em, Te Deum, Stabat Mater, and Magnificat, since
illustrations of these musical forms appear in the body of the work.
"Requiem" is the name given to the "Missa pro Defunctis" ("Mass for the
Dead"), and comes from the first word of the Introit, "Requiem aeternam
dona eis, Domine." Its musical divisions are as follows: (1) Introit; (2)
the Kyrie; (3) the Gradual and Tract,--"Requiem aeternam" and "Absolve
Domine;" (4) the Sequence or Prose,--"Dies Irae;" (5) Offertorium; (6)
Sanctus; (7) Benedictus; (8) Agnus Dei; (9) Communio,--"Lux aeterna." The
most famous requiems are Palestrina's, written for five voices, but left
incomplete (1595); Vittoria's, for six voices, written for the funeral of
the Empress Marie, widow of Maximilian II. (1605); Colonna's, for eight
voices (1684); Mozart's great masterpiece (1791); Cherubini's in C minor,
written for the anniversary of the death of Louis XVI., 1793, and a
second for three male voices (1836); Berlioz's "Messe des Morts;" Verdi's
"Manzoni Requiem," and Brahms' "German Requiem." Though an integral part
of the Roman service, appointed for a special day in commemoration of the
dead, the Requiem is also employed for the anniversaries of distinguished
persons who have passed away, as well as for funeral occasions.

The Stabat Mater, or Lamentation of the Blessed Virgin Mary, the
well-known Latin hymn on the Crucifixion, is one of the most familiar
numbers in the Roman Missal. It is appointed to be sung at High Mass on
the Friday in Passion Week, and also on the third Sunday in September. On
Thursday in Holy Week it is also sung in the Sistine Chapel as an
Offertorium. The poem was written by the monk Jacobus de Benedictis in
the thirteenth century, and is regarded as one of the finest of mediaeval
sacred lyrics. Grove says of it: "Several readings are extant; the one
most frequently set to music being that which immediately preceded its
last revision in the Roman Office-Books. There are also at least four
distinct versions of its plain-chant melody, apart from minor differences
attributable to local usage." It has always been a favorite hymn with the
composers. The most famous settings are those of Josquin des Pres; two by
Palestrina,--the first, which is the most effective, for a double choir
of eight voices, and the second for a triple choir of twelve voices; that
by Pergolesi for soprano and contralto; Haydn's, which is in his
peculiarly melodious style; Steffani's for six voices;