Requiem

[2] The Roman Missal as revised in 1970 employs this phrase as the first entrance antiphon among the formulas for Masses for the dead, and it remains in use to this day.

There is no Gloria in excelsis Deo and no recitation of the Creed; the Alleluia chant before the Gospel is replaced by a Tract, as in Lent; and the Agnus Dei is altered.

[4] The sequence Dies irae, recited or sung between the Tract and the Gospel, was an obligatory part of the Requiem Mass before the changes as a result of the liturgical reform of the Second Vatican Council.

In the extraordinary form of the Roman Rite, commemorations (i.e. collect, secret, and postcommunion of either lower-ranking liturgical feasts that occur on the same day or votive/seasonal commemorations) are absent from the liturgy; as a result, it is standard practice for a separate, smaller Requiem Missal containing only the rubrics and various Mass formularies for Masses for the dead to be used, rather than the full Missal containing texts that will never be used at Requiems.

"Requiem Mass" remains a suitable title for other Masses for the dead and for the Funeral Mass itself (as the proper antiphons remain in force: Introit, "Eternal rest grant ... " / "Requiem æternam dona eis Domine"; Offertory, "Lord Jesus Christ, King of glory, deliver the souls of all the faithful departed ... " / "Domine Iesu Christe, Rex gloriæ, libera animas ..."; Communion, "Let perpetual light shine ..." / "Lux æterna luceat eis, Domine...").

The texts used for the liturgy underwent a similar change, and some of the new options for the readings reinforce an overall theme of Jesus' promise of eternal life.

[8] Such works include: In the Eastern Orthodox and Greek-Catholic Churches, the requiem is the fullest form of memorial service (Greek: μνημόσυνο, Slavonic: Opelo).

However, at least in the Russian liturgical tradition, a Requiem will often be served on the eve before the Glorification (canonization) of a saint, in a special service known as the "Last Panikhida".

Since the liturgical reform movement, provision has been made for a Eucharist to be celebrated at a funeral in various BCPs used in the various Provinces of the Anglican Communion.

The text of these seven sentences, from the 1662 Book of Common Prayer, is as follows: The Requiem Mass is notable for the large number of musical compositions that it has inspired, including settings by Mozart (though uncompleted),[9] Verdi, Berlioz, Saint-Saëns, Brahms (from the vernacular German Lutheran Bible), Dvořák, Fauré, Duruflé, and others.

Fauré omits the Dies iræ, while the very same text had often been set by French composers in previous centuries as a stand-alone work.

A counter-reaction to this tendency came from the Cecilian movement, which recommended restrained accompaniment for liturgical music, and frowned upon the use of operatic vocal soloists.

These often include extra-liturgical poems of a pacifist or non-liturgical nature; for example, the War Requiem of Benjamin Britten juxtaposes the Latin text with the poetry of Wilfred Owen, Krzysztof Penderecki's Polish Requiem includes a traditional Polish hymn within the sequence, and Robert Steadman's Mass in Black intersperses environmental poetry and prophecies of Nostradamus.

Recent requiem works by Taiwanese composers Tyzen Hsiao and Ko Fan-long follow in this tradition, honouring victims of the February 28 Incident and subsequent White Terror.

Igor Stravinsky's Requiem Canticles mixes instrumental movements with segments of the "Introit", "Dies irae", "Pie Jesu" and "Libera me".