Date Added To Table	Composer	Piece Title	Date Composed	Quote Quality	Comment	Link to score	Link to audio
2022-09	Adamo, Mark	Last Year	2021	Definitely quoted	A concerto for cello and string orchestra. An answer to the musical thought experiment: considering the climate change crisis, what would Vivaldi's four seasons sound like today? Each of the four seasons/movements ends up devolving into a dies irae quotation (bit of a downer work). Many details here: https://www.markadamo.com/compositions/last-year-concerto-for-cello-and-string-orchestra		audio
2022-06	Ades, Thomas	Totentanz	2013	Definitely quoted	Pervades the piece. Starting with death's entrance at the beginning, in piccolo. "Totentanz for choir, orchestra and two soloists is based on a famous frieze from St Mary’s Church in Lübeck, bombed in 1942. Here, Adès reveals his gift for the grim in music that no longer sustains itself from within. The Gregorian chant Dies Irae is elegantly dissected in a dance of death, with rattling bones and distorted dances; church bells and white-hot savagery drift into a sense of calm repose not far removed from the world of Mahler’s Wunderhorn."		audio
2022-06	Agocs, Kati	Imprimatur (String Quartet #2)	2018	Definitely quoted	The opening movement Ostinato kicks off with repeated 8-note quotations		audio
2022-06	Aguirre, Louis Franz	4 Nocturnes with Masks	2017	Definitely quoted	For violin (with scordatura)and piano. Piano in this nocturne seems only played on the inside. Written for Valeria Zorina.		audio
2022-06	Aharonián, Coriún	Mestizo	1993	Definitely quoted	15-minute work for orchestra. From Richard Hanlon's liner notes: "The gestures, motifs, clusters and pulses upon which it is built constitute “a tool kit of semantically charged elements of musical language with unlimited possibilities” according to a quotation in the note attributed to Aharonián himself. By extension its quarter-hour or so duration is completely arbitrary – Mestizo has the potential to continue ad infinitum. Its opening is dominated by the sound of Andean Wankara drums whose regular beats both threaten and summon. Harsh brass chords, strange sustained static drones and curt little wind notes and motifs create an atmosphere of unbridled ambiguity. Long silences struggle to conceal inconspicuous percussive rustlings. Mestizo is simultaneously celebratory and ominous. As the piece proceeds the brass interjections seem increasingly piercing and discomfiting, but the listener cannot fail to be impressed by the clarity of Aharonián’s architecture, or by the colour and atmosphere projected by such unconventionally static music. The disorienting entrance of jazzy saxophones toward the end of the piece is surreal and completely wrongfoots the listener."		audio
2022-06	Ahrens, Joseph	Cantiones Gregorianae pro Organo: Dies Irae	1957	Definitely quoted	The Cantiones are fairly lengthy and definitely awesome set of organ impromptus on various Gregorian chants. I think this original recording by Ahrens is what's sampled by Zimmermann in his Roi Ubu.		audio
2022-06	Akey, Douglas	Joy Fantastique	2006	Definitely quoted	Piece for (good) middle school band combining Ode to Joy and Dies Irae (the Thor Pierres piece was also reported to make this combination), and some Christmas songs		audio
2022-06	Akses, Necil Kazim	Ballade	1947	Definitely quoted	https://www.researchgate.net/publication/347979539_TRADITIONAL_REFERENCES_OF_THE_MODERN_BALLADE_BY_AKSES/link/60f0824a0859317dbde5ef8b/download is an undergraduate dissertation by Ismet Karadeniz covering the various references contained. Can be heard around 12:30 of this Moscow recording		audio
2022-06	Alburger, Mark	Diabolic Variations, Op. 130	2005	Definitely quoted	Uh, I don't know what to make of these. Diabelli variations by way of Dies Irae?		audio
2022-06	Alkan, Charles-Valentin	Trois Morceaux Dans Le Genre Pathetique Op 15 No 3 'Morte'	1837	Definitely quoted	Opens with bells slowly pealing a prolonged Dies Irae quote. Injects itself as a quiet reprise at the climax. Dedicated to Liszt, who wrote favorably of it. After some somber bells in the lowest register, dies irae is stated as the first theme, and it continues to permeate the work. Interesting quote about this piece by Sorabji: Morte is the "most remarkable piece of the collection... 'Morte' is a moving and tragic elegy, a funereal song, in which the composer introduces the Dies irae, that marvellous theme which has for so long haunted and fascinated so many of the great masters of music. The work is bursting with extraordinary daring - technical, pinaistic, and harmonic - and its close is as weirdly uncanny as it is audacious and original". Interestingly, by this point of composition in 1837, it really hasn't haunted people for long. I said above that Liszt was favorable of it, except Hyperion quotes Liszt as saying about Morte that "In the ensemble of this piece, which contains some truly lovely things, it seemed to us that M. Alkan had too little concern for detail. The transition passages, thrown like bridges between one idea and another [...] have been somewhat neglected. It is evident that the composer views them as being of mediocre importance. And that is a mistake. One should never assume that certain sections will benefit through a neglect of others."		audio
2022-06	Alkan, Charles-Valentin	Les Mois, op. 74: No 11. Le mourant	1838	Maybe	Those left hand octaves obstinately descend the minor third that makes the DI four-note quote. Including throwing in the minor second down-up once in a while. I guess "Le Mourant" means "the dying (man)"… This once is super close, but it's a little too funeral dirge and not enough dies irae.	score	audio
2022-06	Alkan, Charles-Valentin	Symphony for Solo Piano	1857	Maybe	One of the recurring motifs sounds so close to a quote of the 4-note motif. In common (march) time, The first 3 notes are the upper voice of the right hand accompaniment, and the the 4th is the left hand melody in a different register.
2022-07	Andriessen, Hendrik	Libertas Venit, Rhapsody for Orchestra	1954	Definitely quoted	A dirge commemorating the Nazi occupation of Holland that is peppered with 4-note quotations.		audio
2022-06	Andriessen, Louis	Lacrimosa	1991	Definitely quoted	For bassoon duet. Program note (English): Lacrimosa is based on the melody of the 18th verse of the 'Dies Irae', a part of the requiem mass. This cantus firmus is embedded in very small, seufzer-like intervals. Towards the end the melody's conclusion appears in its original form. - LOUIS ANDRIESSEN	score	audio
2022-06	Andriessen, Louis	Garden of Eros	2002	Definitely quoted	About halfway through, viola (or maybe 2nd violin low) plays the first two lines of the dies irae.		audio
2022-06	Andriessen, Louis	The Only One	2018	Definitely quoted	Short song cycle based on poetry from Delphine Lecompte. For pared down orchestra, adding electric guitars. Played explicitly by low trombones in the Interlude 2 (and if you listen closely, it's hinted at throughout).		audio
2022-10	Angelova, Vania	Flight of the Angry Demons (Crazy Speed and Dies Irae)	2013	Definitely quoted	Medium length work for solo organ, fast-slow-fast. Premiered September 23 2013 by Jens Korndoerfer on the organ at the Saints-Anges-Gardiens church in Montreal (this is the recording/video linked here). Composer's notes: "My composition "Flight of the Angered Demons" for organ solo is full of passion and drama. It echoes the pace of the thoughts and emotions of our souls in this modern world. The subtitles "Crazy Speed and Dies Irae" indicate the cascade-like stream of musical ideas and rhythms, punctuated by the ancient Gregorian chant, a reminder of the vanity of all things. Slowly, the anger of the demons seems to subside, making place for an almost angelic Orthodox Choral... Alas, the flight of the demons gradually returns, culminating in a last rise and downfall of the demons throughout the entire range of the keyboard!!!" I can only hear a single 4-note punctuation near the very beginning.	score	audio
2022-09	Angelova, Vania	Jesus In Our Souls	2006	Definitely quoted	An oratorio composed for her doctorate degree from University of Montreal, which blends Bulgarian folk songs, Dies Irae, and original themes. Most evident in the Lacrimosa section. For orchestra, solo bass, recitalist, and mixed choir.	score
2022-06	Arambarri, Jesus	In memoriam - Elegy for orchestra	1930	Definitely quoted	This was written in memory of Juan Carlos Gortázar. "The music represents a meditative quickening with sudden, though low-contoured, surges. There is an orator's role for the French horn intoning the Dies Irae. A transient fist-shaking dies away in a wonderfully peaceful way over prayerful strings redolent of Tchaikovsky's Pathétique. From another CD review website: The opening andante quotes a Guridi song Así cantan los chicos to charming effect, going on to juxtapose it with the lively Al alimón, al alimón as well as the inevitable Dies Irae. Near the end there is also a clear reminiscence of Tchaikovsky's Pathetique Symphony." I don't hear it in the horn intro. But it is clearly quoted in the middle section by strings, see 4:30ish in linked recording.		audio
2022-06	Argentesi, Dario	Follies of Portugal	2021	Definitely quoted	Seventeen variations on La Folia for solo oboe. The penultimate variation (titled Dies Irae) is a short dies irae quotation with descending triplets… a Rachmaninoff reference perhaps (acknowledging Rachmaninoff's Corelli variations and penchant for dies irae)?	score	audio
2022-09	Auerbach, Lera	24 Preludes for piano, op. 41: #3 G major	1998	Maybe	This decidedly non-major prelude is a study on holding that repeated high G note, while hammered chords underneath pick out something that so closely resembles the dies irae	score	audio
2022-09	Avni, Tzvi	Five Pantomimes	1968	Definitely quoted	For 8 players (fl, cl, hn, tpt, vla, db, pno, perc), based on paintings by Picasso, Chagall, Kandinsky, Dali, Klee (1968). Commissioned by the Israel Composers' Fund. The fifth work, Klee's 17 Insane, is a twisted take on Strauss's Wiener Blut, with a single throwaway phrase of dies irae 2/3 of the way through.		audio
2023-03	Ayres, Braeden	The Witching Hour	2015	Definitely quoted	Choral work for TTB and piano accompaniment, based on Macbeth's witches' recitations. Opens with dies irae quotations in piano left hand accompaniment underneath righthand triplet figurations.	score	audio
2022-06	Bacon, Ernst	Episode	1970s early/mid	Definitely quoted	Short piece for solo guitar, quoted at the climax. The date comes from Bradley Colten's detailed cataloging and study of Bacon's guitar music: (https://newmusicusa.org/nmbx/a-reuniting-repertoire-the-guitar-music-of-ernst-bacon/)	score	audio
2022-06	Baird, Tadeusz	Voices from Afar	1981	Maybe	three songs for baritone and orchestra, lyrics by Jaroslaw Iwazkiewicz. Quoted briefly by the orchestra in the 3rd movement "In Church". Middle of the phrase quoted by oboe towards end of "In Church". Not an outright quotation, but not just a hint either.		audio
2022-06	Baker, David	Fantasy on Themes from Masque of the Red Death Ballet	2002	Definitely quoted			audio
2022-06	Baker, George	Danse diabolique	2016	Definitely quoted	Work for solo organ. I also hear Tea for Two. According to Jan 2017 Diapason, Stephen Tharp may have premiered this work at the 2016 OHS convention in Philadelphia.		audio
2023-03	Baker, George	L'Envoi	2019	Definitely quoted	For solo organ. From Baker's Baroque Notes summary: "This piece was written as a wedding recessional, but it could be used for other festive occasions, postludes and concerts. It is in a traditional sonata-allegro form with two themes. There is a cameo appearance of the Dies Irae in the middle of the piece. In E Major, the piece ends with pedal 16th-note fireworks." Perhaps a little unusual to include Dies Irae in a wedding recessional? Listen for it in the left hand / lower manual at 2:39 in this performance by Margaret-Mary Owens. Ken Cowan, who premiered the work, has a performance up in YouTube but I prefer Owens'.	score	audio
2022-09	Bakke, Ruth	Dies Irae	2007	Definitely quoted	A work for "large" pipe organ. Commissioned for Borealis festival in 2009, premiered by Nora Mulder at Bergen Cathedral on March 28th 2009. A series of various statements of the dies irae melodies, interspersed with improvisatory fantasies, with some unusual notation. A bit of a bonkers score! The score has headings with references I don't understand ("Poor me, what shall I say?", "gentle jesus", "might king"). At a few moments Bakke instructs to turn off the blower and improvise until all the air has gone out. Dies Irae theme, a main theme that alternates thirds in eighths and triplets, and a rising whole-tone scale theme. Block notation, "wave" notation, some unknown swirly notation.	score
2022-06	Balazs, Frederic	Capriccio (Dies Irae) for violin and piano	1962	Definitely quoted	Definitely first explicitly quoted at marker 6 by violin, followed quickly by the piano left hand (hitting the very lowest note of standard piano). Also appears hinted at throughout the work, intervallicly speaking. The score excerpt provided here is reproduced with permission from American Composers Edition (BMI).	score
2022-06	Baley, Virko	Sculptured Birds	1978	Definitely quoted	A four movement suite for clarinet and piano inspired by the sculpted birds of Smith, Archipenko, Brancusi, and Ernst. Commissioned by Dr. W. Howard Hoffman (who I guess is/was a Vegas dermatologist), who commissioned several other Baley works, including Orpheus Singing (1994), Dreamtime, Stamping Dance, and Concerto No. 1. In the opening movement, "Jurassic Bird (after David Smith)", the dies irae is chopped up and fragments are played in piano accompaniment as the clarinet flutters around. Smith's sculpture is welded steel from 1945: http://www.artnet.com/artists/david-smith/jurassic-bird-i1VKzrrWEPQOdjdOBbymFg2		audio
2022-06	Ball, Eric	Resurgam ('I Shall Rise Again')	1950	Definitely quoted	"Translated from Latin as ‘I shall rise again’, Resurgam is one of Ball’s most popular works. Composed in 1950 for a brass band contest, the work has been used for a range of different contests including the prestigious National Brass Band Championships of Great Britain."		audio
2023-03	Balmages, Brian	Haunted Clocks	2014	Definitely quoted	A work for beginning band depicting a clock factory at night. The dies irae is wound up throughout. Lots of cuckoo effects.	score
2022-06	Bantock, Granville	Dance of the Witches from Macbeth	1926	Definitely quoted	Mentioned in Boyd. Incidental music to Sybil Thorndike's Prince Theatre, London production. Music later incorporated into a Macbeth Overture. For 3 bassoons. Not to be confused with Bantock's similar piece for 3 bassoons called "The Witches' Frolick".	score	audio
2022-09	Bardanashvili, Josef (Ioseb)	String Quartet #1: I. Danse Macabre, allegro con fuoco	1985	Maybe	Commissioned by the Georgian String Quartet. The composer confirms in private correspondence that the main tango theme was a "free variation on the [dies irae] theme". There may also be references/quotes of Pergolesi's Stabat Mater. Neither quotations are immediately recognizable though.		audio
2022-06	Barkauskas, Vytautas	Partita for solo violin	1967	Maybe	Part 3, "Grave", sounds like it mixes hints of 4-note Dies Irae quotes with blues licks.		audio
2022-06	Barras, Paul	Paraphrase sur le Dies Irae	1986	Definitely quoted		score
2022-06	Bayles, Philip	Dies Irae Variations 'seven deadly sins'	2011 or earlier	Definitely quoted			audio
2022-09	Beamish, Sally	Dance Variations (Percussion Concerto #2)	2011	Definitely quoted	A percussion concerto written for and dedicated to Colin Currie, premiered in early 2012, based on the 7 deadly sins. Musical motifs employed by the orchestra include the dies irae and some bird calls. Dies irae heard in the first variation, Avarice, in a metrically stunted presentation starting in woodwinds at measure 124 (marker H). Next heard in the 3rd variation, Gluttony, in an accented fp quoted by the french horn and cello at measure 333 (marker V). Last found in the last variation, Anger, at the opening in the horns and trumpets. The excerpt here (the Introduction and 1st variation 'Avarice') is from one of the 2011 premiere performances, this is a private recording provided by Sally Beamish.	score	excerpt
2022-06	Beautemps, Julien	Suite Mechanics	2020	Definitely quoted	Suite for solo accordion. Part 2 "Dies Irae" is a fantasy on the dies irae melody		audio
2022-09	Beckel, James	Night Visions: 2. Gates of the Unknown	1997	Definitely quoted	A programmatic suite about dreams in four movements. From the composer's notes (http://www.jimbeckelmusic.com/Content/Pieces/Night%20Visions.htm): The second dream, "Gates of the Unknown", begins at Rehearsal #12. This is the most programmatic of the four dreams. The woodwinds begin this work with a Dies Irae theme, which sets the mood for this piece. The brass chorale at the Largo (seventh bar of Rehearsal #12) represents the image of one standing before some very formidable gates. The piu mosso at #13 is characteristic of these gates opening, and the flute solo at #14 is the dreamer choosing to enter these gates. If there was any doubt that this dream was going to become a nightmare, the low E in the bass and celli against the final brass chorale chord three bars before #15 should end this doubt. The music in the clarinets in the Allegro Vivace (#15) depicts the panic of our dreamer trying to leave the maze that he has entered. The bass motive with the major seventh is 'the monster' from which he is fleeing. This chase now intensifies until #20; at this point the dreamer reaches a dead end from which there is no escape. Music from #20 to #24 indicates the panic of being unable to escape from the monster and finally culminates with the dreamer awakening at #24 to the sounds of the clock striking 3 A.M. The glissando, three bars later in the strings, is a musical sigh of relief that this was only a dream.	https://diquotes.victoryvinny.com/wp-content/uploads/BeckelNightVisionsExcerpt.pdf
2022-06	Belansky, William	Fugue upon the theme of Dies Irae	2006	Definitely quoted	A four part fugue written for piano.	score
2022-06	Beleaev, Vladimir	Dies Irae for 2 pianos	2002	Definitely quoted	This is an interesting piece. I have a special affinity for 2 piano music. Dies irae melody is teased in the opening section, with 3-note (down a minor second, up a minor second) quotes, when combined with the 4th note from different register on different piano sounds like it's a great quote. A raucous middle section that kicks off with a quote from Bach's C minor prelude, and continues with alternating highly arpeggiated section where the pianists take turns playing each note of the dies irae melody at the top of the arpeggios, and then a cluster orgy to cap off the middle section (that quotes something familiar but can't place what - maybe one of the Vingt Regards?).		audio
2022-09	Berger, Arthur	Words For Music, Perhaps (Three Poems of Yeats): 1. Crazy Jane on the Day of Judgment	1940	Definitely quoted	From the composer's own notes (taken from the BMOP/sound 1031 release): "During the 1930s, in the avant-garde circles to which I was drawn, composers like Ruggles and Crawford established free chromaticism as our common practice, and this lent itself to the twelve-tone devices I incorporated into my music in response to the powerful impression Schoenberg made upon me. It was before I understood the systematic ramifications and before it became obvious that twelve-tone practice was separable from its native Viennese roots, so that under growing pressure of the time to develop an indigenous American style I began to question my direction. This kept me from composing for about five years, and Words for Music, Perhaps was a challenge that attracted me. I have no delusions my music is anything like what Yeats had in mind, but I found the sentiment and the cadences sufficiently universal to approach them from quite a different direction. I might mention a little conceit that served as a basis for the first song: “Day of Judgment” suggested the traditional “Dies Irae,” which I hint at in the opening cello line, and I quote literally later, in the clarinet as an inner voice, at the words, “If time were but gone.” I also thought of him when I cast “Girl’s Song” in a strophic vein—except that its folk roots are in jazz (the 3 plus 5 metrical division to which Copland called attention) rather than in the Irish folksong dear to Yeats"
2022-07	Berger, Roman	De Profundis for Bass, Piano and Cello / Allegro Frenetico con Reminiscenza	1980	Definitely quoted	The De Profundis Sets two of Tadeusz Rózewicz's poems (Lament and Survivor), scored for bass voice, piano, cello, and electroacoustic manipulations. The first phrase of the dies irae melody appears in the brief and sudden coda to the 3rd movement, played first by piano and then by cello. Berger later reworked this cello cantilena into the solo cello piece Allegro Frenetico con Reminiscenza, where the dies irae makes a brief quotation early on. The original setting is released on Austrian label Kultur-Kontakt in 1993, the Allegro Frenetico has been released by Naxos. The KK liner notes for De Profundis state: "“De Profundis” som začal komponovať po symfonickej skladbe “Memento – po smrti Mira Filipa”. Povedal mi: “Mám pocit, že mi duša zhrdzavela” a onedlho sa to stalo. Odvtedy sa mi zdalo, že som povinný podaf akési svedectvo o dobe, v ktorej “hrdzavejú duše”. Začal som uvažovať o skladbe, v ktorej by sa ozvalo aj slovo – slovo primerané dobe. Vedel som, že to, čo treba vysloviť priamo. Vtedy sa mi dostali do ruky “Poézie” T. Róžewicza. Bol som až zarazený z toho, ž evo mne maximálne zarezonovali básne napísané tesne po II. Svetovej vojne. Vyjadrovali skryté analógie medzi vtedajšou dobou temna a tou neskoršou aj aktuálnou, analógie vyplývajúce z neúcty k človeku, k životu, rovnakej vo všetkých diktatúrach. Bez váhania som vybral dve básne spojené odvekou symetriou vzťahu vraha (kata) a obete. Až po rokoch mi došlo, že tu ide o archetyp Kaina a Abela z biblického mýtu. Je tu ovšem rozdiel: Róžewiczov “Abel” sa zachráni (“Keď ho viedli na jatky”). Prvú časť, akúsi “Kainovu spoved” som napísal behom niekoľkých dní v r. 1975 Koncentrácia na tento text ma vela stála – musel som to nechať a štyri roky som potom nekomponoval. Až v r. 1980 vznikla “Sonata” nadväzujuca na “anti-credo” prvej básne akousi prázdnotou, v ktorej sa len pomaly krišstalizujú tvary – zárodky III. Časti. Tu, v druhej básni, ma popri apokalyptických obrazoch upútali najmä tie fragment, v ktorých Róžewicz (vtedy ešte mladik) ukazuje, ako svetské zlo zabíja človeka nie len fyzicky, ale aj jeho myslenie a reč: základné existenčné protiklady strácjú zmysel. Dlhá kadencia electronicky upraveného hlasu na solve “hľadám” vrcholí vetou: “Hľadám učiteľa a majstra…”. Róžewiczova tragédia sa odohráva medzi extrémnymi stavmi Bytia, medzi “svetlom” a “tmou”, medzi chaosom (v ktorom “hrdzavie duša”) a harmóniou, ktorej tušenie rodí nádej. Hoci aj tá je krehká: záverečné “canto” violončela namierené kdesi “ad infinitum” sa predsa zlomí. Trauma nezmizla. Ani úzkosť. Ale snáď ani nádej? Hľadanie “ad infinitum”?"		audio https://www.youtube.com/watch?v=Z8JLw1LDCX4
2022-06	Berger, Roman	Exodus for Organ	1981	Definitely quoted			audio
2022-11	Berger, Roman	Sonata with a motif of Karol Szymanowski	1983	Definitely quoted	A sonata for violin and piano. First phrase of the Dies Irae is quoted forcefully by the violin at the opening of the first movement coda (this is the same movement that earlier quoted the opening piano melody from Szymanowski's 4th symphony). Berger says this sonata was conceived "in the anti-Solidarity atmosphere in the former Czechoslovakia, which culminated after the introduction of martial law in Poland". See Bogumila Mika's article with some more details http://www.newsound.org.rs/pdf/en/ns51/04_Mika.pdf	excerpt
2022-06	Berkeley, Michael	Gregorian Variations	1982	Definitely quoted	Not directly quoted, but seems like it's definitely referenced. Just close enough to give you the heejie-beejies. But then in the dreamy section that builds toward the finale it's quoted outright. Notes by Terry Barfoot: "Berkeleys Gregorian Variations of 1982 resulted from a commission by the Philharmonia Orchestra and the tobacco company du Maurier. The composer explains: Ever since my days as a choir boy at Westminster cathedral, I have had a deep love of Gregorian plainchant. At that time George Malcolm was Master of Music, and his wonderful ability to communicate to us boys the language of plainsong meant that is was sung every day to a standard that equalled the best European monasteries. In Gregorian Variations I have used the various modes, rhythms, and even the actual melodies of Gregorian plainchant, interwoven with my own musical ideas. A large orchestra is employed, and the works spans some eighteen minutes, with an approach Berkeley has likened to looking through a telescope that is constantly changing focus. At times, moreover, the score allows opportunities for improvisatory drumming in the style of the blues, while always returning to refer to music associated with parts of the Roman Catholic service. After an introductory summons, a plainsong passage is played by the cor anglais, and soon this is taken up to telling effect by the saxophone. Next the influence of jazz improvisation is felt, before a more symphonic line of extended development takes over. In the final phase music of simple and spare textures soon expands to feature a more fully scored orchestral sound, and the Variations conclude with lively rhythms and a richly satisfying sonority."	score	audio
2022-06	Berlioz, Hector	Symphonie Fantastique	1830	Definitely quoted	The mother of all dies irae quotes	score	audio
2022-06	Berry, Johan Beavis	Dies Gaudium Dies Irae	2020	Definitely quoted	Composer's notes: "This 8 part choral piece is based on the medieval plainchant melody Dies Irae, which translates as 'day of wrath'. I have adapted the English translation of the text, setting the day of wrath in the past and depicting an imagined day of joy (Dies Gaudium). The music aims to represent the change from wrath to joy with a gradual shift from dissonant to consonant harmony. Furthermore, the original plainchant melody forms the basis of the harmonic landscape, with the first 6 pitches stacked to create a beautiful cluster chord (0:33-0:56)." Interesting that the cluster chords set up the harmony before the melody is directly quoted		audio
2023-01	Berthelot, Rene	Le Glas, Chanson populaire de l’Orléanais	1955	Definitely quoted	Very little information available about this song. It looks like an old folk song, collected in 1925 in Chevais' "Chansons populaires du Val de Loire" - deep into the book on page 199. This is a short mid 50s setting for SATB, where the first phrase of dies irae is intoned only once piannissimo at the beginning by the basses. Dutch composer Henri Zagwijn also made a setting in 1948 of the song.	score
2022-08	Berthelot, Rene	Le roi Renaud	1970	Definitely quoted	A short set of variations for trombone and piano on the medieval French folk poem/song "Le Roi Renaud". Dedicated to Camille Verdier, trombone professor at the Orleans Conservatory (where Berthelot was teacher and director). There's a statemente of the theme, a staccato choppy variation, a lento Funebre variation (where the dies irae shows up promimently in piano accompaniment, only slightly harmonically disguised, but the first and second phrases are discerned), a short fugue, and a short allegro con fuoco / calmato final page.	score
2022-06	Betz, Michael	Fanfare on "Dies Irae" for 2 timpanists, 9 drums	2015	Definitely quoted	The longer my research went on, the more I hoped I would eventually find a percussion-only treatment. I wasn't disappointed, and this is a good short treatment.		audio
2022-06	Bevan, Clifford	Variations on "The Pesky Sarpent"	1996	Definitely quoted	A setting for serpent accompanied by piano of the old American folk poem On Springfield Mountain (about a young man bitten by a rattlesnake).		audio
2022-06	Bevan, Clifford	Les Mots de Berlioz	2003	Definitely quoted	Commissioned by Berlioz Historical Brass for Douglas Yeo's album Le Monde du Serpent with words by Hector Berlioz from a letter written in 1825 to Albert Du Boys after the performance of Berlioz's Messe solennelle in Paris, for S. A. T. B. Chorus, buccin, bassoon, serpent, and ophicleide. (Full Score, PP0066; Vocal Score PP0067). Quotes the Symphonie Fantastique main theme as well as the dies irae melody. The melody appears when the text of the letter says "after all the trumpets and trombones in the world had announced the Day of Judgment". And the text finishes with Berlioz' comical: "It was not my fault if the ladies, in particular, did not think it was the end of the world." http://www.yeodoug.com/publications/le_monde_du_serpent/le_monde_du_serpent_notes.html The excerpt provided here is from Le Monde du Serpent album, and is posted with permission of Douglas Yeo.		audio
2022-06	Beyer, Johanna	String Quartet IV	1943	Definitely quoted	Written in the final years of ALS disease. The first movement pits the Dies irae melody against London Bridge is falling down	score	audio
2022-06	Bibik, Valentin	39 Variations on the theme "Dies Irae" for piano, opus 97	1993	Definitely quoted	Recording available: Viktoria Bibik, piano. DDD CAMBRIA CD-1405		audio
2022-06	Binnendijk, Rien van	Introduction and Variations	2018	Definitely quoted	An improvisation from Jerusalem in 2018. Composer's notes: "I believe that the C major part (the 4th) of Saint-Saën's 'Symphonie avec orgue' is a major version (E - D - E - C) of the minor theme (E flat - D - E flat - C) from 'Dies Irae', as elaborated in his ‘Danse Macabre’. The Introduction (first 25 seconds) was played at the beginning of the afternoon recital, to get acquainted with the lower keyboard. The 'Liszt' part was played at the end as my closure of this day. I decided to put both together as an inclusion work. Franz Liszt wrote a series of variations in his 'Totentanz' (Dans Macabre, last revised 1859)."		audio
2022-06	Bizjak, Milko	Dies Irae Dies illa (Choral Suite)		Definitely quoted	Another organ meditation on dies irae	score	audio
2022-06	Blacher, Boris	Variations on a theme of Paganini	1947	Definitely quoted	Quoted throughout - most explicitly first in Variation 3	score	audio
2022-06	Blackburn, M.P.	Dies Irae for Flute and Strings	2013	Definitely quoted			audio
2022-06	Blackwood, Easley	Symphony No. 5	1990	Definitely quoted	From the composer's notes on the Cedille release: "Imbedded in the accompaniments (of the 2nd movement) are occasional discreet quotes of the first four notes of the liturgical sequence Dies Irae: F-E-F-D (several of these quotes had already worked their way into the counterpoint before I noticed). The development consists of variations on the solos heard before. First strings and winds alternate in contrasting registers, then strings and brass alternate over a pedal point. In the recapitulation, the first two wind solos return, followed by a transition that leads to the climax of the movement. At this point, there is a surprising return to the original key of the movement (E-flat minor) as the Dies Irae fragment suddenly becomes the principal melody in the trumpets. The movement concludes quietly over an E-flat pedal point, with further references to the Dies IRae fragment". Illustrates the fact that dies irae "quotations" can appear without even trying...		audio
2022-06	Blessing, Ben	The 12 Year Old Symphony	2018	Definitely quoted	A work for student concert band. Composer's notes: "I wrote this work dedicated to my new band program at Compass Public Charter School in Meridian, Idaho. In the Fall of 2018 I started a new band and choir program at this school and wanted to commemorate this special number to my students. This is a work that falls within the American Band College’s Band Music Level 2 difficulty level, but is a bit more demanding as the entire work takes 12-14 minutes, spread out over three different movements. Too often, there is not enough serious literature available that really stretches a young band program. While the lighthearted title gives this music the illusion that it is for children, a serious conductor will try and pull some serious emotion out of the notes. Done well, this can be a powerful work that inspires the younger generation to want more of our rich band heritage in America. The dies irae quote starts in horns at section E. The first movement starts off quietly with horn and euphonium singing the main theme in D minor. This is then refrained by the upper woodwinds, then trumpets. After a development section, this music transitions into a quick beat, with quotes of Dies Irae and Overture to Egmont by Beethoven. This movement ends as it began, quietly and sad."	score	audio
2022-06	Blitzstein, Marc (or maybe Leonard Lehrman)	Sacco and Vanzetti	1964 maybe 2001	Definitely quoted	A rapid single quote in accompaniment after "Inquest denied", in the court scene in Act 2 Scene 2, repeats a few times in this scene. The ambiguity on composer and date has to do with the fact that Act 2 Scene 2 was completed by Lehrman, but I don't know which material is Blitzstein's or which is Lehrman's.		audio
2022-06	Bloch, Ernest	Suite Symphonique	1944	Definitely quoted	Quoted explicitly in the horns a few times in the final movement Finale, allegro molto. Hinted at around it in development. In a letter to Monteux (who maybe premiered the work?), Bloch admits having quoted the dies irae, because "it seemed to fit".		audio
2022-06	Bocook, Jay	Liquid	2019	Definitely quoted	Commissioned by the North Carolina South Central District Bandmasters Association for the 2019 9-10 High School Honors Band, Liquid portrays the many different ways that water moves around us. From the opening raindrops and first few notes upon which the piece is built, this fast-paced and engaging work takes us through a series of variations that depict cascading waterfalls, flowing rivers, crashing waves, trickling creeks, and ripples over the surface of a calm lake. The piece culminates with a thunderous setting of the 13th-century Latin hymn “Dies Irae,” or “Day of Wrath.”		audio
2022-06	Bolcom, William	Black Host	1967	Definitely quoted	1967 work for organ, percussion & tape. Says William Albright, dedicatee: Title takes its cue from the black mass envisioned by St. Secaire (as mentioned in Frazer’s encyclopedia of the occult, The Golden Bough). St Secaire is supposed to have said black mass in the crypt of his church in order to purify that institution of its own sin. By desecrating the Body and Blood, he meant to deny the church its most sacred pleasure until it began to mend. By contrast, the black mass J K Huysmans describes in his novel La-Bas appears to be nothing more than an orgy with slight religious intent. Both ceremonies, however, often employ as part of their heretical paraphernalia a triangular black paten (thus “black host”). Nevertheless, the work is not a tone-poem on the tribulations of St. Secaire. Nor is it an exigesis on moral dualism, a dark ray of non-hope, or an uplifting sermon on the virtues of Calvinism (as it has been variously called). Even though Black Host flagrantly juxtaposes several recognizable syltes within its time-span and is unified by the ghost of an old hymn-tune found in the Genevan Psalter, neither is it program music. It is an emotionally based piece, and if it is about anything, it would be fear. The score is even inscribed with the rueful words of Lord Russell: “In the daily lives of most men and women, fear plays a greater part than hope: they are more filled with the thought of possessions that others may take from them, than of the joy that they might create in their own lives and in the lives with which they come in contact. It is not so that life should be lived.” At 2:40 in the Nonesuch recording it pops up. Lois Gurney wrote a DMA thesis on this work (https://scholarship.rice.edu/bitstream/handle/1911/61848/3362233.PDF?sequence=1&isAllowed=y), identifies Dies Irae (built on minor third) and Donne Secours (built on major third) as major competing themes. Some of the manuscript score is excerpted.		audio
2022-06	Bonis, Melanie	La Cathedrale Blessee op 107	1915	Definitely quoted	A riff on Debussy's Cathedrale. But also possibly a response to the 1914 WWI bombing of Reims cathedral. Dedicated to poet Lucien Augé de Lassus who died in 1914. Dies Irae first appears halfway through at the "Largo Grave, marcato il canto" section (in 9/8 time).	score	audio
2022-06	Booth, Barry	Flight Fugue	2011	Definitely quoted	When the fugue abruptly halts, there is a single 8-note quotation by clarinet and bassoon to close the piece. From Booth's notes: "OED (Onions) - FUGUE: sb.1597. [a. F., ad. It. fuga lit.'flight':- L.fuga.] Hastily written in reaction to the shock following the tragic events of September 11. Does the title refer to any of the doomed flights on that fateful day or, perhaps, to the flight of the hunted fugitives? In either case the reference to Dies Irae following the abrupt stop in the closing bars is self explanatory, and the avoidance of a home-key gives a feeling of tonal instability while at the same time retaining some sense of baroque character."	score
2022-06	Borgo, Elliot del	Dies Irae	2004	Definitely quoted	Work for concert band, sommissioned by the Romulus Foundation for Educational Opportunities and dedicated to the Romulus Central School Concert Band in Romulus NY, directed by Peter G. Goloski. Somewhat remarkable because the score says it's based on the sequence by Jacopone da Todi (c. 1230-1306), which is the very first time I've seen the Dies Irae sequence attributed to this person.	score	audio
2022-06	Borowsky, Frances, Emmanuel, and Elizabeth	Postcards from Dilsberg: 2. Ready for Battle	2008	Definitely quoted	Postcards from Dilsberg is five scenes from the town of Dilsberg, where the Borowskys were in residence in 2008.Played by the violin in the bridge out of the middle section		audio
2022-06	Borzova, Alla	The Ballad of Barnaby, a ballad for choir a capella.	2002	Definitely quoted	Quotes start around the 7 minute mark in attached audio. From the composer's notes: "The Ballad of Barnaby is a ballad for mixed choir a cappella by composer Alla Borzova. It is based on W.H. Auden's eponymous poem, which, in turn, is a paraphrase of the medieval French legend, "Le Jongleur de Notre Dame." It tells a story of a skilled but sinful tumbler Barnaby. Once riding from one city to another, he saw the gallows with the hanging man and two ravens, which predicted Barnaby’s similar shameful end. Barnaby repented and came to a monastery, where monks, “learned in sciences and the arts” could do various wonderful things in honor of God: write Latin sequences, sing, adorn the books with a beautiful drawings, etc. The only thing Barnaby knew was tumbling, so, hiding from other monks, he went to the crypt, where in a niche stood a wooden statue of Virgin Mary, and started to tumble in front of it. He tried so hard that fell on the ground and did not even notice that Virgin came out of her niche and expressed her approval to him. Barnaby tumbled for the statue every day, asking for his forgiveness. One of the monks (Brother from Picardy) followed Barnaby to the crypt and then complained to the Abbot, who, upon seeing Barnaby’s tricks, suggested leaving him in peace, as he was “holy and humble” man. Barnaby continued his tumbling until, trying too hard, fell and died. The “grinning demons” wanted to carry his soul to hell, screaming that “every tumbler belongs to us”, but Virgin Mary and her angels lifted Barnaby’s soul to heaven. The Ballad of Barnaby is a very theatrical piece. It has several individual characters: Barnaby, the Wooden Statue of Virgin Mary, Abbot, Brother from Picardy, two Ravens, two Bells, Barnaby’s Echo, Whistle. It also has a number of ensembles (including two quartets of demons), drawn from the choir members. There are several leitmotivs in the piece. The composition creates a quasi-medieval sound through its use of the "hollow" intervals of perfect fourths and fifths, as well as Gregorian chant like monody with its early polyphonic elaborations. I have also quoted three medieval tunes. The first is "Robin m'aime," from a musical play, Jeu de Robin et de Marion (1284), the tune Barnaby whistles while riding his horse. The second consists of the excerpts from the Lai de Notre-Dame by the famous thirteenth-century trouvère Ernoul le Viel de Gastinois. These excerpts, devoted to Virgin Mary, are sung by a countertenor, the "brother from Picardy". The third is the famous medieval sequence Dies Irae, harmonized in parallel fourths and sung by a men's choir. I have also used a number of special effects, such as Sprechstimme ("speech song") of the "grinning demons”, mimicked sound of Barnaby's horse's hooves and its frightened whinny, the chime of church bells, etc. Auden’s poem has a strong appeal to the artistic profession. Barnaby was "the finest tumbler of his day" and remained true to his talent, continuing to serve God with it until his last breath. "Tumbling is all I have learnt to do," Barnaby cries in front of the Virgin's statue, "Mother-of-God, let me tumble for you." The Ballad of Barnaby was premiered by the New Amsterdam Singers under the direction of Clara Longstreth on December 6, 2002, at the Holy Trinity Church in New York City and repeated on December 8, 2002, at the Immanuel Lutheran Church in New York City."		audio
2022-06	Boulanger, Lili	Pour les funerailles d'un soldat	1912	Definitely quoted	Melody introduced early by the strings in unison, and quickly harmonized and developed.		audio
2022-06	Bourgeois, Derek	Symphony No 72 "The Ghost"	2012	Definitely quoted	The second movement is full of the dies irae, starting with quotations of the entire first stanza melody in organ. Also later treated as a waltz. Composer's notes: "This malevolent movement makes wide use of the plainsong Dies Irae, largely in the organ part in parallel fifths, but it also makes its way into the centre of the movement as a capricious waltz!"	score
2022-06	Bova, Aldo	Improvisation n. 37 upon Dies irae dies illa, for organ	2010	Definitely quoted			audio
2022-06	Bova, Aldo	DIES IRAE	2013	Definitely quoted	virtuoso Theme and variations on DI melody for alto recorder	score	audio
2022-06	Boyd, Stephanie Ann	Sapien: III. Evolving	2018	Definitely quoted	Theme and variations on a DI theme. "It’s a lot in a short amount of time – each of the sections is just about 40 seconds long. But the whole movement has a unifying chant-like theme which persists in every section, and each instrument gets to take a turn with the main theme, which has a hint of Dies Irae. The movement also involves a lot of atmospheric writing, and some extended techniques, so you’re really getting the sound world of each of these moments in time (or a fictionalized sound world, at least!)"		audio
2022-06	Boysen Jr, Andrew	Grant Them Eternal Rest	2001	Definitely quoted	piece for Concert Band, movement Dies Irae. This is a 9/11 memorial piece.		audio
2022-06	Brahms, Johannes	Intermezzo in E-flat Minor, op. 118 no. 6	1893	Maybe	Certainly Rachmaninoff heard it and emphasized it in his performance. Olga Samaroff’s account of a 1927 New York concert exposes his understanding of the work (and the Dies irae quotations in the opening measures): “Brahms clearly indicated the establishment of this general mood in the opening section of the said work by marking the first four measures “piano,” sotto voce” and the repetition of the phrase beginning at the fifth measure pianissimo in the treble with a triple pianissimo in the bass. Mr. Rachmaninoff played all these measures forte or mezzo forte, thus throwing a clear, decisive light on the outlines of the music.”
