#Ira Aeterna

[human-antithesis]

Bloodoline, Reverence, Blut Aus Nord & Karras - Dissociated Human Junction (Split) [July 1st, 2007] Countries: Spain, France Genre: Black Metal

Lineup: Bloodoline: Ghoul Luyer - Vocals, Guitars, Bass J - Drums

Reverence: I. Luciferia - Vocals, Guitars, Keyboards, Programming Aym - Bass

Blut Aus Nord: Everything composed by Vindsval

Karras: Vindsval - Vocals, Lead Guitar N.O.X. - Vocals, Rhythm Guitar Ira Aeterna - Vocals, Bass

Tracklist:

Bloodoline - Voyage Till Death - 06:47

Bloodoline - Scorn - 02:58

Bloodoline - Kristallkrush - 03:06

Reverence - Inner Phaze - 06:47

Reverence - Sextasysm - 06:14

Blut Aus Nord - I - 03:02

Blut Aus Nord - II - 02:19

Blut Aus Nord - III - 03:40

Karras - Xenôglossy - 11:35

[mihai-florescu]

TSK these fandom nerds cant appreciate mozart🙄🙄 (im here because of ensemble stars. Leo Tsukinaga you will always be famous)

[black-arcana]

Simone Simons ➢ Aeterna

[Verse 1] Now the ending is in sight In my heart of hearts I know As I bleed my final starlight Life is born as i let go

[Pre-Chorus] From the moment we arrive Love endures, beyond our fleeting years (Mysteries of life) Unseen forces unite We are one On stardust we ride

[Chorus] Amor, ira aeterna Fulgor, fatum, incendium Sensus omnes profundi Universo coniuncti sunt

[Verse 2] I release my final breath As my atom split the skies Through the endless and forever I am еchoed in your eyes

[Pre-Chorus] Feel thе universe inside Dark and light living deep within our hearts (Duality of life) Ageless forces unite We are one In starlight we shine

[Chorus] Amor, ira aeterna Fulgor, fatum, incendium Sensus omnes profundi Universo coniuncti sunt

[Bridge] Illa - lux Illa - lux Illa - lux Specta - et Specta - et Illa - vis aeterna infinita Lux - vigot mundi in anima Illa - penetravit in spiritum Lux - perobscura sed illustrat Specta - praeterita et futurum Et - posterum est superius Specta - mentem nostram altissimam Et - indivisam in tempore Illa

[Pre-Chorus] From the moment we arrive Love endures, beyond our fleeting years (Mysteries of time) Unseen forces unite We are one On stardust we ride

[Chorus] Amor, ira aeterna Fulgor, fatum, incendium

[yume-fanfare]

sorry if youve already gotten an ask like this but are there any torikasa stories youd reccomend? clown crown and white brim for sure but what else :0? /genq

!!!!!!!!!! i answered something like this ages ago indeed but this is an excellent time to remake the list!

though i guess i could first add the disclaimer that they have a tendency to bring each other up in conversation, so sometimes the most random unrelated story will drop something about them that makes you go ?!?!??!?! so i can't really cover all of that here, just know that it happens.

in fact, clown crown is a good example of that hlkjhslkjdfhs it was a booklet released with the checkmate anime, a story where tsukasa Barely appears (much less tori) and yet the story had All Of That LOL

so, without further ado:

REQUIEM!!! it's a 46 chapter monster and a story that's Central to knights development but i swear it's worth it. extremely important, has the most on their backstory as well as a bunch of fun bickering. clown crown is kind of like an epilogue for it. you definitely should at Least read dies irae chapter 11, and im very fond of lux aeterna 12 as a counterpart of it too

noble game is the preamble to pretty mission and ties with things mentioned in clown crown, so it's definitely a must if you're fineP or at least interested in eichi/wtei. but it's also an established Classic for their bickering and one you might see mentioned around

first shrine visit, much like noble game, is also another bickering story that i'm really fond of. it also shows the softer side of their dynamic, it's nice

