Agnus Dei (liturgy) From Wikipedia, the free encyclopedia The Fractio panis rite at which the Agnus Dei is sung or said In the Mass of the Roman Rite and also in the Eucharist of the Anglican Communion, the Lutheran Church, and the Western Rite of the Orthodox Churchthe Agnus Dei is the invocation to the Lamb of God sung or recited during the fraction of the Host.[1] History[edit] The Syrian custom of a chant addressed to the Lamb of God was introduced into the Roman Rite Mass by Pope Sergius I(687–701)[2][3] in the context of his rejection of the Council of Trullo (692), which was well received in the Byzantine East and called the Quinisext Council, but whose canons had forbidden the iconographic depiction of Christ as a lamb instead of a man.[4] Chant[edit] See also: Agnus Dei (music) and Mass ordinary § V. Agnus Dei Based upon John the Baptist's reference in John 1:29 to Jesus ("Behold the Lamb of God that taketh away the sin of the world"), the text in Latin is: Agnus Dei, qui tollis peccata mundi, miserere nobis. Agnus Dei, qui tollis peccata mundi, miserere nobis. Agnus Dei, qui tollis peccata mundi, dona nobis pacem. which means: Lamb of God, you who take away the sins of the world, have mercy upon us. Lamb of God, you who take away the sins of the world, have mercy upon us. Lamb of God, you who take away the sins of the world, grant us peace. The text used in the Roman Catholic and Episcopal Church (Rite Two) is: Lamb of God, you take away the sins of the world, have mercy on us. Lamb of God, you take away the sins of the world, have mercy on us. Lamb of God, you take away the sins of the world, grant us peace.[5] The following three versions are all found in the Church of England's Common Worship liturgical resources, and also in the Episcopal Church's liturgical resources: Lamb of God, you take away the sin of the world, have mercy on us. Lamb of God, you take away the sin of the world, have mercy on us. Lamb of God, you take away the sin of the world, grant us peace. O Lamb of God, that takest away the sins of the world, have mercy upon us. O Lamb of God, that takest away the sins of the world, have mercy upon us. O Lamb of God, that takest away the sins of the world, grant us thy peace. Jesus, Lamb of God, have mercy on us. Jesus. have mercy on us. § 83. The version found in the Lutheran Service Book of the Lutheran Church-Missouri Synod is: Lamb of God. You take away the sin of the world. have mercy on us. redeemer of the world. This invoc ation acco mpani es the fractio n and. have mercy on us. Jesus. at least. You take away the sin of the world. Lamb of God. as a rule. or it is. recite d aloud. is. states : "The suppli cation Agnu s Dei. grant us Your peace. sung by the choir or canto r with the congr egatio n respo nding. You take away the sin of the world. bearer of our sins. The Gene ral Instru ction of the Roma n Missa l. for this reaso . grant us peace. grant us Your peace. Lamb of God. may be repea ted as many times as neces sary until the rite has reach ed its concl usion. the last time endin g with the words dona nobis pace m (grant us peace ). and the last with "dona eis requi . the first two invoc ations ende d with "dona eis requi em" (give them rest) instea d of "mise rere nobis "." In Tri dentin e Req uiem Mass es.n. in a more compl ete quota tion from John 1:29.em sempi terna m" (give them rest etern al). Oth er use s[edi t] The priest again uses the phras e "Lam b of God". The Agnu s Dei is part of nearly all settin gs by comp osers of sung mass es. when displa ying the conse crate d Host (or the Host and Chali . you who take away the sins of the world. Bless ed are those called to the suppe r of the Lamb ). have mercy upon us.[6] What is the Agnus Dei? Agnus Dei. Lamb of God. ecce qui tollit pecca ta mundi . you who take away the sins of the world. Who is the writer of the song Agnus Dei? Samuel Barber Who sings Agnus Dei? . have mercy upon us. dona nobis pacem. which means: Lamb of God. behol d him who takes away the sins of the world. Beati qui ad cena m Agni vocati sunt" (Beho ld the Lamb of God. He says: "Ecce Agnu s Dei. ce) to the peopl e befor e giving them Holy Com munio n. qui tollis peccata mundi. rises. Why is Jesus often referred to as the Lamb of God? In the person of the Lord Jesus Christ. Who is the Lamb of God? Lamb of God (Greek: Ἀμνὸς τοῦ Θεοῦ. Agnus is an alternate form of Agnes (Greek).. with hands . holy". who has charted in both contemporary Christian and mainstream charts. 