Quia Pius Es Translation
Roxine Denison
The text (in Latin) is from the Roman Catholic Requiem Mass: Lux aeterna luceat eis, Domine, cum sanctis tuis in aeternum, quia pius es. Requiem aeternam dona eis, Domine; et lux perpetua luceat eis, which means "May everlasting light shine upon them, O Lord, with thy saints in eternity, for thou art merciful. Grant them eternal rest, O Lord, and may everlasting light shine upon them."
It is characteristic of nearly all Ligeti's mature works that the subdivisions of the basic beat keep changing, which contributes to their beatless, floating feeling. In this piece, each of the sixteen voices is given a characteristic subdivision of the quarter-note beat:
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.
[Eternal rest grant unto them, O Lord, and let perpetual light shine upon them. A hymn is fitting for You in Zion, O God, and a vow will be rendered to You in Jerusalem. Hear my prayer; to You all flesh will come.]
Shine the light of heaven upon our beloved faithful departed, O Lord, that they may join the praises ringing in Your heavenly court. Grant that we, also, may join this mighty chorus of praise as we offer this Requiem Mass to the glory of Your name. Have mercy on me, O Lord! For I too will soon follow these departed souls. Allow me to glimpse enough of Your light here on earth that I might follow it into eternity.
Dies irae, dies illa solvet saeclum in favilla, teste David cum Sibylla. / Judex ergo cum sedebit, quidquid latet apparebit: nil inultum remanebit. / Qui Mariam absolvisti, et latronem exaudisti, mihi quoque spem dedisti.
[Day of wrath, that day will dissolve the world in ashes, as foretold by David with the Sibyl. / Therefore, when the Judge will sit, whatever lies hidden will appear: nothing will remain unpunished. / You Who absolved Mary and graciously heard the thief also gave me hope.]
Lord, when the moon goes dark and the stars fall from the sky, as all flesh lies in judgment before You, Your majesty will be revealed to the nations. Our deeds are as ashes in the revealing light of Your glory; we have nothing to commend ourselves to You. Yet You deigned to forgive the sins of Mary Magdalene, and she followed You to the end. The thief repented, and You led him into Your kingdom. I, like them, Lord, fly to You and confess my sins. I beg Your mercy, though my prayers faint before the splendor of Your might.
Preces meae non sunt dignae; sed tu bonus fac benigne, ne perenni cremer igne. / Pie Jesu Domine, dona eis requiem. Amen.
[My prayers are not worthy; but act kindly, You Who are Good, that I may not be consumed by the eternal fire. / Holy Lord Jesus, grant them rest. Amen.]
We offer this prayer for our beloved departed, O Lord, for they cannot pray for themselves. Our own prayers are scarcely better, but You in Your Goodness promised to hear the cries of Your children. Show forth Your power, Lord, and save our souls from the unquenchable fire.
Qui manducat meam carnem et bibit meum sanguinem habet vitam aeternam: Et ego resuscitabo eum in novissimo die.
[Whoever eats my flesh and drinks My blood has eternal life: And I will raise him on the last day.]
Lord, we ask for life and You give us Life, Your very self. Your servants faithfully received You; remember Your promise, O Lord! As they can no longer receive this precious gift, Your flesh and blood, mercifully grant that the graces You pour out on us here at this Mass might overflow into Your sons and daughters who await the light of Your face.
We thank You for this gift of Holy Communion, O Lord, and as we contemplate Your presence within us, we see once more our weakness. And yet, Lord, we can rest contentedly in Your care; we can relax and savor the graces of abiding with You here, now, in this church. And as we rest, Holy Mother Church reminds us: God is ever faithful to His people! Our weakness is as nothing before the power of God, and it is in this faithful, merciful power that we place our trust. Lord, we pray for our beloved dead, but without fear: quia pius es.
Eine Besonderheit dieser Communio ist, dass hier statt der antiphonalen eine responsoriale Struktur vorliegt, bei der nach Einfgung eines Verses ein Teil des ersten Verses als Kehrvers (hier: Cum Sanctis tuis in aeternum: quia pius es.) wiederholt wird.
Der Text lehnt sich an eine Stelle in dem pseudepigraphischen 4. Buch Esra (Kap. 2,34f.) an, das um das Jahr 100 nach Christus entstand und in die lateinische Biblia Vulgata aufgenommen wurde:
Ein gleichnamiges Stck wurde fr den Film Requiem for a Dream vom Filmkomponisten Clint Mansell geschrieben. Ein Remake des Stckes ist auch im Trailer zum Film Der Herr der Ringe: Die zwei Trme sowie in zahlreichen anderen Trailern zu hren.
Bekannt ist auch Gyrgy Ligetis Lux Aeterna, eine Komposition fr einen 16-stimmigen gemischten Chor a cappella aus dem Jahr 1966, das spter als Musik zu Stanley Kubricks Film 2001: Odyssee im Weltraum verwendet wurde.