any and all idol stories where they're together is nice (and it's not a small number! there's tsukasa's 3rd idol story, our class trip in the future, even tori's fs2 4* lured by the fragrance of flowers was fun hskdjsds) but the b in class 1-b is The Best. unforgettable even if it's ancient hsdjkfhlskjhfs and the recently released the charm of cards was so cute i really really liked it hdkljhlsjkdfs AND at a much lesser known degree, there's the yuzuru sub story aristocrat and attendant, which isn't that directly torikasa but has Some Interesting Stuff in it i like it

the BIBLION scout is soooo funny. toris barely in it and yet. terribly fun i highly recommend it

aaaand that's about it for my recs i think! they're together in a bunch of others and have interesting passages here and there, but these are the most relevant i Think. i hope you enjoy them! <3 you can find most of the TLs in the masterlist that twilightmalachite on here made

[turangalila]

Orazio Vecchi (1550-1605) Missa Pro defunctis [Missarum senis et octonis vocibus. Liber primus. (Angelo Gardano, Venice, 1607.)]

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

– II. Kyrie.

– III. Graduale: Si ambulem. Si ambulem in medio umbrae mortis, non timebo mala: quoniam tu mecum es, Domine. Virga tua et baculus tuus, ipsa me consolata sunt.

– IV. Sequentia: Dies irae Dies iræ, dies illa, / Solvet sæclum in favilla, / Teste David cum Sibylla! / Quantus tremor est futurus, / quando iudex est venturus, / cuncta stricte discussurus! // Tuba mirum spargens sonum / per sepulcra regionum, / coget omnes ante thronum. / Mors stupebit et Natura, / cum resurget creatura, / iudicanti responsura. / Liber scriptus proferetur, / in quo totum continetur, / unde Mundus iudicetur. / Iudex ergo cum sedebit, / quidquid latet apparebit, / nil inultum remanebit. / Quid sum miser tunc dicturus? / Quem patronum rogaturus, / cum vix iustus sit securus? // Rex tremendæ maiestatis, / qui salvandos salvas gratis, / salva me, fons pietatis. // Recordare, Iesu pie, / quod sum causa tuæ viæ; / ne me perdas illa die. / Quærens me, sedisti lassus, / redemisti crucem passus, / tantus labor non sit cassus. / Iuste Iudex ultionis, /donum fac remissionis / ante diem rationis. // Ingemisco, tamquam reus, / culpa rubet vultus meus, / supplicanti parce Deus. / Qui Mariam absolvisti, / et latronem exaudisti, / mihi quoque spem dedisti. / Preces meæ non sunt dignæ, / sed tu bonus fac benigne, / ne perenni cremer igne. / Inter oves locum præsta, / et ab hædis me sequestra, / statuens in parte dextra. // Confutatis maledictis, / flammis acribus addictis, / voca me cum benedictis. / Oro supplex et acclinis, / cor contritum quasi cinis, / gere curam mei finis. // Lacrimosa dies illa, / qua resurget ex favilla / iudicandus homo reus. / Huic ergo parce, Deus. / Pie Iesu Domine, / dona eis requiem. // Amen.//

– V. Offertorium: Domine Jesu Christe Domine, Iesu Christe, Rex gloriae, / libera animas omnium fidelium defunctorum / de poenis inferni et de profundo lacu. / Libera eas de ore leonis, / ne absorbeat eas tartarus, / ne cadant in obscurum. / Sed signifer sanctus Michael / repraesentet eas in lucem sanctam, / quam olim Abrahae promisisti et semini ejus.

– VI. Sanctus

– VII. Agnus Dei

– VIII. Communio: Lux aeterna Lux aeterna luceat eis, Domine, / cum sanctis tuis in aeternum, / quia pius es. / Requiem aeternam dona eis, Domine, / et lux perpetua luceat eis: / Cum sanctis tuis in aeternum, quia pius es.

_

Orazio Vecchi – Requiem. Rubens's Funeral And The Antwerp Baroque. Graindelavoix. Björn Schmelzer (2017, Glossa – GCD P32113)

[starchild-always-dreaming]

Carmen Sanctum

O puer angoris, passio tua sancta.