2022-09	Brazelton, Kitty	As The Day Goes By	2001	Definitely quoted	A spring 2001 commission by Philly new music group Relache (and their atypical orchestration), but written in October 2001. "Reflects my reactions to the September 11, 2001 attack on the city where I live." https://www.kitbraz.info/large-ensemble-scores/as-the-day-goes-by "what I was interested in, with "as the day goes by" was binding and connecting this quintessential Christian melody with melodies I had gleaned from a recording of a Turkish imam's call to prayer. As a New Yorker, it was important to press myself in this direction after the tragedy. Yet I worried that my use of phrases from the latter might be sacrilegious and offensive, so I took care to interweave them discreetly, with respect. Since 9/11, I have been interested in aligning these great world religions, emphasizing commonalities rather than differences." Listen for juxtapositions of "Bismillah"s with the dies irae. An extended dies irae section begins at measure 214, introduced by the mezzo, but passed through the whole ensemble. The tune is set and sung by all players, to dies-irae-like lyrics.	score
2022-06	Bresgen, Cesar	Totentanz	1948	Definitely quoted	Originally for two pianos, rearranged in 1958 for piano and small orchestra. Wonderfully adapted quotations throughout.		audio
2022-06	Bridgham, Matthew	Elegies	2020	Maybe	For flute and violin. Composer's notes from https://www.matthewbridgham.com/works/elegies: "This work is a set of elegiac music inspired by the pandemic: a grotesque rendering of the macabre and the sublime. The first movement is a set of variations on the oft-quoted chant Dies Irae, or Day of Wrath. The players are asked to shift through a variety of moods from the capricious opening to the rough little demon dance that finishes. The latter resembles the rustic polish dance known as the mazurka. When I think of the music, I imagine an absurdly happy, dancing plague doctor with a beak so long it curls."
2022-06	Broerman, Donald	Discarded Flowers	2014	Definitely quoted	From composer's notes: "Imagine someone who never keeps flowers, thinking that once plucked from the earth, they have begun to perish. So why watch the slow decay? Discarded Flowers is an ode to this bleak statement and sad truth. This composition uses the first part of the Dies Irae chant in the bottom voice to symbolize the inevitable, though it quickly breaks away." Composer confirms it was composed in 2014, although it was "released in 2021".	score	audio
2022-09	Brooks, Richard	String Quartet #6 "Dies Irae"	2020	Definitely quoted	From the composer's program notes: "STRING QUARTET no. 6 “Dies Irae” (2020) is in three movements following the fast-slow-fast pattern. All three movements are fantasia-like meditations on the medieval chant; primarily the opening phrase. The first movement, Allegro furioso, develops various figures derived from the chant in a freely organic unfolding. The second movement is a tripartite form, with pitch materials derived from the chant as well as freely atonal figures. The third movement begins with several increasingly dissonant chorale-like statements of the opening phrase of the chant which leads to a rollicking Vivace in free form." The perusal score here is provided Courtesy of American Composers Edition (BMI).	score
2022-07	Brossé, Dirk	Oscar for Amnesty, Tone Poem for Symphonic Band	1987	Definitely quoted	A tone poem for symphonic band based on the work of assassinated El Salvadorean human rights attorney Marianella Garcia Villas. I'm not sure why this has the title Oscar for Amnesty, perhaps it is also a tribute to assassinated Salvadorean Archbishop Oscar Romero. The Dies Irae appears in a central section where the narrator calls out (in Spanish) "Help! Help me! My God! This can't go on!" etc. Dies Irae first two phrases (slightly modified) appear in ostinato form at marker M, even marked 'Dies Irae' in the score. https://dirkbrosse.be/for-professionals/oscar/	score	audio
2022-09	Brumby, Colin	Bassoon Concerto	1982	Definitely quoted	The audio excerpt here is from the "Best of Colin Brumby" CD Jade 1062. From the uncredited liner notes (I assume written by Robert Allworth?), "During his 1980 Australian tour, the internatinally-famous bassoonist George Zukerman recorded Colin Brumby's bassoon quintet Haydn Down Under for the ABC, with violinist Spiros Rantos and the Mayne Trio. In return, Brumby dedicated to him his Bassoon Concerto, subsequently recorded by Paul Blackman with the ADelaide Symphony Orchestra under Patrick Thomas. The first movement is in the traditional sonata-allegro form, with the slow movement in Lied-form. The final movement, a spirited rondo, makes skilful use of the Gregorian melody Dies Irae." It appears halfway through the rondo movement, in the basses and tubas followed by the low woodwinds, before disappearing.		audio
2022-06	Bruneau, Alfred	Requiem	1888	Definitely quoted	Starting with the Allegro ma non troppo section of the Dies Irae. Later gets combined with the Tuba mirum.		audio
2022-06	Buck, Lloyd	Sonata for Cello and Piano (Appassionata)	2002	Definitely quoted	3rd movement (starts on page 32) is a paraphrase on dies irae, full of it	score
2022-09	Bunce, Guy	Caronte's Voyage	2004	Definitely quoted	A student orchestra work. Caronte is the Spanish/Italian name for Charon, the Styx ferryman. The middle section introduces the dies irae phrase (first two phrases) in the baritone horns, then combined with the main theme.	audio
2022-06	Burgon, Geoffrey	Requiem	1976	Definitely quoted	At the very end of the dies irae section, most unusually quoted as the first line is bounced note-by-note between woodwinds, strings, and brass instruments.		audio
2022-06	Busteed, T. D.	Prelude and Fugue on Dies Irae	2009	Definitely quoted	For organ		audio
2022-09	Butāns, Pēteris	Vox Humana	1998	Definitely quoted	First version of this Latvian's work is for string orchestra, percussion, piano, and the recording of Latvian folk singer Donicela Lipina. A second version from 2005 is for symphony orchestra and singer. A 20 minute work that mixes a Latvian harvest folk song, some Russian chant melody, and the dies irae.		audio
2022-06	Cage, John or Tudor, David	Variations IV	1966	Definitely quoted	In the original recording on Everest Records (recorded in 1966, though the piece was conceived/composed in 1963), intoned by bells at 12:40, heard much more rapidly in strings or woodwinds at 13:20. It's likely not something actually 'composed' by Cage. More likely this is randomly found/selected by David Tudor when assemblying the sound system. Don't recognize the source though.	score	audio
2022-06	Caitlin, Courtney	Villette	2020	Definitely quoted	From the composer: "Villette was Charlotte’s third and last completed novel published during her life in 1853. It follows the story of Lucy Snowe who travels from England to the fictional Villette, a French-speaking city, where she teaches at a girls’ school and former convent. The complex story takes many twists and turns with many colorful characters, including spooky hauntings. The story has an almost happy ending, though it is strongly hinted that Lucy’s main love interest dies in a shipwreck in the last sentence of the book. However, for Lucy, I am not convinced that still wouldn’t have made it a happy ending. This piece is written for chamber orchestra and includes all the instruments used in the rest of the series. It follows Lucy’s theme through her childhood life in England, working with children in Villette, ghost nun sightings, and an almost magical prosperity at the end. For the haunting, I combined Phrygian Ave Marie and the Dies Irae and outlined a scary nun face in the full score. (However, this was slightly distorted by later adding eyebrows with the percussion line.) The piece suddenly ends on an unresolved chord to depict the jarring last few moments of the story."		audio
2022-06	Calmel, Roger	Requiem	1993	Definitely quoted	First quoted in the introduction to the Dies Irae in the cello accompaniment. The actual text setting is not based on the melody.		audio
2022-06	Cano, Carlos Peron	Variaciones Dies Irae	2014	Definitely quoted	A theme and variations treatment for solo violin		audio
2022-06	Caputi, Omar	Toccata on Dies Irae	2012	Definitely quoted		score	audio
2022-06	Caravassilis, Constantine	Fantasie Sopra il Dies Irae	2005	Definitely quoted	For solo piano. Caravassilis confirms 2005 as the best guess for composition completion. Released on CMC's Centrediscs label on the Visions album.		audio
2022-06	Carbon, John	Sphinx	1990	Maybe	The title of this work, a word that generally connotes the awe-inspiring mystery and majesty of the ancient Egyptians, is something of an irony, as it is really a very light-hearted and playful tune for solo piano. To add to this playful effect, the ostinato played on five “prepared” notes is heard throughout. As a further irony, Dr. Carbon wrote this piece soon after celebrating his 39th birthday and, evidently beginning to feel his own mortality, included musical excerpts that dealt with death and passing: the traditional Gregorian chant “Dies Irae”. a theme from the Les Adieux Sonata by Beethoven, a leitmotif from the opening of Wagner’s Das Rheinhold with clock chimes which symbolize the passage of time. (notes by Peter Smith, who premiered the work)
2022-06	Casella, Alfredo	Elegia eroica, op. 29	1917	Definitely quoted	Alluded to throughout this WWI response piece, first most clearly heard in bassoons at marker 11. Casella soon conceived this music dedicated 'to the memory of a soldier killed in the war': 'a heroic funeral march; a more intimate, deeply sorrowful central episode; and finally a fusillade of death that thunders through the orchestra subsides into a tender lullaby evoking an image of our country as a mother cradling her dead son.'	score	audio
2022-06	Casella, Alfredo	Symphony #2	1909	Maybe	The more lyrical second theme of the first movement sounds like one of those nebulous Rachmaninoffian quotes. Very reminiscent of Mahler's quote from his Symphony #2.		audio
2022-06	Castelnuovo-Tedesco, Mario	24 Caprichos de Goya, Op 194 - XII. No hubo remedio	1961	Definitely quoted	Title translates to "nothing can be done about it". Based on Goya's picture of a woman being taken to the stake during the inquisition. A Dies Irae theme and variations.	score	audio
2022-09	Castelnuovo-Tedesco, Mario	The Importance of Being Earnest, op. 198	1962	Definitely quoted	A most original non-original opera, scored for singers, two percussionists, and two pianos, setting the Wilde play almost in its entirety and stuffed to the brims with musical quotations. The dies irae appears at the end of Act 1 Scene 2, interspersed with the Flight of the Bumblee quote.		audio
2022-06	Celis, Frits	A Hypocritical Funeral Music ("Hypokriete Treurmuziek")	1987	Definitely quoted	For brass quintet. First explicitly quoted at marker C "poco meno lento", clearly notated as 'stopped' in the horn part.	score
2022-06	Chadwick, George Whitefield	Tam O'Shanter, after Robert Burns	1915	Definitely quoted	In the molto moderato section, where Tam observes the witches' sabbath in the church. Not an exact quotation, just very slightly adapted to fit the music. But undeniable.		audio
2022-06	Chambers, Wendy Mae	Mass	1993	Definitely quoted	In section Dies Irae, a complete exploration of the melody, written for 77 trombones		audio
2022-06	Chausson, Ernest	Printemps Triste	1883	Maybe	This song is a setting of the poet Maurice Bouchor, who provided Chausson with much material. In this poem, a young man is widowed and faces the upcoming spring season with difficulty. The song takes ABA form, with a repetitive four-note quotation in sixteenth notes appearing constantly in the accompaniment during the A section.		audio
2022-09	Cheung, Hon Ning	Aquamarine: Grandma's lullaby	2022	Definitely quoted			audio
2022-07	Chisholm, Erik	60 Cubic Feet		Definitely quoted	A setting of Randall Swingler's war poem Sixty Cubic Feet, in which a working class teenager goes to war, dies, and only gets his dream of land by being interred in it. In the Chisholm setting for voice and piano, the dies irae first phrase is heard in the piano's middle voice in the introduction to the verse "They brought him home from hospital / They brought him home alone / In sixty cubic feet of deal / That he could call his own" (marked "Like a Funeral March" in the score). Chisholm also parodies God Save the King at the end. The website for the Chisholm foundation indicates the composition date is unknown (at least unmarked on whatever manuscript they used to typeset).	score
2022-08	Cho, Insun	White Shadow of Passed Time II	2017	Definitely quoted	A ~15 minute piece for solo saxophone, commissioned by saxophonist Brandon Jinwoo Choi. Features a little triangle, wooden chimes, and spoken word, some extended techniques.. Dies Irae quotations pop up at the 8 minute mark, and reappear in much briefer quotes at the 12 minute mark.		audio
2022-06	Ciach, Brian	Berg Variations	2005	Definitely quoted	The 11th variation of this theme and variations on the Lyric Suite's tone row, titled "Dies Irae" has multiple 4-note quotations		audio
2022-06	Cimirro, Artur	Variations in etude-form on 'Dies Irae' for piano	2004	Definitely quoted		score	audio
2022-06	Clark, Richard J.	Requiem Pour une américaine à Paris: III Dies Irae	2013 or earlier	Definitely quoted	Concert work for trumpet and organ.	score	audio
2022-09	Clarke, Nigel	Heritage Suite: 2. Prayers & Plagues	2009	Definitely quoted	A suite for wind band that is inspired by the history of West Malling (and the Sarah Cunnington bronze Hope found on its green). The second movement, called Prayers & Plagues, honors the town's founding of a Benedictine community in 1090, and the Black Death of the 14th century when only 15 residents survived.		audio
2023-03	Clifton, Jeremy J.	The Four Horsemen	2009	Definitely quoted	A D.A. composition thesis from Clifton at Ball State University. Setting of many biblical texts including from Revelation, plenty of 12-tone constructions and modulations into tonal centers when needed, like for the dies irae melody quotation made in measures 49-54 of the first movement. The work throws in a Star Trek musical quotation too!	thesis
2022-06	Coates, Gloria	Piano Sonata No. 1: Tones in Overtones	1972	Definitely quoted	Sonata for piano with essentially a nearly constantly depressed pedal; Dies Irae heard in the middle movement.		audio
2022-06	Cochereau, Pierre	Symphonie Improvisee in five movements, Aug 15 1978	1978	Definitely quoted	4th movement of this improvised organ symphony is an Adagio and Fugue on the dies irae. Fugue starts at 5:24 in this linked video.		audio
2023-03	Cooman, Carson	Water Music for organ: 1. The Water Changed Into Blood	2000	Definitely quoted	A 7-movement suite for solo organ from the extremely prolific Cooman. From his website catalog (https://carsoncooman.com/music/water-music/): "Water Music (2000) for organ was commissioned by a consortium consisting of the Broeker Fund for New Music, the Council for the Support of New Church Music, Raynard Brown, and Mr. and Mrs. Leonard Burch. The goal behind the commission was to create a large organ work which could be used both as a recital piece and as service music (either in its entirety or with individual movements used as service voluntaries.) The seven movements of the work are tied together by their unifying subject material. Each movement is prefaced by a quote from the Bible dealing with the subject of water. Musically, the seven movements of the work are unified by the consistent presence of the interval of a perfect fifth. This pervades the harmonic relationships throughout all seven movements. I. The Water Changed Into Blood (for John Dixon) This movement opens with long, held chords. After some figurations in the manuals, a march emerges (based on the opening theme) which leads into the long, held chords again. The Dies Irae tune makes fleeting appearances." The excerpt here is provided with permission from Mr. Cooman.	score excerpt
2022-08	Cooper, William B.	Dies Irae		Definitely quoted	A short fantasy on the dies irae from a long time educator and organist in Harlem. Starts at 20:30 in the linked Spiritual Values program from Pipedreams. Published for the first time in 2004 on Mickey Thomas Terry's African-American Organ Music Anthology Vol 5 by MorningStar (https://www.morningstarmusic.com/african-american-organ-music-anthology-volume-5.html). The score excerpt here is posted with permission by MorningStar.	excerpt	audio
2022-06	Corigliano, John	Piano Concerto	1968	Maybe	The 3rd movement's main theme is a six note that starts with same 4 notes as dies irae.		audio
2022-09	Cornett, Vanessa	Our World So Freely Given	2019	Definitely quoted	A short chorale-like work for piano for Ann Duhamel's Prayers for a Feverish Planet series in Minneapolis. https://annduhamel.com/prayers-for-a-feverish-planet-program-notes-iii/ The first two phrases of dies irae emerge in left hand, marked "somewhat slower" in the score, starting towards the end of the piece, at measure 21. And then the first phrase repeated in diminution again in the left hand in the last phrase of the piece, marked even "a bit slower and softer".	score
2022-09	Cortes, Ramiro	The Falcon	1956	Definitely contained	A wonderful short song for soprano and piano, a setting of a medieval ancient English anonymous poem known as the Corpus Christi Carol. The soprano's opening "Lully, lulley" uses the same four notes as the opening of dies irae (but starting with minor third and then minor second). It's more than hinted at in the upper piano voice accompaniment to the lyric "his woundes bleeding day and night". The first phrase of the dies irae is played once in middle voice of the piano, marked "simple, distant" in the manuscript, only "distant" in the Peters score, during the soprano's second statement of "Corpus Christi written there-on". The recording here has the composer at the piano, and Virginia Bitar (now Lindle) singing.	score	audio
2022-09	Corwell, Neal	Falls The Shadow	2008	Definitely quoted	Work featuring tuba-euphonium quartet that mixes Dies Irae, Alleluia Vidimus Stellam, and original material. Versions for orchestra, wind band, and piano 4-hands exist. Exists in From the composer's notes at http://nealcorwell.com/page28/page36/page36.html: "Falls the Shadow is a work featuring a tuba-euphonium quartet, and was originally written for orchestra and quartet. At the request of the conductor of the premiere performance, David Paroby, a version with wind ensemble accompaniment was created by the composer and subsequently premiered in March, 2008. A third version of the composition, for quartet with a piano 4-hands accompaniment, was created by the composer in 2010. The work’s title is a refrain repeated several times near the end of T.S. Eliot’s poem “The Hollow Men”, a poem that has been interpreted by some as a lament for what modern man has lost with the advent of the industrial age and the ensuing technological revolution. The primary thematic material for the piece is drawn from two Gregorian chants, the “Alleluia, Vidimus stellam” (Alleluia, we have seen his star), and the well-known “Dies Irae” (Day of Wrath). These two themes, presented in their entirety by the quartet near the start of the piece, are subsequently juxtaposed throughout the entire work, each battling for dominance over the other."	score excerpt
2022-06	Coscino, Dan	Two Variations on Dies Irae	2020	Definitely quoted	Two quick variations on dies irae	score	audio
2022-09	Courter, John	Gregorian Triptych: II. Dies irae (Totentanz)	1990	Definitely quoted	A requiem for carillon by noted organist and carilloneur Courter. Part 1 is a Requiem Aeternum, Part 2 is Dies Irae, Part 3 is In Paradisum. Only an excerpt of score shown here; full piece is in several libraries and can be purchased from GCNA.	score
2022-09	Crozier, Daniel	With Blood, With Ink	1994	Definitely quoted	An opera based on the life of 17th Mexican poet, nun, visionary Sor Juana Ines de la Cruz. From the librettists' notes for the Albany Records recording of the 2014 Fort Worth Opera production: "The central musical element of the opera is the use of the original Gregorian chant melodies taken from the Liber Usualis which match the libretto’s textural quotations from the Requiem Mass. Serving as a commentary on the dramatic action, the chant fragments establish the ecclesiastical environment in which these characters move—the cloister is always present. Moreover, they ground the story in the urgent present-tense nature of Dying Juana’s quest to make final sense of her fate before she dies. No matter how far she travels in her memory, she must return to what she knows will be her final night. Introducing each scene, the chant melodies shift and grow, almost becoming characters in their own right. The Dies Irae quote is also the source of an extended musical interlude, before Sor Juana’s disastrous interview with Archbishop Seijas. The Sanctus, first heard when Juana takes her vows, returns towards the opera’s end when Dying Juana faces her younger self, bleeding and defeated. This time it appears as a simple lullaby, at first painfully ironic, then gloriously radiant— this evolution making music out of the driving conceit of Sor Juana’s greatest poems: the hope of glory in what looks like devastation, the phoenix soaring up from the ashes." The dies irae is obviously heard chanted by the nuns at the begnining of the "Interlude and Dies Irae" scene. Some fragments of music in the Dies Irae scene harken to the dies irae. It's not as obviously heard in the Interlude as indicated by the liner notes.		audio
2022-07	Crumb, David	Red Desert Triptych	2011	Definitely quoted	From composer's notes: "The final movement, Arches: Fantasy-Passacaglia and Fugue on a Theme by J.S. Bach, is based on the famous f-minor fugue subject from the Well-Tempered Clavier, Book I. This particular subject is interesting in that it uses ten out of twelve notes of the chromatic scale. The initial passacaglia section comprises several variations, many of which explore close canonic settings. The fugal section comprises two fully developed fugues that are elided. The movement concludes with a quiet recitation of the Dies Irae hymn. In performance notes, I allow that each of these movements can be performed independently."		audio
2022-06	Crumb, George	Black Angels	1971	Definitely quoted	in Devil-Music and in Danse Macabre. In Crumb’s landmark quartet widely interpreted to be protest music of the Vietnam War, the dies irae makes a brief but powerful entrance. In Devil-Music, when the gongs are struck, the violins scratch it out. Listen for it in the very high strings (or is it in the crystal glasses? Or is it in the electronically processed strings?) in the Danse Macabre, the 5th section of the first movement.	score	audio
2022-06	Crumb, George	Makrokosmos No. 20: Aries, A Prophecy of Nostradamus	1972	Definitely quoted			audio
2022-06	Crumb, George	Makrokosmos No. 11 Dream Images (Love-Death Music) (Gemini)	1972	Maybe	Love-Death music. Obviously quotes Chopin's Fantasie-Impromptu, but seems like it has highly obscured quotes of a 4-note Dies Irae. Wish I could read the score (always oddly satisfying to read Crumb scores anyway)		audio
2022-06	Crumb, George	A Journey Beyond Time: Go Down, Moses	2003	Definitely quoted	Sets the spiritual against a Dies Irae accompaniment. Unsettling juxtaposition.		audio
2022-09	Cumberworth, Starling	Two Macabre Whims: 1. A Reasonable Affliction	1972	Definitely quoted	A rare American song that uses the chant (compared to, say, rampant French quoting around turn of 20th century). The piano accompaniment to this Matthew Prior morbidly comic poem is basically all dies irae. The lyrics are: On his deathbed poor Lubin lies; His spouse is in despair: With frequent cries, and mutual sighs, They both express their care. "A diff'rent cause," says parson Sly, "The same effect may give! Poor Lubin fears that he shall die; His wife, that he may live." The other song in this set is a setting of Ogden Nash's equally morbidly comic The Purist The score excerpt here is from the Cleveland Composers Guild "Contemporary Art Song Album for Medium Voice" collection	score	audio
2022-09	Cunalada, Janelle	El Condor Pasa	2017	Definitely quoted	A short arragement of Robles' song for string quintet. Two settings of the melody, with brief slightly altered dies irae quotations inbetween. The composer's notes say "it contains great expressiveness, gorgeous harmonies, a smooth and rustic contrast in the accompaniment, the quotation of the famous DIes Irae Gregorian chant, optional solo parts for violin and cello, and a dramatic ending.". This might be a student piece.	score	audio
2022-08	Curry, W. Larence	Prelude on Dies Irae		Definitely quoted	A short fantasy on the dies irae for carillon, which doesn't skimp on obvious quotations of the melody. Only found in Ronald Barnes' incredible "Anthology of North American Carillon Compositions Volume 1 1922-1941" published by GCNA in 1992 (including early works by such big names as Barber, Menotti, and Rota). Barnes' handwritten score indicates that his source was from Robert Kleinschmidt's personal library. Barnes' preface notes the following: W. Lawrence Curry (1906-1965) is best known to us as the composer of Prelude Solennel, which was published many years ago by The Guild of Carillonneurs in North America in a scandalously mutilated version. It was later published by James Lawson in his "Societas Campanariorum" series in an effort to correct the disservice done this piece by the GCNA's Editor of Music, Robert Donnell. The version included here is taken from Robert Kleinschmidt's repertory. For many years, Dr. Curry was minister of music at the First Methodist Church, Germantown, Pennsylvania and, with Kleinschmidt, was influential in establishing the reputation of the carillon in eastern Pennsylvania. Curry was the author of a number of works for carillon, but most of these are yet unknown to most carillonists; an unfortunate situation which needs correcting. His Prelude on "Dies Irae" was also copied by Kleinschmidt in the 1930s. It is a free-form work, loosely based on the familiar Gregorian funeral chant. Unlike the majority of the compositions in this collection, this piece, with its florid passagework, is reminiscent of the Flemish carillon performance tradition; but it is a good example of one of the many approaches to carillon performance and composition being explored by native North Americans while the carillon was still a relative novelty outside of Europe.	score
2022-06	Curtis-Smith, Curtis	The Great American Symphony (GAS!)	1981	Definitely quoted	Final movement 'Dido's Dance - Dido Dies (Irae)'. An irreverant take on Dies Irae and the Star Spangled Banner and Dido's Lament. The fourth movement, Dido's Dance, is a phantasmagoria of rock, parodies of Purcell's Dido's Lament, a mock-rock monster waltz, the Dies Irae, and a tightly woven quodlibet on five tunes including I've Got a Gal in Kalamazoo, The National Anthem, The Blue Danube, On Top of Old Smoky, and Glory, Glory Hallelujah. All five tunes share the characteristic ascending triad in their initial phrase. Despite its playfulness, Dido's Dance is psychologically complex. It is funny and fiendish at the same time. While there are musical “jokes,” these jokes conceal ironic motives behind the laughing mask. (Behind the comic mask lurks the Requiem Mass.) In Dido's Dance, I have wedded Purcell and rock. I have always been struck by the uncanny resemblance between Purcell's chaconne bass lines and rock ostinati. The musicologist Paul Nettle, in The Story of Dance Music, says that the Spanish chaconne, which Purcell and other Baroque composers adapted for their own purposes, actually originated in the West Indies. Coincidentally, the Caribbean also contributed some of the rhythms and dances which were to shape early jazz and eventually rock. In Dido's Dance, the five-bar chaconne of Dido's Lament is compressed into a frenzied 15/8 rock pattern. Purcell's lamenting bass is taken into the higher registers and treated melodically (as did, ironically, the earliest 17th century chaconnes).		audio
2022-09	Cutler, Michael	Variations on a Theme of Euphemia Allen	2013?	Definitely quoted	A long set of generally light-hearted variations on the tune we all know as chopsticks. The fifth variation works in a few 4-note quotations.	score	audio
2022-06	Dallapiccola, Luigi	Canti di Prigionia	1941	Definitely quoted	"The Canti di prigionia (Songs of Prison) were written in a spirit of protest, not by design but almost compulsively. The idea of the piece came to Dallapiccola, he continues, 'when on September 1st 1938 I heard the voice of Mussolini on the radio announcing that the time had come for Italy to initiate her own anti-Semitic campaign. I wanted to protest; but I was not so simple-minded as to imagine that an isolated individual could achieve anything in a totalitarian state. In a matter of a few days, knowing that only through music could I express my indignation, I sketched the “Preghiera di Maria Stuarda” (Prayer of Mary Stuart), the first movement of the Canti di prigionia.' All three songs of the Canti di prigionia are threaded through with the dies irae, the 13th-century 'day of wrath' chant from the mass for the dead. (This tune, heard immediately in the harp and timpani, has long fascinated composers, and appears as a memento mori in dozens of pieces, from Berlioz’s Symphonie fantastique to Liszt’s Totentantz to Rachmaninoff’s Rhapsody on a Theme of Paganini to George Crumb’s Black Angels.) The use of plainchant in a 12-tone composition is highly unusual, and anchors Dallapiccola’s music in tonality. And yet, 12-tone rows do wreathe themselves around the chant like ivy, especially in Mary Stuart’s prayer, where the four-note phrases of the chant are paired with a four-note motive from the row, rising up to heaven in anguished intervals. Here and in the final prayer of Savonarola, an antique atmosphere is created by the clicking along of stately half-notes in the harps and pianos. One can hear in this Dallapiccola’s enthusiasm for early Italian composers such as Monteverdi and Gesualdo, also evident in the smoothly contrapuntal choral writing. The invocation of Boethius is more scherzo-like, with whirling atonal lines among which the dies irae gets dotted out on accented beats." Emily Bell's dissertation goes into some detail about this: https://ufdcimages.uflib.ufl.edu/UF/E0/04/61/12/00001/BELL_E.pdf Dallapiccola later reworked some of this musical material into his one-act opera Il prigioniero (1948)		audio
2022-06	Daugherty, Michael	Beat Boxer	1991	Definitely quoted	For dies-irae-insistent string quartet and two musicoreferential rappers.		audio
2022-06	Daugherty, Michael	Metropolis Symphony	1993	Definitely quoted	5th movement Red Cape Tango. Quoted throughout by bells, bassoon.		audio
2022-06	Daugherty, Michael	Dead Elvis	1993	Definitely quoted	Absolutely fantastic showpiece for bassoon. In the composer’s own words: “No rock and roll personality seems to have inspired as much speculation, adulation, and impersonation as Elvis Presley (1935-77). In Dead Elvis (1993), the bassoon soloist is an Elvis impersonator accompanied by a chamber ensemble. It is more than a coincidence that Dead Elvis is scored for the same instrumentation as Stravinsky's Histoire du Soldat (1918), in which a soldier sells his violin, and his soul, to the devil for a magic book. I offer a new spin on this Faustian scenario: a rock star sells out to Hollywood, Colonel Parker, and Las Vegas for wealth and fame. I use Dies irae—a medieval Latin chant for the Day of Judgment—as the principal musical theme in my composition to pose the question, is Elvis dead or alive beyond the grave of Graceland? In Dead Elvis we hear fast and slow fifties rock and roll ostinati in the double bass, violin, and bongos, while the bassoonist gyrates, double-tongues, and croons his way through variations of Dies irae. Elvis is part of American culture, history, and mythology, for better or for worse. If you want to understand America and all its riddles, sooner or later you will have to deal with (Dead) Elvis.”		audio
2022-06	Daugherty, Michael	Tales of Hemingway	2015	Definitely quoted	Orchestral declaration of the dies irae melody at marker J in Movement 2 "For Whom the Bell Tolls", marked in the score as Death At The Plaza	score	audio
2022-06	David, Johann Nepomuk	Choralwerk X: Partita "Es ist ein Schnitter, heist der Tod / Dies irae"	1947	Definitely quoted	for organ. In memoriam Helmut Hilpert. At 10:44, at the start of the 5th movement, the dies irae is quoted in extenso, after having been hinted at in the first two sections. In the 6th movement, dies irae is ultimately combined with the Schnitter Tod melody.		audio
2022-08	David, Johann Nepomuk	Requiem chorale	1956	Definitely quoted	A requiem mass with more or less straightforward dies irae setting.		https://archive.org/details/cd_david-rautavaara-compositions_johann-nepomuk-david-einojuhani-rautavaara/disc1/01.+Johann+Nepomuk+David+-+Requiem+Chorale.flac
2022-06	Davies, Peter Maxwell	St. Michael Sonata for 17 winds	1957	Maybe	But I've given it multiple listens without finding it. Multiple sources indicate that Dies Irae is quoted, including Malcolm Boyd's article, and Jones/McGregor's book, and composer's own writings. To wit: Jones/McGregor says that "to a comment by R. Murray Schafer that some listeners to the St Michael Sonata 'found it hard to believe that the Dies Irae was present as a cantus firmus in one of the movements. What is the point of a cantus firmus that can't be heard?', Davies responded tartly: 'they obviously weren't listening. I can hear it without any trouble.' Davies continues: 'of course it was completely embedded in the texture of the score.'		audio
2022-06	Davies, Peter Maxwell	Suite from The Devils	1971	Definitely quoted	Part 4: Execution and End Music. Soundtrack to Ken Russell film		audio
2022-06	Dawning, Melody	Prelude to Eternity	2009	Definitely quoted	Program notes by composer: Program Notes: The title Prelude To Eternity is a poetic expression for death. The idea behind the work is that for those who have trusted in Jesus Christ and who have the hope of heaven, life on this earth and the death that ends it are merely a breath compared to the eternal life that is yet to come. Two instruments in the piece are associated with specific motives: the alto flute is the voice of a lone mourning dove, which is representative of the human view of death as something to be mourned; and the timpani’s pulsating eighth notes symbolize the heartbeat. Along with these two figures, the motives upon which the composition is constructed are the hymn tune “O Worship the King,” harmonized in horn fifths, and the first seven notes of the Dies Irae, practically a cliché for death in art music. The banality of the Dies Irae as a representation of death has been exploited here to demonstrate the banality of the human view of death; the beginning of eternal life is hardly something to be mourned but rather a cause for celebration! The introduction creates a mood of mystery and foreboding, a foreshadowing of the imminence of death. The timpani’s pounding “heartbeats” and a deep double bass pedal on D begin, followed by the alto flute’s “mourning dove” motive. The pitch class set of the “mourning dove” motive is [015], an important constructive element for the rest of the work. The first section of the tripartite work begins as the woodwinds replace the ominous nature of the opening with a calm, pastoral one. Fragments of the tune “O Worship the King” are passed around the woodwind section, but the complete quotation makes its first appearance eleven measures later in the horns. This segment of the composition represents life on earth lived for the glory of God and is thus characterized by sweet melodies and simplistic harmonies symbolizing childlike faith. Life, however, is not without complications, a concept introduced by the plaintive “mourning dove” call in the alto flute, here doubled by the bassoons. A solo trumpet plays the hymn tune in F Major (the relative key of the opening key of D minor) over a Dies Irae-derived cascading string accompaniment that immediately repeats in the woodwinds as the horns and trumpets alternate phrases of the hymn tune in two different keys (D minor and F Major). The third and final repetition of the Dies Irae accompaniment in parallel thirds occurs again in the strings, this time in A minor under a horn melody in the same key and an augmented statement of the first four notes of the Dies Irae in the flutes and glockenspiel. The full orchestral sound vanishes suddenly as the low brass and timpani transition into the next section with figures once again derived from the Dies Irae. The tonal center of the Allegro Agitato section is A, and the ostinato present throughout is based on the Dies Irae, here placed in A minor. Also present throughout is the “heartbeat” of the timpani on A. Every eight bars, the ostinato figure not only changes instrument families but also undergoes a change in the interval at which it is doubled, becoming more dissonant each time. The intervals are all based on the set of the “mourning dove” motive [015]; in other words, the ostinato is always doubled in parallel P4s, M3s, or half-steps. Underlying all are the repeated pedal tones in the glockenspiel, which, over the course of 56 bars, comprise a Dies Irae quotation in F# minor, a M3 away from the original tonal center of D. Over the ostinato, motives from the first section, such as the horn calls, reappear, although now often in two keys (related by either a half-step, a M3, or a P4) at once. After the last statement of the ostinato pattern, a long silence ensues, followed by timpani – the “heart” beating its last. The point of death arrives as the entire orchestra plays the Dies Irae homorhythmically, the strings in A minor and the woodwinds and brass [015] above and below A.
