French organ performance and composition. The most influential to him among those were Charles Tournemire, the organist at the Basilique Ste-Clotilde in Paris, who was a proponent of the ‘plainchant revival’ happening at the time in France, and whose compositions were firmly rooted in Gregorian Chant. His other great mentor was Louis Vierne, organist at the Notre-Dame de Paris, and perhaps the best-known French concert organist and composer of his age.
Duruflé’s compositional style is a wonderful mix between those of his most important mentors. From Tournemire, he inherited a love for plainchant and modal melodies, a certain smoky mysticism, and from Vierne, he learned structure, proportion, and how to utilise the full sonic capabilities of the early 20th-century French organ. So deep was his relationship with Vierne that Duruflé was sitting beside him on the bench when Vierne collapsed and died during his last recital at Notre-Dame in 1937. Soon after graduation from the Conservatoire, Duruflé became the organist at St-Étienne-du-Mont in Paris, where, like his mentor, he served up until his death.
Duruflé was a fastidious and self-critical composer. This meant that though he composed constantly, most of his work was discarded out of frustration or lack of confidence. The fourteen works that he did publish are, for this reason, superbly polished and boast of an extremely distinctive voice among his contemporaries. Though he lived for most of his life in Paris, employed as an organist and later teaching at the Conservatoire, he retained the modest and private character of a man from the provinces, happy to work as a parish organist, earnestly devoted to the liturgical tradition he was brought up with.
As an organist trained in the French tradition of improvisation, every day was a new opportunity for spontaneous composition. To many organists trained in the same way, writing down one’s compositions was mostly something done for posterity, rather than to support oneself. It was not uncommon for French organists of this time to show up to mass with no music prepared; many would simply open the Liber usualis (the Catholic book of Gregorian chants used for Mass) and improvise on the chants sung on that particular day. Consequently, Duruflé’s compositional process for the Requiem was very similar. He describes the process as being spontaneous and inspired. The music appeared to him as an elaboration of the chants traditionally sung during the Latin mass for the dead, and he wrote it down.
After Hitler invaded France in 1940 and German troops marched into Paris on June 10, the French government relocated to Vichy. A year later, this collaborationist government commissioned several well-known French composers to write music to curry favour with the public. Among those commissioned was Duruflé, who was contracted to write a symphonic poem. Characteristically, he was so self-critical and slow in his compositional process that he only completed his Opus 9 six years later in 1947, three whole years after the liberation of France and the dissolution of the Vichy Government. During that time, the piece had changed shape from a symphonic poem to a Requiem mass for mixed voices, organ, and orchestra. He would later compose two additional versions, one for voices and chamber orchestra, and another for voices and organ only.
Though the idea for a mass for the dead conjures up images of doom and despondency, the traditional Latin text does not dwell in darkness but evokes hope, paradise, and eternal light. Duruflé’s Requiem is divided into nine movements and notably omits the Dies irae (Day of Wrath), usually included in traditional Requiem masses. Sonically, the Requiem is a seamless marriage between the ancient plainchant so dear to Duruflé and the quasi-impressionistic early 20th-century French compositional style he was schooled in. Duruflé took great care to preserve the feel of unmeasured Gregorian chant rhythm present in the melodies, while using a fresh harmonic language which sometimes even dips into polytonality. Requiem is ultimately a piece that feels at once ancient and timeless, equally comfortable as a concert piece for a secular crowd or as a liturgical piece for devout believers. Much like with the Chichester Psalms, we are reminded that there is nothing new under the sun. The voices of the ancient peoples come long before us remind us that though winter is long, spring has and will always come.
Renée Olo
PhD Candidate, Historical Musicology, University of Pennsylvania
PERFORMERS
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.
Soloists
Sonya Sweeney, Mezzo-Soprano
Sonya Sweeney is a vocal artist and pianist based in Ottawa, ON. Sonya has been praised for her sensitivity and technique as both a vocalist and pianist. She performs not only in Ottawa, but also in many parts of the Fraser Valley and Victoria, BC. Past performances include Bach’s Mass in B Minor, St. John Passion, Handel’s Messiah, Haydn’s Harmonie Mass, Creation Mass and Lord Nelson Mass, Vivaldi’s Gloria, Mozart’s Coronation Mass and Requiem. Sonya dedicates her time to teaching students in voice, piano and theory. She also works extensively with the Capital Chamber Choir, both as a chorister and vocal coach. Her passion is sharing the joy of music in performance and inspiring that joy in others through teaching.
Paul McAnerney, Treble
Paul has been a chorister at Christ Church Cathedral Ottawa since 2022. He enjoys singing, playing the piano, Pokémon tournaments, and trains. He speaks French and English. Past roles include Shepherd Boy in the National Arts Centre’s recent production of Tosca, and young Saint Nicolas in Benjamin Britten’s eponymous cantata.