Benedictus sis, quia tribulationes sustinuisti in terra, coronam vitae aeternae percepisti.

O sanctum, a deo amatus, nulla passio sine proposito.

Non oblitus es per eum qui caelum et maria qui ex infinito spatio ejicit astra.

O sacrum angelum, ira tua justa est, ira tua sancta est.

Et deus dat gratiam.

Tu es infernus, tu es dies iudicii, ignis sanctus es, tu vita et mors ipsa es, et quia tuum est regnum, et potestas, et gloria in sæcula sæculorum.

Et deus qui sanctus est, deus qui est omnis sciens, deus omnipotens, deus qui numquam deficiet, animam tuam in aeternum, cum opus tuum sanctum perfectum est.

Et pax dabitur portis margaritis.

Amen.

[loudlylovingreview]

Miriam Levine: Let’s Go

There’s no music that forbids us to dance, not Verdi’sStabat Mater or Wake up cantata, One Four O;Fauré’s Agnus Dei, Lux aeterna, Dies irae. Also let’s hear it for music urging us to plié or whatever, Let’s gochildren, don’t you want to go, children, meet all yourfine friends at the Dew Drop Inn. Let’s go children, don’t you want to go, children . . . Mama set the marks,papa set the beat, mojo…

[i-hold-horrors-hand]

I'd like your favorite instrumental track pls

Oooh....I can't pick just one lol. Here's 10, in no particular order.

1) Star Trek: TNG theme. It hits me right in the nostalgia (I started watching it when I was 11), and it's just very "spacey" and curious and lovely. Every time I hear it, I feel excited to seek out new life and civilizations and to boldly go where no one has gone before.

2) Hawaii Five O theme (reboot version). Not only because I enjoyed the show, but because every. Single. Time. I hear it. I get fucking PUMPED. Feel READY to take on the DAY as well as ANY CHALLENGE. Like, if I still used alarms to get myself up, I'd use this song. It's got this tone that promises ACTION and ADVENTURE and EXCITEMENT.

3) The main title from Beetlejuice. It just SLAPS. It starts off a little intriguing and spooky, then the "Daylight come and me wan go hoooome" (that doesn't make it not an instrumental though. I said so) that gets a little melancholy at the end. Then it builds TENSION. And keeps building then OOH THE CLIMAX AND THE CHORUS/CHOIR/WHATEVER that ADDS to the SPOOKINESS. Then it comes down a bit then...done. Sort of feels like a rollercoaster of a song, kinda. Also that oboe(?) just fucking GETS me and I love it! Danny Elfman can do no wrong, musically.

4) Lux Aeterna from Requiem for a Dream. I've yet to see this movie, but this song? Oh my god. It starts off sad, then it gets depressing. Then it feels like everything is spiralling out of control around you, and you're helpless to stop it. Helpless to stop yourself from falling into despair and melancholy insanity. You're losing your footing, you're losing your mind, you're losing everything. Everything is terrible. And all you can do is watch it happen. The final moments are the audio equivalent of completely and utterly giving up on your life. Absolutely POWERFUL stuff. Don't listen to it when you're feeling psychologically vulnerable, though. Too dangerous.

5) If I Had Words by the Melbourne Symphony Orchestra, from the Babe soundtrack. In addition to being nostalgic for me (I fucking LOVED this movie as a kid, and I still have the VHS tape somewhere), it's just such a nice song. It starts off gentle and even hopeful, then gets stronger, staying happy and chipper the whole time, even as it gets more strong and dramatic. Then it reaches a crescendo and calms down a bit, still retaining the good mood and tone, and even feeling a bit triumphant at the end. It's like a sunrise, happy and eventful day, then a sunset. Lovely.

6) In the Hall of the Mountain King from Peer Gynt. Like many people, I've not heard the entire "soundtrack" or even watched a production of the play, but I have heard this song. Classic "tip-toeing around the place" music. Starts off sounding like we're being sneaky, careful, and not getting caught. Then it slowly starts going to shit, and we're bumping into stuff and making noise and oh fuck oh shit. Then we're caught, and we're in trouble, and well. Fuck. Oops. But in an amusing and upbeat way.