2022-06	de Boer, Eduard	Amara Tanta Tyri	2018	Definitely quoted	For two pianos and wind orchestra, op. 84. First movement features the 7-note quotation prominently. There is also some 9/11 conspiracy theory background to the piece. https://www.eduarddeboer.org/amara-tanta-tyri-for-two-pianos-and-wind-orchestra-op-84/		audio
2022-06	de Haan, Jan	Song of David, Based on Dies Irae	2012	Definitely quoted		score
2022-10	de Haan, Jan	De Ruigewaard	2013	Definitely quoted	De Ruigewaard is a large polder (reclaimed land protected by dykes) in the Dutch province of Groningen. Shortly after the land was reclaimed around 1500, a settlement was established at the location of the current village of Grijpskerk. This was the source of inspiration for this concert work, together with a 13th-century Gregorian theme - the Dies Irae - which is used as a leitmotiv.After the introduction follow five variations, in randon order - however, each one of them carries us back to a striking moment in the history of Grijpskerk, home of the Excelsior Christian Music Association (CMV), who commissioned this work on the occasion of its participation in theWMC in Kerkrade (the Netherlands) in 2013. https://www.jandehaan.com/bladmuziek/orkest/de-ruigewaard-fa/	score	audio
2022-06	de Haan, Jan	Introduction and Variations on Dies Irae	2016	Definitely quoted	https://www.halleonard.com/product/44013223/introduction-and-variations-on-dies-irae		audio
2022-06	De Jong, Marinus	Three Pictures of a Van Gogh Exhibition	1950	Definitely quoted	Third piece, The Church Tower of Nuenen. “the tolling bell and the dies irae commemorate those buried there, but the sounds of birds flying away returns us to the world of the living.”		audio
2022-06	Deane, Raymond	Seachanges	1993	Definitely quoted	for piccolo, violin, cello, piano and percussion		audio
2022-07	Deane, Raymond	String Quartet No. 3: Inter pares	2000	Definitely quoted	From the composer's notes: "Composed between spring and autumn 2000, Inter Pares was commissioned by Dublin’s Project Arts Centre for the Arditti String Quartet, who first performed it there in September 2001. The phrase “primus inter pares” (“first among equals”) has always struck me as meaningless, and of course the string quartet medium has always implied full equality between its four constituents. In my String Quartet III, each player at one stage or another attempts to steal the limelight, but is coaxed back into the fold. The shape of the work mirrors the traditional “symphonic” four-movement form, with “slow movement” second (although it suddenly erupts into an unfinished canonic dance) and “scherzo” third (the latter features a demented homage to Irish folk music, or perhaps a critique of its abuse…). The finale, like the second movement, unexpectedly lurches into a “coda” that seems like the interrupted beginning of a completely new piece – a common enough feature in my work. Inter Pares is based on a number of classic 4-note motifs, most significantly the BACH cryptogram. Although the work is dedicated to the Arditti Quartet, there is an implicit homage to the great composer who died 250 years before its composition." In addition to BACH, you can hear 4-note Dies Irae quotations, and DSCH as well (there may have been others that I missed)		https://soundcloud.com/raymond-deane/string-quartet-3-inter-pares
2022-09	Decaux, Abel	Clairs de Lune: No. 3 Le Cimetiere	2007	Definitely quoted	Decaux seems an unjustly neglected composer; not much remains of his compositional output. He's more known as organist and pedagogue. The piece opens with a whole-tone treatment of the dies irae first phrase. It feels far ahead of its time. Joyce Lee Schenewerk's master's thesis covers all 4 of the Clairs de Lune in detail: https://urresearch.rochester.edu/fileDownloadForInstitutionalItem.action;jsessionid=3F325DE6A6FAA8E9C3130206613B4699?itemId=27252&itemFileId=109518	score	audio
2022-06	Dechend, Wolfgang von	Styx. A Long Journey	2007	Definitely quoted	This piece feels like it's always winking at you with its dies irae teases. Becomes more overt as the piece continues.		audio
2022-07	Deldevez, Edouard	Messe de Requiem, op. 7	1852	Definitely quoted	Begun in 1843 after the 1842 death of his teacher Cherubini, further influenced by the deaths of his teachers Berton (died in 1844) and Habeneck (died in 1849). The Dies Irae section introduces with a motif of rising minor triads a tritone apart, and is later combined with the Dies irae chant melody.	score
2022-09	Demnitz, David	9-11: A Memorial Suite: V.	2002	Definitely quoted	From Innova's liner notes to the Gamelon Son of Lion CD release Sonogram: "Barbara Benary wrote a brief song in reponse to the World Trade Center disaster, and in particular to our government’s hasty moves to curtail liberties in the name of protection. In the spirit of drawing together, she invited the group to write a set of short pieces which would either be based on this song, or make a deliberate and complimentary contrast. In addition to her own variations (a) at the head of the suite, two composers responded with variations on the song, and two with contrasting material and moods... David Demnitz’s variation (e) uses a quodlibet approach, combining the “America Be Wise” song with the traditional elegiac plainsong “Dies Irae” symbolizing habit and sentimentalism, and with Edward Elgar’s tune “Pomp and Circumstance” standing for America’s hand-me-down imperialism."		audio
2022-06	Desch, Otmar	Piano Concerto #1	2002	Definitely quoted	Movement 3 titled "Dies Irae" it's all over		audio
2022-06	Dethier, Gaston Marie	Prelude sur le dies irae	1900	Definitely quoted	Short prelude for organ. The audio file here is played by Charles Callahan on the Kilgen organ of the Cathedral Basilica of St Louis MO, off his "Cathedral Echoes" CD. In the liner notes, Callahan says: "Set in the somber modality of E-flat minor, this short 2-page composition offers a sensitive meditation upon the well-known Gregorian chant from the Requiem Mass"	score	audio
2022-06	Diemecke, Enrique	Die-Sir-E	1999	Definitely quoted	Commissioned by Radio France Festival for the 1998 World Cup Final Concert. First half travels through Brazil, quoting their national anthem and probably several other unrecognized tunes, then moves to France, quoting from Carmen and l'Arlesienne, Dies Irae, and Galop Infernal		audio
2022-06	Dillon, Henry	When once confined in a heuristic demolition of neo-Napoleonic platitudinal radii	2015	Definitely quoted	Not fair, as this is a spoof composition. But a non-notated repeated section calls for the sopranino tuba soloist to "just fucking throw Dies Irae in there a few times for good measure". Which, after staring at hundreds of dies irae quotations for the last few months, is a sentiment I can sometimes agree with.	score
2022-06	Dior, Rick	Science Fiction	2008	Maybe	Composed for theremin and percussion ensemble. Rewritten in 2019 for percussion and orchestra. Composer's notes mention he sort of quotes Dies Irae, but I don't hear it. I guess it's those 4-note phrases played by marimba at the beginning?		audio
2022-06	Dobrowen, Issay	Sonata-Skazka (March Sonata)	1914	Maybe	The inner voice ostinato might be seen as a Rachmaninoffian quote of Dies Irae. But I can't give it a full stamp of quotation, not without more context. Dedicated to Maxim Gorky.	score	audio
2022-09	Doherty, Seán	String Quartet No. 3 'The Devil's Dream'	2015	Definitely quoted	Composer's notes: "I was introduced to music through the fiddle tradition of my native Donegal. The tradition is distinctive in Ireland: not like the languid lilt of the Clare style nor the light patter of the Galway style, the Donegal style looks outwards, across the sea, for its closest kin — to Scotland and to Nova Scotia. Aggressive, driving, and un-ornamented, the tunes are as stark as the bogland, the bowing as jagged as the cliffs. A leading of exponent of this tradition was my teacher, the fiddle player James Byrne and this string quartet is loosely based on two tunes that I learned from his playing: An Londubh and The Devil’s Dream. James died on his walk home from a seisiún in the early hours of 8 November 2008 near his home in Mín na Croise. This piece imagines this walk. Half-remembered fragments of the slow air, An Londubh, slowly coalesce until its full form is reached, into which the reel, The Devil’s Dream, intrudes as a danse macabre that demolishes the air. The air comes, screaming, back, only to be subsumed by the reel once more. After a quotation of the plainchant Dies irae, the reel itself disintegrates. From the ashes of the Devil’s Dream, the air emerges in its final, transfigured, form. This piece is written in memory of James Byrne [1946–2008] and for his partner Connie, and their daughters, Séana, Aisling, and Merle." The dies irae appears in the middle of the Devil's Dream reel section, featured the first two phrases in the viola starting at measure 110 (marker E), which leads into an extended coda full of open fifths, glissandos, and harmonics. https://seandohertymusic.com/string-quartet-no-3-the-devils-dream/	score	audio
2022-06	Dohnanyi, Ernst von	Rhapsodie for Piano, op. 11 #4	1903	Definitely quoted			audio
2022-07	d'Ollone, Max	Héroïque, Poeme Symphonique: 2. Funerailles	1923	Maybe	The piece was dedicated to fellow Paris Conservatoire classmate Yves de la Casiniere. It's in three movements: Au Combat, Les Funerailles, and Le Ciel s'Ouvre. The funeral second movement's theme, which is not very subtly developed, looks like it could be a metrically modified 4-note quotation. Oddly, the published editions credit the piece to Henry d'Ollone (presumably his brother), though I don't know why.	score
2022-06	Domine, James	Danse Macabre: Variations on "Dies Irae"	2020	Definitely quoted			audio
2022-06	Dorati, Antal	Symphony No. 2 'Querela Pacis'	1985	Definitely quoted	2nd movement Allegro molto agitato (…dies illa…)		audio
2022-09	Dorn, Henry	Transitions	2022	Definitely quoted	Orchestral work based on the composer's experience of his mother's death due to cancer. Premiered by Osmo Vanska and the Minnesota Orchestra on May 6, 2022. Dies Irae is hinted at in brass outbursts, but then made explicit in a first-phrase quote starting at measure 97. See https://www.henryldorn.com/transitions-for-orchestra	score	audio
2022-06	Douglas, Paul M.	Helvetia (A First Symphony for Orchestra)	1993	Definitely quoted	Born in Constantine, Algeria in 1936, Paul began composing at his high school in France. He did his graduate studies in Hartford, Connecticu, completing a Masters degree in music history working with French masters Louis and Marcel Moyse. He moved to Canada to become a Full Professor at the University of British Columbia, where he held positions in Music History, Chamber Music, Woodwind Techniques, Conducting, Flute and Baroque Flute, as well as Director of Bands and Wind Ensembles and Coordinator of the Wind and Percussion Instruments Division. The dies irae first phrase is basically the main theme of the first movement.		audio
2022-06	Drozdoff, Vladimir	Au Tombeau de Rachmaninoff. 1. Dies Irae	1951	Definitely quoted		score	audio
2022-06	Duarte, John W.	Mutations on the Dies irae, opus 58	1974	Definitely quoted	I quite like this piece. Bit of a renaissance feel, and the dies irae is wonderfully 'mutated'. The audio linked here is the live recording of the 1974 premiere by late 20th century guitarist and musicologist extraordinaire Angelo Gilardino (who was a source for information in this research for Castelnuovo-Tedesco's contributions).		audio
2022-09	Dubrovay, László	Suite for Piano and Synthesizer: III Dies Irae	1981	Definitely quoted	Totally wild work with a driving synthesizer and electronic deconstruction/decomposition of the piano. I totally approve.		audio
2022-09	Duckworth, William	A Summer Madrigal	1976	Definitely quoted	An early Duckworth piece (love song?) for flute, violin, piano, 2 percussion, and rock singer. Pretty faithfully sets portions of McCartney's Yesterday, Simon and Garfunkel's For Emily, Cohen's No Way To Say Goodbye, Mitchell's Both Sides Now, Webb's Up Up and Away, Simon and Garfunkel's Kathy's Song, and finally Sound of Silence. There are two quick dies irae quotes in the Kathy's Song section: the first phrase is quoted by the flute after the "tapping on my roof and walls" lyric, the second by the violin after the lyric "and kiss you when you start your day". These quotations are befuddling, given the context. The score here appears to be self-published by Duckworth in 1975; the only copy I could find was held at Smith College's library.	score
2022-09	Duckworth, William	The Last Nocturn	1976	Definitely quoted	A 1976 work for prepared piano, very early in Duckworth's oeuvre. DD, D, d''', and d'''' keys are to be prepared held down, eliciting plenty of sympathetic D vibrations. The bass clef D and A (perfect fifth) function as drones, to be held down whenever possible as fingering allows. Nocturn (without the e) is not a typo for Nocturne, it refers to the divisions of the matins canonical hours. It has a slow toccata feel, but marked sempre legato; starts with 8 fortissimo measures marked "maniacal, with great abandon". Then the dies irae in D Dorian mode starts in the right hand, interspersed with the left hand D/A drones, quoted in extenso, starting pianissimo, and the piece gets "gradually louder and more intense to fff" by the end. This piece appears to be self-published by Duckworth.	score
2022-06	Duckworth, William	The Time Curve Preludes	1978	Maybe	Kyle Gann notes: "The Time Curve Preludes is a cycle of 24 pieces based on the “Dies Irae” chant, a quotation from Satie (vexations), and accelerative numerical processes." The notes from Duckworth's website (which I don't think are written by Duckworth) say: "Musically, The Time Curve Preludes focus on one principal melody, which is based on the Dies Irae, and include hints of Satie, Bluegrass banjo picking, and, on occasion, the piano playing style of Jerry Lee Lewis, all held in musical space by a durational architecture based on proportional time. This architecture makes extensive use of the Fibonacci series, as well as additive, reductive, and cumulative structures that Duckworth created." There is dense figuration in the melody, full of seconds and thirds, but nothing that sticks out as a Dies Irae reference.		audio
2022-06	Dufay Collective	Ludus Danielis	2008	Definitely quoted	A transcription and orchestration by director William Lyons of the Play of Daniel. This is a medieval liturgical drama first written in early 13th century by students at the school of Beauvais Cathedral (so, created about the same time we think Dies Irae was written). Dies Irae is quoted in the instrumental interlude Just Desserts (Merito haec patimur) - along with instrumental lions roaring?		audio
2022-09	Duffy, Sean	Stages for Carillon: Stage 1	1998	Definitely quoted	From Duffy's web page (https://duffy.camden.rutgers.edu/carillon-music/): "This piece takes advantage of a particular feature of bells – that they are tuned with a harmonic system that emphasizes not the natural Pythagorean harmonics but an unnatural harmonic series in which the most significant tone is the minor third. This is one of the reasons bells sound mournful. The octotonic scale is one that is constructed such that for any note within the scale there is a minor third above and below it, which can be described as the “natural” scale for a carillon. This piece uses one of the three modulations of the octotonic scale, on the Dies Irae theme. This is part 1, I will eventually upload the other 4 parts." "Piece for carillon based on the Dies Iraes. Was dealing with the death of someone close to me."	score	audio
2022-06	Dupertuis, Gauthier	Postcards from Tomorrow: 1. Abandoned Blockhouses	2021	Definitely quoted		score
2022-07	Dyko, Deb and Bruns, Corey	Three Kings for Passiontide	2022	Definitely quoted	Mixes We Three Kings and some four-note quotations of dies irae, I think this was written specifically for Brun's congregation		audio
2022-06	Eben, Petr	Landscapes of Patmos	1984	Definitely quoted	For organ and percussion. Patmos is the Greek island where John of Patmos received the visions found in the Book of Revelation. Some of this imagery has made it into the text of the dies irae sequence. The last landscape, "Landscape with Horses" (surely this is a reference to the 4 Horsemen?) is an extended dirge based on the dies irae.		audio
2022-09	Edmundson, Garth	Seven Modern Preludes on Ancient Themes: No. 6 Dies Irae	1937	Definitely quoted	Suite for solo organ on several ancient hymn tunes. Number 6 has the first two phrases of the melody played nearly in round between right hand, left hand, and pedals.	score
2022-09	Edwards, Ross	White Ghost Dancing	1999	Definitely quoted	A medium-length tone poem for wind symphony from Tasmanian composer Edwards. From the composer's notes: "There are recorded instances of Aboriginal People mistaking early Europeans in Australia for the ghosts of their ancestors, since ghosts were believed to be light-coloured. As I composed White Ghost Dancing, the concept of a white ghost came to symbolise non-indigenous Australia's innate Aboriginality - its capacity to transform and heal itself through spiritual connectedness with the earth. I believe that music, which has enormous therapeutic properties and, for me, a close relationship with ritual - and especially dance - is destined to make an important contribution to this transformation and healing, hence the title. Typical of my maninya (dance/chant pieces), White Ghost Dancing is a compact mosaic of unconsciously processed shapes and patterns from the natural world: fragments of birdsong, insect and frog rhythms, as well as fleeting references to other works of mine and hinted fusions of Aboriginal and Gregorian chant."		audio
2022-09	Eespere, Rene	Concerto for Clarinet and Chamber Orchestra "In Dies"	2005	Definitely quoted	Quoted by the clarinet in extenso at the work's conclusion, inbetween the final cadenza and the final fluorish (starting at 16:20).		audio
2022-06	Eklund, Hans	Symphony 11 "Sinfonia piccola"	1995	Maybe	One of Eklund's longer symphonic efforts, in 2 movements. Written in tribute to his teacher Lars-Erik Larsson. The 2nd movement's main theme is introduced like a warm blanket of the dies irae. This theme reappears throughout, but becomes starker. The movement ends, almost whimpers, on a dark sparse note.		audio
2022-06	Elfman, Danny	Violin Concerto "Eleven Eleven"	2017	Definitely quoted	Dies irae is basically the theme of the "giocoso" final movement. A co-commission by Czech National Symphony Orchestra, Stanford Live, Stanford University, and the Royal Scottish National Orchestra, remiered and recorded by Sandy Cameron.	score	audio
2022-09	Elizondo, Jose	La Alborada de la Esperanza	2018	Definitely quoted	Short piece originally written for cello and accompaniment, dedicated to Sebastien Hurtaud. Transcribed for many different arrangements. Written to commemorate the centenary of the end of WWI. At marker C, the piano right hand gently peals the dies irae for eight measures, marked in the score as "reverent, gentle, like the echo of distant church bells that ring the Gregorian chant Dies Irae. The sound gradually becomes more luminous."	score	audio
2022-06	Elizondo, Jose	The Legend of the Noble Knight: III. The Triumph of the Knight	2020	Definitely quoted	Inspired by Eichendorff's poem Waldesgesprach. Makes its first appereance at marker A (measure 13), with the heading "An oddly alluring song can be heard coming from the top of an imposing rock at the place where the river makes a sharp turn. The soul of Lorelei, the princess that threw herself from that rock to her death after being betrayed by her lover, now lures the passersby with her sweet song to bring them to their death."	score
2023-03	Ellerby, Martin	Natalis, Symphony for Brass and Percussion		Definitely quoted	Short-medium length work for wind & percussion ensemble. Dies irae clearly heard 2-3 minutes in. From publisher Maecenas Music' summary: "Natalis was written for the Hampshire Youth Brass and for the composer's nephew, whose desperate struggle for life provided the work's impetus, agenda and title (which translates as "of the birth"). Although composed as a single movement, there are three distinct sections (equating approximately to hope, struggle and triumph) with the main thematic ingredients laid out in the first. The sumptuous sound world of the opening paints an idyllic, too-good-to-be-true Arcadian landscape untouched by care or worry and the material gently evolves in the sunshine. But even the best kept garden can contain a snake and the introduction of the Dies Irae gives warning that all is in fact not well. What follows is a scherzo of force and menace, the motif developed with considerable harmonic and rhythmic invention, but with just a glint of late sun in the form of a glancing, possibly subconscious, reference to "O God our help in ages past" before the transition to the final section where the central motif is transformed into a heroically lyrical choral like melody building to an exultantly epic conclusion. Hope is restored, but it has not been easily won."	score	audio
2022-06	Ellerby, Martin	Paris Sketches	1994	Definitely quoted	For wind ensemble. 3rd movement Pere Lachaise. In the composer's words: “This is the city's largest cemetery, the final resting place of many a celebrity who once walked the streets. The spirit of Satie's Gymnopedies -- themselves a tribute to a still more distant past -- is affectionately evoked before what is in effect the work's slow movement concludes with a quotation of the Dies irae. The mood is one of softness and delicacy, which I have attempted to match with more transparent orchestrations. The bells are gentle, nostalgic, wistful.” There is a single brief quotation on bells near the end of the movement.		audio
2022-06	Emmanuel, Maurice	30 chansons bourguignonnes	1914	Maybe	I think this is actually a reference to Emmanuel's arrangement of the old French folk song "J'ai vu le loup" which many think is a medieval folk song derived from first 4 notes.		audio
2022-09	Erb, Marie-Josef	20 Pieces for Organ (Preludes, Interludes, and Postludes), op. 73: Choral prelude, Meditation, and Impromptu: Meditation	1906	Definitely quoted	Originally printed by Schwann, Dusseldorf in 1906. Reprinted by Kemel in 2007, this particular Meditation was extracted and included in Schott's 2002 collection "four centuries of Alsatian Organ Music". A short work for organ, opens with first phrase of the dies irae. First phrase of lux ataerna appears in the 6th measure. They're combined and quickly freely treated, until by the end of the short meditation (37 measures) it can't be easily heard.	score
2022-06	Escaich, Thierry	l'Office des Ténèbres	1992	Definitely quoted			audio
2022-06	Escaich, Thierry	Le Chant des ténèbres	1992	Definitely quoted	Short concerto for soprano saxophone (and orchestra of 12 saxophones). Dies irae underpins the whole piece. John Commins has a 2018 dissertation from University of Iowa exploring Escaich's saxophone music, in it is an interview with Escaich going into some details of Escaich's use of dies irae.		audio
2022-06	Escaich, Thierry	Trois Intermezzi	1990	Maybe	For flute, clarinet, and saxophone. Again from John Cummin's interview with Escaich: "JC: In the second movement you again use the Dies irae. TE: TE: Yes, it’s pretty close. That’s why I say that it chromatically revolves around existing Gregorian motifs. While the third movement, that one revolves around a different Gregorian theme, the Victimae Paschali Laudes. [Oui, c’est assez proche. C’est pour ça que je dis que ça tourne autour de, chromatiquement, de thèmes Grégoriens existants. Alors que le troisième mouvement, lui, tourne autour d’un autre thème Grégorien, qui est le Victimae Paschali Laudes.]
2022-06	Estevez, Antonio	La Cantata Criolla "Florentino el que canto con el Diablo"	1954	Definitely quoted	A cantata setting of Alberto Torrealba's folk poem Florentino y El Diablo, which is Faustian in nature. From Susan Key's notes: "The piece is scored for orchestra, chorus, and two soloists in three large-scale movements. The first, Lento e Cadencioso, establishes an epic mood with gestures that alternate between dramatic and atmospheric before the chorus enters to set the scene and backdrop from which the voice of the Devil emerges to issue his challenge. The chorus generally stays in a note-against-note texture, highlighting the words and underscoring the communal, oral tradition of the story and coplero tradition. Next comes “El Reto” (The Challenge), thrown out confidently by the Devil, who is answered in more serious tones by Florentino, who invokes the land: “Savanna, savanna, land that makes you sweat and love as I have sung with all I have to sing with him.” The melodic material for the two characters makes use of two Gregorian chants: Ave maris stella for Florentino; Dies Irae for the Devil." 8-note phrase heard a few times in counterpoint.		audio
2022-06	Euba, Akin	Chaka, an opera in Two Chants	1970	Definitely quoted	Some sources of info: https://music.arts.uci.edu/abauer/Cross-Cultural/readings/Robison_on_Chaka_Dialnet.pdf See also "At one point, Euba incorporates a neo-African rendition of the Dies irae in a rhythmic 6/8, a theme later heard again in connection with Chaka’s illustration of colonial oppression; here the brass emphatically elaborates the chant in a manner recalling Berlioz. This intertextual reference not only expands the theme of death beyond the figure of the dying Chaka towards the murderous dimensions of the colonial venture itself, but paradoxically also reverses the logical sequence of Berlioz’s thematic transformation: it is as if the more literal quotation in fact derives from the Africanized Dies irae in the prelude."
2022-06	Falcinelli, Rolande	Cortège funèbre: Sortie pour la messe des morts, Op. 41	1968	Definitely quoted			audio
2022-06	Falik, Yuri	Elegiac Music	1975	Maybe	Written as an elegy for Stravinsky (died 1971). For four trombones and sixteen strings - highly chromatic writing, echoes of the dies irae melody.		audio
2022-06	Faltis, Evelyn	Fantasie und Doppelfuge, op. 12	1922	Definitely quoted	For organ, subtitled "mit dem Dies irae". The double fugue exits into the final page of music, marked "Dies irae, dies illa" in the score, and played ffff and full stop/pleno. Huge quotations first in upper register, then in pedals, andd one more time in upper register. Must be loud.	score
2022-06	Faltis, Evelyn	Violin Sonata, Op. 6	1923	Definitely quoted	Dies irae becomes a major player towards the end of the 3rd movement, in section 7 "Gemessen (Measured)". "Di-es i-rae di-es il-la" is written in the score to highlight. Interestingly, the "dies irae" melody/intervals is also used for "dies illa" text. First played somewhat in unison between violin and piano, and makes appearances throughout until section 14, including marked in the score again. Original publisher Ries & Erler confirms that the original publication date was "around 1923", although it's possible the work was composed earlier.	score
2022-09	Fannin, John	Triumphant Voyage: 1. Variations on the Dies Irae Theme	2016?	Definitely quoted	Fannin is a composer/creator of marching band shows. This work is Odyssey-inspired and mixes of the dies irae melody first phrase, excerpt's from Verdi's dies irae, Mozart's dies irae.		audio
2022-08	Fassang, László	Improvisation on Dies irae	2011	Definitely quoted	A 10 minute improvisation on the dies irae, played on the Romanian Biserica Reformată-Calvină de pe Ulița Lupilor		audio
2022-10	Faxon, Nancy Plummer	Prelude on Dies Irae	1969	Definitely quoted	Short 2.5 minute prelude in F-sharp minor for solo organ, written in 1969 for her husband George Faxon. First performed by George Faxon in 1969 at Longwood Gardens, Kennett Square PA (presumably on the Longwood Organ, the largest Aeolian ever built in a residential setting - 10,010 pipes in 146 ranks). Built around turns around a minor third, the first three phrases of the melody are played in upper register with harp stops. It also calls for some solemn chime stops. The score attached here is the composer's manuscript, and is reproduced here with permission by the composer's daughter and grandson.	score
2022-06	Feller, Harald	3 Gregorianische Paraphrasen: III Dies Irae (Totentanz)	2020	Definitely quoted	For organ		audio
2022-09	Feren, Richard	Hamlet	2022	Definitely quoted	Per the composer, this new score to Stratford Festival's 2022 Hamlet production is almost entirely "adapted, derived, and otherwise beholden to the Dies Irae… after some ten centuries, it still holds up quite well!".
2022-08	Ferko, Frank	Alma Submerged	2012	Definitely quoted	Ferko's program notes from the 2013 spring concerts of the Peninsula Women's Chorus (SF Bay Area) (https://pwchorus.org/content/wp-content/uploads/2019/09/programSpring2013.pdf): "“Alma Submerged” was commissioned by the Peninsula Women’s Chorus for its small ensemble, Alla Breve, conducted by Martín Benvenuto, for a performance at the Triton Museum in Santa Clara, in conjunction with the Fall Floral Festival in October 2012. In December of 2011 I visited the museum, and among the many fine works of art that I encountered, “Alma Submerged” by Ryan Reynolds caught my attention. The painting depicts an artist’s view of the water reservoir which was created by the Leniham Dam in Los Gatos, and which covers the remains of the towns of Alma and Lexington. According to the artist’s observations, “As the water level fluctuates, silt-covered foundations, fragmented bridges and the occasional personal items re-emerge. A similar re-emergence occurs with the images found beneath the surface of the paintings, providing a glimpse into the veiled presence of the past.” When I was asked to compose a choral work based on a painting at the Triton Museum, I was immediately attracted to this one as I felt that the multiple layers, the forms, colors and references to the past—both expressed and implied—could also be depicted successfully through music. For the musical composition my intention was to create the open-air spaciousness conveyed in this unique landscape created by Mr. Reynolds, as well as the colors (translated into musical harmonies), the carefree passage of time and references to the past. Since the painting contains fragmented images with the underlying wood clearly exposed, I chose to structure the choral work around recurring musical figures, which would serve as the foundation of the piece. Small musical fragments, suggesting the past, would emerge from time to time from the basic musical texture rather like objects floating to the top of the water or at least becoming visible from above the surface. A series of lightly detached harmonies over a sustained pitch, first in the key of B-flat (suggesting the brown color of the wood) and thereafter in B major (blue with some gray), with an emphasis on F# (bright green) provides the main musical theme heard throughout the piece. The center of the work is dominated by a rather somber four-voice fugue, which in itself is a layered musical structure. As the opening detached chords progress, and later as the fugue proceeds, short musical quotations from past eras can be heard from time to time, first in the lower voices and later in other voice parts. The four musical quotations which I chose include two Gold Rush era songs, “The Days of ‘49” and “Life in California,” and two pieces of sacred music, the plainsong “Dies Irae,” (“Day of Wrath” from the Requiem Mass) and “Aus tiefer Not” (“From deepest need,” the German hymn version of Psalm 130, “Out of the Depths”). Since the town of Alma was active during the Gold Rush years, I felt that the Gold Rush songs would appropriately depict that part of the past. In the twentieth century, Alma College was founded to the west of the town itself, and the college was the site of a Jesuit seminary, so the fragments from the sacred repertoire are references to that part of Alma’s past. It was also my intention to depict this entire scenario and its associated memories with music that suggested an openspaced, carefree feeling contrasted with a bit of somber eeriness to suggest fragments and pieces of the past that float upward and come into view."	score
2022-06	Ferrari, Carlotta	Preludio sopra Dies irae	2016	Definitely quoted	A short prelude built around Dies Irae, culminating in a clear 8-note quotation. Note this is the Carlotta Ferrari born in 1975, not the 19th century opera composer.	score	audio
2022-06	Ferrari, Luc	Histoire du plaisir et de la desolation	1981	Definitely quoted	Towards the end of 3rd movement Ronde de la Desolation, starts popping up. https://www.lafolia.com/mostly-symphonies-no-37-luc-ferraris-histoire-du-plaisir-et-de-la-desolation/		audio
2022-06	Firat, Ertugrul Oguz	A Tribute to Franz Liszt, op. 77	2013	Definitely quoted	from Idil Biret's CD notes: “The most masterfully composed piano works have generally been written by virtuoso, or at least, very good pianists. In this area, as in so many others, Ertuğrul Oğuz Fırat, is an exception. Without having ever played the piano, he has successfully harnessed all of its possibilities in a very creative way. Creating a harmonious synthesis between more traditional piano technique and all the innovations of modern music, he has developed an extremely original style of writing. Requiring advanced technique, his works are excellently suited to the piano. The nuances, phrasing, emphasis on the accents and the use of pedals, all meticulously indicated in the score, greatly help the performer. ‘A Tribute to Franz Liszt’, Op. 77, like Liszt’s ‘ Totentanz’ (Dance of the Dead) consists of variations on the theme of Dies Irae. This piece best illustrates Liszt’s complex but rich personality.”		audio
2022-07	Firsova, Elena	Requiem	2001	Definitely quoted	Not a requiem in the liturgical sense, but a setting of Anna Akhmatova's (brutal) poem Requiem. Dies Irae blares in the introduction to part 12 "The Scream"		audio
2022-09	Firsova, Elena	Night Songs, op. 125: III Andante	2009	Definitely quoted	Songs for mezzo, flute, and cello, settings of Osip Mandelstam (who died in a Stalin gulag). After the climax, the flute plays a single isolated phrase of the dies irae. Mandelstam was in the same cricle as Pasternak and Akhmatova, whose writings have also inspired dies irae quotation by other composers in their settings (including FIrsova for Pasternak).		https://www.youtube.com/watch?v=mbAGdOHmxX0
2022-07	Firsova, Elena	Two Romances onPoems by Boris Pasternak: 1. The Wind	1967	Maybe	This short song is pervaded with four-note quotations in the piano accompaniment. It has the same kind of four-note application as the Rachmaninoff etude-tableau; a kind I'm not as convinced as I used to be is an intentional quotation.		audio
2022-06	Fokkens, Robert	An Eventful Morning in East London	2006	Definitely quoted	A short violin concerto written for Harriet Mackenzie. The East London here is in South Africa. About halfway through there's a section based on repeated 7-note dies irae quotations, mostly led by woodwinds, sometimes echoed by violin soloist. A little bit cartoonish, but also mysterious.		audio
2022-06	Forrest, Dan	Requiem for the Living: II. Vanitas Vanitatum	2013	Definitely quoted	“Overall, the work is a prayer for rest ("Requiem") for the living, as much as for the deceased. It's a "grant US rest", even more than a "grant THEM rest". The whole work is tied together motivically by the opening three notes that you hear- they form the basis of all the development in the first movement, the pitch material of the accompaniment figure in the second movement (alluding to the traditional Dies Irae plainchant, even though I'm not using the Dies Irae text), the opening of the fourth movement (obviously) where the descent goes one note farther, and starts to find a destination/goal/"rest" if you will), the recap moments throughout the fifth movement, and then, in one last gesture, the final three notes of the entire work are those three pitches, now ascending (instead of descending), as if reaching the heavens."		audio
2022-09	Fortier, Deborah	Proodles: Departure of the Butterflies	2005	Definitely quoted	A student piano work weaving arpeggios with the dies irae theme. See https://www.deborahfortiercomposer.com/the-compositions/ The score here is published with permission by the composer. The composer notes to me: "The piece, Departure of the Butterflies, is a lament about global warming - the fragility of the butterflies and their migration to Mexico - thus - the dies irae."	score	audio
2022-06	Foulds, John	Quartetto Intimo	1935	Definitely quoted	The third movement, Pasquinade: Con umore (A satire, with humor), has a down-minor-third / up-major-second descent that is highly reminiscent of the dies irae melody, but it's the 8-note quotations/accents that are plucked that really cements it		audio
2022-06	Francaix, Jean	Cinq poemes de Charles d'Orleans #5 Encore est vive la souris	1946	Definitely quoted	DI is played in piano and noted in score: "Le Dies Irae bien marque et tres 'habit vert'. First two lines of dies irae are played once lightly, bouncily by the piano at the lines "jeunesse sur moy a puissance, mais vieillesse fait son effort de m'avoir en sa gouvernance" (Youth still holds me, But age is making the effort to take me under its charge). Hahn (listed elsewhere here for another composition), Debussy, and Berthelot all also set Charles' poetry to music - Berthelot's also incorporates the Dies Irae		audio
2022-09	Francaix, Jean	Les inestimable chroniques du bon géant Gargantua	1971	Definitely quoted	An adaptation of Reblais' satire "La vie de Gargantua et de Pantagruel", for string orchestra and narrator. Played by the cello around the 7:20 mark.		audio
2022-06	Frances-Hoad, Cheryl	The Prophecy	1998	Definitely quoted	For cello and piano. Commissioned by the 1998 Manchester International Cello Festival, premiered by Rebecca Giller and Simon Parkin. From the composer's notes to the Champs Hill Records CHRCD152 CD: "I incorporated the Dies Irae plainchant - Day of Wrath - as a reminder of the inevitable"	score	audio
2022-06	Frank, Gabriela	Leyendas: An Andean Walkabout	2001	Definitely quoted	For string orchestra. Frank's own notes say "The 5th movement, "Canto de Velorio", portrays another well-known Andean personality, the professional crying woman known as velorio. Hired to render funeral rituals even sadder, the velorio is accompanied here by a second velorio and an additional chorus of mourning women (coro de mujeres). The chant Dies irae is quoted as a reflection of the velorio's penchant for blending verses from Quechua Indian folklore and western religious rites." Going to list this as 'definitely quoted' based on the composer's own notes. It's hard to hear though, I assume it's the repeated phrases played in harmonics by the lead violin towards the end of the movement.		audio
2022-06	Frederichs, Henning	Improvisations on the 'Dies Irae'	1996	Definitely quoted	For organ pedals alone! Also occassionally known as 'Ysaye-Exerzitien', since the piece quotes extensively from Ysaye's 2nd sonata (which is to say, it quotes from Bach and from Dies Irae). From composer's notes: "Von jeher interessierte mich Musik, die eigentlich gegen ein Instrument komponiert ist, ihm aber gerade dadurch neue Ausdrucksmöglichkeiten erschließt (zum Beispiel Polyphonie und Akkordik auf einem Melodie-Instrument). Zu diesen Werken rechnen auch Eugene Ysayes herrliche, viel zu selten gespielte Solo-Violinsonaten, unter denen vor allem die zweite wegen ihres allgegenwärtigen "cantus firmus", der sowohl liturgisch als auch hochromantisch besetzten "Dies irae"-Melodie, mich reizte, sie in Teilen für "mein" Instrument, die Orgel, zu übertragen. Um die Anstrengung, die diese Werke einem Geiger bereiten, auch den Organisten spüren zu lassen, sollte meine Bearbeitung allein auf das Orgel-Pedal beschränkt bleiben. Sein geringer Umfang und die im Vergleich zu den Händen rührende Ungeschicklichkeit der Füße machten allerdings Umlegungen von typischen Violinfiguren unumgänglich. Auch schien es angebracht, einige der überschwenglichen Improvisationseinfälle Ysayes zu beschneiden, um so die zugrundeliegende Formidee deutlicher hervortreten zu lassen. Schließlich wollte ich die im Original mehrfach herauszuhörende Visitenkarte Bachs gegen meine eigene (aus der Pfingstgeschichte meines "Petrus"-Oratoriums) austauschen: Nicht nur, um die in diesen Kompositionen doch sehr großen stilistischen Gegensätze ein wenig anzugleichen, sondern auch, um als "Bearbeiter" solcher eigentlich unantastbaren Meisterwerke Farbe zu bekennen. Ausführbarkeit: Bei großer Gelenkigkeit gut spielbar!"	score	audio
2022-09	Fu, Ivy	Geese Fantastique!	2020	Definitely quoted	Collage student piece for the composer's electroacoustic music college class. https://static1.squarespace.com/static/5d4dcd89a70bc90001638861/t/5eb600a3b7a1f3362c897f35/1588988810341/SP20_203_Concert.pdf Composer's notes: "One evening after smoking opium in the countryside he hears a sound—or is it in his mind? swirling in the air with its ranz des vaches. He sees himself at a geese’s sabbath, in the midst of a hideous gathering of shades, sorcerers and monsters of every kind who have come together for his funeral. Strange sounds, drones, outbursts of laughter, distant Dies Irae in the air. The mysterious voice lingers around his ears, speaking a language he can’t understand. More and more he drowns into the vortex of this broken world. The world ends with a gentle rain and shamisen—Is this a dream? He can’t remember a thing, and he flew away." A recording of the human-chanted tune is incorporated, probably the Symphonie Fantastique reference in the title		audio
2022-06	Fujii, Keigo	Suite "Dies Irae"	1997	Definitely quoted	for two guitars. Alluded at throughout. Never a direct "quotation" though.		audio
2022-06	Furrer, Walter	Three Religious Choruses from Faust: 2. Dies Irae	1940	Definitely quoted		score
2022-09	Gaburo, Kenneth	Mangrove	1987	Definitely quoted	Per Warren Burt, a central conceit to Gaburo's output was trying to answer the question "How far can we push things before they lose whatever-it-is-that makes their identity and become something else?". One way was to embed familiar objects in an unfamiliar context - like this jazz workshop piece Mangrove created with improvisation students at the Victorian College of the Arts, Melbourne. This puts the dies irae in a swinging jazz idiom. See Burt's thoughts on Gaburo: http://static1.1.sqspcdn.com/static/f/288545/8939885/1286932429803/Gaburo_Thoughts.pdf?token=oCOAf%2F6bFQZz3LvseaxKCj5LCrw%3D		audio
2022-06	Gagneux, Renaud	Requiem	1982	Definitely quoted	Played by bells at the beginning of the Dies Irae section		audio
2022-06	Gailey, India	Ghost	2020	Definitely quoted	From composer's notes: "First titled “Australia’s Ghost,” I wrote this piece early in 2020, when Australia was on fire. I’ve never been to Australia, but living on this Earth, I feel an unavoidable connection to the place. I did spend several months house-sitting for an Australian friend many years ago. The works of art she had on the wall and her decorative colour choices always felt to me like a glimpse of the land as translated through her. Anyway, I was feeling rather tender about Australia burning and all that such an event represented. Many people say that we are far past the point of being able to halt the human-induced climate change rapidly transforming the planet we inhabit. The extinction of humanity may or may not be on the immediate horizon, but it does seem that things are going to be rough while we attempt to clean up a bit. “Ghost” came out of contemplating the many sentient deaths inflicted by the Earth’s fever, the lingering skeleton landscapes, the heartbroken wind. Like many of my compositions, it is not strictly through-composed—there is a bit of detail variation in how the colours manifest between each performance. At the end, it loosely quotes the Dies irae (“the Day of Wrath”), a classic Latin requiem tune. I went on to perform this piece on tour across Canada, just before covid swept the nation, aware of the gasoline I was launching into the atmosphere, riding the thrill of adventure and contradiction. Mourning more destructive flames raging across the planet, I later changed the title to “Ghost” as it became clear that the piece was not bound to any particular place, that the ghost is a wanderer." Dies Irae melody (multiple phrases) are sung vocalise quietly starting at 3:03 (almost buried under the angelic cello)		audio
2022-06	Gaudreau, Nicholas	Waltz of the Spirits	2020	Definitely quoted	from composer's notes: "Lastly, for melodic inspiration, I listened to the Dies Irae, a Gregorian chant about the day of Rapture in the Abrahamic tradition. Not only do its themes of death, power, and religion fit within the establish framework, but the piece has been codified in music as the song of death. That is, whenever you wish to illustrate death through music, you use the Dies Irae. Considering my piece opens with a variation of the Dies Irae, has lines embedded in the counterpoint, and is the line that comes right after the resolution to the tonic at bar 58, I make it very clear that this is a waltz of death."	score	audio
2022-08	Gelt, Andrew	Dies Irae op. 23 "Pathos for Clarinet & Tape"	1974	Definitely quoted	From this self-professed Eclectic, an early work created at the USC Electronic Laboratory's analog synthesizer in 194 for clarinet and tape. Echoes of earlier Barron/Ussachevsky, with the dies irae melody fading in and out. Premiered at the U of Miami Student Composer's Concert on Feb 14, 1977.		audio
2022-06	George, Whitney	Princess Maleine	2019	Definitely quoted	In Act 2 Scene 5 "The Murder"		audio
2022-06	Gerber, René	L’Imagier médiéval	1952	Definitely quoted	2nd movement "Le Triomphe de la Mort" is a slightly irreverent take on Dies Irae. Recorded on Gallo: https://vdegallo.com/fr/produit/gerber-orchestre-philharmonique-de-koszalin/		audio
2022-06	Gerhard, Roberto	Piano Concerto	1951	Maybe	In the second movement, 'Diferencias', the composer has in mind the fantasia variations or diferencias by composers such as Antonio de Cabezon. A further source for the opening is the guitar practice of acciaccatura, sounding a given note of a chord and its appoggiatura simultaneously. This slow, ruminating cadenza-like music sets the mood of profound brooding which characterizes the entire movement. After a four-bar transition, still reminiscent of guitar music, the lower strings enter with the principal theme, one of the most remarkable the composer ever wrote. Nowhere in his output does his concept of 'transubstantiation' bear such rich fruit. Here the process is practiced on the Catalan religious song 'Goig del roser'. Taking his cue from the descending minor second present in the song's melodic contour, he creates a melody which seamlessly interweaves the opening notes of the Dies Irae. Gerhard combines the opening cadenza and this theme into a complex double variation that ends in a cadence which, in its resemblance to Roman polyphony, may be a tribute to Victoria. The piano then embarks on a passage of extended trills which forms the beginning of two further variations where there are near quotes from the twentieth-century masterpiece which most seemed to haunt Gerhard, Bartok's Music for Strings, Percussion and Celesta. Gradually the music fragments and the tension dissipates. I've listened, it's not a sure bet as a quote without more context. But it's close	score	audio
2023-03	Gibson, John	Extinction Events	2018	Definitely quoted	Work for clarinet ensemble that takes as its extramusical inspiration the destruction of animal habitats. Highly unusual but unmistakable dies irae quotations pop up in the first movemenet Buzzy Delights (Honey Bees)	score	audio
2022-08	Gilbert, Anthony	The Scene Machine	1971	Definitely quoted	This opera opens with a song from Frank, an anti-war folk singer type. In this song, dies irae is quoted almost in canon by both the baritone Frank and guitar, while the lyrics repeatedly urge "kill, kill the dark angel". The score excerpt here is provided by Anthony Gilbert with his annotations showing how the first few phrases of the dies irae are integrated, mostly in the tenor's guitar accompaniment, monophonically. The sound recording here is a shortened/edited version of the opera from a 1973 New Opera Co. production, transferred from reel-to-reel to CD to mp3, posted with permission by the composer.	score	audio
2022-09	Gillingham, David	Symphony No. 2 "Genesis"	2007	Definitely quoted	A work for wind band in five movements, based on the first nine chapters of Genesis. The 4th movement is titled "The Floodgates of Heaven" has the dies irae being intoned as the 40 days and nights begin.