6 on the Billboard Hot 100. "Behold the Lamb of God who takes away the sin of the world. Dale Earnhardt.. What religion is Michael W Smith? Michael Whitaker Smith (born October 7. . whereas Jesus knowingly became the sacrificial offering for the world. Latin: Agnus Dei) is a title for Jesus that appears in the Gospel of John. its sacrifice restores the balance of sin.Michael W. the priest covers the chalice with the pall. and the meaning of Agnus is "pure. ASSOCIATED WITH greek. A name given to the formula recited thrice by the priest at Mass (except on Good Friday and Holy Saturday) in the Roman rite. Having finished saying this prayer. after the prayer "Haec commixtio". Inc. pure (virgin) Who is Agnus Dei? Agnus Dei. genuflects.. Includes the Catholic Encyclopedia. Summa. The genitive/dative dei occurs in such phrases as Roman Catholic organization Opus Dei (work of God). What is the symbolism of a lamb? The lamb is the symbol of purity and innocence. . inclines his head (but not his body) profoundly towards the altar and. The dichotomy here is that the sacrificial lamb from the Old Testament was sacrificed for the sins of others. Church Fathers.. What is the meaning of Agnus? Agnus [ag-nus] as a girls' name is a Greek name." What is DEI stand for? DEI is a three-letter acronym. Agnus Dei(Lamb of God) and Dei Gratia (By the Grace of God). It may refer to one of the following: DEI. His biggest success in mainstream music was in 1991 when "Place in this World" hit No. etc. Think about this: All the sacrificial lambs offered in the Old Testament point to Jesus Christ.. 1957) is an American musician. Amnos tou Theou. where John the Baptist sees Jesus and exclaims.. Smith What does the Latin word Dei mean? The name Amadeus translates to "for love of God". God brought the perfect sacrifice that John proclaimed: "Behold! The Lamb of God who takes away the sin of the world!" (John 1:29). Greek national electrical company. referring to the Christian theological concept of the Lamb of God. It appears at John 1:29. as it is normally one of the movements or sections in a sung Mass setting. It occurs towards the end of the Canon. and the associated liturgical text from the Roman Catholic Latin Mass has been set to music by many composers..99. FIFA Trigramme for Dutch East Indies. Bible and more — all for only $19. a NASCAR team. Agnus Dei (in Liturgy) Help support New Advent and get the full contents of this website as an instant download. xix. as of a lamb unspotted and undefiled". we may find the immediate source of its text. Slightly changed in respect of one word. vi. so openeth he not his mouth. but with the substitution of "dona eis requiem" (grant them rest) for "miserere nobis". 1. ." The scriptural origin of the formula is therefore evident at a glance. with the right hand (the left hand resting throughout. xxii. xvii. 17. 9. xv 3.10. and of "dona eis requiem sempiternam" (Grant them eternal rest) for "dona nobis pacem. 14. 23. These rubrical details are given here for the reason that both the formula and the ceremonial accompanying it have undergone various changes in different ages and different places. 3. the Baptist was the first actually to bestow this name upon Our Lord ("Behold the Lamb of God"). The Christian mind willrecall such instances in the Old Testament as . 14. on the altar)." and thus finally to the great Messianic chapter of Isaias (53:7-12). 27. to the perplexed reading of the eunuch of Queen Candace (Acts 8:32-33): "He was led as a sheep to the slaughter. qui tollis peccata mundi. the formula occurs at the same part of the rite. While Isaias compared Our Saviour to a lamb. 8. peccata for peccatum (peccatum. 22. Peter (i. and still a third time. and doubtless with a determinate sense derived from ancient type and prophecy. miserere nobis" (Lamb of God. Qui tollis peccata mundi. from the first "Miserere". of whom doth the prophet speak this? of himself. repeats the formula unchanged. ecce Qui tollit peccatum mundi" (John 1:29). "the blood of the Lamb" (xii. appearing in other sources.joined before his breast (and not. Qui tollis peccata mundi. 9. 