7) Dies Irae from Wolfgang motherfucking Amadeus Mozart. It's dramatic. It's religious. It's ominous. When you hear this, you KNOW some shit is about to go down (or already going down). This is peak "oh fuck, we're in trouble (but aesthetically~)" music. Also it's not really an instrumental, but I don't care. I'm including it because it's iconic and it slaps.

8) The prologue/opening (Sunrise) from Also Sprach Zarathustra. It's iconic, because of Kubrick, true. But! It's also very cool on its own. It starts out quiet then suddenly DRAMATIC and STRONG. It gives you the feeling of witnessing something very significant, something very big. Like, a new discovery of some kind. It gives you a moment to bask in the awe it inspires in you, then lets you down elegantly and lets you process what you've just experienced and witnessed. Excellent stuff.

9) Ride of the Valkyries from Richard Wagner. Holy shit. There's a reason this has been used so much. Starts off like THE CALVARY IS COMING. GET FUCKING READY BITCH. Then the calvary is HERE motherfucker. Look the FUCK out. And then there's clashing, and FIGHTING, and BATTLES AND WAR. Then TRIUMPH when the calvary fucking wins. The DRAMA. The EXCITEMENT. Richard Wagner himself was a racist and antisemite, but his music fucking SLAPPED and he can't profit off it anymore or gatekeep it because he's dead as fuck. We can reinterpret it and reimagine it and he can't do shit about it.

10) Beethoven Virus by Ludwig van Beethoven & Diana Boncheva & BanYa. It's Classical meets modern. And done EXTREMELY well. The energy NEVER tires, even when it changes for a bit, it just keeps up the whole time. It makes me think of an epic swordfight taking place in various rooms in a castle, one swordfighter chasing the other around the place, and one gets the upper hand BUT THEN. The other one gets their second wind, and keeps fighting. Then the dramatic end, where one swordfighter wins and ends things with a flourish. Fuck yeah.

[raadiomaquia]

The board starts to get blurry again at math class

My brain:

Libera me, Domine, de morte aeterna,

In die illa tremenda. in die illa

Quando coeli movendi sunt terra,

Dum veneris judicare saeculum per ignem.

Tremens factus sum ego et timeo,

Dum discussio venerit atque ventura ira

[arthur-lesters-scarred-torso]

Ok - I'm not an expert on religion. But I'm a classical musician and Harlan 100% knows and intends the music associations. Dies Irae is a part of the requiem: the mass for the dead or the funeral mass. Dies Irae is traditionally funeral music.

The version in the movies is the gregorian chant that sounds like this. Dies irae quotes and motives in movies are associated with death, impending doom or something grim. It's used in soooo many movies of all genres. Some examples:

Gregorian chant aside - in different requiems by different composers there are different versions of Dies Irea. The two most famous are Mozart's and Verdi's. The text, however, remains the same:

Dies Irae means Day of Wrath - it's the Last Judgement (in my mother tongue we say Day of Doom). Basically the end of the world.

My associations when I heard 'dies irae' on Malevolent was: are they gonna bring about the fucking end of the world!?

I also cannot stop thinking about what the implications are - if Arthur and John have the title Dies Irae, are there other titles? Maybe other parts of the requiem mass like Lux Aeterna (perpetual light)!???

Anyway I'm rambling - if you want to know more about the music go here, read the full dies irae text here (in a requiem it's is divided into smaller parts).

Malevolent fans can we talk about how John and Arthurs collective title is The Dies Irae and how fucking hot that is, like please direct me to peoples rants or just fucking go off here cause babygirl I need to eat this symbolism/foreshadowing with a fork and knife

[southeurope]

K. Penderecki's "A Polish Requiem" is a large-scale choral and orchestral work that was first performed in 1984. The work is a setting of the traditional Latin texts of the Requiem Mass, but it also incorporates Polish folk music and other elements of Polish culture.

