Dies Irae

Pulsating rhythmic ostinatos, cluster harmonies, and soaring soprano lines are all present in this exciting a cappella concert work, possessing all the elements you’d expect from the composer of Veni, Veni Emmanuel. Based on the 13th century Dies Irae chant, the exciting minor texture contrasts driving rhythms and beautiful legato singing, while still remaining accessible. A perfect way to showcase your choir as a concert opener, closer, or for festival use.

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Dies iræ, dies illa
Solvet sæclum in favilla,
Teste David cum Sibylla.

Mors stupebit et natura,
Cum resurget creatura,
Judicanti responsura.

Recordare, Jesu pie,
Quod sum causa tuæ viæ:
Ne me perdas illa die.

Dies iræ, dies illa
Solvet sæclum in favilla,
Teste David cum Sibylla.

Day of wrath and doom impending.
David’s word with Sibyl’s blending,
Heaven and earth in ashes ending.

Death is struck, and nature quaking,
All creation is awaking,
To its Judge an answer making.

Think, kind Jesu! – my salvation
Caused Thy wondrous Incarnation;
Leave me not to reprobation.

Day of wrath and doom impending.
David’s word with Sibyl’s blending,
Heaven and earth in ashes ending.

Fueled by a passion to share new music that engages conductors, ensembles, and audiences alike, Michael John Trotta (b.1978) is fast becoming one of the most “exciting and prominent new composers of choral music.” Drawing on his experience as a conductor and clinician, he brings artistry and excellence within reach for thousands of musicians each year.

From Carnegie Hall to classrooms all over the world, Trotta’s unique blend of engaging and artistic music creates opportunities to experience new music and empowers individuals to realize their artistic potential. His engaging style fuses tradition and innovation to create moments of beauty that “effectively carry out a dialogue between the [music] and the modern listener.” (Choral Journal)

Prior to his work as a full-time composer, his experience as an educator at the elementary, middle school, high school, and university levels – as well as a church music director – infuses his works with “an intimate knowledge of the human voice” and a “rare sensitivity to the capabilities of a choral ensemble.” This, combined with his degrees in music education and a doctorate in choral conducting, have grounded his style in tradition, which blend with his modern sensibilities to “inform the thoughts and aspirations of the people and the time” (Choral Scholar) and to create “tender harmonies and a palette of glowing vocal and instrumental colors.” (Gramophone)  read more . . .

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