10. ii). miserere nobis". the formula appears to have been directly taken from the very ancient chant of the "Gloria in excelsis." In this case. but keeps his hands joined before his breast throughout the whole formula. opening his mouth and beginning at this scripture. is traced in the Apocalypse through the more than thirty references to "the Lamb that was slain from the beginning of the world" (13:8). however. vii. 1. therefore. substituting now "dona nobis pacem" (grant us peace) for "miserere nobis". xiv. and in the Bangor Antiphonary). meanwhile striking his breast thrice. 16. once at each "miserere nobis" and once at "Dona nobis pacem". Its remoter source was the declaration of the Baptist: "Ecce Agnus Dei. 14. Filius Patris. 14. however. fili David. 9. Into the symbolic reasons for the present practice it is not necessary to enter here. says with a loud voice: "Agnus Dei. 7. which formed the subject of the eunuch's query: "I beseech thee.. 4. "they that are written in the book of life of the Lamb" (xxi. Qui sedes ad dexteram Patris. . and in the following: v. 12. and like a lamb without voice before his shearer. however. the priest does not strike his breast." In the text of the Roman and Ambrosian rites: "Agnus Dei. or of some other man? Then Philip. containing all the words of the original formula of the Agnus Dei. 27). 19): "the precious blood of Christ. preached unto him Jesus" (Acts 8:34-35). resting on the altar). suscipe deprecationem nostram. xxi. supplemented by the cry of the two blind men (Matthew 9:27): "Miserere nostri. In Requiem Masses. 1. Its symbolism. From the Apocalypse we trace it backward to the First Epistle of St. have mercy on us). 6. 13. miserere nobis. such as the Missal of Stowe and other Englishmanuscripts. Who takest away the sins of the world. were early commemorated in the morning hymn of the "Gloria in excelsis".the Paschal Lamb of the Jews. the priest when signing the Bread. the Son of the Father. whose blood. John Chrysostom. or "Holy Lamb". sprinkled on the door-posts. gentleness. "with care and reverence" (in the language of the rubric) and says: "The Lamb of God is broken and distributed. To the ideas of immaculate purity. History of the Holy Eastern Church. dans ce décret de Sergius. It first appears in use at Rome. who taketh away the sin of the world. James. accepting the view of Sergius's reason propounded by Cardinal Bona. was not apparently introduced into the Mass until the year 687. In the Liturgy of St. miserere nobis. the mystical revelations of the Apocalypse. 381. from the ancient Mass of the Saint (ninth century). I. dealing with the preparation of the "Holy Bread". Symmachus (498-514) extended its use in episcopal Masses. the incense arising from golden censers. ever eaten and never consumed. "without blemish. in the midst of all "a Lamb standing as it were slain" (v. however." The formula is thus said but once. In the Office of Prothesis (a sort of preparatory Mass. as by a sudden change. shortly before communicating himself. At about the same part of the Mass in the present Liturgy of St. sacrificed for the life and salvation of the world. 39) — a figure of the perpetual sacrifice of the altar in the New Dispensation. The distinct and condensed formula of the Agnus Dei itself. and then. ed. In a slightly different form it is found in the "Apostolic Constitutions" and in the appendixes to the Bible in the "Codex Alexandrinus" of the fifth century. atoning. Duchesne. the chanting of the "Sanctus. the symbolism of types and figures of the Old Testament. Introduction. clothed in white vestments. the Messianic prophecy of Isaias. which was originally a part of the office of Matins. and not alone of Israel. as it is . appropriately. 6). and eucharistic sacrifice. From the Baptist the other Johncaught the fullness of the symbolism and repeated it in the fourth and fifth chaptersof the Apocalypse in such a way as to foreshadow the splendours of the SolemnMass — the Lamb upon the altar as upon a throne. sanctus. the declaration of the Baptist. should save from the Destroying Angel — a figure of the Immaculate Lamb whose blood was to conquer death and to open to men the trueLand of Promise. but sanctifying the communicants" (Neale. qui tollis peccata mundi. une protestation contre le canon 82 du concile in Trullo. qui proscrivit la representation symbolique du Sauveur sous forme d'agneau". and also the perpetual offering of a lamb morning and night (Exodus 29:38. 