Jean-Sébastien Kennedy, Baritone
Instrumentalists
Matthew Larkin, Organ
Michelle Gott, Harp
Zac Pulak, Percussion
RIDEAU CHORALE
Executive Committee Members
Chair: Janice Manchee
Treasurer: Miriam Bayly
Secretary: Jocelyn Stoate
Membership Coordinator: Marty McCurdy
Members-At-Large: Mark Olo, Pamela Robinson
Artistic Leadership
Music Director: Kevin Reeves
Accompanist: Fabien Tousignant
Performing Members
Soprano: Hiroko Yokota-Adachi, Miroslawa Bilaniuk,Gabrielle Dewalt, Kathy Dobbin, Rhona Einbinder-Miller, Sylvia Grambart, Paula Hurtig, Elizabeth Irvine, Frances Isaac, Anna Lehn, Marcela Pauckova, Anna van Holst Pellekaan, Jocelyn Stoate, Liz Tromp, Dorothy Wood, Allison Woyiwada.
Alto: Gillian Anderson, Miriam Bayly, Elspeth Butterworth, Lesley Cameron, Hélène Caron, Hilary Esmonde-White, Isabella Grigoroff, Johanne Guay, Olivia Hadwen, Jenny Jones, Marie-Odile Junker, Angela Kelly, Lori Marsh, Laura Smith, Emily Walter, Mary Wilson, Maha Zayed.
Tenor: Tomo Adachi, Sarah Dewalt, Yves Ménard, Peter Robb, Hugh Williamson.
Bass: Brian Cameron, Donald Leek, Greg Lopinski, Ian MacMillan, Marty McCurdy, David Oliver, Geoffrey Oliver, Mark Olo, John Royle, Tim Schobert, Jacob Zwiers.
Personnel
Webmaster & Technology: Emily Walpole
Choir Coordinator: Mikayla Odut
Volunteers
Rideau Chorale deeply appreciates the contributions of our volunteers.
Score Procurement: Jocelyn Stoate, Anna van Holst Pellekaan.
Section Leads: Gabrielle Dewalt (Soprano), Angela Kelly (Alto), Sarah Dewalt (Tenor), John Royle (Bass).
Set-up: Elizabeth Irvine, Angela Kelly, Greg Lopinski, Lori Marsh, Geoffrey Oliver, Jacob Zwiers.
Sponsorship & Fundraising: Paula Hurting, Janice Manchee, Yves Menard, Mark Olo, Liz Tromp.
Supplies & Storage: Paula Hurtig, John Royle.
Website: Janice Manchee, Jocelyn Stoate.
Concert Team: Janice Manchee, Mark Olo, Pamela Robinson.
Concert Marshall: Anna van Holst Pellekaan.
Concert Program: Mark Olo, with special thanks to Renée Olo.
Front of House: Frances Baker, Edith Fraser, Bryan Halliday, Barb Morris, Shari Schiefele, Janice Seline, Beth Smith, Melissa Trepanier, Michael Trepanier.
Concert Staff
Audio & Video: Spencer Johnston, Steve Johnston
Technical Support: Elijah O’Byrne
Graphics: Emily Walpole
SPECIAL ACKNOWLEDGEMENT
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.
DONORS & SPONSORS
Donors
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
Sponsors
We would also like to thank the 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.
Premium
Business
Community
UPCOMING CONCERTS
PROGRAM TEXT
Chichester Psalms composed by Leonard Bernstein
I.
Psalm 108:2
Hebrew:
Urah, hanevel, v’chinor!
A-irah shachar!
English
Awake, psaltery and harp:
I will rouse the dawn!
Psalm 100
Hebrew:
Hariu l’Adonai kol ha-arets.
Iv’du et Adonai b’simcha.
Bo-u l’fanav bir’nanah.
D’u ki Adonai Hu Elohim.
Hu asanu, v’lo anachnu.
Amo v’tson mar’ito.
Bo-u sh’arav b’todah,
Chatseirotav bit’hilah,
Hodu lo, bar’chu sh’mo.
Ki tov Adonai, l’alom chas’do,
V’ad dor vador emunato.
English
Make a joyful noise unto the Lord all ye lands.
Serve the Lord with gladness.
Come before His presence with singing.
Know that the Lord, He is God.
He made us, and we are his.
We are His people and the sheep of His pasture.
Come unto His gates with thanksgiving,
And into His court with praise.
Be thankful unto Him and bless His name.
The Lord is good, His mercy everlasting
And His truth endureth to all generations
II.
Psalm 23
Hebrew:
Adonai ro-i, lo echsar.