The work is in six movements, each of which is based on a different text from the Requiem Mass. The first movement, "Introitus," is a somber and reflective introduction. The second movement, "Dies irae," is a powerful and dramatic depiction of the Day of Judgment. The third movement, "Tuba mirum," is a more lyrical and contemplative movement. The fourth movement, "Mors stupebit," is a triumphant celebration of the Resurrection. The fifth movement, "Libera me," is a prayer for deliverance from eternal damnation. The sixth movement, "Pie Jesu," is a tender and moving plea for mercy.

"A Polish Requiem" is a challenging and demanding work, but it is also a deeply moving and powerful expression of grief and hope. The work is a testament to Penderecki's mastery of musical form and his ability to communicate complex emotions through music.

Some specific details about the work:

The work is scored for a large orchestra, including a full complement of brass and percussion, as well as a large choir.

The work is full of dramatic contrasts, from the quiet and reflective passages to the loud and dissonant passages.

The work incorporates elements of Polish folk music, such as the use of bagpipes and other traditional instruments.

The work is dedicated to the victims of the Holocaust and other atrocities.

"A Polish Requiem" is a significant work in the history of 20th-century music. It is a powerful and moving expression of grief and hope that continues to be performed and admired around the world.

Here is a more detailed description of each movement:

Introitus (Introduction)

The "Introitus" is a somber and reflective introduction to the work. The music is slow and quiet, with a simple melody in the choir. The movement is based on the Latin text "Requiem aeternam dona eis, Domine, et lux perpetua luceat eis." ("Grant them eternal rest, O Lord, and let light perpetual shine upon them.")

Dies irae (Day of Judgment)

The "Dies irae" is a powerful and dramatic depiction of the Day of Judgment. The music is loud and dissonant, with a driving rhythm. The movement is based on the Latin text "Dies irae, dies illa, solvet saeclum in favilla, teste David cum Sibylla." ("Day of wrath, that day shall dissolve the world in ashes, as David and the Sibyl foretold.")

Tuba mirum (The wondrous trumpet)

The "Tuba mirum" is a more lyrical and contemplative movement. The music is slow and peaceful, with a simple melody in the choir. The movement is based on the Latin text "Tuba mirum spargens sonum per sepulchra regionum, coget omnes ante thronum." ("The wondrous trumpet, scattering its sound through the tombs of the regions, will summon all before the throne.")

Mors stupebit (Death shall be astonished)

The "Mors stupebit" is a triumphant celebration of the Resurrection. The music is loud and joyful, with a triumphant melody in the choir. The movement is based on the Latin text "Mors stupebit et natura, cum resurget creatura, judicanti responsura." ("Death shall be astonished and nature, when the creature shall rise again, to answer the Judge.")

Libera me (Deliver me)

The "Libera me" is a prayer for deliverance from eternal damnation. The music is slow and pleading, with a simple melody in the choir. The movement is based on the Latin text "Libera me, Domine, de morte aeterna, in die illa tremenda." ("Deliver me, O Lord, from eternal death, on that terrible day.")

Pie Jesu (Pie Jesu)

The "Pie Jesu" is a tender and moving plea for mercy. The music is slow and peaceful, with a simple melody in the choir. The movement is based on the Latin text "Pie Jesu Domine, dona eis requiem sempiternam." ("Merciful Jesus, Lord, grant them eternal rest.")

[human-antithesis]

Bloodoline, Reverence, Blut Aus Nord & Karras - Dissociated Human Junction (Split) [July 1st, 2007]

Lineup: Bloodoline: Ghoul Luyer - Vocals, Guitars, Bass J - Drums

Reverence: I. Luciferia - Vocals, Guitars, Keyboards, Programming Aym - Bass

Blut Aus Nord: Everything composed by Vindsval

Karras: Vindsval - Vocals, Lead Guitar N.O.X. - Vocals, Rhythm Guitar Ira Aeterna - Vocals, Bass

[mihai-florescu]

My beautiful twin babygirls, dies irae and lux aeterna

[lesser-known-composers]