Wolfgang Amadeus Mozart's 'Lux aeterna' is a deeply moving and spiritual piece that forms part of his larger work, the Requiem Mass in D minor. The lyrics, written in Latin, translate to 'May eternal light shine upon them, O Lord, with your saints forever, for you are merciful. Grant them eternal rest, O Lord, and let perpetual light shine upon them. With your saints forever, for you are merciful.' This piece is often performed at funerals and memorial services, reflecting its themes of eternal rest and divine mercy.
The phrase 'Lux aeterna' translates to 'eternal light,' a powerful metaphor for the divine presence and the hope for eternal peace after death. The repetition of 'quia pius es' ('for you are merciful') emphasizes the compassionate nature of the divine, offering comfort to those mourning the loss of loved ones. The invocation of saints ('Cum Sanctis tuis') suggests a community of the faithful who have already attained eternal peace, serving as a source of solace and hope for the living.
Mozart's composition, with its hauntingly beautiful melodies and harmonies, enhances the solemn and reflective mood of the lyrics. The music's ability to evoke deep emotions makes it a timeless piece that continues to resonate with audiences today. The Requiem Mass, and particularly 'Lux aeterna,' stands as a testament to Mozart's genius in capturing the profound human experience of grief, hope, and the quest for eternal peace.
Pronunciation of Lux Aeterna. (Translation is below).Lux terna luceat eis, Domine,cum sanctis tuis in ternum,quia pius es.Requiem ternam dona eis, Domine;et lux perpetua luceat eis ;cum Sanctis tuis in ternum,quia pius es.May everlasting light shine upon them, O Lord,with your Saints forever,for you are kind.Grant them eternal rest, O Lord,and may everlasting light shine upon them.with your Saints forever,for you are merciful.
In, addition to the value of unseen translation, as a test ofteaching it constitutes an admirable thinking exercise. But so numerousare the various books of extracts already published that I should haveseen nothing to be gained from the appearance of a new one like thepresent volume were it not, as far as I know, different in two importantrespects from others. It contains six Demonstrations of howsentences are to be attacked: and further, the passages are chosen sothat if a boy works through the book he can hardly fail to gain someoutline knowledge of Roman Republican history.
As to the Demonstrations, their value will be evident if it isrealised that failure in this sort of translation means failure toanalyse: to split up, separate, distinguish the component parts of anapparently jumbled but really ordered sentence. A beginner mustlearn to trust the solvent with which we supply him; and the way toinduce him to trust it is to show it to him at work.vi That is what a Demonstration will do if only the learner will give it afair chance.
In regard to the historical teaching contained in the extracts, therecan be little doubt that the present tendency of classical teaching istowards emphasising the subject-matter as well as the language. It isfelt that as training in political principles the reading of Greek andRoman authors offers unique advantages, such as many English boys canappreciate, who are deaf to the literary appeal. The choice therefore ofhistorical extracts in chronological order is an attempt to recogniseboth the two great aims of classical teaching at once. At any rate thereis no reason to suppose that the linguistic exercise is in any wayimpaired by being combined with a little history.
I should like to direct attention also to the notes given on theextracts, and the purpose they are meant to serve. If no notes had beengiven some of the passages which are important or interestinghistorically would have been found too difficult for the boys for whomthey are intended. Moreover, most of the notes concern the historicalaspect of the extract to which they belong, and are part of the schemeby which the subject-matter of the passage is emphasised. Although thepassages themselves are not strictly graduated, the help given intranslation becomes less and less as the boy goes through the book; andit is obvious that those extracts which illustrate the later periods ofRoman History will be found more difficult than the legends and storieswhich belong to an earlier age. In cases where no help at all isdesired, the Miscellaneous Passages (which are without notes) may beused.
In the Demonstrations (pp. 15-58) the boy is taught to notice allallusions that give him a clue to the sense of the passage, to grapplewith the difficulties of construction, to break up sentences, and todistinguish between the principal and the subordinate thoughts both inprose and verse.
The Passages have been carefully selected, and contain accounts ofnearly all the important events and illustrious men of the period ofhistory to which they belong. They are chronologically arranged anddivided into six periods, covering Roman history from B.C. 753 to B.C.44, leaving the Augustan and subsequent period to be dealt with in asecond volume. The translation help given in the notes is carefullygraduated. The notes to Parts I., II., III. (marked D, pp. 60-107) arethus intended to help younger boys to deal with passages which would insome cases be too difficult for them; less help in translation is givenin Parts IV. and V. (marked C, pp. 108-159); while the notes to Part VI.(marked B, pp. 160-236) are mainly concerned with historicalexplanation, illustration, or allusion.
c80f0f1006