650). sanctus". however. a clero et a populo decantetur" (Liber Pontificalis. note 42). when Pope Sergius I decreed that during the fraction of the Host both clergy and people should sing the Agnus Dei: "Hic statuit ut tempore confractionis dominici corporis Agnus Dei. says: "il n'est pas defendu de voir. the priest divides the Holy Bread into four parts. of one year" (Exodus 12:5). Pope St. and the music of harps. These words are absent. a male. Naturally. in the first Mass of the Nativity. says: "Behold the Lamb of God. He that is broken and not divided in sunder. Duchesne. the Baptist adds that of universality of purpose: "Who taketh away the sins of the world". the attendant clergy as four-and-twenty ancients seated. Originally the celebrant did not recite it himself. that one liturgist looks on the formula as the ordinary conclusion of the Canon of the Mass in the Middle Ages. quoted above. and quite different from that of St. while cutting it crosswise. too. remarks: "Agnus Dei ter canitur".g. before the year 1000. as his other functions sufficiently occupied his attention. in so many manuscripts of the ninth to the thirteenth centuries. Sanctus. Originally. A sufficient reason for the substitution of "dona nobis pacem" might be found in its appropriateness as a preparation for the "kiss of peace" (the Pax) which follows. however. where it occurs with triple invocation. the deacon. cit. the prophecy of Isaias is more minutely referred to in the ceremonial. although by way of exception. for the life and salvation of the world" (Neale. and as was the case in the ninth century and in the time of Innocent III (d. Sequence. As in the case of the "Kyrie eleison" and other texts of the Ordinary of the Mass(e. recited or sung but once. the words of the Agnus Dei were often considerably extended by tropes. Martene shows that its triple recitation was prescribed in some churches — for example. although Innocent III ascribes its introduction to disturbances and calamities affecting the Church. perhaps. James. writing in the twelfth century. It has been said above that the Agnus Dei now follows the prayer "Haec commixtio". or in that of Stowe. the Roman contains no longer any chant for the fraction of the Host. and finally. says to the priest: "Sir. as Mabillon infers. the third "miserere" was said on Holy Thursday (perhaps because on that day the "kiss of peace" is not given).called) now in use. 344). missa est). Durandus noting that some priests recited it with their hands resting on the altar. more condensed than that of St. Who taketh away the sin of the word. or Ambrosian (except in Ambrosian Requiem Masses. While it is true that. Chrysostom. retains the ancient custom of the triple "miserere".. it appears in the RomanMass with all the symmetry of ceremonial and of appropriate symbolism possible to a liturgy. but adds to the third invocation the words "et locum indulgentiae cum sanctis tuis in gloria"). It preceded that prayer. of . in that of Tours. laying the "Lamb" down in the disk. 1216). Ite. loc. answers: "The Lamb of God is sacrificed. and. others with hands joined before the breast. the Agnus Dei. 343. nor is it found in the Mozarabic. unlike several other liturgies. The words of the "Liber Pontificalis" (a clero et a populo decantetur) suggest the question whether previously the formula had been sung by the choir alone. sacrifice". the Gloria. to which the priest. a canon of Paris. The Lateran Basilica. and Jean Beleth. but certainly by the thirteenth century the introduction of this feature must have become common. Credo. as in the Roman Missal. the Gelasian. About the same time the custom was introduced of substituting "dona nobis pacem" for the third "miserere nobis". although not properly a prayer therefor. however. Hosanna. No trace of the Agnus Dei is found in the Roman Mass of the Missal of Bobbio. occupies the void sufficiently well. styled by the Romans(In ignorance. sometimes bearing a strict connection with the meaning of the text. qui tollis peccata mundi. miserere nobis. qui tollis peccata mundi.peccata mundi. Omnipotens. Crimina tollis. . sometimes constituting practically individual compositions with only a titular relation to the text. . Optima perpetuae concedens gaudia vitae. in classical hexameters: Agnus Dei. Agnus Dei. Nobis semper (te) adiunge. Agnus odoris. Agnus Dei.peccata mundi. Christe. Cardinal Bona gives an interesting one: Agnus Dei. te precamur assidue.peccata mundi. Sine peccati macula . Agnus Dei. or intercalations. . miserere nobis. 