2022-06	Ginastera, Alberto	Bomarzo	1967	Definitely quoted	Folk tunes, madrigals, courtly dances, church music and other traditional forms provide familiar points of departure for each scene in this erotic-fantastic opera. Dies Irae makes a brief and effective appearance in Act 1's Scene VII, Part 3 Galliard and Masquerade (Gagliarda e Mascherada). The quote is played by glockenspiel, mandolin, celeste, and harp starting at measure 191, with a driving accompaniment featuring sleighbells. The first two phrases of the melody are quoted, and Dies Irae Dies Illa is notated in the score. The full perusal score is available online at B&H: https://www.boosey.com/cr/perusals/score?id=26174 , two pages are excerpted here	score
2022-06	Gjoni, Simon	Këngë trimërie (Song of Bravery)	1983	Definitely quoted	A short paraphrase on dies irae for piano, by the first albanian composer to make this list		audio
2022-06	Glasgow, Michael J.	Dies Irae	2010	Definitely quoted	This arrangement CGB682 made for the Choristers Guild combines the dies irae, the stabat mater, and the passion chorale.	score
2022-06	Glazunov, Alexander	Orchestral Suite 'From the Middle Ages' op. 79	1902	Definitely quoted			audio
2022-06	Glazunov, Alexander	Prelude and Fugue in D minor, op. 98	1914	Maybe	Knowing Glazunov's clear earlier DI quote in the orchestral suite, it's tempting to treat the repeated descending phrase full of seconds and thirds as a DI allusion.		audio
2022-06	Glazunov, Alexander	Fantasy in G minor, op. 110	1935	Definitely quoted	Glazunov's final numbered work. A fantasy clearly based on the the 8-note first DI phrase.		audio
2022-06	Godar, Vladimir	Sequence for Violin and Piano	1987	Definitely quoted	This dissertation (in Slovakian) shows that this Sequence begins with the melody (in pianissississimo, and including some nueme notation): http://uhv.sav.sk/wp-content/uploads/2017/09/Musicologica2015_2.compressed.pdf But the tune is used in extenso.
2022-09	Godard, Benjamin	Dante	1890	Definitely quoted	A two act opera, sometimes called Dante and Beatrice. In the final scene (Beatrice's death scene, Beatrice's 3-note leitmotif is introduced by a brief repeated orchestral dies irae phrase. See 2:17:50 from the 2016 German revival audio linked here.		audio
2022-06	Godard, Benjamin	Piano Sonata No. 2, op. 94	1885?	Maybe	Dedicated "to my friend Auguste Dupont". The main theme is so close to a direct quotation. Wish we had more context. Unlike Godard's first sonata "Sonata fantastique", there appears to be no 'programme' to this music.	score	audio
2022-06	Godowsky, Leopold	Piano Sonata	1911	Definitely quoted	The last movement's coda is introduced with the 8-note phrase in bass stacatto ("Maestoso lugubre: Dies irae"), and several measures thereafter where the phrase repeats in left hand accompaniment.	score	audio
2022-09	Gold, Aidan	Percussion Concerto	2016	Definitely quoted	https://aidanjgold.com/works/orchestral-works/percussion-concerto/	https://aidanjgold.com/wp-content/uploads/2016/11/9548a-percussion-concerto-full-score.pdf	audio
2022-06	Goldschmidt, Berthold	Beatrice Cenci	1949	Definitely quoted	Quotes the tune to words beginning "Dies Must the Guilty. In Sony recording, disc 2 track 8. This is a little remarkable quotation, as it's the only one that sets the DI melody to words other than the latin sequence.		audio
2022-06	Golin, F. (pineapplebagel on musescore)	Rabengesangen	2022	Definitely quoted	"a piece in D minor based on 'The Raven' by Edgar Allan Poe. The main themes are based on Dies Irae"	score	audio
2022-06	Goodchild, Neil	At The Piano: Book V, 2. Days & Nights of Wrath: Free Variations on the Dies Irae theme	1997	Definitely quoted	I can't find much about this piece. One youtube video (the one linked here) indicates it's Book 4 Movement 5. But another that lists all the books and movements shows Book 5 Movement 2.	score	audio
2022-06	Gordon, Michael	The Light of the Dark	2020	Definitely quoted	One of three commissions based on Beatles' Blackbird by Eighth Blackbird (they also hit up other Bang On A Can founders David Lang and Julia Wolfe.		audio
2022-09	Gorecki, Henryk	Little Requiem for a Certain Polka	1993	Maybe	The first movement of this orchestral suite, "Tranquillo" has strong hints of four-note quotations. Even the opening harkens a bit to the Brahms E-flat minor intermezzo.		audio
2022-06	Gould, Morton	Dance Variations	1953	Definitely quoted	4th movement Tarantella. The first phrase is the seed that the whole work builds up from, including trumpet declaration just prior to the climax.		audio
2022-06	Gounod, Charles	Mors et Vita	1885	Definitely quoted	In Part II, Judgment, melody is quoted quite clearly. Starting around 1:37:00		audio
2022-09	Graham, Peter	On Alderley Edge: Stormy Point	1997	Definitely quoted	Commissioned for the UK's 1997 Natoinal Brass Band Championships. From Graham's program notes: "The North Cheshire village of Alderley Edge is dominated by a 600 foot wooded escarpment (known locally as the Edge) where evocatively titled landmarks such as Wizard’s Well, Stormy Point and The Devil’s Grave have inspired storytellers for centuries. This work presents a musical portrayal of many of these sites and also recalls some of the legends which have arisen from them. In dealing with the subjects of the forest, myths and folklore, parallels with the German Romantic Opera tradition became apparent to me and it seemed appropriate to draw upon sources and in some cases the language of that particular period in music history. Hence the references to Weber’s masterpiece Der Freischutz and the ideas of a redemption theme and the triumph of good over evil. This latter notion also has a resonance with the brass band test-piece tradition of Percy Fletcher, Cyril Jenkins et al. It is therefore perhaps doubly fitting, as we approach the millenium, for a nostalgic reminder of both the ethos and style of this period in the development of the brass band repertoire.” The Dies Irae appears briefly in the "Stormy Point" short section. The cornets play the first phrase of the melody twice, in stacatto, accompaniment by snare drum beats.		audio
2022-06	Granados, Enrique	Goyescas: Epilogo: Serenata del espectro	1911	Definitely quoted	This 'Serenade of the Spectre' is a bit of a danse macabre. Dies irae rears in low/middle voices in the central section.		audio
2022-06	Granger, Derek	The Quarantine Variations: 15. the end	2020	Definitely quoted	This variation not actually the end. "The Quarantine Variations is an artistic collaboration between poet Patrick Kindig and saxophonist Derek Granger, born of the self-isolation spurred by the 2020 COVID-19 pandemic. Each variation presents original pieces of poetry and music that ekphrastically speak to one another. The creative process: 1. Derek comes up with some sort of writing prompt. 2. Patrick has twenty minutes to write a poem in response to said prompt, then ten minutes to revise it. 3. Derek reads Patrick's poem and takes the afternoon to write, perform, and record a piece of music interpreting it. Variations 1-30 were produced between March and August 2020, and they were first posted on Instagram @thequarantinevariations. In this version of the variations, the music has been finished and remastered, but the poems are presented in their original form."		audio
2022-06	Grantham, Donald	Baron Cimetiere's Mambo	2004	Definitely quoted	In the brass offbeat punctuation marks starting at 3:00		audio
2022-07	Grau, Alberto	Dies Irae	1985	Definitely quoted	Work for choir by Venezuelan Grau. First two phrases quoted throughout.	https://www.editionsacoeurjoie.com/dies-irae-c2x27496232	audio
2022-06	Greer, Lowell	Requiem du Chasseur	2003	Maybe	An instrumental requiem for Trompe de chasses, or hunting horns. Written in memory of Helen Kotas Hirsch, first horn of Chicago Symphony. https://www.berliozhistoricalbrass.org/requiem.htm and http://www.corno.it/Npag/RequiemDuChasseur/RequiemDuChasseur.html
2022-06	Gregson, Edward	Partita	1971	Definitely quoted	"The musical thread that runs through the work is the 13th century plainsong Dies Irae from the Requiem Mass. This gives the work a rather sombre tone which is audible right from the start of its first movement Intrada. The initial hammer-like chords of the opening and conclusion are only interrupted momentarily by a more lyrical modal tune. Even here, on its repetition, it is surrounded by more insistent textural patterns. The second movement, Chorale and Variations, uses the Dies Irae as the basis for an extended melody in the manner of a baroque sarabande. The five variations that follow are varied in texture, tempi, and dynamics. The final March is more optimistic in mood and presents as its main idea a rather jaunty theme which gets developed throughout the movement. However, the ominous presence of the Dies Irae has the last say with a final statement to round off the work."		audio
2022-06	Gregson, Edward	An Age of Kings	2004	Definitely quoted	Quoted at the end of 1st movement Church and State, in the section labelled Dies Irae. Composer's notes: "The origins of this work date back to 1988, when I was commissioned by the Royal Shakespeare Company to write the music for The Plantagenets trilogy, directed by Adrian Noble in Stratford-upon-Avon. These plays take us from the death of Henry V to the death of Richard III. Later, in 1991, I wrote the music for Henry IV parts 1 and 2, again in Stratford. All of these plays are concerned with the struggle for the throne, and they portray one of the most turbulent periods in the history of the British monarchy. Much of the music used in these productions was adapted into two large symphonic suites for wind band – The Sword and the Crown (1991) and The Kings Go Forth (1996). An Age of Kings is a new version for brass band incorporating music from both the symphonic suites for wind band. It was specially composed for a recording made by the Black Dyke Band, conducted by Nicholas Childs, in 2004. An Age of Kings is music on a large-scale canvas, scored for augmented brass band, with the addition of harp, piano, mezzo-soprano solo, male chorus, as well as two off-stage trumpets. The music is also organized on a large-scale structure, in three movements, which play without a break – “Church and State”, “At the Welsh Court”, and “Battle Music and Hymn of Thanksgiving”. The first movement, “Church and State”, opens with a brief fanfare for two antiphonal trumpets (off-stage), but this only acts as a preface to a Requiem aeternam (the death of Henry V) before changing mood to the English army on the march to France; this subsides into a French victory march, but with the English army music returning in counterpoint. A brief reminder of the Requiem music leads to the triumphal music for Richard Plantagenet, Duke of York, father of Edward IV and Richard III (the opening fanfare transformed). However, the mood changes dramatically once again, with the horrors of war being portrayed in the darkly-drawn Dies Irae and Dance of Death, leading to the final section of the first movement, a funeral march for Henry VI.		audio
2022-06	Greif, Olivier	Quadruple concerto	1998	Definitely quoted	in the 4th movement, the dies irae is interwoven with a perpetuum mobile.		audio
2022-06	Griebling, Mary Ann	The Four Elements: Fire	1991	Definitely quoted	Hammered out by the piano a few times in this short scherzo. Composer's notes: "he Four Elements was composed in response to a request of Tuesday Musical, where it received its premiere by dedicatee Dennis Nygren and pianist Lois Rova Ozanich on February 12, 1991. Other significant performances of the work by this duo include for the Cleveland Composers Guild on October 13, 1991, and for the Cleveland Bicentennial celebration on July 21, 1996. The work was also performed as the opening composition on the first recital of the International Clarinet Association Conference on July 14, 1992, at Cincinnati College-Conservatory by husband and wife clarinetist and pianist Robert and Ann Listokin. The first movement, Earth, has woven into it a code for James Rettew, to honor the memory of this fine former member of the Cleveland Orchestra and the composer’s inspiring clarinet teacher when she was ten years old. Dennis Nygren’s birth date provides the motive for Air, inspired by Nygren’s beautiful sound on the clarinet. Fire, the nightmare scherzo, describes a clarinetist whose ten fingers have become lighted cigarettes while he is performing. He frantically tries to slap out the flames, as we hear the Dies Irae and “call for Phillip Morris,” the old cigarette ad. (The composer has lost many dear friends as the result of cigarette smoking, and despises tobacco interests). The final movement, Water, is the soothing extinguisher of the terrifying fire. Quotations of the first three movements appear in this finale, along with a jazzy middle section"		audio
2022-06	Grison, Jules	Les Cloches (The Mournful Bells of Reims)	1890	Definitely quoted	From the book "Toccatas, Carillons and Scherzos for Organ" by Rollin Smith this: "Jules Grison was a student of the organist of Reims Cathedral, succeeding him at age 21. Grison's Les Cloches (1890), subtitled "The Mournful Bells of Reims" - is a six-movement suite of preludes, or versets, dedicated to the memory of the composer's father. In this - the sixth and final verset of the set - thunder is introduced at the statement of the Dies irae. The thunder pedal - common on French organs before the 20th century - played several of the lowest pedal notes simultaneously, giving a fine imitation of the rumble of thunder." This piece has a short middle section that sets the melody in extenso (marked DIES IRAE in the score); look for the thunder pedal marking 'tonnerre' at the end of each phrase. The score is reproduced here with permission by Dover Publications.	score
2022-06	Grossman, Deena	Wildfires: 1. Paradise Burning	2020	Definitely quoted	For solo piano. A piece written in response to the "intractable position in which we find ourselves" now that wildfires are a normal disruptive part of so many lives. See Grossman's notes: https://www.deenatgrossman.com/wildfires-notes-.html Dies irae appears very clearly in Paradise Burning (referencing California's massively destructive Paradise fire in 2018). It reappears in more subdued fashion (and also combined with a Bach chorale) in the 3rd movement Embers.	score	audio
2022-06	Gubaidulina, Sofia	Am Rande des Abgrunds	2002	Definitely quoted	"On the Edge of the Abyss" for 7 cellos and 2 waterphones. Multiple phrases of the melody quoted throughout. Some score examples provided by this analysis: https://mtosmt.org/issues/mto.20.26.2/kahrs_examples.pdf		audio
2022-06	Guillon-Verne, Claude	Mélodies humoristiques: Le Carnaval	1923	Definitely quoted	A short setting of a Bernard Roy poem, starting at 21:15 in the Musicopolis podcast. Bernard Roy a local Nantes figure, not very well known. I suspect this composer from Nantes was writing about the Nantes carnaval. In the song, it sounds like the first verse from a happy reveler is rudely interrupted by a satanic figure who is heralded by the dies irae in piano. He deeply speaks (I think): "Your deep thoughts are laughable, I've slept on them too long. We're going to another world". Nantish musicologist Danielle Taitz provided me this background: "The work contains 4 mélodies: ---Deauville (a kind of sentimentally romance) ---la Complainte du Garçon manqué ---Carême prenant (where is the Dies Irae theme) ---chez la Sorcière basque The poems have been written by Bernard Roy (1888-1953), poet and painter together, a cousin of Claude Guillon Verne who wrote music in 1932 for the night of 31 december. This explain the humoristical aspect which is unusual in the nantish composer Guillon Verne (1879-1956) who learnt music in the Schola Cantorum with Vincent D’Indy."		audio
2022-09	Guinaldo, Norberto	Three Litanies for Organ: 1. Litany (Based on the Plain Song "Dies Irae")	1969	Definitely quoted	The composer's note included with the J. Fischer & Bro 9883 score says: "This work is the result of a desire to convey certain inner feeligns of the soul seeking communion with God. The stubborn repetition of a particular modal subject with its dramatic connotations seems to cause a psychological impact upon the listener. This repetitious subject was then used to depict the desire of the burdened spirit to obtain release, by uttering the same words incessantly, with intense feeling and impetuous faith, carrying them to the limit of demanding the mercy of the Supreme Being."	score
2022-06	Guinjoan, Joan	Passim-Trio	1988	Definitely quoted	Single-movement string trio. Almost entirely focused on Dies Irae; DI hinted at early in the work, treated to multiple variations. Finally quoted in earnest at the very end.		audio
2022-06	Hagen, Daron	Quintet for Oboe and Strings	2001	Definitely quoted	Composer Daron Hagen describes his Quintet: "The work has three movements. The first, Elegy, is a set of nine variations on a pair of interlocking six note pitch groups heard at the outset in the solo strings. This movement memorializes loved ones now dead. The second movement, Cradle Song, celebrates the future. It begins with an oboe solo that represents a mother singing to her infant. The strings join the soloist for a tender, straightforward song. The Finale is a rondo about the not unpleasant hurly-burly of life in New York. The first idea is a chunky groove in seven; the second is a carefree, Broadway-style 'walking tune.' After a cadenza for the oboe which draws together the motivic strings off the three movements, the final variation of the first movement returns, followed by a quick coda." The Quintet was premiered by oboist Stephen Caplan at the 2001 International Double Reed Society Conference in Morgantown, West Virginia. Makes a quick quote around 4:30 in the first movement by cellos and violas. They keep elaborating and distorting the theme during subsequent dialog with the oboe.		audio
2022-06	Hahn, Reynaldo	Trois Jours de Vendange	1895	Definitely quoted	This song sets Alphonse Daudet's poem to music. Each stanza recounts a successive day during the grape harvest encountering a beautiful woman. The first day she is in perfect health, the second day she is plainly sick, and on the third day she is in a coffin. The piano clearly intones the chant in the 3rd day.	score	audio
2022-06	Hakim, Naji	The Last Judgment	1999	Definitely quoted	Starts around the 6 minute mark, unmistakeably quoted, several different quotes from the melody.		audio
2022-07	Haladjian, David	Missa Memorium	1990	Definitely quoted	Text of the latin requiem, setting for mixed a capella choir. Dies Irae melody heard in the short Tuba Mirum section (but not heard in the previous Dies Irae section)		audio
2022-06	Hamerik, Asger	Requiem in A major	1887	Definitely quoted	Tune serves as the basis for the Dies Irae section, and parts of the Confutatis	score	audio
2022-06	Hanselmann, Jurg	Dies Irae Variations	2005	Definitely quoted	For two pianos and orchestra. Dedicated to the victims of the 2004 Indian Ocean tsunami.		audio
2022-06	Harbach, Barbara	Night Sounds: 1. Cloak of Darkness	2013	Definitely quoted	Quoted at the finale of the Cloak of Darkness movement.		audio
2022-09	Harley, James	Collage I	1982	Definitely quoted	A highly technical and bonkers solo trombone work, a bit theatrical, featuring a patchwork of quotations, including God Save the Queen, Canadian and American national anthems, Ode to Joy, Old MacDonald, London Bridge, a Bach Bourree, Here's that Rainy Day, and multiple styles. Dedicated to Jim Tempest, premiered by Tempest May 26, 1982 at Western Wash Univ, Bellingham. Dies Irae first phrase makes a single multiphonic appearance on page 5 of the score (36:20 in the audio file linked)	score	audio
2022-08	Harper, Norman	Imperial Baggatelle	1980	Definitely quoted	A piece for 2 pianos by Bolton School pupil Norman Harper, on the occasion of Bolton School educator David Baggley receiving CBE honors. Full of "initial" quotations CDAB (C D A Baggley), CBE, and BDGD (Boys' Division, Girls' Division)	score	audio
2022-06	Harris, Albert	Bacchanale	1956	Definitely quoted	A set of 13 orchestral (almost exotica) representing 13 roman gods. Fred Flaxman's Compact Discoveries managed to locate and identify this, but I haven't been able to find the LP or CD reissue.
2022-09	Harris, Donald	Meditations	1984	Maybe	Written at the request of Richard Coffey to honor the tenth anniversary of the Cooper Memorial Organ of the South Congregational-First Baptist Church of New Britain, Connecticut. In two movements. According to Harris' program notes: "the first movement, con solennita, maestosomente, begins with a quotation from the Dies Irae plainchant, freely transcribed for the pedal." This section is indeed marked "Dies Irae" in the score (published by GunMar, Gunther Schuller's publishing company, who has published several other scores on this list; it looks like GunMar's catalog has passed to WiseMusic). But holy cow, this must be one of the free-est transcriptions ever, I can't make it out by score or by ear. The score excerpt here is from the GunMar 1990 publication, extracted under fair use.	score
2022-09	Harting-Ware, Lynn	Reverie & March	1994	Definitely quoted	From the composer's liner notes to Acoma GXD 5734 CD released in 1996: "Reverie and March was composed for a series of concerts in 1994 and is dedicated to my friend and colleague Gerhard Samuel. Inspired by the Berlioz Symphonie fantastique with its Dies Irae theme, I was impelled to bring the theme to the guitar in the Reverie. This provides the foundation over which a simple, unpretentious melody unfolds. The March presents a new theme in the upper voice, accompanied initially with free counterpoint and then with punctuating chords. A chromatic, rhythmic motive marks the phrases. The B section explores the march theme in a new melodic/rhythmic guise before the abridged return and closing chords." This might be the most spaced-out (metrically speaking) quotation of the melody, listen for it in the downbeat bassnotes of the Reverie. Shows up more clearly in the March		Reverie score https://diquotes.victoryvinny.com/wp-content/uploads/Harting-WareMarch.mp3
2022-06	Hedengren, Sean	Etude	2018?	Definitely quoted	A quick etude entirely based on Dies irae, written for Sarah Caissie Provost's Music History 1 class at UNF. The sound file linked is piano reproduction, but Hedengren is a clarinettist, might work well for clarinet too	score	audio
2022-06	Helman, Michael	Metamorphosis	2003	Definitely quoted	For handbells! Composer's notes: "Metamorphosis is a set of variations based on the Dies Irae. After a somber presentation of the theme, each of the minor variations becomes more rhythmically and harmonically complex. After the agitated six-eight time variation, there is a pause, followed by the fourth variation which is calm and tranquil and the fifth variation, which is joyful and dance-like. The work certainly stands alone as a set of variations, but I also like to see it as a progression from darkness to light, from sorrow to joy."	score	audio
2022-06	Henry, Pierre	L'homme au microphone: Une Tour de Babel	1999	Maybe	In the Prologue, a 4-note quote by organ is repeated in the mix. Tough to say.		audio
2022-06	Henze, Hans Werner	Requiem - Introitus	1990	Definitely quoted	USC dissertation by Daniel Pappas (https://scholarcommons.sc.edu/cgi/viewcontent.cgi?article=2630&context=etd 2013) makes a good case on paper especially for the quote in II. Dies Irae. It's heard pretty clearly at 4:40 in the attached audio link in high violins. I tried several times to hear Pappas' quote in the Introitus but couldn't find it.		audio
2022-06	Hesse, Adolf Friedrich	Praeludium 'Dies Irae'	1830-1859?	Definitely quoted	For organ, first strophe quoted throughout	score	audio
2022-06	Hewson, Dave	Final Judgment	2014	Definitely quoted	"Another of my pieces using the "Dies Irae" motif - this time for Chorus, Percussion and Organ."		audio
2022-06	Hickman, Marcus	Variations on "Finlandia" for solo piano	2019?	Definitely quoted	Variation 8 pits the theme against dies irae counterpoint in one of the lines		audio
2022-08	Hielscher, Hans Uwe	Freie Improvisation über die gregorianische Sequenz Dies irae	1992	Definitely quoted	The entire 18 minute improvisation is on a 1992 out-of-print CD called Französische Orgelromantik. Hard to find this CD anywhere. However, Hielscher did transcribe the quiet middle section and included in his organ music collection Mosaik as the work called Meditation. This part doesn't quote the familiar first phrases of the dies irae chant, but like the Reboulot organ piece, quotes the melody associated with the final 'pie jesu' stanza.		audio
2022-06	Hill, William H.	Fantasia on Dies Irae	1988	Definitely quoted	For 4 euphoniums and 4 tubas. from the score notes: "Fantasia on "Dies Irae" was commissioned by the T.U.B.A. for their annual convention. The work is based on the "Dies Irae" Gregorian chant of the Middle Age.s This piece has two contrasting sections: a solemn plainsong introduction and recapitulation, and a dissonant allegro section which is bitonal in nature. This composition explores some musical styles and moods not often found in euphonium and tuba literature, and offers a challenge to even the more advanced players."
2022-06	Hippe, Stefan	Dies Irae	2003	Definitely quoted	Mr. Hippe sent me the score of this solo guitar piece, first phrase of the chant is clearly played ff in lower register after an introduction, and then the second phrase played later on, forte, in higher register
2022-06	Hoddinott, Alun	The Sun, the Great Luminary of the Universe	1970	Definitely quoted	An orchestral poem written in memory of Leonard Pinn. The title is from Joyce's Portrait of the Artist: "the last day had come. The doomsday was at hand. The stars of heaven were falling upon the earth like the figs cast by the fig tree which the wind has shaken. The sun, the great luminary of the universe had become as sackcloth of hair. The moon was blood red. The firmament was a scroll rolled away. The archangel Michael, the prince of the heavenly host appeared glorious and terrible against the sky..." (recommend reading the whole passage, it's wonderful). When the climax/coda starts with a bang around 8:00 mark, the big brass chorales have a "shadowy outline" of the dies irae four note quote. And then after the brass chorales finish at 9:15 there's a fairly explicit quotation (I think in cellos and muted trumpet?).		audio
2022-09	Hofreiter, Paul Wesley	Fantasy variations on Dies Irae for organ, Op. 152	1978	Definitely quoted	A ~12 minute concert work composed July 22-26 1978 at St. Stephen's Lutheran Church in Feasterville PA. Per Janice Hofreiter: "That was the year Paul’s mom died, too young, leaving her six children, down to the 10 and 12 year olds. Paul often worked out deep emotions in his music, and she died shortly after he wrote the Dies Irae piece." Submitted by Hofreiter to the 1982 Holtkamp Organ Composition Contest (which in 1984 became the AGO/Holtkamp organ composition contest, which later became the AGO/Marilyn Mason organ composition contest. Persichetti, one of Hofreiter's teachers, was a guest composer at the 1978 festival where Hofreiter also submitted a composition (Sonata V). Interestingly (?), the score calls for chimes, and a footnote says "if chimes are not part of the organ, keep registration as is. A percussionist should not be used". The 1978 winner of the competition (where Persichetti was also guest composer), Frank Wiley, won with a Fantasia Super BACH, which calls for Organ "chimes needed - if there are no chimes on the organ, a separate percussionist is required". The score shown here is in Hofreiter's handwriting, and is provided with permission by Janice Hofreiter.	score	audio
2022-06	Holliger, Heinz	Violin Concerto	1995	Definitely quoted	Conceived as an homage to Ysaye's pupil Louis Soutter. 2nd movement is called "Obsession" (harkening back to Ysaye's 2nd sonata), and weaves the Dies Irae motif. https://zh.booksc.eu/book/60352703/3d8b85		audio
2022-09	Hollingshaus, Markus Frank	Fantasy on Dies Irae, op. 41	2001	Definitely quoted	For baritone saxophone and organ. https://www.hollingshaus.de/biographie.htm. A four movement suite (Prelude, Adagio, Scherzo, Toccata), dies irae figures prominently in sax, organ, and pedals, in all movements. The score here is reproduced with permission from Dr. Hollingshaus.	Score
2022-06	Holmboe, Vagn	Symphony #10	1971	Definitely quoted	1st and 4th movements. Apparently, 1st, 2nd, & 4th movements. This symphony inspired by Walt Whitman’s poem Eidolons. The tune appears in full only a couple of times most clearly in the climax of the first movement Poco sostenuto – Allegro espansivo		audio
2022-06	Holmboe, Vagn	Symphony #11	1980	Definitely quoted	1st movement. The development of the first movement’s 1st theme hints and swirls around the Dies irae. The 1st movement ends unexpectedly with a quiet flute solo where there should have been a loud climax. The 2nd movement ends the opposite way, where the quiet ending instead gives way to a loud 4-note quotation of the Dies irae.		audio
2022-06	Holmes, Brian	Death's Jest-Book Overture	2007	Definitely quoted			audio
2022-06	Holst, Gustav	Ode to Death	1919	Maybe	Holst's setting of Whitman's 'When lilacs last in the dooryard bloomd'. The first four-note motif is plucked repeatedly by low strings, introducing and accompanying the 'Dark mother always gliding near with soft feet' stanza. It reappears throughout the rest of the work - in the chorus at 'From me to thee glad serenades', a trombone call.		audio
2022-06	Honegger, Arthur	La Danse des Morts	1938	Definitely quoted	An Oratorio based on the text of a poem of Paul Claudel, who was in turn inspired by the Holbein cycle of drawings in Basel (which may have inspired Liszt way back when). Movement 2, "Danse des morts" is a quodlibet, using the tunes Pont d’Avignon, Carmagnole, and adding Dies Irae in trumpets at the climax. Pretty good and wild.		audio
2022-06	Honegger, Arthur	Symphony #3 "Liturgique"	1944	Maybe	First movement subtitled 'Dies Irae'. The movement titles instead "indicate the general expressive progression of the Symphony as it reflected his experience of the War" (which he spent in Paris). The intervallic 4-note theme is there quite a bit, most notably in the string accompinament at markers 5 and 6, and the trumpet's callout at the beginning of 6. But never sounds like an outright quote. Shostakovich made a 2-piano transcription of this work.		audio
2022-06	Hoover, Katherine	Medieval Suite, Op. 18: 5. Demon's Dance	1981	Definitely quoted	For flute and piano. Plenty of 4- and 6-note quotations throughout. This piece was subject of a 1996 University of Nebraska dissertation by Eileen Yarrison		audio
2022-09	Howells, Herbert	4 French Chansons: 1. Sainte Catharine	1920	Maybe	A short song that sounds like it crosses Claire de Lune with London Bridge, and peaceful bells. But at a point where the title character's father storms in, there are repeated four-note figures that could be dies irae quotations.		audio
2022-06	Huber, Hans	Symphony No. 3 op. 118 "Heroic"	1908	Definitely quoted	The 2nd movement's main theme is based on the Requiem aeternam Gregorian chant. The 3rd movement "Totentanz" is a waltz time theme and variations on a clear Dies Irae-based theme.		audio
2022-06	Huber, Paul	"The Demon" Symphonic study using the Dies Irae	1966	Definitely quoted	First quoted by tubas after a prolonged introduction		audio
2022-06	Hugill, Robert	Requiem 'for Butti'	1998	Definitely quoted	https://www.roberthugill.com/catalogue/requiem-'for-butti' The work is dedicated to Robert Buttimore, a friend who died during the final months of composition in Autumn 1999. The Introit, Kyrie, Sanctus and Agnus Dei are all developed from the plainchant Introit. The Dies Irae is based on the traditional plainchant Dies Irae, and sets all 24 verses of the poem. Initially the plainchant is sung by the basses and alternating verses are embellished by the choir. Gradually the choir unravels and develops the plainchant until by the end of the piece, its presence is barely felt. The piece concludes with a re-statement of the final words 'Pie Jesu?' to the original plainchant. Whilst the full version of the mass was written primarily as a concert work, a shorter liturgical version is also available - Introit, Kyrie, Dies Irae, Offertory, Sanctus, Benedictus, Agnus Dei, Communion, In Paradisum. Dies Irae score reproduced with permission by Robert Hugill, May 2022	score
2022-06	Hulse, Camil van	Symphonia Elegiaca	1954	Definitely quoted	Camil Van Hulse (1897-1988) wrote his epic 46-minute Symphonia Elegiaca in memory of the American impresario, Bernard R. La Berge, who, through his work devoted his life to promoting organ music. Part II, "The Last Judgement ("Dies Irae")", opens with an extended two-part pedal solo which begins like a rumble, portraying the trembling of the earth awaiting judgement. Once the hands enter play, it quickly takes on a more tangible form. Building in intensity and drive, forces gather and the movement continues, unleashing its fury and unease. Wild fanfares evoke calls from the The Last Trumpet, and quotations of the Dies Irae drive the music forward, in swirls of notes, to a really frenzied conclusion and massive final chords.		audio
2022-06	Hulse, Camil van	Fantasietoccata sur le Dies Irae		Definitely quoted			audio
2022-09	Hurd, David	Te Deum Laudamas: Part 4. Introduction, Fugue, and Chaconne - The Opening of Heaven	1981	Definitely quoted	From the composer's notes: "INTRODUCTION, FUGUE, AND CHACONNE – THE OPENING OF HEAVEN begins as Dies irae and Victimae paschali—two ancient Latin sequences respectively speaking of death and life—are pitted against one another in jagged rhythm and fiery reed color. At the peak of combat, a short cadenza re-introduces the tone row of the apostles' praise (from the second movement) and climaxes with a recollection of a now altered form of the fanfare figure heard before in the first and second movements. The Chaconne emerges quietly out of the combat. The fifteen variations on a ground, derived from the apostles' praise, call to remembrance the various melodies, textures and colors of all that has gone before in this and other movements, casting it all upward in a triumphant crescendo toward Christ in glory at the right hand of God."		audio
2022-06	Huybrechts, Albert	Wind Quintet	1936	Definitely quoted	In the 2nd movement, Moderately (quasi cadenza). Sounds like it's dancing around the dies irae, but halfway through it settles on explicit quotations, and then building off them.		audio
2022-06	Iacolenna, Aurelio	"Dies irae" Fantasia for Organ	2002	Definitely quoted	A brief fanfare for organ. Starts with just 4-note thematic building blocks, but entire phrases of melody soon appear	score	audio
2022-06	Iannarelli, Simone	Fantasia sopra il Dies Irae	2005	Definitely quoted	For solo guitar.	score
2022-06	Ibert, Jacques	Symphonic Suite from the film Golgotha	1935	Definitely quoted	For a film portraying the last days of Christ. Dies Irae found quite clearly in the last two movements: La Crucivixion and L'Agonie - La mise au tombeau. Multiple lines of the melody quoted and elaborated.		audio
2022-06	Ingelbrecht, Desire-Emile	Requiem	1941	Definitely quoted	At 6:02 in this video, a new section starts that quotes the Dies Irae first phrase multiple times in orchestra. I assume this is the Dies Irae section of the requiem, but I can't make out the words. Is it possible this setting isn't in Latin?		audio
2022-06	Ives, Charles	Decoration Day	1912	Maybe	It sure sounds like Ives is quoting dies irae. But the academic concensus isn't there, there is no persuasive context (beyond Decoration Day title, or maybe the intoning of Taps). The thought that this tune, first intuned in the french horns, is some 'gentle citation' of importance to Ives' youth. Clayton Henderson in his book 'The Charles Ives tunebook' posits that it is an explicit Dies Irae quote, a "gentle citation"	score	audio
2022-06	Iznaola, Ricardo	La Locura Espanola	2009	Definitely quoted	"This work is a set of free variations for two pianos on two very old melodies, La Folie d'Espagne, and the Dies Irae. It was written in 2009 to commemorate the 70th anniversary of the end of the Spanish Civil War."		audio
2022-07	Jaelle, Marie	18 Pièces pour piano d'après la lecture de Dante: Ce qu'on entend dans l'enfer	1894	Definitely quoted	This piece (and its composer) is a most pleasant discovery. These 18 miniatures inspired by Dante's Divine Comedy are grouped in 3 sets of 6. The first set is titled What's Heard In Hell (the others are What's Heard in Purgatory, and What's Heard in Paradise). All the pieces in this set are basically grown from four-note quotations of the dies irae. In the penultimate Paradise piece "Recollection", the four-note themes are recalled, through a much rosier glass. A real tip of the hat to pianist Cora Irsen for recording Jaelle's complete works last decade, and raising Jaelle's profile considerably.		audio
2022-08	Jalbert, Pierre	Shades of Memory	2011	Definitely quoted	Commissioned by Hans Graf and the Houston Symphony for the 10th anniversary of the Sept 11, 2001 attacks in the USA. Composer's notes: "A few months after 9/11, I remember being in New York and riding the subway past the World Trade Center Station and I overheard a woman comment “Thank God we don’t stop there – get me away from this place…” Now ten years out, the memory is still raw, if somewhat darkly muted by time. When I think about that day, what comes to mind are the individuals who lost loved ones and the individuals who sacrificed themselves to help others. My musical starting point for this work was two Gregorian Chants: Dies Irae (Day of Wrath) and Agnus Dei, which ends with the line, “Grant us Peace”. These chants are not literally quoted, but simply used as points of departure for melodic development. The beginning and ending of the piece make use of two sets of Chimes, placed on opposite sides of the stage to sound like antiphonal bells. A solo trombone played from offstage as a lone voice heard from afar, sounds against a cluster of soft strings providing a suspended background. In the middle section of the work, we build a monument. The brass and percussion come to the fore and the Chimes toll forcefully. Parts of the opening section return to complete the arch-like form of this elegiac work, and the Chimes, which played fragments of the Dies Irae at the opening, now play fragments of the Agnus Dei chant." The quotations are apparent on just the first page. Even before the opening chimes that Jalbert mentions, there is an inverted, metrically stretched 4-note quotation in strings. Even the antiphonal chimes combine for a slightly modified quotation of the first phrase. Soon after, the solo trombone introduces the Agnus Dei-inspired themes, and other themes are developed (including a 6-note almost whole-tone descending theme). Schott makes the perusal score available online at https://www.schott-music.com/de/shades-of-memory-no304685.html	score
2022-09	Jancewicz, Peter	In Memoriam	2011	Definitely quoted	Solo piano work of medium length. From the composer's notes to the Music For Piano album: "Dedicated to both my parents, Elise Marie and Wlodzimierz Karol Jancewicz. My father died in August 2011, the last of my immediate family. I had spoken with him the afternoon of his death from Johnson’s Canyon, near Banff, where I was vacationing with Susan, my sister-in-law Gayle, and Grant and Ellaina, my brother Thom’s children. He sounded fine on the phone. We returned that evening, and the phone rang during a big thunder and hail storm. It was the nursing home informing me that my father was on the way to the hospital. When we got to the hospital, we were informed that he had passed away. He was old and ill, and I believe more than ready to go, but it was still difficult for all of us. On the positive side, I think he generally had a good life, despite his continued struggles with bi-polar depression." The dies irae is strongly alluded in several points, at one point even managing to merge with the Pachelbel canon a little.		audio
2022-06	Jenkins, Karl	Requiem	2005	Maybe	The Dies Irae section sounds like it purposely hints at Dies Irae melody. At least there's a hint of melody, otherwise this movement is pretty static.		audio
2022-09	Jessel, Laurent-Albert	L'Organiste Catholique: Six offertoires	1878	Definitely quoted	A collection of offertories for organ/harmonium (no pedals indicated). They all begin fairly faithfully to the melodies, but branch out. The sixth and final is Dies Irae. Jessel (not to be confused with George Jessel or Leon Jessel) was organist at Solesmes Abbey, where Benedictine service and Gregorian chants were revived in the 19th century by Dom Gueranger, and then director of music at Nancy Cathedral.	score
2022-10	Jochum, Otto	Cantica sacra, op. 167	1957	Definitely quoted	An oratorio on holy texts of the Christian liturgy for solists, choir, and orchestra. Part 1 sets the following four hymns in order: Und das Wort ist Fleisch geworden (the word made flesh), Er ward gehorsam bis zum Tode (He became obedient unto death), Jetzt sehn wir wie durch einen Spiegel (not sure, is this Face to Face?), and Dann aber von Angesicht zu Angesicht . Part 2 sets the following four ancient Sequences: Dies Irae (including Libera me), Victimae paschali laudes, Lauda Sion, and Veni SAncte Spiritus, and the ambrosian Te Deum.	excerpt
2022-06	Johansen, Gunnar	Sonata II	1941	Definitely quoted	Subtitled "Pearl Harbor, December 6, 1941" (the date of its completion). Notes from prominent Johansen-champion Gordon Rumson (who also appears on this list): "On the other hand, the Sonata II, subtitled the Pearl Harbor, December 6, 1941 is one of Johansen's mightiest creations and one of the most powerful works conceived for the piano. It fully deserves comparison with Prokofief's war sonatas and will be found to surpass them in the brutality and vehemence of its vision. Begun in September of 1941, it was completed in a white heat on the eve of the attack that precipitated American entry into World War II. The composition is also significant for its use of the Victory motive--Beethoven's Fifth Symphony--in the third movement that is marked 'ironically in jazz'. It is a wild ride in stride piano style. But as the music gradually rebuilds energy after a partial release, the Dies Irae theme erupts from the texture culminating in a gigantic climax that sounds as much as air raid sirens and explosives assaulting the ears as any music written for the piano.". At 51:25 in the attached clip, if you really want to miss the build-up, this is a great work.		audio
2022-09	Johnston, William	Dies Irae	2010	Definitely quoted	An arrangement for chamber orchestra of a student harmonization/voiceleading of the dies irae melody. See https://william.johnstonhaus.us/2010/10/03/dies-irae-for-chamber-ensemble/ for details.	score
2022-06	Kabalevsky, Dimitri	Colas Breugnon or The Master of Clamecy	1937	Definitely quoted	33:58 in linked filmed version of the opera. The choir sings some of the dies irae text (to original music), but the accompaniment several times quotes the melody. I think contextually the townspeople are burning possessions to combat the plague that soldiers have brought to Clamecy.		audio
2022-06	Kabeláč, Miloslav	8 Ricercari for percussion instruments	1967	Definitely quoted	Unique percussion-only treatment. Hammered out a few times in #2.		audio
2022-06	Kagel, Mauricio	Finale	1981	Definitely quoted	Finale, written for Kagel’s own 50th birthday, is a 20-minute piece for chamber orchestra which stages the composer’s collapse, comically interrupting a performance he conducts. … After the collapse, the pianist plays one and a half tentative phrases monotonically.		audio
2022-09	Kaisershot, Kevin	Warlock	2018	Definitely quoted	A work for grade 1.5 concert band. From the composer's notes in the score preface: "A warlock is a male who practices witchcraft or in essence a male version of a witch. Other terms might include sorcerer, wizard or magician. In any case it is someone who deals in mysticism and/or the supernatural. This little tonal caricature seeks to musically portray this enigmatic character in a somewhat less than frightening way. I have tried in this piece to use musical devices/phrases that throughout musical history have aligned themselves to these definitions. For example, the use of the augmented fourth (aka tri-tone) known in musical history as Diabolus in msuica is very obvious as is the small quotation of Dies Irae or Day of Wrath." The small quotation he references must be the short quote by the bells starting at measure 27.	score	audio
2022-09	Kapustin, Nikolai	Piano Sonata No. 3, op. 55	1990	Definitely quoted	The first of his piano sonatas to abandon key signatures. And one of only two of his many sonatas to make a conscious quotation (Beethoven appears in Sonata #9). A single quotation of the first dies irae phrase appears in high right hand textural chords in measures 60-61. Yana Tyulkova's 2015 DMA dissertation tries to build a case that the dies irae is closely intervallically related to the main themes of the work; and so this quote should be lent greater significance. (Tyulkova is dedicatee of Kapustin's Curiosity op. 157).