Bin’ot deshe yarbitseini,
Al mei m’nuchot y’nachaleini,
Naf’shi y’shovev,
Yan’cheini b’ma’aglei tsedek,
L’ma’an sh’mo.
Gam ki eilech
B’gei tsalmavet,
Lo ira ra,
Ki Atah imadi.
Shiv’t’cha umishan’techa
Hemah y’nachamuni.
Ta’aroch l’fanai shulchan,
Neged tsor’rai
Dishanta vashemen roshi
Cosi r’vayah.
Ach tov vachesed
Yird’funi kol y’mei chayai,
V’shav’ti b’veit Adonai
L’orech yamim.
English
The Lord is my shepherd, I shall not want.
He maketh me to lie down in green pastures,
He leadeth me beside the still waters,
He restoreth my soul,
He leadeth me in the paths of righteousness,
For His name’s sake.
Yea, though I walk
Through the valley of the shadow of death,
I will fear no evil,
For Thou art with me.
Thy rod and Thy staff
They comfort me.
Thou preparest a table before me
In the presence of my enemies,
Thou anointest my head with oil,
My cup runneth over.
Surely goodness and mercy
Shall follow me all the days of my life,
And I will dwell in the house of the Lord
Forever.
Psalm 2:1-4
Hebrew:
Lamah rag’shu goyim
Ul’umim yeh’gu rik?
Yit’yats’vu malchei erets,
V’roznim nos’du yachad
Al Adonai v’al m’shicho.
N’natkah et mos’roteimo,
V’nashlichah mimenu avoteimo.
Yoshev bashamayim
Yis’chak, Adonai
Yil’ag lamo!
English
Why do the nations rage,
And the people imagine a vain thing?
The kings of the earth set themselves,
And the rulers take counsel together
Against the Lord and against His anointed.
Saying, let us break their bands asunder,
And cast away their cords from us.
He that sitteth in the heavens
Shall laugh, and the Lord
Shall have them in derision!
III.
Psalm 131
Hebrew:
Adonai, Adonai,
Lo gavah libi,
V’lo ramu einai,
V’lo hilachti
Big’dolot uv’niflaot
Mimeni.
Im lo shiviti
V’domam’ti,
Naf’shi k’gamul alei imo,
Kagamul alai naf’shi.
Yachel Yis’rael el Adonai
Me’atah v’ad olam.
English
Lord, Lord,
My heart is not haughty,
Nor mine eyes lofty,
Neither do I exercise myself
In great matters or in things
Too wonderful for me to understand.
Surely I have calmed
And quieted myself,
As a child that is weaned of his mother,
My soul is even as a weaned child.
Let Israel hope in the Lord
From henceforth and forever.
Psalm 133:1
Hebrew:
Hineh mah tov,
Umah nayim,
Shevet achim
Gam yachad.
English
Behold how good,
And how pleasant it is,
For brethren to dwell
Together in unity.
Return to Program | Return to Contents
Requiem composed by Maurice Duruflé
I. Introit
Latin:
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.
English
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.
II. Kyrie eleison
Latin:
Kyrie eleison. Christe eleison.
English
Lord, have mercy. Christ, have mercy.
III. Offertory (Domine Jesu Christe)
Latin:
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.
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.
English
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.
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.
IV. Sanctus
Latin:
Sanctus, sanctus, sanctus Dominus Deus Sabaoth: pleni sunt caeli et terra gloria tua.
Hosanna in excelsis.
English
Holy, holy, holy Lord God of hosts: heaven and earth are full of your glory.
Hosanna in the highest.
V. Pie Jesu
Latin:
Pie Jesu, Domine, dona eis requiem.
Pie Jesu, Domine, dona eis sempiternam requiem.
English
Blessed Jesus, Lord, give them rest.
Blessed Jesus, Lord, give them eternal rest.
VI. Agnus Dei
Latin:
Agnus Dei, qui tollis peccata mundi,
dona eis requiem.
Agnus Dei, qui tollis peccata mundi,
dona eis sempiternam requiem.
English
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.
VII. Communion (Lux aeterna)
Latin:
Lux aeterna luceat eis, Domine,
cum sanctis tuis in aeternum, quia pius es.
Requiem aeternam dona eis, Domine,
et lux perpetua luceat eis.
English
May eternal light shine on them, Lord, with your saints for ever, for you are good.
Give them eternal rest, Lord, and may light perpetual shine upon them.
VIII. Libera me
Latin:
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.
Dies illa, dies irae, calamitatis et miseriae,
Dies illa, dies magna et amara valde.
Requiem aeternam dona eis, Domine,
et lux perpetua luceat eis.
English
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.
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.
IX. In Paradisum
Latin:
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.
English
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.