398].peccata mundi. 3.: 1. This splendid collectioncontains no fewer than ninety-seven tropes of the Agnus Dei alone. Dona nobis pacem. . miserere nobis. . miserere nobis." etc. Verum subsistens veo de lumine lumen. 2. Qui cuncta creasti. . Miserere nobis. sometimes extensive. 1905). of which there are many examples. Omnipotens. cuncta foecundas. qui tollis peccata mundi. Sometimes the tropes were not in measure. Sordida mundas. . Agnus Dei. . . Agnus Dei. Agnus amoris. miserere nobis. but the poem is given by Blume and Bannister in their "Tropi Graduales" [Analecta Hymnica (Leipzig. with several dated manuscript references. Agnus Dei. . as the following (tenth century). which was the triple "miserere nobis" instead of "dona. Redemptor. aeterna Dei Sapientia. qui tollis peccata mundi. Christe. dona nobis pacem. The following trope of the tenth century will illustrate another form.peccata mundi. assonantal prose. Sometimes they were very brief. or concluding sentences or phrases. aspera molis. . Vulnera sanas. Agnus honoris. as the following (of which space will allow but one strophe) of the thirteenth century: 1. ardua planas. Agnus Dei. . These additions were prefaces. Agnus Dei. or rather. XLVII. Exoramus te supplices. The Cardinal does not mention the date of his source. Miserere nobis.their Greek origin) Festivae Laudes. but merely in a rude kind of rhymed. whether classical or accentual. pie. we find six masses (nos. etc. The use of the formula in litanies is of comparatively recent date. before giving Holy Communion. Two other uses of the Agnus Dei may be mentioned briefly. saying: "Ecce Agnus Dei. miserere nobis". V the first syllable has nine notes. and that the number of notes accompanying any one of these invocations of eighteen syllables ranges from nineteen (in which case only one syllable of the text can receive two notes) up to sixty-one (as in No. V of the "Kyriale"). Domine" (Graciously hear us. found in an old manuscript sacramentary of St. Parce nobis. . The use of the formula in this connection appears to be of comparatively recent date. will illustrate a purely syllabic chant. and in the Vatican "Kyriale" (1905) we find twenty settings substantially reproducing the ancient texts.mundi. V. Ember and rogation days. A rough idea of the melodic forms may be gained by considering that there are eighteen syllables of text in any one of the three invocations. to which the "Kyriale" nominally assigns it. for the litanies of the Saints and for that of Loreto. to which the faithful answered "Amen". Thus. Secondly. The familiar melody of the Requiem Mass Agnus Dei. "Sanguis Christi". the melody was plainsong. Originally. Recent studies in musical palaeography have succeeded in rescuing the ancient melodies from oblivion. and vigils. however. O Lord). of course. . qui tollis peccata mundi. Domine" (Spare us. such as the ferial days in Lent and Advent. The litany of the Most Holy Name of Jesus adds the word Jesu to the last word. solus permanens cuncta per saecula. Gregory the Great. O Lord). nostra crimina dele. "Agnus Dei qui tollis peccata mundi. and then in the words of the formula used at Mass: "Agnus Dei. Exaudi nos. . the priest holds a particle up for the faithful to see. and substitutes Jesu for Domine in the previous two endings. miserere nobis" (Have mercy on us). Mark: "The Holy Body" "The precious Blood of Our Lord and God and Saviour". ecce qui tollit peccata mundi. the formula appears but once. and will serve to explain its assignment to days of penitential character. These melodies range from the syllabic up through various grades of the florid into moderately melismatic chants. Domine non sum dignus". and a mere enumeration of notes is not sufficiently descriptive of the character and flow of the melody. In No. With respect to the variety of melody offered in the triple invocation. I. whether during or outside of Mass. with its twenty notes to eighteen syllables. It remains to say a word about the musical settings of the Agnus Dei in the Mass. First. Miserere nobis. In the so-called "Litania Romana". doubtless very simple and syllabic at first. Haec enim gloria soli Domino est congrua. and subsequently developed into richer forms. although such enumeration will help towards forming an idea of the melodic richness or poverty. Anciently the formula used was simply "Corpus Christi". a formula similar to that in the Liturgy of St. at the end of litanies the formula appears as follows: "Agnus Dei qui tollis peccata mundi. "Agnus Dei qui tollis peccata mundi. while in type a. allegro. typani. where the first two Agnus Deis are alto solos. "Einfuhrung in die Gregorianischen Melodien" (Freiburg. Schubert. and had canons of construction and criticism which we have not as yet. 1906. 