2022-09	Kasemets, Udo	Requiem Renga	1992	Definitely quoted	From the composer's notes to the Jarvi recording: "This music is to commemorate the victims of wars and violence of our time. Not victims of one particular war of any one kind of violence, but victims of all the killings and torturings by any means and for any motives which at an everincreasing rate have been and are taking place on all continents and within all cultures of this planet. This is memorial music for victims of human cruelty wherever and whenever it takes place. Between the eighth and the seventeenth centuries the Japanese cultivated a particular form of chain-poetry - renga - in which the participants keep multiplying (following complex rules concerning vocabulary, grammar, themes, content and symbols) the classical poetic structure tanka (consisting of two sections: the first of three liens of 5, 7, and 5 syllables each; the other of two 7-syllable lines). The basic concept underlying the renga chain was that any given link had to form a poem with that which preceded it, and this poem had to be different from that which it formed with the link which followed it. In ancient times the Japanese held large renga festivals with hundreds of poets gathering to create elaborate renga chains. In modern times several Western poets and collectives have developed ingenious derivations of the renga concept. In Requiem Renga the principles underlying the structuring of the poetry have been translated into musical terms. Requiem Renga is scored for 15 strings, divided into three groups: a low quintet: bass, cello, 2violas, violin. A classical quartet: 2 violins, viola, cello. A high sextet: 6 violins and two percussionists. The strings and percussion never play together, but alternate. The string parts are all fully composed following the renga principle, and the percussionists carry out a programmed interactive improvisation, creating their own renga in the tradition of ancient poets. Each of the three string sections, the low, the middle, and the high, follows its own renga pattern; i.e. it develops its materials independently of the others. All three sections play, singly or overlappingly, an identical number of renga segments: thirty-three each. The tonal contents of the thirty-three segments appear in the following sequence: monotonic ('D' = Re as in REquiem/REnga), pentatonic, hexatonic, diatonic, chromatonic, multitonic (microtonic), chromatonic, diatonic, hexatonic, pentatonic, monotonic. A similar pattern of grwoth and decay is featured in the makeup of the dynamics of the renga, bu in this case on two levels: the dynamics of each individual segment as well as the overall dynamics of the whole piece. Each segment has its own swell (e.g. pp to f to pp, or its mirror F to pp to f); a graded sequence of such swells from pppp to ffff and back to pppp stretches over the total duration of the piece. Basic materials are quite elemntary-scale fragments, easy double stops, open string harmonics, etc. Each player has his/her own individual part, the only doublings being at the middle point whn the six high violins intone in unison/octaves the notes of the plainsong 'Dies irae, dies illa.' This is also the only segment without a swell, just straight ffff. The percussionists choose their own sets of instruments and modes of playing, yet fit them into a structured frame of time, densities and dynamics." You can hear this single fleeting high violins play the short quotation at 13:30 of attached recording.		audio
2022-06	Kastalsky, Alexander	Requiem for Fallen Brothers	1917	Definitely quoted	Movements 3 and 4. A piece that honors those who perished in the WWI		audio
2022-06	Katsumata, Ritsu	Dies Irae: Elegy for Victims of War	2006	Definitely quoted	In the words of Katsumata: “Dies Irae” is a dirge for the Bach Chaconne. A guitar riff from Ozzy Osbourne song provides an ostinato for, various other melodies. Electric violin and digital loops: Katsumata. Recording engineer, Alfred Grunwell.		audio
2022-09	Kay, Hershy	Cakewalk, ballet in three parts (after Gottschalk)	1951	Definitely quoted	Kay is best remembered as a Broadway arranger. This ballet is based on the music of Louis Moreau Gottschalk, but other material is added, including 3 instances of the first two dies irae phrases, played during Part 7, the Entrance of the Magicians (the opener to Part 2).		audio
2023-03	Keeley, Rob	Sonata Macabre	2014	Definitely quoted	A sonata for bass clarinet and string quartet, the last movement is a scherzo based around the dies iare		audio
2022-06	Kempff, Wilhelm	Totentanz, Op. 37	1931	Definitely quoted	Well this is a fun find. Definitely quoted throughout. Somehow makes dies irae sound like My Country 'Tis Of Thee at the beginning. This would pair well with Liszt's on a program…		audio
2022-09	Key, Jordan Alexander	The Vision of Cataclysm: "Precession of the Equinox"	2014	Definitely quoted	"Five movements for the Cosmic Consummation" for flute quartet and percussion, based on the concept of the 26,000 year long "Great Year" due to earth's processional wobbles, and the mythical conflagrations that accompany the completion of these galactic cycles. The dies irae is a natural fit, and Key provides substantial detail in his notes to the score.	score	audio
2022-06	Khachaturian, Aram	Cello Concerto	1936	Maybe	First shows up at first movement marker 13 "poco piu mosso", violins eke out a repeated 4-note theme. It shows up a little more throughout the movement, but it's not enough for me to call it a dies irae quote.	score	audio
2022-06	Khachaturian, Aram	Symphony #2	1943	Definitely quoted	In the funereal 3rd movement 'andante sostenuto'. Over a steady is-it-major-or-minor ostinato, the sinewy theme snakes its way around, and at nearly every climax it suddenly morphs into a dies irae quotation.	score	audio
2022-06	Khachaturian, Aram	Concerto-Rhapsody for Cello and Orchestra	1963	Maybe	Similar to the cello concerto - one of the themes introduced (in the opening cello cadenza) seems like a dies irae riff, but it's unhesitatingly developed into something that doesn't resemble dies irae at all.		audio
2022-06	Kim, Roman	Dies Irae	2015	Definitely quoted	ballad for solo violin. The quotations get clearer and clearer as the piece progresses.	score	audio
2022-06	Kimbell, Michael	Rondino capriccioso	2001	Definitely quoted	from the composer's notes at http://kimbellmusic.com/compositions "Rondino Capriccioso (a “small capricious rondo”) was composed in October 2001 and premiered by the CMC Orchestra at the end of that year. This short piece is a tongue-in-cheek quodlibet or assembly of popular tunes that are interwoven throughout its entirety. Most of the melodies can be found in Carl Reinecke’s Musical Kindergarten, an 1890 anthology of short pieces and arrangements for beginning pianists. The primary theme is based on a Turkish march written by the deposed Sultan Mustafa V for his younger brother, the notorious Abdul Hamid II “The Red”. Other tunes that flit in and out of the texture include Haydn’s tune Austria and Home, Sweet Home; the latter is superimposed on the Dies Irae."	score	audio
2022-06	King, Scott	E-Motions: Anger	2016	Definitely quoted	King is director bands for Starr's Mill Marching Band, he created this piece for their 2016 season.		audio
2022-06	Kirby, Paul	Dies Irae	2013	Definitely quoted	for symphony orchestra	score
2022-06	Kiviniemi, Kalevi	Dies Irae (Improvisation)		Definitely quoted	Piece for organ by prolific Finnish organist Kiviniemi		audio
2022-06	Klein, Rylie	Vision	2020	Definitely quoted	2nd movement of this piano trio is subtitled Dies Irae, it opens with a clear declaration of the 7-note quotation in cello, and then embarks on a dies-irae-based rhapsodic dirge. Composer's notes on this piece: "Vision is a work for piano trio that explores the different emotions of the year 2020 and the COVID-19 pandemic. The three movements, “Together,” “Dies Irae,” and “Chaos” depict how the year went for many people (particularly Americans), especially within the first few months of the pandemic. “Together,” based on the common phrase “we’re all in this together,” is about grief over lost people, time, experiences, and normality, but it also contains hope that everything will go back to normal. The severity of the situation sets in more with the second movement, “Dies Irae.” Based on the Gregorian chant of the same name, this movement mourns the deaths around the world, much like the Requiem. The Dorian mode and ending on an extended and open chord makes the piece feel almost other-worldly, much like how people felt in this time. Finally, the last movement, “Chaos,” depicts the frustration, anger, and impatience in many aspects of the year 2020, such as the pandemic, social issues, and politics. This movement is a dizzying rondo with several different pitch collections. Overall, Vision depicts the hardship, grief, perseverance, and unrest during the COVID-19 pandemic."	score	audio
2022-06	Klonowski, Teofil	Preludes on Polish Church Hymns: Appendix Dies Irae	1867	Definitely quoted	Short prelude on dies irae first strophe melody, for organ	score
2022-06	Knox, James	Dies Irae	2019	Definitely quoted	For SSAATTBB, piano and bass drum. Not a very exciting setting.	score	audio
2022-09	Koivusalo, Mika	Dies Irae		Definitely quoted	For solo organ, medium length meditation on the dies irae melody, leaning on the terrifying side.		audio
2022-09	Koncz, Stephan	Waltzing Mathilda	2017	Definitely quoted	An arrangement of the Australian tune by Berlin Symphony Orchestra cellist Koncz, probably made for Ray Chen's Golden Age album. Works in a brief dies irae quotation towards the end.	score	audio
2022-07	Kraft, Walter	Fantasy for organ, "Dies irae"	1968	Definitely quoted	A lengthy fantasy for organ on the Dies Irae. Unmistakable quotations at the beginning of the first three phrases; wanders quietly into unrecognizable waters.		audio
2022-06	Krasa, Hans	Passacaglia and Fugue	1944	Maybe	Krasa's last work, completed while imprisoned in Terezin. Jory Debenham in her dissertation (https://eprints.lancs.ac.uk/id/eprint/80665/1/2016debenhamphd.pdf) identifies the opening four notes of the Passacaglia as a four-note dies irae quote, with the last note transposed up an octave, and tries to make a case for its intentional inclusion/purpose. It's borderline for me.	score	audio
2022-06	Kreek, Cyrillus	Requiem	1941	Definitely quoted	The Dies Irae section is entirely based on the chant, the first 3 phrases of it. I think the text is set in Estonian?		audio
2022-06	Krijart	Variations on Dies Irae	2021	Definitely quoted			audio
2022-06	Kuhar, Nejc	Two Movements, based on "Dies Irae"	2019	Definitely quoted	For 2 guitars. There is also an arrangement for bandoneon and guitar (linked to the right)	score	audio
2022-06	Kuljeric, Igor	Dies Irae	2005	Definitely quoted	A set of dies irae variations for piano trio		audio
2022-09	LaBrie, Katie O'Hara	Midnight Howl	2017	Definitely quoted	A short Grade 3 string orchestra student work. First half works in a few dies irae references; second half turns into a tango.	score	audio
2022-06	Lambert, Constant	Summer's Last Will and Testament	1935	Maybe	in the Rondo Burlesca (King's Pest). It's so close to being an unmistakable quote. I'm tempted to just based on the Poe connection.		audio
2022-09	Larsen, Libby	4 1/2: A Piano Suite	2016	Definitely quoted	A set of five short piano pieces. Commissioned by the University of Idaho for Roger McVey. Premiered Feb 7, 2017 by Roger McVey at Haddock Performance Hall at University of Idaho. According to composer's notes, the fourth piece: "subtitled In Memoriam is an elegy for departed, beloved ones. A single phrase quoting a short fragment of the Dies Irae slowly unfolds in counterpoint with itself resolving/concluding with more of the familiar melody." https://libbylarsen.com/works/4-1-2-a-piano-suite/ It's given a slow cellular bell-like treatment.	score	audio
2022-09	Lau, Kevin	Charon's Dance	2015	Definitely quoted	Commissioned by TorQ and the Ontario Provincial Honour Band with generous support from the Canada Council for the Arts. Composer's notes: "The title refers to "Charon" -- Pluto's largest moon -- and was inspired partly by the NASA expedition to Pluto during the summer of 2015. I was drawn to the idea writing a concerto for a group of professional soloists and a highschool-level wind ensemble -- a relationship rich in metaphor. As the piece grew in my imagination, I eventually drew inspiration from the dynamic between Pluto and Charon, which (unlike Earth and its moon, for example) are almost equal partners. Charon is one-eighth the mass of Pluto; as such, it does not so much orbit Pluto as it dances with it, both bodies orbiting a point outside of one another's diameters. Similarly, although the percussion quartet is far smaller than the wind ensemble, it exerts tremendous influence upon it; musically, this is reflected in the way it initiates and sometimes redirects the majority of musical events throughout the work. The title also references the Charon of Greek mythology, the boatman who ferries the dead across the River Styx. This somewhat grim imagery casts a shadow over the spirit of the piece in the form of a musical quotation: the ancient Dies Irae, adopting an increasingly oppressive presence as the piece unfolds. Throughout this churning voyage, the music is dragged forward like a heavy barge, gaining momentum as it goes until the work's fiery climax. Only then does Charon's ferry finally arrive at calmer shores, suggesting the promise of both death and transcendence at the end of a journey."		audio
2022-06	Law, John	Talitha Cumi	1994	Definitely quoted	Subtitled "Meditations on Dies Irae". It's all over.		audio
2022-06	LeBrun, Eric	Au jardin des poètes: No. 9, Et ce temps de colère pour la dernière fois fera naître le jour	2017	Definitely quoted	This piece used to be the first of two beginner etudes on the Dies Irae, before it was reworked as part of a larger suite. The title is taken from De La Fontaine's popular French translation of the sequence.	score
2022-06	LeBrun, Eric	Deuxième étude sur le Dies irae	2017	Definitely quoted	For organ. Two pieces written for beginner organ students. The first etude beacme the 9th movement of LeBrun's Le jardin des poètes.	score
2022-06	Lein, Edward	Un Dulcito: 3. La Llorona	2009	Definitely quoted	Un Dulcito is a little suite (sweet) for violin and cello. Combines the folk tune La Llorona with a waltzified Dies Irae. From the composer's program notes: "Un Dulcito is a suite of Latin-American dances. The second-movement, Tangle, was written in March 2009 at the request of Jacksonville Symphony players Piotr Szewczyk and Alexei Romanenko. The other movements were added soon after, and tunes used in both Hoodoo and Rumor are melodic transformations of the main Tangle theme. The third movement, La llorona (The Weeping Woman), combines the famous Latin-American folk-song (about a ghost who haunts waterways searching for her drowned children) with the Dies irae plainchant from the mass for the dead. Also arranged for string orchestra, the dances have been performed by a number of string ensembles, but this is the first complete performance of the original duo version of the suite."	score	audio
2022-06	Lenfant, Patrick	Passacaille en grisaille sur le dies irae	2017	Definitely quoted	Great work for bass clarinet and electronics/synthesizer (tape?). The dies irae melody gets deconstructed, John Morton-style, while still buttressed by the clarinet. Lenfant is part of the Ousonmupo ensemble (ousonmupo.net); this recording here is realized by Lenfant and clarinettist Alain Seve.		audio
2022-06	Leung, Maggie	Bells of Wrath	2020	Definitely quoted	"Mandy: Bells of Wrath was written to commemorate a family member who sadly passed away in 2016, which is why I have referenced the Dies Irae. I think everyone is so strong mentally, and hopefully physically, to have survived this pandemic, and I hope that you can spend more quality time with your family once this is all over. For those who aren’t as fortunate, I hope my music can speak to you, and take care."		audio
2022-09	Ligeti, Gyorgy	Le Grand Macabre	1977	Definitely quoted	Ligeti's only opera, from a period in the 1970s when he began to re-examine what he called "non-atonal music". Appears very early in the piece, immediately after the car horn prelude. Scene One is subtitled Dies Irae, and it opens with Piet The Pot singing a distorted version of the melody once or twice.	score	audio
2022-06	Liszt, Franz	Totentanz	1838	Definitely quoted	One of the earliest and most notable examples of dies irae quotations. Almost certainly inspired in part by Berlioz. On the one hand, not a particularly interesting piece. On the other hand, a fascinating combination of the dies irae and sheer virtuosity. Perhaps of some note, a transcription for organ exists by Joseph Yasser, and was played at Wanamaker's in the 1920s.	score	audio
2022-06	Liszt, Franz	Etudes d'execution transcendante, No. 6 Vision	1852	Maybe	This etude pits ghostly arpeggio figurations against a persistent melody in thirds that slowly sounds like it could be the dies irae, certanly the first four notes. This S.139 is a reworking of the earlier Douze Grandes Etudes S.137; in number 6 he slightly simplified the right hand (if you choose to play with the right hand - S137 asks for left-hand-only at the beginning section) harmonies, thereby emphasizing even more any dies irae connection.		audio
2022-06	Liszt, Franz	Csárdás Macabre, S.224	1882	Maybe	Wikipedia says the 2nd theme is either a twisted 4-note Dies Irae quote, or borrowed from a Hungarian folk dance. For a Csardas, the folk dance seems more likely. For the "Macabre" in the title, and liszt's previous run-ins with the DI, maybe gives the DI quote some credence. But I don't hear it.		audio
2022-08	Little, David T.	Soldier Songs: Hollywood Ending	2006	Definitely quoted	A song cycle based on Little's interviews with PTSD-suffering veterans. This particular song has a frenetic dies-irae based ostinato accompaniment. Commissioned and premiered by the Pittsburgh New Music Ensemble in 2006, the version recorded by Innova is from a slightly reworked version for the Beth Morrison Projects production at the 2011 International Festival of Arts and Ideas.		audio
2022-06	Loban, Lelia	Salsa on the ChopStyx	2002	Definitely quoted	In this piece I think it's only directly quoted once, starting at measure 49 in accented notes played in low left hand. Composer has these notes marked in the score: "Salsa on the ChopStyx" belongs to a suite, "Hell's Cotillion" in which all of the dances are loosely based on the Dies Irae, with occassional irresponsible misquotations from other things. A friend's father accidentally inspired the idea one day when we were discussing appropriateness and he said, "Well, of course, you wouldn't base a lively little dance tune on, say, the Dies Irae."	score
2022-06	Loeffler, Charles Martin	Divertissement in A-minor	1894	Definitely quoted	Essentially a violin concerto. Part III, Carnaval des Morts, opens with a statement of the melody, then launches variations		audio
2022-06	Loeffler, Charles Martin	La Villanelle Du Diable Op. 9	1901	Definitely quoted	Hinted at throughout. Outright quoted briefly in violins at 3:10 in link.	score	audio
2022-06	Loeffler, Charles Martin	Rhapsodies for oboe, viola and piano	1901	Definitely quoted	Based on poems by French symbolist poet Maurice Rollinat (who had a preoccupation with the horrors of death, and also set some of his own poems to music). Dies irae is quited in the 1st Rhapsody L'étang ("the pond"). The viola quoting the 8-note first phrase of the plainchant. It's a little unexpected, but it's there, and it's marked 'sul ponticello'. See 7:00 in audio link. These two pieces are actually rewritings of earlier works for voice, clarinet, and piano.	score	audio
2022-09	Loeffler, Charles Martin	Four Poems, op. 5 for mezzo soprano, viola, and piano	1904	Definitely quoted	Dies irae is woven throughout these poems. The first poem is a setting of Baudelaire's The Cracked Bell. Dies Irae first phrase is foreshadowed in the piano accompaniment in the first and second stanzas, and really becomes a main feature of the music in the last two stanzas (when the narrator confesses he can't enjoy the sounds of the distant carillon he hears, for he is a "hurt man who lies beside a lake of blood, under a heap of dead, and cannot stir, and in prodigious struggling die". While the poem itself ends on a dour note, the accompaniment dies irae at the end takes a happier major tonality. The dies irae is heard several times in piano accompinament in the 2nd poem "Dansons la gigue" by Verlaine, although there's no particular extra-musical reason why it should be quoted (unless Loeffler is reading into it). The dies irae is heard again prominently in the 4th poem "Serenade" by Verlaine. After the introduction where the viola imitates a mandolin in pizzicato (my mandolin thine ear a moment long), the viola plays a brief doubled & accented dies irae quote immediately after the opening lyric "Like the voice of the dead singing from the bottom of its grave".	score	audio
2022-06	Loeffler, Charles Martin	For One Who Fell in Battle	1911	Definitely quoted	For a capella mixed chorus. The first phrase is sung briefly for the lyric "we saw him in his coffin", at measure marker M	score
2023-03	Loest, Timothy	Abandoned Toy Shop	2019	Definitely quoted	Short deranged waltz for beginning band. Victor Herbert gets quoted of course, and it finishes with a quick short dies irae quote before the jack in the box closes the piece.	score	https://www.youtube.com/watch?v=49WJhtzyjgo
2022-07	Lohse, Horst	Hieronymus Bosch Triptychon: Part 3. Cave Cave Dominus Videt	2012	Definitely quoted	A large work for symphony, organ, and voice inspired by Bosch's Seven Deadly Sins and Four Last Things. In the introductory narration to the 3rd part ("Beware, Beware, God Sees"), the organ accompaniment eventually plays a nefarious quote in the background. The Judicum from the 2nd part (Four Last Things) sounds like it may have an intentional quotation before it spirals out of control.		audio
2022-09	Lourié, Arthur	A Little Chamber Music	1923	Definitely quoted	Originally written as his 2nd string quartet in Berlin, but reworked for its string orchestra version a year later. The dies irae dominates the opening of the piece, in a very Stravinskian neo-classical manner.		audio
2022-06	Louvier, Alain	2 Petites Variations sur le Dies Irae	2013	Definitely quoted	A student work for two violins (teacher/student duo).	score
2022-06	Luard-Selby, Bertram	Fantasia Sonata on the Ancient Melody for the Dies Irae, Dies Illa	1892	Definitely quoted	Starting right at the beginning of the Praeludium, and throughout the Praeludium. Comes back in modified form in the Finale. Not entirely sure about the 1892 date, selecting this based on when it starts getting advertised in The Musical Times.		audio
2022-06	Lyatoshynsky, Boris	Grazhyna, op. 58	1955	Definitely quoted	The opening section features a viola ostinato that is an unmistakeable riff on Dies irae. It sets up chromatic seesawing bass lines throughout the rest of the work. Closes with the same viola ostinato
2022-06	Lygeros, Nikos	Dies Irae (theme and variations)	2021	Definitely quoted	Theme and variations for winds and strings, short and not too sophisticated	score	audio
2022-06	Mabry, Drake	King Chanticleer	2016	Definitely quoted	This is an arrangement of Nat Ayer's rag King Chanticleer, written originally in 1911, probably inspired by Edmond Rostand's French play Chantecler, which was produced on Broadway in 1911. Mabry has arranged it for recorder ensemble, and inserts a a quick clever quotation of dies irae as a fill.	score	audio
2022-08	Macchia, Grimoaldo	Epitaph on "Dies Irae"	2020	Definitely quoted	A short elaboration for organ, based entirely on the dies irae		audio
2022-09	Macchia, Grimoaldo	Toccata Jig on "Dies Irae"		Definitely quoted	A longer (compared to Macchia's Epitaph), much freer elaboration on the dies irae for organ		audio
2022-06	Mackenzie, Harriet	Mysterious Beckonings	2021	Definitely quoted	A lament for solo violin		audio
2022-09	MacMillan, James	Violin Concerto	2009	Definitely quoted	In the middle of the third movement "Song and Dance" (after the first movement Dance, and the second movement Song), a horn calls out the first two phrases of the melody while the violin is in a passage of rapid figuration/dancing. Fragments are then heard in the orchestra in the section after that.		audio
2022-06	Macy, Carleton	Fantasy on a 13th Century Tune - Dies Irae	2020	Definitely quoted	Opens with pizzicato quotation. This must have been recorded in the last week before California shut down for COVID. Composer's notes: "This Fantasy was composed for David Dally and subsequently edited by him. The 13th C. tune is the famous Dies Irae melody used frequently by 19th C. composers, and by many since then. The text, part of the mass for the dead, translates to: “Day of wrath and day of doom; with David and Syble as witnesses, the earth will end in ashes.” I, personally, skip the wrath and doom, and treat the melody more introspectively, with occasional anger inserted. Perhaps my anger can be attributed to my recent loss of long-time friends."	score	audio
2022-06	Mahler, Gustav	Symphony #2 Resurrection	1894	Definitely quoted	First movement development includes a theme based on Dies Irae. Takes the first four notes in half notes, and then follows it up with a faster major turn. This theme is developed throughout the work.		audio
2022-06	Malone, Kevin	Saturday Soundtrack	1998	Definitely quoted	For recorder and piano. Notes from the composer: "“Saturday Soundtrack” does have two intentional brief four-note quotes from the Dies Irae, used in a cartoon sense (like an evil coyote setting up a dangerous situation for a roadrunner)"	score	audio
2022-06	Malone, Kevin	Sudden Memorials	2021	Definitely quoted	A 30-minute piano work published by Composers Edition. Notes from composer: "It is about the spontaneous memorial objects people left at the original 9/11 crash site memorial in Shanksville, Pennsylvania in 2006, five years after the crash. I unintentionally used Dies Irae-type motifs in the LH of piano during bars 54 and 59 (and first set up in bar 14), which the pianists pointed out to me, but I didn’t realise when I wrote it. Later, RH plays the four-note motif in bars 538-542 (this was intentional)."	score	audio
2022-06	Marçot, Caroline	Nemesis	2005	Definitely quoted	For 12 voices, clarinet, and percussion. Dedicated to Julien Copeaux. Nemesis extract (where the dies irae can be heard) starts at 37:19 in the attached Tapage Nocturne podcast from France Musique. Following link is brief notes from Musicatreize, who commissioned the work: https://www.musicatreize.org/nemesis/		audio
2022-08	Mariotte, Antoine	Chansons dramatiques, no. 4: Les cloches	1901	Definitely quoted	Mariotte is mostly known today for a copyright dispute with Strauss over Salome. He was a noted comic/light opera composer. Chansons Dramatiques is a series of 7 songs with piano accompaniment. The 4th song, The Bells, is based on a poem by Carle Lionel Dauriac about a man mourning the loss of his lover (I think he lost her when she joined a convent?). The work opens with a pitch-swapped, inverted take on the four-note dies irae motif in the piano accompaniment, this becomes almost an ostinato motif. Each time the singer sings "C'est ma pauvre ame qui frissonne" (My pour soul is shivering), it's to a rhythmically altered dies irae 8-note quotation, in voice and piano accompaniment. Alfred Einstein's 1926 book Das Neue Musiklexikon (after Eaglefield-Hull's Dictionary of Modern Music and Musicians (from 1924, edited by Hugh Allen, Granville Bantock, Edward Dent, Henry Wood, and for which Einstein was a Germany sub-editor)) lists this work. Interestingly, the Eaglefield-Hull English entry on Mariotte only mentions the chief opera stage-works; Einstein's German version entry is expanded, and mentions "Chansons dramatiques mit Orch. (Janin)". I suspect Einstein must have gotten his hand on a Janin catalogue to add this work to his German dictionary; I've been unable to find an orchestrated version.	score
2022-06	Martinu, Bohuslav	Violin Sonata in C major H 120	1919	Maybe	"The second movement is an attempt at a demonic scherzo indebted to the aesthetic of the late 19th century, it's theme being a reminder of the Dies irae sequence" I can hear what they're talking about - it is reminiscent, and at times it's played as just a 4-note stinger.		audio
2022-06	Marzocchi, Paolo	Four Variations in Cadenza-Form: 4. Cadenza "Dies Irae" (La notte di San Rocco)	2021	Definitely quoted	A highly creative combination of the dies irae melody with Liszt's Hungarian Rhapsody #2		audio https://www.youtube.com/watch?v=rKSVwcXU89A
2022-06	Massenet, Jules	Eve	1874	Definitely quoted	In part III "Pour avoir ecoute les esprits de l'abime"		audio
2022-06	Matacic, Lovro von	Symphonie der Konfrontationen / Confrontation Symphony	1979	Definitely quoted	A huge (including 2 pianos and extra percussion) orchestral rumination on mutually-assured nuclear destruction. Movement III, which quotes the melody, is subtitled "Bedroht Von Technokratie, Die Die Umwelt Um Uns Zerstört, Vergessen Wir Gei Stige Werte Und Träumen Auf Straße Der Selbstvernichtung...Und Entzünden Selbst Die Flammen Des Dias Irae" (Threatened by technocracy destroying the world around us, we forget spiritual values and dream on the road to self-destruction, kindling the flames of the dies irae ourselves"		audio
2022-07	Matuz, Istvan	Six Studies for solo flute: #5 Dies Irae	1990	Definitely quoted	Showcase for extended flute techniques (this might be for prepared flute with E-mechanism?).	score	audio
2022-06	Mayhew, Isaac	On the Nature of Self	2016	Definitely quoted	10 minute work for solo piano. The composer confirms intentional quotation of dies irae in personal correspondence. First clearly heard at 2:40, although it's hinted at throughout.		audio
2022-06	Mazuk, Nick	Features for Carillon and Brass	2017	Definitely quoted	"The second movement features a more lyrical side of both the carillon and brass. The entire movement is based on Dies Irae, a Gregorian Chant from the 1200s. While the entire chant is presented at various points, it is only done so in fragments. Of all the fragments, the opening four notes of Dies Irae are the most common fragment."	score	audio
2022-06	McBeth, W. Francis	The Seventh Seal	1972	Definitely quoted	Note, this is not the soundtrack to the Swedish film (which also quotes the Dies Irae melody), this is a symphonic band piece. But the inspiration is probably the film's soundtrack.		audio
2022-09	McIntyre, Paul	An Orchestral Prelude on "Dies Irae"	2002	Definitely quoted	Short, simple elaboration on the dies irae for small chamber orchestra. McIntyre's introduction reads that this piece "may be useful as a companion piece, or perhaps "pedagogical introduction", to other works where quotations from this haunting mediaeval melody may be found - for example, the "Symphonie Fantastique" of Berlioz, or Rahmaninov's Rhapsody on a Theme of Paganini"	score
2022-06	McMurray, Harry	Festival Toccata on the Dies Irae	1998	Definitely quoted	For organ	score
2022-06	Medtner, Nikolai	Sonata Triad op 11 No. 2	1907	Maybe	The first movement's 2nd theme is a Rachmaninoffian quote of Dies Irae. Keeps the intervallic similarities, but extends it beyond the four notes.		audio
2022-06	Medtner, Nikolai	Fairy Tale op 26 No 3	1912	Maybe	At the very end, there is a closing descent in the right hand that seems like it could easily be a riff on dies irae.		audio
2022-06	Medtner, Nikolai	Fairy Tale op 34 No 3	1917	Maybe	Another Rachmaninoffian quote of Dies Irae in left hand octaves starting at measure 21.	score	audio
2022-06	Medtner, Nikolai	Piano Quintet	1950	Maybe	Unmistakeable first phrase quoted twice in the last movement, although why is not clear. See the 'poco piu risoluto ma a tempo' section in the first movement, this has a definite quote too. Even Malcolm Boyd's original article says the "quotation is probably not deliberate". But it sure sounds deliberate.		audio
2022-06	Meikle, Simon Richard	The Crucifixion	2017	Definitely quoted	An aural representation of Redon's painting The Crucifixion. Heard early on in distorted tubular bells.		audio
2023-03	Meland, Paul	Dies Irae	2020	Definitely quoted	For saxophone quintet, a medium-length elaboration on the dies irae, getting progressively more out-there, with the dies irae difficult to detect in diminution, and finishes with a fluorish reminiscent of Vaughan Williams' Tallis fantasia's ending.		audio
2022-06	Mercier, Dominique	Prière pour nous autres charnels (Tombeau pour un centenaire)	2013	Definitely quoted	Short work for STB voice and harmonium. Harmonium plays the 1st and 2nd strophe melody inbetween 2nd and final verse.	score
2022-06	Meredith, James	Zombie Tango	2013	Definitely quoted	From La Quinta High School's 2018 Orchestra Fall Concert notes: "The main theme is based on the Dies Irae (from the Mass for the Dead) which is hidden inside the tango beat. It is soon accompanied by thematic hints from Mahler’s first symphony. Peppered throughout are dissonances and sound effects describing the anguish and frustration of Gustavo and Alma as their bodies fall apart while dancing."	score	audio
2022-06	Meyer, Krzysztof	String Quartet #7	1985	Maybe	Written in memory of his father. At the very end, almost out of nowhere, the viola plays the first phrase a few times.		audio
2022-06	Meyer, Richard	Legend of Sleepy Hollow: The Apparition of the Headless Horsement	2009	Definitely quoted	First quoted in cellos and bass at measure 15	score	audio
2022-06	Michel, Grant	Ghost Run, for a concert band	2015	Definitely quoted	Composer's notes: "Ghost Run is an aggressive and fun piece for concert band written in a standard theme and variations form. A bold opening statement gives way to afunky bass ostinato that provides the foundation for the primary melody at m. 21. The opening section is brought to a close with a quotation from the famous plainchant tune Dies Irae in m. 55."	score	audio
2022-06	Mihai, Daniel	Antimasonic Fantasy "Dies Irae" for solo violin op. 22		Definitely quoted			audio
2022-06	Militello, Sergio	Improvisation on "Dies Irae"	2009	Definitely quoted	An improvisation for solo organ		audio
2022-06	Miller, Sarah E.	The Spell	2004	Definitely quoted	Beginning/education piano piece to teach crossed hands. Written for the composer's niece.	score
2022-09	Mirzoyan, Edvard	Introduction and Perpetuum Mobile	1957	Definitely quoted	This violin showpiece has two near quotations at the end of the introduction, leading up to the Perpetuum Mobile section. It's then bounced around the orchestra while the violin perpetuates.	score	audio
2022-09	Mirzoyan, Edvard	Sonata for Cello and Piano	1967	Definitely quoted	Composed for Rostropovich. The 2nd movement interweaves Armenian folk tune I Heard A Sweet Voice with the Dies Irae (the latter in piano upper register).	score	audio
2022-09	Moklebust, Cathy	Savior of the Natoins Come	2003	Definitely quoted	An arrangement for handbell ensemble, that works in the dies irae first phrase in the middle section.		audio
2022-06	Molinari, Guido	Variations on Dies Irae for piano	1983	Definitely quoted	Composer's notes: "I composed this "Variation" - based on the famous "Dies irae" theme of Franciscan friar Tommaso da Celano - between 22 and 28 August 1983. The style of these Variations is tonal, also if there are superimposed chords in fourths and fifths and dissonant chords for expressive motives. The introductory theme «Lento pp» already shows some chords formed by a series of fifths: 1) C-G-D; 2) C♯-G♯-D♯; 3) E-B–F♯; 4) B♭-F-C; 5) A-E-B; 6) A♭-E♭-B♭; 7) G♭-D♭-A♭; 8) B-F♯-C♯. Follow 8 variations. Var.1: «Allegro» in 4/4. It is based on the A minor tonality. The right hand makes the theme for thirds and the left hand, starting from the lowest A of the keyboard, it executes ascending scale in A minor natural. Then it modulates in C#, exatonic passages and the A minor chord with the repetition of theme. Var.2: «Con grazia» in 4/4. It is characterized by the deconstruction of the motif in semiquavers between left and right hand. The sonority is p, but towards the end appears a crescendo that leads on the f dissonant chord: D-F♯-A♯-C (with the bass on F). It follows a mf on the chord: C-E-G♯ (with bass on B♭1). In the end there is the A minor chord. Var.3: «Allegro molto» in 2/2. The left hand makes octaves with well-marked minims, always starting from the theme; on the contrary, the right hand makes ascending-descending variations in semiquavers almost always close to each other. All music has to be played f decidedly. The penultimate bar there is a descending exatonic passage ff before concluding in A minor. Variation No.4: «Marziale, con un po’ di spavalderia» in 4/8. In the second part appears the repetition of the march (Tempo I); it is reached a ff sonority and you can note the passage for ascending thirds based on the octotonicus scale. The next repetition of theme is in E minor natural. It leads to the coda. Here, through an energetic rhythm in terzine of semiquavers, the final comes on a ff A major chord. Var.5 : «Largo religioso» in 4/4. It is ABA1. At the beginning the music is all in pp and the theme is harmonized into the C minor tonality. Then the melody has perfect major chords: G/A/G/A/B. A passage follows to F major while chords by 1/4 each leading the harmony from F major to C♯ minor to E♭ minor coming to the climax «ff con dolore» in A minor, where a rhythm just used in the Variation 4 returns. After a modulation with sevenths chords the resumption of theme is in pp and in C major. The piece ends in A minor. Var.6: «Grandioso» in 4/4. It is characterized by the presence of ff chords now of 7ths, now perfects; they have the task to harmonize in manner triumphant the theme: 1) D-F#-A-C; 2) B major; 3) D-F♯-A-C; 4) A major; 5) G–E–D–B; 6) A-C#-E♭-F#; 7) C minor; 8) A♭ major; 9) B♭–D–F A; 10) B♭ D–F–A♭; 11) E♭ major. The E♭ major tonality becomes fixed when appears a movement in quaver triplets impressing a glorious dynamic sense. After three bars of progression, the music arrives on a ff «con salto» on the dominant chord of the left hand: B♭–D–F, while the right one has an ascending-descending passage on the notes: F–B♭–E♭. Var7: Misterioso, lugubre» in 2/2. It is based on a trill for right hand and on a tremolo for left hand, and it is completely in A minor with ff sonority. Var.8. It is the last and longest variation. It starts with a ostinato «f minaccioso, ben marcato» of basses, while by second bar the left hand executes the theme harmonized with diminished 5th and excess 4th. Then the theme is announced with arpeggiati chords in superimposed fourths. The music comes to «f con entusiasmo» in D♭ major, with the right hand engaged in fast demisemiquavers, while the left hand accompanies with repeated again chords in quavers: D♭–Ab–E♭; B♭–F–C. There is then a fast f general passage from the low to the high zone, based on the notes: E♭ – G♭ – A♭ – B♭♭ –D♭. Then appear dissonant chords and a «f con slancio» (f with impetus) of the beginning with the ostinato of basses and the harmonized theme for diminished 5th dim. and excess 4th. Now appears an episode called «f con spavalderia» where the music becomes more intricate and chromatic in the right hand, while the left one has passages in ascending chromatic quavers. The theme returns at first in C «ff ben ritmico» and then in A minor «f ben legato» presenting the chords for fifths in the basses in the left hand. The coda in pp has five bars rather “enigmatic”. The left hand effects now chords with superimposed fifths, now dissonant chords more hard, as D–F♯ - B♭; A–C♯ - D♯-G, of exatonic type. On the last system the accompaniment stops on the chord: E♭–B♭–F, while the right hand effects a melodic line with springs of octave and other extraneous notes to the basses chord: G♭–F♭–B♭♭. Finally the work disappears on the double arpeggiated chord: E–B♭– F; G♭–C–G♭. ©1998 GEM Ed. Monza, Italy"		audio
2022-06	Molinari, Guido	The Last Days of Humanity: 2. Episodes of Battles with Dies Irae	2022	Definitely quoted		score	audio
2023-03	Møller, Peter	Forvandlinger	1980	Definitely quoted	Title translates to "Metamorphoses". Work for solo organ in 3 movements, published by Egtved in 1980. The third movement in the published score is supposed to be played first, according to http://justanotherorganist.blogspot.com/2011/09/. Opens with quiet dies irae in the pedals, dies irae taken over by higher voices later in the piece.	score
2022-06	Monday, Deborah Baker	Dies Irae: Fantasia	2013	Definitely quoted	Short string-heavy orchestral work, almost a contrapuntal exercise. Marketed for students. Finishes on a picardy third.	score	audio
2023-03	Montague, Stephen	Behold a Pale Horse	1990	Definitely quoted	A toccata-like work for solo organ written for Christopher Bowers-Broadbent. Plenty of tritones, and many of the motives dance so very closely around the dies irae, sometimes more overtly than others.		audio
2022-08	Montsalvatge, Xavier	Simfonia de Rèquiem	1985	Maybe	From Catalan composer Montsalvatge, a symphony commissioned in 1985 by the Ministry of Culture. Premiered September 19, 1986 at the Alicante International Music Festival. Obviously inspired by the requiem mass. The 3rd part (Dies irae) of 7 makes constant repeated references to the dies irae melody, but never with much brio.		audio
2022-06	Moore, Robert	To The Edge… And Beyond! (A March for Industry)	2017	Definitely quoted	Composer's notes: "To The Edge... And Beyond! is about Anthropogenic Climate Disruption - the single largest and most important issue facing our species. This march is a reflection of the current climate of stupidity and blind greed reflected in those American Industrialists and their enablers in Congrefs who, without regard to decades of solid scientific research crossing multiple disciplines, are literally hell-bent on pulling every last dime's worth of carbon out of the ground and releasing it into the air for profit today at the expense of most life on Earth tomorrow. Thus, our masculine A theme (grounded and harmonized with De Debbil's Tritone) naturally represents Industry in all its puffy pointless arrogant avarice. This makes way for our feminine B theme which, at The Big Ol' Rousing Recap even manages to get the masculine theme to somewhat cooperate and work with everyone else so that anyone might have hope of survival. Feminine energy is good for that sort of thing. Our medieval shuffle C section incorporates Everyone's Favorite Death Reference to help paint a not terribly nice picture of what we face with our continued inaction. Just to make the point clearer, after quoting the Dies Irae a couple of times, right before the D.S. al Fine I also tossed in the Ol' French Standard L'Homme Armé in the violas since our future is no doubt also going to feature lots of Armed Men roaming the countryside on the way to the Day Of Wrath. Then we transition nicely on back to the recap and end with The Hopeful Hooplas - as we likely should...."	score	audio
2022-06	Morris, Thomas	Mudder Noose #4, Alice, Sweet Alice		Definitely quoted	"Based on a collection of poems by gothic artist Lydia Wick, this set of five short grotesquely twisted nursery rhymes provides a humorous and often morbid angle on otherwise familiar children's tales. Dispersed with musical quotations from lullabies, nursery tunes, and even Dies Irae, the piece parodies and disrupts that which is meant to be comforting." Quoted in piano in the lines "You could have een a pious girl before the bloody coat hanger" (!) and in the vocalist's melodic line with "between your folded hands of blue I must say, death becomes you".		audio
2022-08	Mouquet, Jules	The Last Judgment	1898	Definitely quoted	A symphonic poem for orchestra and two choirs. 1. Prologue, 2. Les Trompettes - Les Damnes - Les Elus The prologue unambiguously sets up the minor third as a defining interval/motif. The dies irae (whose first phrase is a minor third descent) action starts at marker 4 in the 2nd movement. In pianissimo, the dies irae dies illa & solvet saeclum in favilla phrases are played lowly slowly with some bare accompaniment (and marked DIES IRAE DIES ILLA / SOLVE SAECLUM IN FAVILLA in the score). This kicks off a set of progressively loud and angry variations on the dies irae melodies in the next several sections, leading up to the celestial choir in marker 13.	score
2022-06	Mowrey, Peter	The Hero's Path	2020	Definitely quoted	Part 2: Sacrifice (Dies irae). Piece for solo piano inspired by mythologist Joseph Campbell. From composer's website: "The music was suggested by different stages in Campbell's archetypal Hero's Journey, from the initial challenge through the hero's struggle to the final apotheosis. The pieces may be performed as a set, or individually using the parenthetical titles."		audio
2022-06	Mulvaney, Eoin	Gáeth Árd Úar	2014	Definitely quoted	Work for solo bass (or contrabass) clarinet. Confirmed with score excerpts in the composer's own composition doctorate dissertation: https://arrow.tudublin.ie/cgi/viewcontent.cgi?article=1094&context=appadoc Possibly inspired by the 9th century Irish poem Scél lem dúib? Dies irae quoted first in measures 4 through 49, where phrases of the chant melody are interspersed with an aural portrait of Fionn, leader of the Fianna.