Orazio Vecchi: Missa Pro Defunctis

Graindelavoix, Björn Schmelzer

[00:00] I. Requiem aeternam [05:19] II. Kyrie [08:33] III. Si ambulem [11:03] IV. Dies irae [22:46] V. Domine Jesu Christe [26:07] VI. Sanctus [28:10] VII. Agnus Dei [30:40] VIII. Lux aeterna

[oceanicmaster]

🎵 - for my muse to catch yours singing in secret . (Mallow)

"Libera me, Domine, de morte aeterna In die illa tremenda, in die illa Quando coeli movendi sunt et terra Dum veneris judicare Saeculum per ignem Tremens factus sum ego et timeo Dum discussio venerit atque ventura ira..."

Some sort of opera, maybe? She's so quiet, with all of these big sounding words. It's a late night, too, and she's just cooking herself a little snack. Something with bananas in it, judging by the peel.

[detras-del-vidrio]

Réquiem. José Hierro

Cuanto sé de mí. 1957

Manuel del Río, natural

de España, ha fallecido el sábado

11 de mayo, a consecuencia

de un accidente. Su cadáver

está tendido en D’Agostino

Funeral Home. Haskell. New Jersey.

Se dirá una misa cantada

a las 9.30 en St. Francis.

Es una historia que comienza

con sol y piedra, y que termina

sobre una mesa, en D’Agostino,

con flores y cirios eléctricos.

Es una historia que comienza

en una orilla del Atlántico.

Continúa en un camarote

de tercera, sobre las olas

—sobre las nubes— de las tierras

sumergidas ante Platón.

Halla en América su término

con una grúa y una clínica,

con una esquela y una misa

cantada, en la iglesia St. Francis.

Al fin y al cabo, cualquier sitio

da lo mismo para morir:

el que se aroma de romero

el tallado en piedra o en nieve,

el empapado de petróleo.

Da lo mismo que un cuerpo se haga

piedra, petróleo, nieve, aroma.

Lo doloroso no es morir

acá o allá…

Réquiem aetérnam,

Manuel del Río. Sobre el mármol

en D’Agostino, pastan toros

de España, Manuel, y las flores

(funeral de segunda,

caja que huele a abetos del invierno),

cuarenta dólares. Y han puesto

unas flores artificiales

entre las otras que arrancaron

al jardín… Libérame Dómine

de morte aeterna… Cuando mueran

James o Jacob verán las flores

que pagaron Giulio o Manuel…

Ahora descienden a tus cumbres

garras de águila. Dies irae.

Lo doloroso no es morir

Dies illa acá o allá,

sino sin gloria…

Tus abuelos

fecundaron la tierra toda,

la empapaban de la aventura.

Cuando caía un español

se mutilaba el universo.

Los velaban no en D’Agostino

Funeral Home, sino entre hogueras,

entre caballos y armas. Héroes

para siempre. Estatuas de rostro

borrado. Vestidos aún

sus colores de papagayo,

de poder y de fantasía.

Él no ha caído así. No ha muerto

por ninguna locura hermosa.

(Hace mucho que el español

muere de anónimo y cordura,

o en locuras desgarradoras

entre hermanos: cuando acuchilla

pellejos de vino derrama

sangre fraterna). Vino un día

porque su tierra es pobre. El mundo

Libérame Dómine es patria.

Y ha muerto. No fundó ciudades.

No dio su nombre a un mar. No hizo

más que morir por diecisiete

dólares (él los pensaría

en pesetas) Réquiem aetérnam.

Y en D’Agostino lo visitan

los polacos, los irlandeses,

los españoles, los que mueren

en el week-end.

Réquiem aetérnam.

Definitivamente todo

ha terminado. Su cadáver

está tendido en D’Agostino

Funeral Home. Haskell. New Jersey.

Se dirá una misa cantada

por su alma.

Me he limitado

a reflejar aquí una esquela

de un periódico de New York.

Objetivamente. Sin vuelo

en el verso. Objetivamente.

Un español como millones

de españoles. No he dicho a nadie

que estuve a punto de llorar.