4/4 — "Dona". and instruments. a. Illustrations might be multiplied without number from other masses. adagio. a. 1895). oboes. and to which they assign a movement entirely different from the preceding one. and strings). and the rest. allegro con spirito. solo and chorus sing the "Agnus. under enlightened analysis. too. and one mass in which all three are different (No. many correspondences of melody between a and b are found in certain potions of the text. a. possessing its own rights of textual symmetry. discriminates their forms of treatment from those of the master-composers of modern church music. although working under very different conceptions of music from those which obtain in our days. fully appreciated [Wagner. while the third varies — type a. June. b. allegro. too Haydn's "Third" ("Dona". strings. VII) — type a. The text of the Agnus Dei. allegro vivace. c. which respect the triple symmetry . strings only — "Dona". "Church Music". c. in his Mass in C. triple in repetition. the melody of "nobis" is common to all three. in view of his training and polyphonic studies). of other chants as well. of Mozart. the "Dona". takes thrice as many pages as the whole preceding text in poco andante. a. . the article on the "Haec dies"]. 3/4 — "Dona". A very interesting exception is found in the masses of Gounod (quite naturally. In type a. Familiar examples of this are found in Bach's great Mass in B- minor. two articles on the Introit: "Gaudeamus omnes in Domino". in the Philadelphia quarterly. followed by the "Dona" in four-part fugue. a. XVIII. was respected by the medieval composers. Schweiz. allegro ma non troppo. 222-232. b. and the one facts which. 3/4. The plainsong melodies of the Agnus Dei (as. In Beethoven's monumental Mass in D. trumpets. In all this we can perceive the operation of excellent ideas of symmetry and form amid great variety of melody. his "Sixth" (Agnus". his "Sixteenth" ("Agnus". one mass in which the first two are identical. 247-kú also. 4/4). b. is the absence of any separate treatment of the "Dona nobis pacem". twelve masses in which the melody of the first and third Agnus Dei are identical. the "Dona" forming a new movement in allegretto vivace and requiring more than three times as many pages as the thrice-repeated "Agnus". trumpets. in this respect. clarinets. tympani. had clear perceptions of the province of form in musical art. and. 1906. indeed. therefore. XX) in which the melody remains the same for all three invocations — a form which might be indicated as a. voices. twice as many pages as all the rest adagio). So.novis" thrice adagio. in all likelihood. but the second different — type a. b. is the fact that no third Agnus Dei occurs at all. b. while the more melismatic chants of the Proper of the Mass will. the Kyries exhibiting similar obvious symmetries. yield surprisingly beautiful results) are illustrations of the fact that the ancient composers. and organ). Significant of the musical and liturgical aloofness of the "Dona" from the Agnus Dei in this composition. adagio. . and March. 362-380. adagio.VI. his "First" ("Agnus". that grand finale movement in which the moderns have been so accustomed to assemble all their energies of technique. XIX. however. so. c (agreeing. which indiscriminately assigns to each of the "Agnus. an echo of the medieval custom spoken of in the preceding part of this article. b.g.g. curiously enough. these liturgical excesses resulted from the dramatic instinct working in the field of sacred music. or of the treatments which have thoroughly disfigured. Gounod's interpolation of "Domine non sum dignus" has been very severely criticized as a great liturgical offence — and so it is. it is not worth while to speak (e. the type (with slight