2022-08	Muran, Forest	Dies Irae for piano and soprano voice	2018	Maybe	The composer confirmed to me "Yes indeed, the piece made use of the well-known chant melody, though in a somewhat unconventional way. I wrote the score as a submission to a composition competition at my university."
2022-06	Musgrave, Thea	The Seasons: Autumn	1988	Definitely quoted	Autumn comes first in this series. The dies irae is played by bells towards the end of the movement.		audio
2022-06	Musgrave, Thea	Piccolo Play	1989	Definitely quoted	The movement Le Bruit de Guerre has the piccolo playing tremolo dies irae melody. (Starting around 13:00)		audio
2022-06	Musgrave, Thea	Wild Winter: Lament V: Den wilden Orgeln des Wintersturms	1993	Definitely quoted	This lament is setting of Trakl's poem Im Osten (In the east). Heard throughout this short lament, in fact the manuscript score even has subtitle "cantus firmus Dies Irae".	score	audio
2022-06	Musgrave, Thea	Threnody	1997	Definitely quoted	Quoted slowly in low octaves in the piano at the end of the piece. For english horn and piano. Musgrave's own notes say: This work is about the powerful emotions engendered by loss. The famous medieval chant "Dies Irae" about the Day of Judgement is used as a foundation of the work. This chant is incorporated into a series of chords played extremely slowly by the piano (these chords are actually taken from the composer's setting of a poem by Georg Trakl in her Wild Winter): thus the three sections of Threnody correspond to the three lines of one verse of the medieval chant."		audio
2022-06	Mussorgsky, Modest	Night on Bald Mountain	1867	Maybe	There's a four-note phrase first heard in the low strings in the introduction that is recalled multiple times throughout. It's the same four intervals as dies irae, but inverted and reversed. Sometimes played at such speed that it's tough to tell the difference. The connections to Liszt's Totentanz are fairly strong (Mussorgsky was inspired to complete the work by hearing the Russian premiere of Totentanz), as are the the programmatic influences of witches' sabbathes and tchernobog.	score	audio
2022-06	Mussorgsky, Modest	Trepak (from Songs and Dances of Death)	1875	Definitely quoted	Trepak, the third song, is saturated with four-note quotations of the Dies irae motif. It opens with the fragment deep in the bass of the piano. The theme and its bass accompaniment are treated to seemingly random rhythmic variations, giving the entire piece a sense of aimlessness. The text of the poem depicts Death dancing with a drunk farmer lost in a blizzard, urging the man to rest and fall asleep in the cold.		audio
2022-06	Myaskovsky, Nikolai	Piano Sonata #2	1912	Definitely quoted	Single movement work. The 3rd theme of the sonata is basically the dies irae melody, subjected to some theme and variations. In the finale, this melody is given a short double-fugue treatment with the first theme.	score	audio
2022-06	Myaskovsky, Nikolai	Symphony No 6	1923	Definitely quoted	https://dro.dur.ac.uk/21332/1/21332.pdf After the rolling introduction to the final movement, dies irae is introduced plucked by the low strings at marker 23	score	audio
2022-09	Nagel, Jody	Well Tempered Mode: Songs from the Aeolian: #10 Fantasy on Dies Irae	1998	Definitely quoted	This is a set of 13 short beginner/intermediate piano works that cycle through all 12 possible Aeolian modes on the piano (with a few repeats and modulations). This 10th song is in B-flat Aeolian and titled "Fantasy on Dies Irae". There are clear allusions to the dies irae; interestingly the dies irae melody is often reported to be in a dorian mode. Jody Nagel and Mark Schultz together created Jomar Press to publish their works; Jomar has since gone defunct as both have deceased. The score here is provided by permission of his daughter.	score
2022-06	Neukomm, Sigismund	Messe de Requiem	1815	Definitely quoted	Dies Irae starts with 8-note quotation, then develops from there. Neukomm lived in Paris from 1810 to 1816ish - then Brazil from 1816 to 1821, then back to Paris. Wonder if Berlioz heard this?	score	audio
2022-06	Newton, Bret	Symphony 2 - The Forest of Dreams	2017	Definitely quoted	For large wind orchestra. First heard in the movement "Vision of Death", and briefly reprised in the Dream of Death. From composer's notes: "Here, we begin with the voice of nature calling to us from the high Tenor Bassoon which gradually grows to an anticlimax. We heard the return of the undulating passage from the introduction only to be lead to a vision of death. The Dies Irae intones in the lowest possible notes from the ensemble while sinister fluttertounging from Bassoons and Euphoniums and muted glissandi from Alto and Tenor Trombones give the listener an uneasy feel. This is followed by a long solo for the Contrabass, and later Contra-Alto, Clarinets. Eventually, we die away into the Dies Irae on the very bottom notes of the Contrabassoon."		audio
2022-06	Nibelle, Henri	50 pièces sur des thèmes liturgiques des dimanches et fêtes de l'année	1935	Definitely quoted	for organ or harmonium. #5, sur "Dies irae". A short exercise in C minor on a four-note quotation ostinato.	score
2022-09	Nichols, Joshua	Hansel and Gretel	2021	Definitely quoted	A symphonic poem for wind ensemble, graduate dissertation composition. Dies irae appears in slight parody in four-note quotation in the middle of the 2nd movement "Can the Dry Earth Breathe", at marker 6 in the piccolo.	score	audio
2022-06	Nickel, Larry	Requiem for Peace: XI. Hiroshima Lacrimosa	2011	Definitely quoted	Setting of Toge Sankichi's poem 'Tears for Hiroshima'	score	audio
2022-08	Nielsen, Ludvig	Passacaglia on "Draumkvedet", op. 23a	1968	Unverified	A mid-length organ fantasy/tone poem where the dies irae plays a major role in the middle section		audio
2022-08	Nielsen, Ludvig	Veni Redemptor Gentium et Dies Irae, op. 52: Toccata		Definitely quoted	A short fantasy on the dies irae for organ		audio
2022-08	Nielsen, Thomas	Symphonic Revelation for Orchestra		Definitely quoted	Detailed program notes and background on this work that won a 2015 Columbia College (at Columbia University) Core Scholar honorable mention: https://www.college.columbia.edu/core/scholars/scholar/3361 Dies irae found throughout - first found in trombones at Section A of Movement 2, program notes indicate other locations.	score
2022-09	Norby, Erik	Edvard Munch Trilogy: 1. Skrik (The Scream)	1978	Definitely quoted	The work is subtitled "(A Requiem) Symphonic Transformation for Orchestra and Mixed Choir After Three of Edvard Munch's Prints". The first portrait is of the Scream, also portrayed are The Sick Child and Funeral March. Four minutes into The Scream, the dies irae text is set to original music, followed by a frantic and terrifying section over pounding drums where the sopranos sing the dies irae melody, the tubas take it over after that.		audio
2022-06	Norman, Julie	Theme and Variations on Dies Irae	2020	Definitely quoted	for harp		audio
2022-06	Novák, Vítězslav	Piano Quartet, op. 7	1899	Maybe	The first theme takes as its basis an unmistakable 4-note quotation of Dies irae. But without any context, and the theme is developed so freely, it's tough to acknowledge any extra-musical association.		audio
2022-06	Novák, Vítězslav	"May" Symphony op. 73	1943	Definitely quoted	First two phrases quoted once in brass at the climax of final movement 'alla marcia funebre'		audio
2022-06	Nunes, Matthew	Dies Irave	2013	Definitely quoted	A prelude for solo euphonium	score	audio
2022-06	Nystedt, Knut	Pia memoria: Dies Irae, op. 65	1971	Definitely quoted		score	audio
2022-06	Omiccioli, Nick	LOCK HER UP!	2020	Definitely quoted	Created for Nicholas Phillips' #45miniatures project. Ha. Chops the theme up into two note fragments inbetween soundbytes of Trump's 2016 campaign.		audio
2022-09	Owen Thomas, Janet	Under The Skin	1999	Definitely quoted	It seems as if Maecenas published it, but most of Maecenas catalog was sold to Peters in 2007. Peters confirmed they have it, they are preparing copy for me. Commissioned by BBC Radio 3 for the 1999 Huddersfield Contemporary Music Festival. Premiered Sunday November 21, 1999 at a concert at St. Paul's Hall performed by Odaline de la Martinez' group Lontana. According to the 1999 HCMF liner notes (http://divergencepress.net/hcmf/hcmf-1999/), "This piece has two movements. The first has the structure of a set of chorale variations (such as Bach wrote for the organ), with the Dies Irae (Day of Judgment chant) taking the place of the chorale. In purely musical terms, I have used this piece of borrowed material as the vehicle for presenting a range of my compositional techniques, but in extra-musical terms. This movement is about the effect of a cataclysmic event; it starts with two statements of the Dies Irae, which sound 'pure and innocent' and use 'white note' harmony. Alongside these is an almost imperceptible tension, which subsequently grows quickly to culminate in a crashing chord, after which nothing can ever be the same. Violently expelled from one world, the piece plunges into another, uncertain, yet ultimately more fulfilling one. This piece was conceived as a representation of a number of shattering events which sadly occurred in both my personal and family life last year, including the death of my father. The second movement is therefore a setting of Dylan Thomas's poem 'Do not go gentle into that good night' - it's a valediction, and also a musing of one's own mortality. The seismic chord that effected the development of the first movement is built up again here, in statements of increasing rage and frustration. BUt in the last section, the two worlds begin to come together to make some kind of resolution and, once 'peace' has been achieveed, the work ends." One wonders if the cancer diagnosis that ultimately took her life two years later was one of the 'shattering events'. The score excerpted here shows only the first "chorale variation", where the dies irae theme, highly metrically modified, is taken up by the piccolo. Later variations in this first movement see the theme taken up successively by vibraphone, bass clarinet, contrasbassoon, cello and strings (in a 'largo religioso' section). In the score excerpt posted here, first two variations shown.	excerpt
2022-06	Pálúr, János	Dies Irae - Improvisation	2010	Definitely quoted	For organ and chorus, but I doubt the choral parts are improvised.		audio
2023-03	Paparozzi, Stefano	Four Quarantine Etudes: No. 4 "about Dies Irae"	2020	Definitely quoted	For piano, an exercise in rapid parallel minor-second playing (but at extreme ends of keyboard). Almost certainly COVID inspired.	score	audio
2022-06	Papineau-Couture, Jean	Autour du Dies Irae	1991	Definitely quoted	For organ, from a (the?) leading Quebecois composer. Title translates loosely to "around the dies irae", and indeed, the piece is a brief fantasy on the dies irae, opening with an unambiguous quote	score
2022-09	Paris, Giorgio	Alio Modo	2005	Definitely quoted	subtitled "Ricercare sulla sequenza "Dies Irae" di T. da Celano". Short work for saxophone and organ, set of ruminations on the dies irae first phrase. Mixed in with fragments of the Albinoni/Giazotto Adagio.		audio
2022-06	Pasquil, Justin	Dies Irae	2020	Definitely quoted	Liszt Totentanz-inspired 7-minute work for piano. The quotes don't really become apparent until the last minute.		audio
2022-06	Patterson, Paul	Hell's Angels	1998	Definitely quoted	For chorus, amplified string quartet, and 4 percussionists. Quoted right off the bat in the first movement Fallen Angels. The quote returns in the final movement Vision		audio
2022-06	Paus, Marcus	Requiem		Definitely quoted	in the Dies Irae, melody takes the plainchant as a clear departure point. Uses a Norwegian translation		audio
2022-07	Peaslee, Richard	The Garden of Earthly Delights	1984	Definitely quoted	Written for Martha Clarke's ballet that won Obie and Drama Desk awards, based on Bosch's painting. From the Musical Heritage Society's 1987 LP notes: "In creating the score, Peaslee worked closely with three gifted musicians: Eugene Friesen, cello, Bill Ruyle, percussion, and Steven Silverstein, winds. As an integral part of the stage action, the musicians were called upon to perform in various unprecedented ways: while lying down on stage, being flown above it, or, as in "Hell", tormented by dancers who seized the cellist's bow and smashed the percussionist's head into his marimba." The Dies Irae rears its head toward the very end, played in bells (17:30 in attached recording)		audio
2022-06	Penderecki, Krzysztof	Paradise Lost	1978	Definitely quoted	Shortly into Act 2 Part 2, the male voices in the chorus sing the 7-note phrase one time (at 2:32:35)		audio
2022-06	Penderecki, Krzysztof	The Black Mask	1989	Definitely quoted	One-act opera based on a Gerhart Hauptmann 1926 play. From Gavin Dixon's review of a 2016 production: "The setting is Silesia in the late 17th century, soon after the end of the Thirty Years War. A nobleman Silvanus Schuller (Sylwester Kostecki) is throwing a banquet to celebrate the birthday of his wife, Benigna (Katarzyna Hołysz). In her earlier life, Benigna lived in Amsterdam, where she fell in with Johnson, a freed slave, who was first her lover, then her pimp, then the murderer of her first husband. Johnson has now followed her to Silesia, and is blackmailing her about the secrets of her past. Meanwhile, the many guests at the celebration, mostly local merchants and dignitaries, all have their own secrets to hide and mutual antagonisms. At the start of the opera, these are all thinly veiled, but as Benigna’s secrets come out into the open, so too do all the other tensions. Midway through the opera, Arabella (Karolina Sołomin) is revealed to be the daughter of Benigna and Johnson – providing the drama’s first climactic point. Then Johnson himself appears, wearing the eponymous mask (the role is taken by a dancer, Radosław Palutkiewicz), and murders one of the servants, Jedidja Potter (Ryszard Minkiewicz), the only witness to the murder of Benigna’s first husband. Soon after, it becomes clear that the community is ravaged with plague, leading each strand of the story toward death." I hear it only at 1:06:00 in linked performance where the single pronouncement of the dies irae melody accompanies what must be an intense dramatic high point.		audio
2022-06	Penhorwood, Edwin	An American Requiem	2010	Definitely quoted	In the Dies Irae section		audio
2022-06	Perilhou, Albert	Scènes gothiques (Impressions d'église): III. Le jour des morts (au Mont Saint-Michel)	1905	Definitely quoted	An orchestral suite largely based on old church melodies, each movement named after festivals of the catholic church. The 7-note dies irae quote is heard 3 times: first in the immediate leadup to rehearsal marker D, played by bassoons, cellos, and bass, and notated "Prose des morts" in the score. Repeated again in the same fashion, this time including tubas, in the leadup to marker F, and one more time, in bassoons, violas, cellos and bass in tremolo in the lead up to the finale.	score
2022-06	Perkins, Tedrow	Suite for Wizards!: IV. Wizardry!	2006	Definitely quoted	A nice short quodlibet for double reed quintet (OOEBB) mixing Sorcerer's Apprentice, Off to see the Wizard, Holst Planets, Dies Irae, and a few others I didn't recognize.		audio
2022-06	Pessina, Paolo	Jubilaeum "Mutationes Super Dies Irae" op. 50	1999	Definitely quoted	For violin and piano. Many other quotes thrown in: Chopin's 'Revolutionary' etude thrown in on violin, Beethoven's 5th, . Composer's notes: "Nel titolo dell'opera, scritta espressamente per questa occasione e quindi in prima esecuzione assoluta, è già intenzionalmente dichiarata l'originalità della sua concezione. Non si tratta di variazioni sul "Dies Irae", né di una composizione ispirata ad esso (non mancano in tal senso esempi sublimi, sia di autori che hanno musicato il testo letterario, da Mozart a Verdi, sia di autori che hanno citato il testo musicale, da Berlioz a Rachmaninov). Nel Jubilaeum di Pessina la cristallina e asettica linearità del "Dies Irae" costituisce la cellula germinale dalla quale prende vita e si sviluppa un pensiero che, nelle sue continue mutazioni, sempre si confronta con essa, contrapponendole, quasi in sfida, altri temi, altre citazioni letterali, altri stili, nel variare dei ritmi e delle interpolazioni. La densità delle citazioni, concentrata soprattutto nella prima parte, genera un'inarrestabile sequenza di soluzioni melodiche e armoniche assolutamente originali e spesso imprevedibili: le citazioni penetrano nel sottofondo tematico del "Dies Irae", rivelano la loro affinità con esso, al punto tale da dare l'impressione di una loro germinazione spontanea. Può far parte del gioco riconoscere tutti gli autori citati, può far sorridere un "Dies Irae" in forma di Tango o di Ragtime; ma al di là di questo piacevole divertissement, Jubilaeum si propone come un'opera unitaria, stilisticamente coerente, dal respiro sinfonico, in cui certe arditezze di scrittura non contrastano con la classicità del suo impianto. L'opera si articola in cinque parti, di cui le prime tre - Pars I, Pars II (Scherzo), Pars III (Intermezzo) - si sviluppano senza soluzione di continuità. La Pars IV (Adagio), dal carattere sognante e incantatorio, crea un momento di sospensione prima del finale (Pars V), in cui l'esplosivo ritmo di danza tutto travolge, fino al tragico accordo finale. [P.P.]"		audio
2022-06	Pessina, Paolo	Concertango: VII. Finaltango	2001	Definitely quoted	Pessina has combined the concerto grosso and tango forms for this suite. The final movement turns the dies irae into a tango.		audio
2022-06	Pesson, Gerard	Le gel, par jeu	1991	Maybe	https://brahms.ircam.fr/works/work/11076/ The composer notes that the dies irae is included, but also notes that it's integrated in such a way that even he forgot it was there.		audio
2022-06	Pickard, John	Ghost-Train	2016	Definitely quoted	A Dies Irae perpetuum-mobile		audio
2022-06	Pierné, Gabriel	L'An Mil	1897	Definitely quoted	In the first movement Miserere Mei, unexpectedly quoted a few times (7 note quote) at the climax of the first movement Miserere Mei, and in the wind-down. In the 2nd movement, Fete des fous et de l'ane (Feast of Fools and Feast of the Ass, both medieval catholic feasts that have fallen into obscurity), dies irae is referenced in the boisterous introduction, metrically tinkered with.	score	audio
2022-06	Pina, Cláudio	Vox humana II	2018	Definitely quoted	This piece is an electroacoustic study on the human voice, it was presented at the 2018 international electroaoustic exhibition in Mexico City. A reworking of an earlier piece Vox Humana I. Composer's notes: https://www.researchgate.net/publication/337547505_Vox_Humana_II/link/5ddd710c299bf10bc329512b/download Dies Irae as sung by a boy's choir first appears at 4:55		audio
2023-03	Pinkevicius, Vidas	Dies Irae, Op. 163	2022	Definitely quoted	First conceived during an improvisation at Vilnius' St. Casimir's church, turned into this solo organ work. Never departures too far from the root material.	score	audio
2022-06	Pingoud, Ernest	Danse Macabre, Op 10	1918	Definitely quoted	originally composed this as a purely orchestral work. It was supplemented in the 1933 revised version with a mixed chorus singing à vocalise. One of the main thematic motifs is the Dies irae, first intoned at rehearsal mark 5 in the strings	score
2022-06	Pizzetti, Ildebrando	Requiem	1922	Definitely quoted	An interesting polyphonic setting of the Dies Irae. "Oh!"s in counterpoint, and rhythmic expansion of the melody. Good study available at https://repository.arizona.edu/bitstream/handle/10150/636519/azu_etd_17519_sip1_m.pdf?sequence=1 which is a DMA dissertation by Erin Elizabeth Plisco from 2019 from University of Arizona. The Dies irae is the longest movement. Initially it stays close to the Dies Irae melody, and at 'quid sum miser' does it expand into full 8-part texture.	score	audio
2022-06	Pizzetti, Ildebrando	Assassini Nella Catedrale (Murder in the Cathedral)	1958	Definitely quoted	An opera based on T.S. Eliot's Murder in the Cathedral. Dies irae is sung (accompanied by a funereal march) by the chorus during the titular murder in Act 2. (At 1:07:00 in linked video)		audio
2022-06	Plantade, Charles Henri	Messe de Requiem	1822	Definitely quoted	Made while in the employ as maitre de chapelle to Louix XVIII in Paris to commemorate the 30th anniversary of Marie-Antoinette's death. After an opening minor fanfare, the dies irae plainchant is sung once monophonically, followed by original musical setting. Wonder if Berlioz heard this? Seems likely. He arrived in Paris a year or two earlier. He certainly knew Plantade (see Berlioz on Music). He also arranged a Plantade song for guitar. A year after this Berlioz would compose his messe solemnelle		audio
2022-06	Plum, Jean-Marie	Prélude sur le Dies Irae	1929	Definitely quoted	Interesting modal changes, almost starts in a major mode	score	audio
2022-06	Poling, Kermit	Along These Footsteps to Paradise (string quartet #2 or Suite for Strings #2)	2016	Definitely quoted	Along These Footsteps is a suite of engaging character portraits of Saints of the Catholic Church - the three Archangels named in the Bible; St Faustina, the originator of the Divine Mercy image; Joan of Arc, a stirring miniature tone poem that quotes the Dies irae and the French melody that became the carol 'O Come, O Come, Emmanuel'; Kateri Tektakwitha, the first Native American to be recognized as a saint, with melodic and rhythmic references to Native American music; and Frère André of Montréal.		audio
2022-08	Posman, Lucien	Le Conte d'Étude Modeste	2000	Definitely quoted	A highly creative reimagining of Mussorgsky's Pictures At An Exhibition. Full of recognizable Mussorgsky, references to Belgian current events, built around a tale of the character Etude Modeste taking a cab ride from Bydlo. There's a remarkable section where the Internationale plays in one hand over the Washington Post march. The first phrase of Dies Irae makes a brief appearance in the section "a ballet of Belgian chickens", a reference to a Belgian 1999 scandal when 500 tons of chicken feed were contaminated with dioxins.	score	audio
2022-06	Poulenc, Francis	Sonata for Oboe and Piano	1962	Maybe	At marker 6, the oboe plays a 4 note dies irae melody, sort of. It's suddenly fortissimo and minor, In accented notes, spread out by two measures and by multiple octaves, and accompanied by rapidly lilting eight notes in piano. I mean, all the literal signs are there, but it's difficult to hear. This dissertation goes into details: https://etd.ohiolink.edu/apexprod/rws_etd/send_file/send?accession=ucin1148187368&disposition=inline (and uses this as support for a feminist interpretation of the work).
2022-06	Prendergast, Michael	Prayer of Intercession: Litany	2002	Definitely quoted	A short liturgical prayer	score	audio
2022-08	Price, Deon Nielsen	Epitaphs for Fallen Heroes	1977	Definitely quoted	An orchestral rhapsody (with prominent solo piano part) on the dies irae melody. Notes from personal correspondence with the composer: "I wrote the work, a concertpiece for piano and orchestra, in pencil on many sheets of manuscript paper in 1976-77. For the first performance in 1982, the score and all the parts were in manuscript. In the early 1990's I made some revisions when I notated it on the computer. I made further small revisions (mostly changing tempo markings and adding more articulations and dynamics for the orchestra players) for each new performance in 1995,1997, and 2006. If you want more information, I could give you names of the orchestras and conductors who have performed the work. The arrangement for piano solo is from 1992. For researchers who are interested, I believe I still have all the different versions. There was also a two-piano version in manuscript, but it was lost in the publisher's studio fire of 2010. The final version for orchestra dates from 2007 when Epitaphs for Fallen Heroes was performed and recorded in Kiev by the National SymphonyOrchestra of Ukraine. (Cambria CD Dancing on the Brink of the World, 2008). The score, parts and CD recording are available from the publisher at culvercrest.com."	score	audio
2022-06	Prodanov, Plamen	Quodlibet for oboe quartet (or string quartet)	2008	Definitely quoted	The quodlibet opens with dies irae.		audio
2022-06	Prokofiev, Sergei	Tales of an Old Grandmother, op 31	1918	Maybe	The 4th tale opens with a polyphonic four-note pronouncement of the dies irae, before the chromatic theme takes off. Wish I could know what the tales are about, or get more context on this quote.		audio
2022-06	Purvis, Richard	Five Pieces on Gregorian Themes: 2. Dies Irae	1943	Definitely quoted	Starts at 30:30 in attached pipedreams link.		audio
2022-06	Purvis, Richard	Eleven Pieces for the Church Organist: Dies Irae	1957	Definitely quoted	Quoted extensively in pedals. I suspect this collection of works is the one where Purvis writes in the preface: "The following pieces were written for organists who have felt the composer's Five Pieces On Gregorian Themes too austere for non-liturgical services. The principle on which these preludes were composed is one suggested by Wallace Arthur Sabin ... [who] opined that music for American church services should be of a devotional nature, with a freshness and spontaneity of conception unhampered by limitations induced through a strict adherence to an orthodox ecclesiastical style, but without any suggestion of triteness or mere sentimentality descending to the level of the mundane or secular."	score
2022-06	Purvis, Richard	Dialogue Monastique	1965	Definitely quoted	For two organs. Starts at 1:18:30 in attached pipedreams link. Dedicated to Earl Ness and William Whitehead. Premiered in 1965 (first published in 1972) in Grace Cathedral by Purvis and Tom Hazleton.		audio
2022-06	Rachmaninoff, Sergei	Prince Rostislav	1891	Maybe
2022-06	Rachmaninoff, Sergei	Moment Musical, op. 16 no. 3	1898	Maybe	https://citeseerx.ist.psu.edu/viewdoc/download?doi=10.1.1.896.3088&rep=rep1&type=pdf - a dissertation from University of Arizona 1993 by Esequiel Meza Jr "External Influences on Rachmaninov's Early Piano Works
2022-06	Rachmaninoff, Sergei	2nd Suite for 2 Pianos, op. 17	1901	Maybe
2022-06	Rachmaninoff, Sergei	Symphony #2	1907	Maybe
2022-06	Rachmaninoff, Sergei	Isle of the Dead, op. 29	1909	Definitely quoted
2022-06	Rachmaninoff, Sergei	Prelude in E minor, op. 32 no. 4	1910	Definitely quoted
2022-06	Rachmaninoff, Sergei	Etude-Tableau op. 33 no. 1	1911	Maybe
2022-06	Rachmaninoff, Sergei	In My Garden At Night op. 38 no. 1	1916	Maybe
2022-06	Rachmaninoff, Sergei	Etude-Tableau op. 39 no. 2	1917	Maybe	https://digitalcommons.lsu.edu/cgi/viewcontent.cgi?article=6048&context=gradschool_disstheses Interesting dissertation from 1990 by Raymond Gitz from LSU A study of musical and extra-musical imagery in Op 39 - heavily investigates Dies Irae. Also references articles by Prussing about The Bells. The Znamenny chant from Russian Orthodox is so close and similar, and freuqently also borrowed by SVR.
2022-06	Rachmaninoff, Sergei	Piano Concerto #4	1927	Maybe
2022-06	Rachmaninoff, Sergei	Rhapsody on a Theme of Paganini	1934	Definitely quoted
2022-06	Rachmaninoff, Sergei	Symphony #3	1936	Maybe
2022-06	Rachmaninoff, Sergei	Symphony Dances, op. 45	1941	Definitely quoted
2022-06	Rachmaninoff, Sergei	Symphony #1	1895	Maybe	The first theme played solemnly by the strings (immediately after the first turn in the woodwinds) is nearly an exact quotation of the dies irae 8-note first phrase. This is treated as a central motif for the entire symphony. Given Rachmaninoff's known tendency for the dies irae, it's tempting to add this symphony to the list.	score	audio
2022-06	Rachmaninoff, Sergei	Piano Sonata #1, op. 28	1907	Maybe	An explicitly programmatic Faust work (like his Paganini variations composed much later). A dies-irae-like theme first introduced in the fast march in the 3rd movement's meno mosso section, which is then developed throughout the rest of the movement.	score	audio
2022-09	Ramey, Phillip	Suite: Hymne a la Russe	1988	Definitely quoted	Hinted at early, but then quotes become unmistakeable, starting with high trumpet, then finishing with loud chordal statements before the finishing Burlesque. Folkman calls this movement a "a paean to Slavic melancholy".
2022-09	Ramey, Phillip	Djebel Bani, A Saharan Meditation	2009	Definitely quoted	Work for piano, dedicated to Karim Debbagh, premiered Nov 2009 by Steven Graff at Hunter College. A meditation in Locrian mode inspired by the eponymous Moroccan mountain encountered during a 2009 road trip. A single arpeggiated dies irae quotation ushers in the coda.		audio
2022-06	Ramey, Phillip	Bagatelle on "Dies Irae"	2010	Definitely quoted	Dedicated to pianist Stephen Gosling. From Benjamin Folkman's (president of Tcherepnin Society; Ramey studied with Tcherepninliner notes to Gosling's Toccata Classics release: "he lightness suggested by the word ‘bagatelle’ is the last thing one associates with apocalyptic visions of the Day of Judgement: one must take the sombre, austere gestures of this epigrammatic piece with a grain or two of salt. he melodic intervals of the chant (major and minor seconds) prompted Ramey’s harsh opening statement of the theme; several bars on, the same major seconds pervade a grandioso passage in which a variant of the chant in wide-spaced chords is punctuated by baritone-register stabs that present the original version. Ater a quiet appearance of the theme in thirds, pedalled colours enrich the texture. he music then becomes declamatory, and bleak major seconds lend asperity to a hollow-textured ending."		audio
2022-09	Ramey, Phillip	Piano Sonata #1		Definitely quoted	The short first movement rapidly weaves together some short themes, one of which is an aggressive statement of the first phrase of the dies irae melody; almost sounds like connective tissue from motivic sense. Folkman's liner notes to the Vol 3 CD of Ramey's piano work indicates this is conscious decision.		audio
2022-06	Rascon, Eduardo Garcia	Stringed Lament	2021	Definitely quoted			audio
2022-06	Rautavaara, Einujuhani	A Requiem in Our Time, op. 3	1953	Definitely quoted	for brass band and percussion. Movement 3 "Dies Irae". Not quoted exactly, but warped and then quoted. Unmistakeable, however. Composer's notes: "I was still a student at the Sibelius Academy when I wrote this "breakthrough work" that won an international composition competition in Cincinnati. The work is not a collective and apocalyptic "Requiem for our time" as the title has sometimes been rendered. It is in fact a very personal work dedicated to my mother, who died during the war; it exposes the borderline between belief and doubt and concludes more in sorrow that in declamation. The ensemble prescribed for the competition - four horns and trumpets, three trombones,, baritone horn, tuba and percussion - was so new and strange for me at that stage in my development that I still wonder at how confident the instrumental writing is. Perhaps it was a kind of sleepwalking. Not even my teacher, Aarre Merikanto, could tell me what kind of an animal a baritone horn is, but he eventually found a description in his ancient German orchestration textbook."		audio
2022-06	Rawsthorne, Alan	Four Romantic Pieces: Adagio maestoso	1953	Maybe	I read somewhere that this short piece "hints at dies irae" - that sums it up. It almost teases you with it at the climax. Piece ends on an upbeat though...		audio
2022-06	Rawsthorne, Alan	Ballade	1967	Definitely quoted	Dies irae is quoted early, and never really far off, tightly integrated with the piece.		audio
2022-06	Reale, Paul	Dies Irae: Concerto for Piano Trio and Wind Ensemble	1982	Definitely quoted			audio
2022-06	Reale, Paul	Concerto Grosso	2015	Definitely quoted	Last movement titled 'Dies Irae'. Clearly quoted at the beginning, then quickly deconstructed.		audio
2022-06	Reale, Paul	Sonata for Bassoon and Piano	2017	Definitely quoted			audio
2022-07	Reboulot, Antoine	Cinq pièces liturgiques pour l'office des morts	1956	Maybe	Well this is an interesting deep cut. It sounds like this organ piece is a brief paraphrase on the (somewhat unique) music for the Dies Irae that accompanies the final Pie Jesu lines. So it sounds nothing like the 'standard' Dies Irae quote, but still must be mentioned. The recording linked here is from the only commercial recording of this piece, on the defunct independent Quebec label Fonovox played by Jean-Guy Proulx on the St. German de Rimouski cathedral organ. From Gilles Cantagrel's liner notes: "The Five Liturgical Pieces for the Office of the Dead are strictly adapted for the liturgical processes of a Low Mass: Introit (Requiem aeternam), Offertory (Domine, Jesu Christe), Elevation (Pie Jesu), Communion (Lux aeterna), and Exit (In paradisum). In a calm and peaceful way, the pieces freely treat the plainchant melodies from start to finish, whether in accompanied melody, or in imitation, allowing you to faithfully sing the words, but also tokeep the sentiments of the prayers. There is subtle harmony in the style of Vierne, a variety of moods, deep unity of style and contemplation through the long and serene final In paradisum, which dissolves into blessed eternity with long sustaining notes."		audio
2022-06	Reese, Mona Lyn	Tombeau for Michael Collins	1987	Definitely quoted	Tombeau for Michael Collins is written in the unmeasured style of the seventeenth century tombeaux. The music is based on three themes, a 13th century plainsong (Dies Irae), the ostinato from Purcell's Dido's Lament, and Reynolds, new tune composed to represent strength of character and love of God. Michael Collins was a Methodist minister whose writing and teaching has been of great comfort to victims of AIDS. He died of the disease in 1984. The Schubert Club (St. Paul, Minnesota), commissioned this piece in 1987.		audio
2022-06	Reger, Max	Etude Brilliante in C minor	1896	Maybe	There are clear four-note quotes. But it's not entirely clear that these stand alone as Dies Irae quotes/references, and not 'just' part of the composition as stark contrast to the 'brilliante' bouncy repeated 16th notes that make the main theme.		audio
2022-06	Reger, Max	Latin Requiem	2014	Definitely quoted	The Dies Irae left unfinished, but clearly quoted melody.	score	audio
2022-09	Resanovic, Nikola	IQ for Strings	2013	Definitely quoted	Introduced in low strings halfway through the Q "quodlibet" part of the piece. Composer's program notes are: "I Q (Intrada and Quodlibet) for Strings,” was written for the University of Akron String Orchestra in the fall of 2013. Originally, only the Quodlibet was composed. This is a somewhat ‘tongue-in-cheek’ movement which uses the gravitas and seriousness of a double fugue as scaffolding for a rather whimsical mixture of musical quotes. In addition to stylized melodies reminiscent of gypsy ‘Roma’ fiddle music, one can hear the “Dies Irae” chant, the Russian Hopak dance, a not-so-subtle hint of Beethoven’s 5th Symphony, and an entire passage from Tchaikovsky’s 4th Symphony permeating the grand structure of the fugue at one point or another. The inspiration for all of this was the wonderful Quodlibet that J. S. Bach composed to close out his Goldberg Variations. Having completed the Quodlibet, I felt the need for a more balanced musical structure—not unlike the pairing of the prelude and fugue in Baroque music. So, I added the complementary Intrada, which serves to introduce one of the fugue subjects used in the Quodlibet. The inspiration for the slow and monolithic Intrada was the mesmerizing and cumulative opening of Henryk Gorecki’s celebrated 3rd Symphony, which I’d been listening to just days earlier. The Intrada serves to ground and anchor the wild ride that is the Quodlibet."	score	audio
2022-06	Respighi, Ottorino	3 Preludes on Gregorian Melodies - 2. Tempestoso	1919	Definitely quoted	notes by David Nelson to Naxos recording: "Tre Preludi sopra Melodie Gregoriane, a masterwork of Respighi’s small catalogue of solo piano music and Italy’s piano literature in general, should be appreciated here not only as a most appropriate “filler” but also as the composer’s first homage to his beloved Gregorian modes. Respighi owed his acquaintance with Gregorian chant to his wife and former pupil Elsa, holder of a degree in Gregorian chant and a gifted singer and composer in her own right. During their honeymoon in the hills of Anacapri, Elsa would sing daily as her wedding gift to Respighi the themes of the Graduale Romanum. Under this spell Respighi became more and more enamoured of the ancient melodies, and he composed the Tre Preludi. They were apparently written in 1919, thought the manuscript bears the final date of 1921 along with an unexpected dedication to Alfredo Casella.". Never quoted outright, but somehow still unmistakably present, mostly in the left hand octaves.		audio
2022-06	Respighi, Ottorino	Butantan' Brazilian Impressions No. 2	1928	Definitely quoted	Respighi's musical postcard from his travels to Brazil. The 2nd prelude is his recollection of the Instituto Butantan snake research institute. The piece closes with the strings intoning the melody.		audio
2022-06	Richter, Alexander	Dies irae (Epic Fail) Piano variations op 15	2016	Definitely quoted	Composer's notes: "I represent to your attention op. 15 - Variation of theme "Dies irae". This medieval motif was used by many composers, and I decided to try it. Based on some variation of "Totentanz" by Franz Liszt."		audio
2022-06	Riisager, Knudåge	Concerto for orchestra, op. 24	1931	Definitely quoted	Conductor Bo Holten's notes: " The Concerto is structured on neo-baroque principles, with something of a Concerto grosso use of orchestral groupings, but the feel of the work as a whole is richly romantic, especially the superb slow movement, based on the Dies irae."		audio
2022-06	Riley, Terry	Requiem for Adam:	1998	Definitely quoted	Commissioned by Kronos Quartet by their old friend Terry Riley. The Adam in question is Kronos' violinist David Harrington's son who died suddenly while climbing Mt Diablo in the East Bay. Dies Irae is plucked by the quartet at the very end of Cortejo Fúnebre en el Monte Diablo. Also hinted at in earlier movement Ascending the Heaven Ladder.		audio
2022-06	Riley, Terry	At the Royal Majestic: III. Circling Kailash	2013	Maybe	Kailash is a mountain in Tibet with major spiritual significance to multiple religions. It is site of annual pilgrimages to circumambulate the mountain on foot to bring good fortune. There are similarities to dies irae for sure, enough to make your ears prick, but I suspect it's not intentional. Riley's own notes don't mention it, nor does the programme suggest it: "The opening theme of this final movement is first stated in the violas and cellos and then taken up by the organ, brass and bassoons. It is interrupted by an 11-beat descending pattern passed around the orchestra before the opening theme returns and the section idles to a close. The second part of the movement is marked by a slow theme outlined by pizzicato basses. A variation of the theme is then turned into a chorale for organ and brass. Crystalline C major patterns led by the mallet instruments combine with a restating of the theme in diatonic clusters by the organ announce the closing section. The C major patterns pass around the orchestra as they undergo pan-modal coloration changes. The movement ends with a short plaintive solo organ phrase over an E Phrygian modality. [Duration: 13:47] In these three movements many extensive, intricate dialogues between the organ and the orchestra are found sometimes competing with each other in dense textures of polyphony. Waves build up (in both organ and orchestra) of repeating melodic patterns, both in unison and canon, which in their shifting alignments and changes of direction, attempt something like the aural equivalent of geometric formations seen in Starling flight patterns."		audio
2022-06	Rodriguez, Michelangelo	Walpurgisnacht	2014	Definitely quoted	From the composer's notes: "Walpurgisnacht, written in the summer of 2014, depicts the Pagan holiday and rituals taking place in the Harz Mountains in Germany. The sounds of the gathering of witches, warlocks, skeletons, and demons can be heard among the instruments as each instrument depicts the crazed spirits as they celebrate the witches sabbath. It begins with a statement of the main theme, and a quote of the Dies Irae theme in the bass. Followed is the development of the theme that leads into the Andante, a solemn melody played on a trumpet. The strings play pizzicato to depict the bubbling of a cauldron. A restatement of the theme follows, which leads into another Andante section, which leads into the coda. The piece ends with the holiday ending on a quite and subtle note."		audio
2022-06	Rodriguez, Robert Xavier	Favola Boccaccesca	1982	Definitely quoted	From the composer's notes: "Favola Boccaccesca (Fable of Boccaccio) was an orchestral study for the comic opera, Suor Isabella (1982), which is based on a ribald story from Boccaccio's Decameron (1353). The musical ideas and proportions are drawn from the opera's scenario, about a beautiful young nun who nightly sneaks a lover into her cell. Included are the opera's prelude, the nuns' gossip about Sister Isabella, the entrance of the Mother Superior's lover (a priest in a trunk, which is dropped), lsabella's lyrical aria, the discovery of the lovers and the opera's exuberant dance-finale (in which the nuns allow Sister Isabella and the Mother Superior to enjoy their lovers in peace). Favola Boccaccesca draws upon its medieval roots in matters of structure (isorhythm and cantus firmus technique) as well as in the use of actual medieval melodies woven into the musical texture. Of the quotations employed, the most important is a famous Saltarello (or "jumping dance") of Boccaccio's time. This secular tune contrasts with several more decorously ecclesiastical melodies: Cunctipotens genitor, the Spanish Quen la Virgen, a highly disguised fragment of the Dies Irae, and, appropriately for the Mother Superior, a hymn of St. Ambrose originally composed to fight heresy. Bell patterns from village churches near Bellagio, Italy are quoted at the opening of the work and at its close."		audio
2022-06	Rodriguez, Robert Xavier	The Seven Deadly Sins	1984	Definitely quoted	Part IX. Dies Irae is intoned by pianos and percussion
2022-07	Rolland, Grégoire	Trois tableaux musicaux d'après le "Dies Iræ", pour Orgue: 1. Dies Irae	2009	Definitely quoted	For organ. The melody is quoted in the first piece. All three pieces are named/inspired by different verses of the sequence, but only the first appears to quote the melody.	score	audio
2022-06	Ropartz, Guy	Prélude funèbre	1896	Definitely quoted	A prelude for organ. Opens with motifs clearly inspired by dies irae. In the section marked "first movement", the first two phrases of the plainchant melody are played in pedals while gorgeous new rhapsodic themes are developed. The pedal parts here are marked "en dehors". In this section the pedals are marked mezzoforte while the left and right hands are pianissimo and piano. Ultimately a quiet piece, and ends in an unexpected B major.	score	audio
2022-09	Rosenberg, Jason Carl	A Crimson Dawn	2006	Definitely quoted	from composer's notes (https://www.jasonrosenberg.org/dawn): A Crimson Dawn is scored for chamber orchestra and was premiered by Orchestre National de Lorraine at the Acanthes festival. The piece was composed immediately following a family tragedy. More broadly, it is a reflection on sudden loss and its powerful psychological repercussions. For the melodic foundation, I composed what I dubbed the "death counterpoint". This is an elongated contrapuntal working of two famous melodies associated with death: the first phrase of the "Dies Irae" and the bassline of “Dido's Lament”. The death counterpoint also forms the basis of a chaconne used throughout the work, colored in different sections by my responses to bereavement.	scrolling score	audio
2022-06	Rostek, Philip	Variations on Totentanz	2017 or earlier	Definitely quoted			audio
2022-06	Rozsa, Miklos	Fantasy on Themes of Young Bess	1983	Definitely quoted	Using the music he wrote for the 1953 MGM film "Young Bess". Haven't seen the show, but the clear dies irae quotes in question probably accompany either of the two film's beheadings (Anne Boleyn, Thomas Seymour). A real Berliozian "march to the scaffold"		audio
2022-06	Rubin, Marcel	Symphony #4 "Dies Irae"	1945	Definitely quoted	from notes by Hartmut Krones (translated by Gila Fox): "The “Dies irae” second movement recalls the horrors of war in sonata form. Fanfares sound, followed by the increasingly faster moving main theme reminiscent of the “Dies irae,” which eventually becomes rhythmically truncated. Only the secondary theme played by the solo violin allows brief glimpses of a peaceful scenario, but is interrupted by dissonance. The development is fashioned as a double fugue based on the “Dies irae” and a new theme, while a variation of the first movement’s main theme appears before the reprise, where the original ancient “Dies irae” hymn is featured as climax. The muted pastoral ending is a Passacaglia based on the “Dies irae,” until the variations give way to a flute passage – a melody from Rubin’s Marienliedern, symbolizing the possibility of change through religious meditation. Again, the piece ends with a question, leaving open the possibility of a bright outlook."		audio
2022-06	Ruff, Dennis	Piano Variations on the "Dies Irae"	2009	Definitely quoted			audio
2022-06	Rumson, Gordon	Threnody for John Ogdon In the Form of Chorale Variations with Introduction and Finale	1990	Definitely quoted	A short theme and variations by a scholar and editor I admire (and whose piano playing and compositions I'm otherwise unfamiliar with). Composed November 1990, completed November 17, 1990, Premiered November 18 1990 by the composer at the Calgary Festival of Canadian Music at Leacock Theatre (Ogdon died in 1989). The 4th variation is an homage to Sorabji (the composer Ogdon is most associated with). Dies Irae shows up in the 'quasi presto' finale, in a section marked "Dies Irae: molto violenta", where the first phrase of the melody is played on the first beat of the measure at the extreme ends of the keyboard, with rapid rising runs of chords inbetween. This short section leads to the "lontano, cristaline" extremely quiet coda, where a four-note quotation is played pianissississimo (pppp) above the closing chord.	score
2022-09	Russell, Robert	Places, op. 7: The Cloisters	1964	Definitely quoted	A suite for piano 4-hands, dedicated to the composer's niece Helen Clark, "who visited these places with me", all places in New York City. Premiered Sunday June 5, 1966 at the 1041st J. I. Foundation concert as part of the 23rd American Music Festival, by Jean and Kenneth Wentworth. The program for this concert indicates the composer is Robert Russell (as does Cameron McGraw's anthology of piano 4-hand music), but I'm not really sure who this is. Wiff Rudd confirms that it's not Robert Russell Bennett. He wrote some brass duets called Abstracts (#1 and #2). #1 is listed at British Music Collection. Wiff Rudd knew of #2 for his transcriptions. Rudd also knows of a Sonatine for trumpet and some other music for clarinets. There was a Robert Russell who was a student at New England Conservatory in the late 1940s... this might be the same? Incredible cover artwork by Irwin Rosenhouse. In the short 4th movement The Cloisters the dies irae makes a loud 4-note quotation at the beginning.	score
2022-09	Rzewski, Frederic	Four Hands	2012	Maybe	Throughout the first movement of this piano four-hand work, you can hear a hocketed dies irae between the two voices. The audio linked here is by Oppens and Loewenthal, the dedicatees of the work.		audio
2022-06	Sabourin, Yvan	Quand vous mourrez de nos amours	2011	Definitely quoted	An arrangement for unaccompanied choir of Gilles Vigneault's song. Opens with choir singing first phrase Dies Irae plainchant in counterpoint to the main melody of the song/words. Blink and you miss it. Notes by Sabourin: "Quand vousmourrez de nos amours, tout comme d’autres chansons de Vigneault, n’est pas sans rappeler la langue des complaintes médiévales. Ici, l’emploi d’un vocabulaire et d’images évoquant le fragile et l’éphémère permet au poète de formuler, par contraste, une élégante invitation à aimer vivement et sublimement. L’arrangement original qu’en a fait Yvan Sabourin pour l’Ensemble vocal Ganymède en 2004 tient compte de cette tension entre désir d’éternité et finitude : le sous-thème du Dies irae, dies illa, tiré de la messe de requiem traditionnelle, apparaît en filigrane sous la mélodie principale, alors que l’harmonisation choisie traduit la tendresse et la détermination de l’amoureux. In itslanguage,Quand vous mourrez de nos amours, like othersongs by Vigneault, resembles a Medieval complainte. Using words and images evoking the fragile and ephemeral nature of life, the poet here formulates an invitation to love, in contrast, what is vivid and sublime. The original arrangement,made by Yvan Sabourin for the Ganymède vocal ensemble in 2004, takes into account thistension between the desire for eternity and the finiteness of life: a veiled subtheme that quotes the Dies irae, dies illa from the traditional Requiem mass appears beneath the main melody, while the harmonization captures the lover’s tenderness and determination."		audio
2022-06	Sacre, Guy	24 Preludes, No. 16 Lent et Sombre	1983	Maybe	Slow and Somber. There's the right mood and the right four-note quotation. But there's also three blind mice… Have to chalk this up as a maybe without more context.		audio
2022-06	Saint-Saens, Camille	Danse Macabre	1874	Definitely quoted	You might be able to find it throughout all the chromatic bouncing around minor thirds throughout the piece. But it really shows up at Marker L, rhythmically chopped up in the woodwinds. Many different arrangements of this piece are out there, including Joachim Horsley's Rumbacabre in 2019.		audio
2022-06	Saint-Saens, Camille	Requiem	1878	Definitely quoted	Clearly quoted at the beginning of the Dies Irae movement.		audio
2022-06	Saint-Saens, Camille	Theme, Variations, and Chorale on Dies Irae		Definitely quoted	for Organ. I think this is technically an unfinished piece, but enough survives.		audio
2022-06	Salonen, Sulo	Requiem, Op. 32	1962	Definitely quoted	In the "Mors stupedbit" section (not the Dies Irae section!), the first three phrases of the melody sung by tenors and altos at measure 77. Hiski Wallenius wrote a dissertation on this requiem, which is the only source of information I could find: https://taju.uniarts.fi/bitstream/handle/10024/7277/Kirjallinen%20ty%C3%B6_Hiski%20Wallenius.pdf?sequence=1&isAllowed=y
2022-09	Salzman, Eric and Bauman, Josh	Ecolog	1971	Definitely quoted	A work for video with FM Stereo Simulcast, written for the NYC WNET Artists' Television Workshop. Only the FM stereo portion is preserved, located and described by Scott Joiner in his doctoral thesis (http://www.ericsalzman.com/wordpress/wp-content/uploads/2020/06/A-Dynamic-Voice-in-20th-Century-Music.pdf). "The audience was meant to tune into WNET on their television and, at the same time, tune their radio to WBAI while leaving the volume on the television turned up. The radio portion is half collage, half rock opera composed by Salzman and Josh Bauman. I hear snippets of Nixon's healthcare speech. Twice the singer sings "day of anger day of wrath" to the dies irae melody. The excerpt here is 7 minutes or so provided by Scott Joiner, out of a total 26 minute work.		audio
2022-06	Sartor, David P.	DIES IRAE for brass and timpani	2008	Definitely quoted		score	audio
2022-06	Sass, Jon	Meltdown	1994	Definitely quoted	As the piece winds down it's played once.		audio
2022-06	Sawa, Marian	Sequence 1, "Dies Irae"	1996	Definitely quoted	From organist Carson Cooman CD notes: "Sequence 1, "Dies irae" (1996) is based upon one of the most famous plainchants, the sequence "Dies irae" (Day of wrath), from the Requiem mass. A sequence is the appointed plainchant chang hymn sung before the proclamation of the gospel in a mass. Beginning dramatically with the pedals alone, the music's stark atmosphere reflects the apocalyptic nature of the text. After a large climax, a tranquil fugato appears before the powerful coda."		audio
2022-06	Saygun, Ahmed Adnan	Violin Sonata, op. 20	1941	Definitely quoted	Heard in the 1st movement's coda, in bell-like tones in low piano.		audio
2022-06	Schelling, Ernest	Impressions from an Artist's Life	1915	Definitely quoted	Subtitled "Symphonic Variations for Orchestra with Obbligato Piano". After a meandering journey through several different styles and variations, it comes to a head in XVII which is called "August 1914" and is a reminiscence of the composer's exciting experiences, with his wife (to whom this piece is dedicated), at the outbreak of the war. Concerning the poetic content of this number, Schelling writes: "Called to arms - over a hill at dusk, legions are marching - marching on irresistibly, inexorably, nothing stopping them - not those who fall by the wayside, not those whose fate is written in the fiery and stormy skies. On they march to victory or disaster, with desolation, suffering, death! War without the glamour!". The Dies Irae is hammered out in low chords in the piano cadenza at the end of this movement/variation XVII.	score	audio
2022-06	Schelling, Ernest	A Victory Ball	1922	Definitely quoted	Literal program music, describing a soldier’s disillusionment with war, with “obvious totemic bugle calls, battle din, and a Dies irae”. Hinted at very early on, but quoted in earnest about 2/3 of the way through.		audio
2022-06	Schickele, Peter	Brass Calendar, X. October. Halloween.	1993	Definitely quoted			audio
2022-06	Schickele, Peter (PDQ Bach)	Sinfonia Concertante: Andante Senza Moto	1959	Definitely quoted	Played by the double reed slide music stand 2 minutes in		audio
2022-06	Schickele, Peter (PDQ Bach)	Unbegun Symphony	1965	Definitely quoted	In a performance I once attended, in the 4th, final, movement (keep in mind there is no 1st or 2nd movement), the theme from Dvorak’s 9th Symphony’s 4th movement is simultaneously proclaimed with the dies irae on the rest of the brass. In the Vanguard recording, dies irae is played at the same time as “You Are My Sunshine”. Also of note is just a few sections before the Dies irae quotation, the idée fixe from the Symphonie Fantastique is parodied. The quote that opens the 4th movement is the first theme from Brahms' 2nd symphony, which shares the same intervallic relationships as the 4-note dies irae theme...		audio
2022-06	Schickele, Peter (PDQ Bach)	The Short-Tempered Clavier mvt viii	1993	Definitely quoted	The fugue's subject is the Hearse Song (aka The Worms Crawl In), and it closes with a Dies Irae quote and then a Chopin funeral march quote!		audio
2022-08	Schirlé, Auguste	Messe de Requiem	1918	Definitely quoted	Short first opus work for organ. First published in 1922 by Deiss et Crepin, re-edited and published in 2020 by Salabert. I'll be honest, the new edition is not great, I'd be curious to see the first one. Anyways, the Dies Irae is short, and it opens with repeated clear allusions to the dies irae (the first phrase, but the first note transposed down a minor third).	score
2022-06	Schmidt, William	Tuba Mirum: Variations on a Gregorian Chant		Definitely quoted			audio
2022-09	Schneider, Enjott	Toccata & Vision	2021	Definitely quoted	Work for organ, subtitled "after the apocalypse". The first movement is built around the first phrase of the dies irae.		audio
2022-06	Schnittke, Alfred	Symphony No. 1	1974	Definitely quoted	Final movement - Lento allegro. Much like the bombed church Schnittke had seen rebuilt with fragments of the old cemented into the walls of the new 'without concern for stylistic unity', his amazing Symphony No. 1 includes 'left-over bits and pieces' by composers he lists as Beethoven, Chopin, Strauss, Grieg, Tchaikovsky, the Dies irae, Gregorian chant and Haydn - 'the missing areas being filled in with new material'. Also mentioned in Versekënaitë. Amazingly hinted at in timpani fluorishes early in the movement. Explicit quotations start at marker 40. This dissertation asserts that Dies Irae pervades the piece, subjecting to 12-tone series techniques... https://open.library.ubc.ca/media/stream/pdf/831/1.0100526/1	score	audio
2022-06	Schnittke, Alfred	Faust Cantata	1983	Maybe	In movement V (Ach, mein Herr Fauste…), at marker 51 (which only lasts four measures) there is a descending passage that sounds quite a bit like the dies irae. It is a setting of the lines "Wiewohl ich dem Teufel den Leib muss lassen, so wolltest doch die Seele erhalten (Even if I have to cede my body to the devil, You might wish to keep my soul)". This work later became the 3rd act of Schnittke's opera Historia von D. Johann Fausten - not based on Goethe but on the work originally published by Spies in 1587.	score	audio
2022-06	Schoenberg, Arnold	Variations on a Recitative, op. 40	1940	Maybe	A possibly surprising late work from Schoenberg, for solo organ. 4-note Dies Irae motif is quoted (in accented notation) by the pedals in measure 131, in the final build-up to the cadenza. I'm not sure why it's there, it's unexpected.	score	audio
2022-06	Schuller, Gunther	The Past Is In The Present	1994	Definitely quoted	Written to celebrate the centenary of the Cincnatti Symphony Orchestra (where Schuller got his start as professional horn player). According to composer: "part requiem, part jubilation… it expresses a generally tranquil, reflective mood, a mixture of happy Cincinnati memories and feelings of profound loss... The more jubilant third movement, a combination Tuba mirum and Libera me, incarnating the text 'Deliver me, O Lord, from eternal death,' is set forth initially in the brass instruments. A variant of the famous Dies irae chant, so beloved of Rachmaninoff and Liszt, also enters the thematic fray. Over a climactic percussive episode -- a collision of duple and triple rhythms -- the music gradually subsides, to relax to an ethereal calm, a distant bass drum rumble the only reminder of the earlier solemnity."		audio
2022-11	Schultheis, Steven Arthur	Variations on Dies Irae: for chamber orchestra	1980	Definitely quoted	Master of Music dissertation composition from UW Madison. After an orchestral introduction, the brass open with the dies irae quotation in a section marked 'al niente'.	excerpt
2022-06	Schurmann, Gerard	Piano Quartet No. 1: II. Capriccio	1986	Maybe	The composer describes this movement "like an extended, relentless Dies Irae". Never quoted note-for-note, but the definitely close and recognizable.		audio
2022-06	Schwantner, Joseph	Dream Drapery (Thoreau Songs): V. Hymn for Bruce (Dies Irae)		Definitely quoted			audio
2022-06	Sculthorpe, Peter	Memento Mori	1993	Definitely quoted	The composer's notes: "It seems that on Easter Island, at the beginning of the seventeenth century, there was a population explosion. The inhabitants stripped the island of trees, causing soil erosion and depriving themselves of building materials for boats and housing. Retreating to caves, clans fought each other, and finally there was enslavement and cannibalization. By the time the first Europeans arrived, in 1722, the survivors had even forgotten the significance of the great stone heads that still stand there. Easter Island is a memento mori (literally, ‘remember to die’) for this planet. The concern of this work, therefore, is not with what happened to the inhabitants of Easter Island, but with what could happen to all of us, with what could happen to the human race. Much of the music, then, is dominated by the oscillation of the pitches G and A flat, which the astronomer Kepler, a contemporary of Shakespeare, believed to be the sound of the planet Earth. I have also used part of the plainchant Dies Irae, from the Latin Requiem Mass. Memento Mori is a straightforward work, in one movement. Following an introduction, two statements of the plainchant lead into music of lamentation, music based upon the Kepler premise. Two further statements of the plainchant lead to the climax; and this is followed by music of regret, and the offering of the possibility of salvation. It might be added that both the time signature and tempo are constant throughout, in keeping with the slowly-unfolding nature of the music." First entrance at marker 3 in violin.	score
2022-06	Sculthorpe, Peter	Requiem	2004	Definitely quoted	Geoffrey Norris review of 2004 Lichfield Festival mentions the requiem draws on the latin text and weaves in the plainchant. At the beginning of IV Sequence, tune played in its entirety once by organ before chorus begins with an original setting.	score	audio
2022-06	Sekles, Bernhard	Sonata for Violin and Piano, op. 44	1933	Maybe	Last movement Allegro Maestoso, introduces a theme that sounds quite like it's based on dies irae, even though it's turned into a dance. It's then put through a series of variations, all dance-like, some totentanz-like.		audio
2022-12	Semowich, Charles	Fantasie on Dies Irae	2002	Definitely quoted	Short work for carillon.	score
2022-06	Serebrier, José	Winterreise	1999	Definitely quoted	From Serebrier's notes to the Naxos recording: "From the start I felt that it contained the roots of a purely symphonic piece, a short impulsive utterance based on the same idea. When I was approached with the plan to do a recording of my music, I went back to that initiative, and produced a Winter's Journey, the title I gave it originally. To give it Schubert's title was daring, but in time the piece became Winterreise, like some people's names become them. In fact the piece quotes almost every composer but Schubert. Towards the climax of the piece, the first quotation is from Haydn ( Winter from The Seasons ), which has a mysterious ambience. Then a heroic quotation from Glazunov ( Winter from The Seasons ) in counterpoint with Tchaikovsky's First Symphony, "Winter Dreams". Eventually, all three tunes appear together. If one listens carefully, the Dies irae can also be heard towards the end, evolving naturally from the Haydn quotation. I did not imagine at the time that one day I would be recording Glazunov's entire ballet The Seasons, which I recently did. The piece is like a train ride, when one rides backwards and all images fly by slightly distorted, never to return. All the trees are covered with snow and the lakes are frozen. Icicles cling to the train's windows. There is no sky; everything seems blinding white."		audio
2022-08	Serry Jr., John	Rhapsody for Marimba "Night Rhapsody"	1979	Definitely quoted	Commissioned by Leigh Howard Stevens for his 1979 NYC Town Hall Debut concert. "In it, I have tried to tap all of the seemingly unlimited resources of Leigh's technique. Two motifs, one chromatic and the other modal, form the basis of the melodic material in the exposition. Additional motifs (including the thirteenth century Dies Irae) are then introduced and subsequently juxtaposed in the development section. A two-voiced choral in the left hand, pitted against a modified version of the main chromatic motif in the right hand eventually yield to a full four-voiced choral. This in turn leads to the recapitulation."		audio
2023-03	Sessler, Eric	Songs of the King	1995	Definitely quoted	Work for choir and orchestra inspired by Arthurian legends. Multiple repeated trumpet stingers of the dies irae. I think this was recorded and released and played by Orchestra 2001 in Philadelphia.		audio
2022-06	Séverac, Déodat de	En Languedoc: Coin de cimetiere au printemps	1904	Definitely quoted	Hinted at throughout. But outright quotations start at section marked "le chant doucement marque, comme des cloches lointaines." (the chant quietly pronounced, like distant bells)	score	audio
2022-06	Sgambati	Requiem	1895	Definitely quoted	Friend and pupil of Liszt. Invoked throughout in the orchestration of the Dies Irae and Tuba Mirum (but not sung). The Confutatis' melody might even be seen as a rhythmic and intervallic adaptation of the four-note theme.	score	audio
2022-09	Sheldon, Robert	A Longford Legend	1996	Definitely quoted	A work for concert band. From the Alfred score's program notes: "A Longford Legend op. 58 was commissioned by the Normal Community West High School Band, Normal, Illinois, Lisa Preston, director. The piece was written in 1996 and premiered in April of that year with the composer conducting. It is based on the composer’s impressions of three poems found in a collection of 18-century Irish ballades, and is written as a tribute to the wonderful music of Grainger, Holst and Vaughan Williams." There's an outburst of dies irae first phrase in the low brass midway through the third movement Kellyburn Brae (a Burns poem about a man who entreats the devil to take his wife away, only for the devil to return her for being too hot for hell).	score	audio
2022-06	Shostakovich, Dmitri	Hamlet Suite Op. 32a	1932	Definitely quoted	Op 32 scene V, requiem. Clearly played by horns.		audio
2022-06	Shostakovich, Dmitri	String Quartet No. 8 op. 110	1960	Definitely quoted	At the very end of the 3rd movement, the solo first violin plays a quick quote from Tchaikovsky's 6th. The violin goes to play it again, but it quickly becomes a five-note quote of Dies Irae, and the last note is held as the 4th movement begins. It's repeated again 30 seconds into the 4th movement, before the main theme starts. Rudolf Barshai (conductor and friend to Shostakovich) has transcribed this work as a Chamber Symphony.	score	audio
2022-06	Shostakovich, Dmitri	"Five Days, Five Nights" Suite, op. 111a	1961	Definitely quoted	Section 2, "Dresden in Ruins"		audio
2022-06	Shostakovich, Dmitri	5 Romances: Discretion	1965	Definitely quoted	Song for bass/piano, based on nonsense texts published in the satirical magazine Krokodil. "A wisecrack about police brutality which moans gloomily around the Dies Irae" from Louis Blois. The first two phrases are directly quoted in piano accompaniment		audio
2022-06	Shostakovich, Dmitri	Symphony No 14 'Lyrics for death' / Dance of Death	1969	Definitely quoted	Shostakovich's attempt to be life-affirming, by scoring death as something "ugly and irredeemably negative". Inspired in part by his orchestration of Mussorgsky's Songs and Dances of Death (whose Trepak is on this list), which he felt treated death more correctly than some of the more 'noble' operatic treatments like Boris Godunov, Otello, Aida. Section 1, four-note quote introduced as a theme first by cellos and basses, later echoed by the basso solo and violins. Section X "The Poet's Death" brings the theme back.	score	audio
2022-06	Shostakovich, Dmitri	Aphorisms Op 13 No. 7 Danse Macabre		Definitely quoted	With the Aphorisms (1927) we encounter the young revolutionary who had turned his back on the precepts of his teachers at the Conservatoire. These pieces do not rely for their coherence or intelligiblity on traditional schematic princples (rhythmic, harmonic, tnal, periodic, etc); instead they are entirely through-composed, atonal or – as in Stravinsky – “white-note” pantonal, rhthmically free from meter (as in No. 2) or mechanically confined within it (as in No. 6). Linearity prevails in a counterpoint of two or more parts that interact regardless of the resultant dissonances. A good example of this is the extraordinary canon in three parts (No. 3) whose rhythmically fragmented, asymmetrical line unfolds in three entries on F#, C# and D respectively. At the end of the piece the three pitches are sounded togheter as an agfregate. The “Dance of Death” (No. 7) is a wildly mechanistic treatment of the Dies irae rapped out as a fast waltz on the white notes in Chopinesque cross-rhythmic figuration. It features a dissonant white-note chord cluster that he had already established itself as a motto in the “Seraenade” (No. 2) via a link with the opening “Recitative” ()No.1) – like some kind of joke at the expense of the Wagnerian leitmotif. It must be stressed, however, that these pieces are by no means academic/theoretical exercises in iconoclasm. The Romantic genre titles are certainly provocative in belying for the most part the character of each piece, but the music always works within its own set of parameters, and is by no means in denial of a vividly conceived piano sonority. – liner notes to ashkenazy shosta works by eric roseberry.		audio
2022-08	Shrude, Marilyn	Lacrimosa	2006	Definitely quoted	One of the rare pieces that only quotes the melody from the final Lacrimosa verse (see also the Antoine Reboulot piece on this list). This is a 10 minute piece for saxophone and piano, employs plenty of extended saxophone techniques and a host of quotations, including the funeral procession chant Subvenite Sancti Dei, the Lacrimosa verse from dies irae, some of Hofstadter's Q-sequence chords, and Messiaen's 3rd mode of limited transposition. For detailed analysis see https://iawm.org/wp-content/uploads/2021/07/Volume%2018%20Number%202%202012.pdf		audio
2022-06	Sibelius, Jean	Lemminkäinen suite - Lemminkäinen in Tuonela		Maybe	At this point in the legend, Lemminkainen is slain, dragged into the waters of death, and then brought back to life by his mother. All those tremolo strings are sawing out rapid figurations that occassionally sound like a quote. But just as often branch off into completely different directions. I don't buy it.	score	audio
2022-06	Simonds, Bruce	Dorian Prelude on "Dies Irae"	1930	Definitely quoted	Someone was selling the sheet music (from Oxford University Press, edited by Lynnwood Farnam, copyright 1930) on eBay, and they included the first two pages of the score. Easy to see the dies irae melody.	score	audio
2022-06	Sitsky, Larry	Fantasia No. 20 for solo Carillon, on "Dies Irae"	2010	Definitely quoted	Commissioned by Lyn Fuller for the Canberra Carillon. Manuscript score (with Lyn Fuller's performance notes) reproduced with permission by the composer.	score
2022-06	Skoryk, Myroslav	Violin Concerto No,.. 8 'Allusion to Chopin'	2011	Maybe	At 11:10, Skoryk briefly transcribes Chopin's A minor prelude for violin and bells. The four-note quotation returns in the violin cadenza that follows. Likely meant to symbolize Chopin's premature death. Perhaps worth noting that von Bulow nicknamed the A minor prelude "Presentiment of Death", almost certainly because of the dies irae allusion. So if you think the Chopin prelude is a definition quotation, then this one would have to be.		audio
2022-06	Slapin, Scott	South Hadley Mass	2018	Definitely quoted	Notes from the composer: I wrote The South Hadley Mass; A Short Requiem for the Dead Violist in 2018. Written for four violas, it contains four elements of the traditional mass: Introit (Requiem Aeternum), Dies Irae, Libera Me, and Lux Aeterna. At only twelve plus minutes, this is perhaps the quickest overview of the most universal elements of the traditional concert mass; it was my intention that the music be short enough that it could be performed at funerals and memorial concerts as well. Every violist has at least four viola-playing friends, and as far as I'm aware, until this piece, there has been no music written specifically for deceased *violists*. The Libera Me can be excerpted from the mass and performed alone. I composed this work in my home studio in... South Hadley, Mass.		audio
2022-06	Slonimsky, Sergei	Dramatic Song	1973	Maybe	Orchestral work from Sergei Slonimsky. So many themes sound like cousins to Dies Irae. And they are married with twelve-note themes. I suspect that these are instead Russian orthodox chants, melodies that snake around and are not that far removed from the Dies Irae melody, similar to Rachmaninoff's appropriation of similar themes (like the first theme to the 3rd concerto). Dedicated to Kiril Kondrashin. The audio here is from the 1980 Supraphon release conducted by Petr Vronsky.		audio
2022-07	Smirnov, Dmitri	Piano Trio No. 1, op. 23	1977	Definitely quoted	The last movement is Lento (Dies Irae Variations). Highly disguised, almost canonical treatment, in one late variation becomes much clearer in violin harmonics.	score	audio
2022-06	Snow, Francis	Fantasie on "Dies Irae"	1956	Definitely quoted	For organ.		audio
2022-06	Soltan, Vladimir	Symphony No. 2 "In memory of the Minsk Underground"	1983	Maybe	Several repeated 4-note cribs show up in accompaniment. In horn outburst at 12:00. Really close to being unmistakable quote. An online review refers to them as "veiled references"		audio
2022-06	Sorabji, Khaikosru	Music to "The Rider By Night"	1919	Maybe	featured as part of the dark introduction in the clarinets, bassoons, and brass instruments (bars 11-13), according to https://roberge.mus.ulaval.ca/srs/05-diesi.htm. No way to verify unless I buy the score.	score
2022-06	Sorabji, Khaikosru	Concerto for Piano and Orchestra III	1922	Maybe	According to https://roberge.mus.ulaval.ca/srs/05-diesi.htm, "The opening segment is heard in the woodwinds and strings playing the upper part in the first movement (p. 56). The words, albeit with a few oddities, are written between the systems of the violas and cellos."
2022-06	Sorabji, Khaikosru	Variazioni e fuga triplice sopra "Dies irae" per pianoforte	1926	Definitely quoted	Sorabji's first set of variations on the chant (Sequentia cyclica would come 22 years later), comprising 64 variations over 200 pages.	score
2022-06	Sorabji, Khaikosru	Sonata V (Opus archimagicum)	1935	Definitely quoted	Third section's Movement 8 "Preludio Corale sopra Dies Irae"		audio
2022-06	Sorabji, Khaikosru	Quaere reliqua hujus materiei inter secretiora	1940	Definitely quoted	from Michael Habermann: "a programmatic piece depicting sinister events and a horrific climax. It is based on a ghost story, Count Magnus, by M. R. James. Its numerous contrasts form an interpretive challegne. One of its themes bears resemblance to the Dies Irae, a powerful symbolic chant."		audio
2022-06	Sorabji, Khaikosru	St. Bertrand de Comminges: "He was laughing in the tower"	1941	Maybe	Supposedly a ghost story. In the chorale in the middle, it sounds like it's going to be a direct quote of the dies irae melody, but then swerves into what sounds like the Pachelbel canon.		audio
2022-06	Sorabji, Khaikosru	Sequentia cyclica super "Dies irae" ex Missa pro defunctis	1949	Definitely quoted	In a letter to MacDiarmid, Sorabji says "Five immense piano works have been completed, all of them as big or even bigger than Opus Clavicembalisticum… All these works are enormous. The Sequentia Cyclica, which I regard as [one of[ my most mature and important piano works, consists of twenty-seven movements each based on Dies Irae"		audio
2022-06	Sorabji, Khaikosru	Third Organ Symphony	1953	Maybe	According to the respected Sorabji Resource Site authored by Marc-Andre Roberge
2022-06	Sorabji, Khaikosru	Symphonic Variations for Piano and Orchestra	1956	Definitely quoted			audio
2022-06	Sorabji, Khaikosru	Toccata quarta	1967	Definitely quoted	Quoted in var. 53 of the Passacaglia, and more obviously at the beginning of the fifth movement "Intermezzo secondo. Of a neophyte and how the Balck Art was revealed to him". The audio link here is the fifth movement provided by pianist Florian Steininger, who preparing the first edition of this work (typesetting, editorial commentary, and hopefully a recording).		audio
2022-06	Sorabji, Khaikosru	Passeggiata arlecchinesca sopra un frammento di Busoni ("Rondo arlecchinesco")	1982	Definitely quoted	Pops up around 7:00 mark in attached link		audio
2022-07	Spătărelu, Vasile	Omagiu lui Picasso	1974	Definitely quoted	Picasso died in 1973… this is a work for chorus and scattered bells, and the dies irae runs throughout. Wish I knew what they were singing. There's an article called "Travelling through the Compositional Universe of Vasile Spătărelu" written by C. RADU-ȚAGA and L. TURTĂ-TIMOFTE, where they say about this work: "Captivated by modern painting, Vasile Spătărelu was an admirer of the renowned painter Pablo Picasso. The choral poem Omagiu lui Picasso (1974) was composed after Picasso`s two cubist paintings – Guernica and The Ladies of Avignon. The famous sequence Dies irae is transformed by the composer into a basso ostinato of a small passacaglia, that is written in a neo-renascentist way. The profound substratum of the poetical text guides Vasile Spătărelu to elect for quoting a purely diatonic song with religious connotations, because any matter is subject to the passage of the time and the enlightenment of the being can only be achieved through sacrifice, through suffering." I think something is lost in translation here.		audio
2022-06	Splodinate on Musescore	Dies Irae Variations for Bassoon Quartet	2019	Definitely quoted		score	audio
2022-06	Staff, Michael	Variations on Gounod's Marche funebre d'une Marionnette	2018	Definitely quoted	Tritone-heavy theme and variations, 4-note Dies Irae quotations anchor the coda		audio
2022-06	Stanford, Charles Villiers	Six Occassional Preludes op. 182: 4. Requiem	1921	Definitely quoted			audio
2022-09	Stephens, Ian	A Wailing on the Wind, for string quartet and storyteller	2013	Definitely quoted	Four note quotations are plucked in the cello at the section when Sean's ghost returns to the dance that Bridie attends, around the 15:00 mark in the recording (Marker 32 / measure 278 in the score).	score	audio
2023-03	Stephenson, Jim	New Year's Fanfare	1999	Definitely quoted	A short 3-minute orchestral fanfare commissioned by the Naples Philharmonic, premiered Dec 31 1999 by conductor Erich Kunzel. A single rapid brass quotation at the 0:52 mark, extremely Rachmaninoffian quote.	score	audio
2022-06	Stevens, Bernard	The Shadow of the Glen, op. 50	1979	Definitely quoted	One-act opera with libretto by J. M. Synge. Composed after Stevens' terminal cancer diagnosis. Dies irae melody is everywhere in this work. From Victor Carr Jr's review in classicstoday: "the opera tells the story of the dying Dan Burke who, in order to test his wife Nora’s fidelity, feigns his death. Given the loveless state of their marriage, it’s no surprise that when two rain-soaked travelers show up seeking shelter, Nora jumps at the chance to run away with Michael, the younger man. At this point, Dan “resurrects” himself and banishes Nora from the house. She leaves, but with the older traveler (Tramp), and not Michael, who stays to drink whisky with Dan."		audio
2022-06	Stevenson, Ronald	Passacaglia on DSCH	1963	Definitely quoted	The penultimate movement is a triple fugue. The entrance of the 3rd subject Dies Irae is marked 'In memoriam the six million'. This might be the only fugal treatment on the list?		audio
2022-06	Stevenson, Ronald	Crowdieknowe		Definitely quoted	Oh, this is a very fun one. Stevenson transcription of a Francis George Scott song. With awesome embellishments including double Dies Irae quotations - Verdi's and the plainchant's		audio
2022-06	Strauss, Richard	Till Eulenspiegel		Maybe	The extra-musical elements are there. I'm no longer as convinced of Strauss using the 4-note motif as a Dies Irae quote as I used to. (At the point of Eulenspiegel's hanging, marked "kläglich" (wretched) in the score)		audio
2022-06	Stravinsky, Igor	Three Pieces for String Quartet	1914	Maybe	The 'tutti sul tasto' sections, which constitute a majority of the third piece, read like a languid fantasia on the DI motif.
2022-06	Stravinsky, Igor	Histoire du Soldat	1918	Maybe	In "A Little Concert", that repeated fanfare that the cornet opens with (and pervades the whole piece) might be considered a highly distorted DI quote. And then at marker 13, the cornet plays a version (quickly echoed by clarnet and bassoon) of this turn that is simplified and sounds even more like a DI quote. This theme is also referred to in the proceeding Tango movement. l'Histoire du Soldat is a Faust story... but I'm not sure if this is a good enough quote for my ears.	score	audio
2022-06	Stravinsky, Igor	Octet for Wind Instruments	1923	Maybe	In the "rubans des gammes" that buffer each of the variations of the 2nd movement, pretty easy to hear the brass play something that sounds so close to Dies Irae while the woodwinds play their scales. I'm not convinced it's a dies irae quote though, but it's really close, enough to put it on the maybe list
2022-08	Sturzenegger, Kurt	Tuba mirum spargens sonum	1997	Definitely quoted	Sturzenegger is a Swiss trombonist and composer. This is a piece for tuba solo. Dies irae makes its first explicit appearance in measure 29, in pianissimo, marked "come di lontano" (as if from far away) as the first two lines are played. It then asks the tubist to sing the dies irae over played pedal notes.	score
2022-06	Sundstrom, Ania	ONI	2019	Definitely quoted	For solo clarinet, written for Kyle Rowan (with whom she plays in Figmentum). Rowan's notes: "ONI (meaning “they/them” in Polish) is a solemn lament for clarinet solo. A great deal of the material is derived from the melody of the Dies Irae, distorted with a few quartertones. A simultaneously countermelody results from the undertone pair for each upper note, with the soft dynamic, slow tempo, and microtonal melodies combining for a haunting atmosphere. The interstitial material introduces some ascending flourishes and sudden outbursts of forte amidst the otherwise quiet material. The final element of the piece are a pair of extremely quiet, extremely high harmonics. From a pedagogical perspective, this piece is an excellent starting point for developing the flexibility of voicing and endurance required for extended multiphonic passages on relatively easy to produce dyads. With the exception of the high harmonics, the range is reasonable throughout, and the piece does not require any virtuosic technique."		audio
2022-06	Svetlanov, Yevgeny	"Kalina Krasnaya" Symphonic Poem	1975	Maybe	Kalina Krasnaya translates as The Red Guelder-Rose, or The Red Snowball Tree. Kicks off in earnest at section marked "скоро, вэволнованно" (fast, excitedly). Definitely very similar. Repeats the first note to make a five-note quotation, and then agitatos its way from there. I'm not entirely convinced. Can anyone provide more context?	score	audio
2022-06	Swann, Donald	Senex	1963	Definitely quoted	Dies irae forms the basis of accompaniment for this Betjeman setting (of an old man ogling young sporting women)		audio
2022-06	Swann, Donald	Requiem for the Living: 3. Dies Irae		Definitely quoted	This setting of C Day-Lewis has what comes super close to dies irae quotes in rapid off-beat accompaniment fills in the "Dies Irae" section (sometimes simultaneously with much slower four-note quote). This whole work is an interesting light-hearted take.		audio
2022-06	Szathmáry, Zsigmond	DIES IRAE for Organ and Percussion	2015	Definitely quoted	You can see in Barenreiter's score samples, it's in the inner voice of organ at section marked Dies irae, in the original Dorian	score
2022-06	Tabakov, Emil	Concerto for Piano & Orchestra	2003	Maybe	The rollicking and martial third movement has a second theme in the orchestra that sounds so close to being a conscious riff on dies irae. And it's developed so well, exploding with fury at the climax. From liner notes: "His Piano Concerto was commissioned by Ankara’s Rotary Club to celebrate the 2200th Anniversary of the Turkish Army, whose first company is said to be founded in year 209 BCE far away in the Mongol Steppes by the Xiongnu, a forefather to Hunnic and Mongol peoples as well. The music is filled with martial melodies and powerful rhythms that evoke the might and power of the Ottoman and Turkish armies which once whipped all the nations across the Middle East and the Balkans, and created terror among their Western neighbors."
2022-06	Tachezi, Herbert	Fantasia sopra Sequentia 'Dies Irae'	1985	Definitely quoted	for organ	score
2022-06	Takacs, Jeno	Le Tombeau de Franz Liszt, op. 100	1979	Definitely quoted	In the 2nd part, Dies Irae	score	audio
2022-06	Tarlow, Karen	Kavanah (Remembrance)	1995	Definitely quoted	Orchestral work that intersperses the dies irae melody with yiddish melodies. Reminiscent of Mahler		audio
2022-06	Tchaikovsky, Peter	6 Songs Op 16 No 6 'Modern Greek Song'	1872	Definitely quoted	Of particular note, in the manuscript this song is called В темном аде (in dark hell). Rachmaninoff was surely familiar with this piece; he eventually transcriped No. 1 (lullaby) for solo piano.		audio
2022-06	Tchaikovsky, Peter	6 pieces on a single theme, op. 21	1873	Definitely quoted	No. 4 "Marche funebre", Dies Irae rears its head in the octave-heavy climax, and then 'wins' at the subdued ending.	score	audio
2022-06	Tchaikovsky, Peter	Grand Sonata, op. 37	1878	Maybe	The first movement's 2nd theme is a Rachmaninoffian quote of Dies Irae. That is to say, the theme shares an intervallic similarity with the beginning of the plainchant, but isn't used as a symbol. In fact, I wonder why I didn't consider this piece as an influence on Rachmaninoff when I wrote my earlier paper.		audio
2022-06	Tchaikovsky, Peter	Orchestral Suite #3	1884	Definitely quoted	Outburst in the last movement's 4th variation. A transcription for piano exists by Max (Maximilian Karlovich) Lippold, recorded by Anthony Goldstone.	score	audio
2022-06	Tchaikovsky, Peter	Manfred Symphony	1885	Definitely quoted	Tchaikovsky composed this symphony based on the Byron’s Manfred at the urgings of Balakirev. The introduction to the finale, Allegro con fuoco, reads “The subterranean palace of Arimanes. Manfred appears in the midst of a bacchanale. Invocation of the phantom of Astarte. She predicts the end of his earthly misery. Manfred's death.” The symphony seems headed for a furious finale borrowed from the epic first movement, until it is interrupted: Tchaikovsky had followed Balakirev’s suggestion that Manfred’s death should be scored with organ. In the final ff largo passages with the organ, Manfred’s lasts gasps are underscored by the Dies irae melody. In fact, the exact point of his death is likely in the second phrase of the tune which isn’t completed but rests on the F# chord. The as the symphony ebbs away after these measures, the basses pick up the Dies irae from the organ. They start with a six-note repeated phrase which quickly disintegrates to the final minor-third interval finishing on the final B.	score	audio
2022-06	Tchaikovsky, Peter	Symphony #5	1888	Maybe	The fourth movement's allegro vivace (alla breve) theme is reminiscent of the dies irae, and some of its developments later in the movement are even more reminiscent.
2022-06	Thibodeau, Norman	Slippery Slope	2020	Definitely quoted	Solo flute piece exploiting Robert Dick's Glissando Headjoint		audio
2022-06	Ticheli, Frank	Vesuvius	1999	Definitely quoted	For band. Mr. Tivelli relates the following about his composition: “Mt. Vesuvius, the volcano that destroyed Pompeii in A.D. 79, is an icon of power and energy in this work. Originally, I had in mind a wild and passionate dance such as might have been performed at an ancient Roman Bacchanalia. During the compositional process, I began to envision something more explosive and fiery. With its driving rhythms, exotic modes, and quotations from the Dies Irae from the medieval Requiem Mass, it became evident that the Bacchanalia I was writing could represent a dance from the final days of the doomed city of Pompeii.”	score	audio
2022-07	Tomasi, Henri	Les noces de cendres	1954	Definitely quoted	Originally a ballet written in begun in 1954 based on a text by Hubert Devillez (with whom Tomasi had a close working relationship). Premiered by the Grand Theatre de Strasbourg on January 19 1954, was reworked as an orchestral suite (Premiered in 1954 in Mulhouse), and also in piano reduction. The suite pulls the following five movements from the ballets score: Retour des combatants, Danse triste, Scherzo fantastique (La guerre), Plainte funebre, and La jeune fille et la mort. It tells the story of soldiers and families reuniting after a war; and a young woman Lenore who is driven mad by the atrocities. For a wonderful overview of the work presented as part of Tomasi colloquium, see https://www.youtube.com/watch?v=203aP_dJpW4 The only commercial recording is of the symphonic suite, but only three movements are recorded (Danse triste and Plainte Funebre are missing). Dies Irae is plainly heard in La Jeune Fille et la Mort.		audio
2022-06	Tommaso, Bruno	Dies Irae	1989	Definitely quoted	Jazz suite in 3 movements written for the Marche Jazz Orchestra. Released on vinyl by Philology in 1989. Dies irae basically appears in almost canon form in an extended coda to the 3rd/final movement (see marker E marked Andante in the score). First played by horns and piano, but taken up by the entire orchestra, and all three phrases are quoted. The score and recording here are reproduced with permission by Bruno Tomasso.	score	audio https://www.youtube.com/watch?v=ZMoxF2XhVCc
2022-06	Top, Edward	String Quartet	1998	Definitely quoted	Winner of University of Illinois' Salvatore Martirano Memorial Composition Award in 2003. A single accented ritenuto first-strophe quotation is made in Measure 9. From the composer's notes: "This composition is inspired by the haunting poetic beauty of panoramas of sinful mankind depicted by Dutch artist Hiëronymus Bosch. In his paintings about the Last Judgements, the depiction of Heaven only takes about five percent of the paintings' total space, the rest is left for Hell. n those 95 percent of space the artist has total freedom to use his imagination to show the horrors of Hell. The terrors of all sorts of disgusting creatures torturing the "fallen men" are shown in an uncensored version to the audience. In his painting The Garden of Delights (ca. 1500) he must have unconsciously been so enraptured by the sensuous appeal of the flesh that the images he coined tend to celebrate what they are meant to condemn. It interests me how in general the evil in existence, the morbidity and wickedness, speaks more to the human imagination than the good. This stringquartet is composed without any before made plans about structure, form, pitches or whatever parameter. It is written rücksichtslos in an angry-chromatic style. With the sound as a result of mathematic models and systems of Modernism between the ears, the monsters come crawling through the pencil to the five lines on paper. Two years before the final version this resulted in a twenty-minutes piece without a head or tail (actually some of Bosch' monsters don't have this either) with which I was not satisfied; it had no form and so I thought it didn't make sense. Later the piece was cut into short phrases and gestes which were restructured and new material in the same style was added. The final version of the quartet is built up by over thirty fragments of different sizes (three seconds to half a minute) and characteristics although most of them are agressive and angry characters. Duration of the work is ca 16 minutes. - EDWARD TOP"	score	audio
2022-06	Tornatore, Sergio	Fantasia Gregoriana	2007	Definitely quoted	Orchestral piece by Sergio Tornatore that takes its cue from two important Gregorian themes: Victimae paschali laudes and Dies irae. Performance of the "2007 Final Accordion Orchestra"		audio
2022-06	Torres, Georgina Sanchez	DIES IRAE Cello Variations	2018	Definitely quoted	A frenetic set of variations on the dies irae for solo cello. http://georginasancheztorres.com/		audio
2022-06	Trifonov, Daniil	Rachmaniana	2010	Definitely quoted	Highly adapted for this Rachmaninoff tribute, but unmistakeable.		audio
2022-06	Trotta, Michael John	Requiem	2020	Definitely quoted	for unaccompanied SATB. The Dies Irae is obiously quoted throughout. And the score is notated by the composer as "quoting DIES IRAE". https://www.mjtrotta.com/music-catalog/sheet-music/satb-unaccompanied/dies-irae/	score	audio
2022-06	Tubin, Eduard	Symphony No. 3 "Heroic"		Maybe			audio
2022-06	Tucker, Sondra K	Grace All-Sufficient	2017	Definitely quoted	Written in response to Hurricane Harvey. Another (along with Helman) for handbells.	score	audio
2022-06	Ucakar, Dejan	Bojevniki (Warriors)		Definitely quoted	Composer's notes: "Here is the story (with measures): 1-40-intro and first battle…40-64-first fallen…64-9-church bells and distant battle follow the general in half destroyed jeep as he surveys the damage…79-98-as they take away the dead, grenades fall closer and closer…98-146-final and decisive battle…146-163-bells prepare us for sequence "dies irae" for all the fallen…163-173- modulated dies irae prepares joy of final victory…173-215-fanfares celebrate victory, but bells and drums in the distance remind us that there are always battles to be fought"	score
2022-06	Udow, Michael	The Charm	2005	Definitely quoted	A theatrical work inspired by seeing Jonathan Haas' "Monster drum", a 6-foot diameter bass timpano drum, reimagined as the cauldron around which the Macbeth witches incantate. for tubular bells, "monster drum", and three witches reciting Shakespeare. In measure 82 (the measure just before rehearsal mark L, 5:50 in attached recording), the single 8-note phrase is quoted in tubular bells.		audio
2022-06	Ustvolskaya, Galina	Second Composition 'Dies Irae'	1973	Definitely quoted	Not directly quoted, only quoted in transformation. Sometimes called Composition II. for eight double basses, plywood cube, and piano. See http://ustvolskaya.org/eng/precision.php#cube for interesting discussion of the custom cube. No direct quoting, but Webern Piano Variations-style mixing of short fragments. Has a 'sfffff' dynamic marking!		audio
2022-06	Vagnini, Stefano	Sweet Dies Irae!	2005	Definitely quoted	A suite (sweet) for organ composed with Vagnini's Modular Music method. A suite of dances: Fantasia, Waltz, Fandango, Bolero, Cake-Walk and Final, each built on the dies irae theme, the Final is a quodlibet of other composers. Quoted throughout, but especially strongly quoted in the first movement "Fantasia"	score
2022-06	Vagnini, Stefano	Dies Irae		Definitely quoted	Short piece for brass orchestra based on dies irae	score
2022-06	van Schie, Tjako	Quattuor Diabolica: Part 1 Dies Irae	2006	Definitely quoted	For saxophone, violin, cello, and piano. After the furioso opening fluorish by saxophone, launches into a section where the first phrase is bounced around all the instruments in various stages of diminution.	score
2022-06	van Schie, Tjako	Dies Irae	2014	Definitely quoted	First quoted in inversion at measure 17, before sung normally in measure 22. Only sung a few times, before the text's melody splits off into other tunes.	score	audio
2022-06	Vaughan Williams, Ralph	Five Tudor Portraits No. 4 'Jane Scroop	1935	Definitely quoted	Vaughan Williams sets Tudor poet John Skelton's poem Philip Sparrow to music. In this piece, Jane Scroop is in church, mourning the loss of her pet sparrow. She imagines a Bird Mass as a funeral service conducted by Philip's avian fellows. As funeral procession begins, it is gently shared between orchestra and chorus. Later, as birds congregate for the last rites and the chorus intone the words, “And Robin Redbreast, he shall be the priest, the requiem mass to sing,” the tune creeps in quietly in the bass, while soft twitterings sound above		audio
2022-06	Verheul, Maurice	Nocturne No. 14		Definitely quoted	The melody of all 3 strophes is quoted, starting on page 64 near the end. Continually requoted from here towards the end.	score
2022-06	Vierne, Louis	Pièces de fantasie: Requiem Aeternam (Op. 51 No. 5)	1926	Definitely quoted	This one is odd - it's never quoted outright, but it snakes so close to it that it's undeniable.		audio
2022-06	Vlad, Roman	Invettive Ed Invocazioni Sul Dies Irae		Definitely quoted		score
2022-06	von Horn, Ero	Dies Ero, Study in A		Definitely quoted	The humorously titled last movement of a sketched piano sonata. At various points hinted at, and totally declared.		audio
2022-06	Wallach, Joelle	Organal Voices	1983	Definitely quoted	For vibraphone and bassoon. https://joellewallach.com/composition/organal-voices/	score	audio
2023-03	Wallen, Errollyn	Horseplay	1998	Definitely quoted	An orchestral suite dedicated to Judy Theophanous that Tom Sapsford turned into a ballet for the Royal Ballet. The coda of the first movement Dark and Mysterious opens with a super low quote on the bass clarinet		audio
2023-03	Wang, Ziyu	Suite for Organ: II. Waltz	2021	Definitely quoted	Suite for solo organ, commissioned for AGO's 2021 student commissioning project. "The second movement is a dance of absurdity. Variations of the Dies Irae motif support the entire waltz."	score	audio
2022-06	Warren, Shirley Hoffman	Irae Variae	2003	Definitely quoted	From the composer's notes: "“Irae Variae” is a suite of variations for oboe, cello and piano, based on the “Dies Irae” sequence for the Requiem mass, written in the 13th century and attributed to Thomas of Celano, an early disciple of St. Francis of Assisi. The entire melody of the original sequence (with none of the repeats) is first presented in “Dies Irae Prelude” by the oboe, sparsely accompanied by arpeggiated piano chords. In “Waltz,” the cello and piano play the first three segments of the sequence, rewritten as a stately waltz. In the repeat section, the oboe plays the entire sequence, over the original statement by cello and piano. In “The Devil’s Chord” (so called because of the insistent use of the tritone – long considered to be an ‘evil’ interval – by the piano), the oboe again plays the entire sequence, this time in agitated 6/8 – 3/4. The piano and cello quote occasional fragments from the sequence, but play mostly unrelated accompaniment. The final section, “Blue Irae,” is a blues-inspired variation on the third segment of the sequence."		audio
2022-06	Waterhouse, Graham	Rhapsodie Macabre	2011	Definitely quoted	an homage to Franz Liszt. First performed at a Liszt festival in Gasteig, for piano and string quartet. In one movement. The Dies irae is referenced throughout, lyrically and satirically, directly and indirectly. https://www.arbc.de/Waterhouse/rhapsodiemacabre.htm		audio
2022-07	Weill, Kurt	1. Satz (Andante con moto) des Konzerts für Violine und Blasorchester op. 12 (1924)	1924	Maybe	At measure 47, at the section marked 'un poco piu andante', there is a motif that appears that seems like it's heavily dies irae inspired. All the critical notes seem to think so; Elmar Jochum in his notes for Universal Edition goes so far as to suggest the quote exists due to the death of Weill's teacher Busoni during the time of composition.	score	audio
2022-07	Weinberg, Mieczysław	Symphony #17 op. 137: 2nd movement allegro molto	1984	Maybe	2nd movement is full of four-note quotations. The symphony is dedicated "in memory of the fallen in the Great Patriotic War". Purely orchestral work, but has an epigraph by Anna Akhmatova.		https://www.youtube.com/watch?v=XBLUaea1OuA&t=593s
2022-08	Weisgall, Hugo	Six Characters in Search of an Author	1956	Definitely quoted	A brief quotation in the orchestration in the 3rd act, presumably either when the Girl drowns, or the Boy shoots himself. Around 34 minutes into the 3rd act. Based on the Pirandello play. New World Records has recorded the opera, from early 1990s Chicago Lyric Theater production.		audio
2022-08	Welmers, Jan	Running	2002	Definitely quoted	A work for organ and violin. Commissioned by the Amsterdams Fonds voor de Kunst, for the "Before The Wind" festivan. Dedicated to violinist Janine Jansen and her father organist Jan Jansen. Midway through there's a miniature requiem starting at measure 100. It opens with a brief Dies Irae section for organ alone where the first phrase of the melody is repeated twice on the pedals. There is a commercial recording, Orgelpark 015-2015 on an album called Merkstenen: Componistenportret, a 2-CD compilation of Welmers works.	score	audio
2022-06	Wheeler, Lawrence	9 Caprices for Solo Viola, No. 8 'Elegy'	1970	Definitely quoted	Composer's notes: "My Caprice No. 8, Elegy, is a virtual stream of consciousness. Allusions are made to Shostakovich's Symphony No. 5, Stravinsky's Elegy, Nielsen's Clarinet Concerto, Bloch's Suite for Viola and Orchestra and Schelomo, and the Ysaye Solo Violin Sonatas. Measure 33 quotes the 'Dies Irae.' In the final eight bars, the 'Dies Irae' remains unresolved, with an ending similar to Barber's Adagio for Strings."	score	audio
2022-06	Whitacre, Eric	Animal Crackers Vol 1, The Panther	2002	Definitely quoted	Ogden Nash settings. Whitacre himself admits to copping Dies Irae (https://ericwhitacre.com/blog/the-wilhelm-scream). Bits and pieces are there throughout. The actual over quotation is buried in the piano from 0:22 to 0:26 in the attached link.		audio
2022-06	White, Julian	Petite Suite with Requiem	1963	Definitely quoted	subtitled "for Piano and a Pianist with Imagination". White's program notes from a 1988 retrospective performance: “In February 1963, three students climbed through the rubble of a San Francisco cathedral that was ruined by fire. They found the bell which was still intact, rang it and were arrested. The story was in the evening edition of the San Francisco Chronicle. I wrote the Suite that very night and early next morning sent a copy to the students, the Pastor and the Judge. Next day the newspapers told the story of a courtroom hearing during which a piece of music was presented as evidence that all was a harmless high-spirited adventure and shouldn’t be taken seriously. The item was titled “Students Face the Music”. Pianist Cole Dalton further recollects: "I am one of the two pianists who performed with Julian at St. Johns Presbyterian in Berkeley September 23rd, 1988. He was my teacher from 1981 until 2006. Prelude: Church structure against night sky Scherzo: Climb up the tower and ring the bell Allegro :The Pastor (not trusting to a miracle) immediately calls Police Requiem: Jailed for trespassing, they will appear before Lazarus (Municipal Judge) Incidentally, the judges name really was Lazarus. Julian loved that." That judge was probably Leland Lazarus. The only time I could find that this work was performed publicly was 1988 at a career retrospective concert given by White and two of his students (reviewed by the Chronicle). It was recorded in White's self-released album (under Weisman Publishing) released on cassette in 1988 called "Julian White, Works for Solo Piano (1955-1987)".		audio
2022-07	Whithorne, Emerson	New York Days and Nights, op. 40: 2. Chimes of Saint Patrick's	1922	Definitely quoted	A small suite for piano. Whithorne's own program notes for this movement are: "The tumultuous chiming of bells high in the twin steeples; a great organ intoning the solemn Dies Irae; vivid patches of color stretching in rich patterns across the pavement of the nave, dropped down from high warm-hued windows. And always we hear the noble Gregorian chant, a Gothic column of melody reaching upward to support the mighty dome of sound of massive bells." Whithorne founded the League of Composers in 1923 when seceding from the ICQ, along with Leo Ornstein (from whom it wouldn't surprise me to find a dies irae quotation), and Lazare Saminsky (who I'm trying to confirm should be on this list for his Gagliardi on a Merry Plague).	https://imslp.org/wiki/New_York_Days_%26_Nights%2C_Op.40_(Whithorne%2C_Emerson)	audio
2022-08	Widmann, Jorg	Quintet	2006	Maybe	An early Widmann work for wind quartet (oboe, clarinet, horn, bassoon) and piano. Dedicated to Heinz Holliger, commissioned by the Orchesterakademie of the Berlin Philharmonic. Premiered November 10, 2006 in Berlin as part of the awarding of the Claudio Abbado aware to Widmann. Premiered by scholarship holders of the Orchesterakademie, and Majella Stockhausen on piano. A fairly complex work, with some use of extended wind techniques, and possibly programmatic. Most of the 18 movements lead into each other without pause. The short 7th movement is titled "Coda (mit Dies irae-Sequenz)". I've studied these 9 measures closely but can't find the melody anywhere... can you?	score
2022-07	Wilde, David	Cry, Bosnia-Herzegovina Suite: 1. Totentanz (Ethnic Cleansing)	1993	Definitely quoted	The last movement of this suite eventually became the the well-known piece "the cellist of sarajevo". The second theme of this first movement is an intriguingly disguised dies irae, as the winding melody winds its way through the four-note quotation.		audio
2023-03	Willcocks, Jonathan	From Darkness to Light: Darkness		Definitely quoted	A work for chorus and band and baritone solo that juxtaposes dies irae text and poetry written by Marine Ryland Baldwin at the height of the Korean war. The text setting does not quote the melody, but the work opens with a four-note quotation.	score	audio
2022-08	Williams, Evan	Lux Aeterna	2013	Definitely quoted	Work for brass quintet (arrangement for wind ensemble also exists). A fantasy on the lux aeterna Gregorian chant, which "even morphs into the familiar and fearful Dies Irae" motif, in the build-up to the central climax.	score for sale	audio
2022-06	Williams, John McLaughlin	2 Pieces for Solo Viola	2011?	Definitely quoted	The second piece, Toccata, is a frenetic rhapsody on dies irae, pitting the melody in diminution as it plays. Written for Eliesha Nelson, who released her recording on her Permutations album.		audio
2022-06	Williamson, Malcolm	Sonnet on hearing the dies irae in sistine chapel	1969	Definitely quoted	A short ethereal setting of Wilde's sonnet (Williamson's second Wilde setting, after The Happy Prince). In the sonnet, Wilde rejects the day of judgment as a day of fire and brimstone, instead asking for a naturally beautiful and pastoral event. The setting pits the lyrics in sopranos and altos over a nearly ostinato 7-note dies irae quote in tenors. The attached audio is from a live October 2016 performance by the Esoterics, reproduced with permission from Esoterics director Eric Banks.		audio
2022-06	Willscher, Andreas	Dies irae	2006	Definitely quoted	A brief organ meditation on the dies irae		audio
2022-09	Wilson, Mark Edwards	Three Songs: Portrait	1980	Definitely quoted	This short song introduces the dies irae as a jaunty dance in the piano; eventually the soprano takes it over too. From Alex Radcliffe's program notes to the Ravello Records RR8069 release: "Three Songs, on texts of E. E. Cummings, was written in 1980 especially for the internationally acclaimed soprano Phyllis Byrn-Julson. The first is a setting of the poem, Impression, which begins with images of dawn and the awakening of both the city and the poem’s speaker, who then dreams before a mirror. It concludes with all returning to sleep and the coming of the night. Similarly, the music of the first part of the song is mirrored in the conclusion. The second song, Portrait (Buffalo Bill’s defunct), deals with the mortality of man. The piano renders a jazzy, sardonic version of the Dies Irae from the mass for the dead, while the voice intones the text of the poem as if in plainchant. The final setting uses one of Cummings’s most famous poems, “in Just-spring”, and songs of childhood with the ironic voice of the adult."		audio
2022-06	Wolfson, David	Alleluia	2013	Definitely quoted	Some of the melodic content is based on the dies irae. Composer called this piece his "grumpy alleluia" privately.		audio
2022-06	Woods, Sherry	MARA: A Chamber Opera on Good and Evil	2016	Definitely quoted	From composer's website https://maraopera.org/ "Like many other composers before me, I have used the foreboding Latin Hymn Dies Irae (Day of Wrath) throughout the score, sometimes hidden within the harmony, at other times blatantly in the melody. Musical references can be as fleeting as a bit of motive referring to the Wicked Witch of the West from The Wizard of Oz to an inverted melody from Bizet’s Carmen. The calm instrumental pastorale in Act 1 becomes the underlying harmony for the impassioned, chaotic vocal trio that ends Act 1, Scene 2, reflecting the growing calm of Gotama versus the wrathful anger of Māra. Musical canons (melodies with one or more imitations) and even a fugue are found throughout Māra. What better response to Māra’s statement: “Let me attach myself to him like a shadow to its body, waiting for an opportunity to strike him down!” A funeral march in Act 2 sets the tone for the story’s outcome, and the opera ends with a tragic chorale sung by Ananda, Gotama’s loyal attendant."		audio
2022-09	Worthington, Rain	Walking on Wires	1997	Definitely quoted	for bassoon and string quartet/strings. Composer's notes: "An anxious lament for love lost. The emotional context begins from a point of sadness and feeling that there is no escape, then transmutes into edgy feelings of anger against the emotional pain. It takes musical inspiration from the plainsong, “Dies Irae”."	score
2022-06	Woyrsch, Felix	Passacaglia on the "Dies Irae", op. 62	1916	Definitely quoted	For solo organ, one of Woyrsch's few works for organ. He also (like Rachmaninoff) wrote a Boecklin inspired Isle of the Dead.		audio
2022-06	Wright, Andrew	Concerto for Solo Piano		Definitely quoted	The 'andante minacciosamente' movement is a Liszt Totentanz homage (Wright's youtube username is AlkanLiszt). From the composer's notes: "The third movement - the most highly pictorial and allusive of the three - begins with a violent iteration of the Dies Irae, a Latin hymn believed to originate from the 13th century AD, and which forms part of the Roman Catholic Requiem Mass. Quoting it has long been a favourite device of composers: Berlioz, Liszt and, in particular, Rachmaninov are amongst those who have famously referenced it. The opening phrase of this motif then descends into the bass of the keyboard, full of ominous foreboding, ushering in a cascade of thunder and rain. As this subsides, a cortege of praying monks pass through the scene, softly intoning the Dies Irae. As they fade away in despair, a violent storm breaks (the writing here has similarities to Liszt in the Dante Sonata and Vallée d'Obermann). There is some musical symbolism at work here, as the Dies Irae is being intermixed with a mutation of the first movement thematic material during the initial octave passages. As the storm subsides, bells are heard tolling in the deep bass. The Dies Irae re-emerges amongst a deafening cluster of interlocking octaves, the gates of Hell open and a menagerie of bizarre wild beasts and disembodied souls spill forth onto the Earth. As disorder prevails, conventional tonality breaks down and is supplanted by harmonies formed around the tritone - the interval known as diabolus in musica in mediaeval music. The symbolism is obvious. Amidst the carnage emerges a perverse - but based around the conventional tonal system - reharmonisation of the first four notes of the Dies Irae. The keyboard is then submerged under a torrent of augmented harmonies, before the Dies Irae is defiantly hammered out in alternate chords in the bass. As all seems lost, a harp cascade and an ascending motif (derived by inverting the descending motif from the first movement) lead into a transformative passage ending with the Tristan chord and its resolution, signifying redemption, and transitioning to a triumphal return of the "romantic" theme from the first movement, as the work ends in a blaze of glory."		audio
2022-06	Wu, Hsiu-Ping (Patrick)	The End of the Beginning	2020	Definitely quoted	A string quartet.		audio
2022-06	Xiao, Kitty	Novum	2016	Definitely quoted	For alto flute, violin, and piano. A work inspired by Jane Brown's photograph Bushfire Landscape II, Lake Mountain, Victoria, 2010. A literal rebirth from fire and brimstone, the quotes that keep appearing are more than a passing resemblance. They're also unusually optimistic quotes.		audio
2022-06	Yersiz, Melike	DiesIrase	2008	Definitely quoted	A very short harmonization exercise	score	audio
2022-06	Yohan, Ivan	Dies Irae		Definitely quoted	An acapella choral setting of the text and melody		audio
2022-09	Young, Jeffrey A.	Fantasy on the Dies Irae	2020	Definitely quoted	5-minute work for concert band, built entirely around the dies irae. First and most often heard by trumpets.	score
2022-06	Ysaye, Eugene	Violin Sonata #2 (Op 27 No 2 "Jacques Thibaud")	1923	Definitely quoted	Quoted extensively throughout, obsessively, even. At the end of the second movement Malincolia, he engraves it in breves, a typical medieval method of music notation. See this DMA dissertation from IU by Yeun Hae Michelle Lie in 2013: https://scholarworks.iu.edu/dspace/bitstream/handle/2022/15538/YeunHae%20Michelle%20Lie%20Thesis.pdf.txt;jsessionid=F66B2FF6758C73893B6C0D4A82A01718?sequence=3 Note also that Ronald Stevenson (also on this list for his DSCH Passacaglia) transcribed all of Ysaye's violin sonatas for piano in the early 1980s: https://www.youtube.com/watch?v=r5-B_VDqc7g Peter Møller has also transcribed for organ.		audio
2023-03	Yu, Julian	50 Chinese Folk Songs: Weeping Seven-Seven (Jiangsu)	2019	Definitely quoted	Brief setting for piano, where the dies irae offers a minimal counterpoint		https://www.youtube.com/watch?v=A4_EI9y72_Q
2022-09	Zālītis, Jānis	Mēnessērdzīgais (The Sleepwalker)	1913	Definitely quoted	A song about somnambulism, a not uncommon song theme (see Pierrot Lunaire from a year earlier). In the middle of the verse about falling off the roof, the piano interjects a 4-note dies irae quotation in a pause in the lyric: "I like to climb on roofs and to swing over towers in moonlight and stare at the stars with blind eyes. O, don't tlak to me during my walking: ti is so heavy to fall down from the roof and to leave the distant mist of stars." (translation by Julia Jonane in her review of Zalitis' vocal compositions), linked here.	score excerpt
2023-03	Zaninelli, Luigi	Sunset	2010	Definitely quoted	A work for band, commissioned by the WTAMU Band Camp Directors Band in memory of Marcia Ruth McEntyre Zoffuto. Bookended by almost saccharine high wind triple-meter quotes of the dies irae	score	audio
2022-07	Zavaro, Pascal	Violin Concerto	2021	Definitely quoted	Dedicated to and premiered by Julia Fischer in 2021. Composer's notes: "The Violin Concerto is written in homage to the work of Jean-Michel Basquiat, an ephemeral figure of contemporary painting (he died at the age of 28), and an eminent representative of a new style, close to graffiti and "street art", in the New York of the 1980s. In a number of his works one can discern a figure topped with a halo, but very deconstructed as if "shattered". This is the case of the four paintings cited here: Fallen Angel, Saint, Acque Pericolose, and Tar and Feathers. In order to highlight the presence of a "sacred paradox", variations on the theme of the Dies Irae can be discerned in most of the movements." First clearly discerned at 28:08 in violin solo in attached audio	score	audio
2022-06	Ziek, Gary	Concerto for Tuba	2011	Definitely quoted	Written for Alan Baer in January 2011, for his appearance with the Emporia State University Wind Ensemble. Composer's notes: "The work is in three movements, each reflecting different facets of the tuba as a solo instrument… this contemplative mood is abruptly shattered by the beginning of the 3rd movement, Riot! Dissonant pyramids of sound, based on the Dies Irae, set the stage for this movement, which can best be described as a five part "blues rondo". Driving rhythms and furious, challenging tuba lines are found throughout this movement. The soloist has a short cadenza, leading to a 12/8 feel and coda, bringing the piece to a rousing conclusion.		audio
2022-06	Zimmermann, Bernd Alois	Violin Concerto	1950	Definitely quoted	So says Audra Versekenaite. She includes an excerpt, where "dies irae" is written out. Middle movement - slowly played by horns while violins play their rows and trumpets ratatat.		audio
2022-06	Zimmermann, Bernd Alois	Die Soldaten	1964	Definitely quoted	in the Preludio, multiplication of dies irae canon		audio
2022-06	Zimmermann, Bernd Alois	Les Soupers de Pere Ubu	1968	Definitely quoted	A prime example of Zimmermann's collage style. A quotefest that is a tip of the hat to members of Berlin's Akademie der Kunst: Hans Scharoun, Boris Blacher, Joseph Ahrens (specifically quotes Joseph Ahrens' setting of the Dies Irae), Hans CheminPetit, Arthur Honegger (Symphonie liturgique, also on this list for its dies irae quotation, though that's not the section quoted), Ernst Pepping, Paul Dessau, Luigi Dallapiccola, and himself (quoting from Die Soldaten).	score	audio
2022-06	Zintl, Frank	String Quintet for Monika Lang: III. Threnos pro M L - Pssacaglia dolorosa	2009	Definitely quoted	First strophe melody quotations are bounced between 2nd violin and cello	score
2022-06	Zolotaryov, Vladislav	Accordion Sonata #3	1972	Definitely quoted	Quoted once in the middle voice in a frenetic outburst almost two minutes into the last movement.	score	audio
2022-09	Zubitsky, Vladimir	Dies Irae	1993	Definitely quoted	Medium-length fantasy for solo organ, published by Sikorski. Makes what looks like intense pedal demands. Paraphrases of the dies irae first phrase occurs twice, in parallel minor ninths, starting with rising major second instead of a falling minor second, each time heralded by syncopated minor eighths in the right hand. See the first allegro ritmato section in the attached score excerpt.	score
2022-06	Zweers, Bernard	Suite from 'Gibjsbrecht van Aemstel'	1892	Definitely quoted	There's a motif that runs throughout the work - announced at the very beginning. Oh, it's very closely related to Dies Irae, but needs more context before calling it a true quote/reference.		audio