variations) a. or have so interposed the words as to make nonsense (e. Agnus Dei (music) From Wikipedia. Cecilia" (omitting the interpolation of the "Domine non sum dignus. and the associated liturgical text from the Roman Catholic Latin Mass has been set to music by many composers. insertions. and additions of words. Thus.g. but was at least wholly liturgicalin the selection of the intercalated text. by omissions. the type a.mundi" a confused jumble of "miserere" and "dona" — a conceit. Gounod's trope was built up out of his own fancy. Louvre. the Communion of priest or of people. his first of the Orphéonistes. .. Of the quasi- dramatic treatments which the Agnus Dei has received in modern times. a. a. the choral arrangement of Samuel Barber's Adagio for Strings. Haydn's Mass in tempore belli. in having for the two "nobis" and the "dona" the one musical formula). a(with slight variation).). but it is additionally interesting to note. his "St. . with the single illustration of that type in the "Kyriale"." etc. In general. e. and we find in his "Agnus" almost the primitive plainsong symmetry. the type a. with the roll of drums accentuating the blessings of peace in contrast with the horrors of war). b. namely.of the text. the free encyclopedia 13th century carved Agnus Dei in ivory. his "Sacred Heart Mass". sometimes it stands alone. of the trope-treatment of the liturgical texts. as it is normally one of the movements or sections in a sung Mass setting. the symbolism of which is not clearly intelligible). Poniatowski's "Mass in F" — to select from the lesser order. the beauty of the liturgical text. Agnus Dei.[1][2] However. Beethoven's in D. referring to the Christian theological concept of the Lamb of God. even there. his second mass of the "Orphéonistes" gives us the type a. . b. it was also singularly appropriate to the portion of the Mass then reached. a. it provides the lyrics for Agnus Dei. who takes away the sins of the world. Contents [hide] 1Text 2Examples 3See also 4References Text[edit] See also: Agnus Dei (liturgy) The Agnus Dei is a setting of the "Lamb of God" litany. miserere nobis. who takes away the sins of the world. 2 Some examples from full mass settings include: The fifth movement of Guillaume de Machaut's Notre Dame Mass The twenty-fourth movement of Johann Sebastian Bach's Mass in B minor The seventh part of Wolfgang Amadeus Mozart's Requiem The tenth part of Ludwig van Beethoven's Missa Solemnis The sixth movement of Franz Schubert's Mass No. qui tollis peccata mundi. Lamb of God. have mercy upon us. have mercy upon us. 147 The fifth part of Giuseppe Verdi's Requiem The fifth movement of Gabriel Fauré's Requiem Movement 5 of John Rutter's Requiem The fifth movement of Bob Chilcott's Little Jazz Mass The fifth movement of Ralph Vaughan Williams' Mass in G minor (Vaughan Williams) The fifth movement of Benjamin Britten's War Requiem. In a Requiem Mass. who takes away the sins of the world. miserere nobis. while "dona nobis pacem" is replaced by "dona eis requiem sempiternam" (grant them eternal rest). qui tollis peccata mundi. Agnus Dei. qui tollis peccata mundi. the words "miserere nobis" are replaced by "dona eis requiem" (grant them rest). grant us peace. Agnus Dei. Lamb of God. 2 The sixth movement of Robert Schumann's Mass in C Minor. dona nobis pacem. Op. Examples[edit] MENU 0:00 Agnus Dei from Schubert's Mass No. in which the text is interleaved with Wilfred Owen's poem "At a Calvary near the Ancre" . Lamb of God. based on John the Baptist's reference in John 1:29 to Jesus ("Behold the Lamb of God that taketh away the sin of the world"): Agnus Dei. and dona nobis pacem (grant us peace) once at the end. the words "miserere nobis" are replaced by "dona eis requiem" (grant them rest). containing the responses miserere nobis (have mercy upon us). including: Elliot Goldenthal for Alien 3 Keiki Kobayashi for Ace Combat 04: Shattered Skies Elitsa Alexandrova for Assassin's Creed Rogue Enya for the song Trains and Winter Rains Halsey for the song Castle Kuroshitsuji (Black Butler) soundtrack for episodes 17 and 18 Jon Bellion for Ooh V. see Agnus Dei (music). . Agnus Dei[edit] For more details on this topic. The Agnus Dei is a setting of the "Lamb of God" litany. repeated twice. In a Requiem Mass. Further examples are too numerous to name. The text has also been used by composers for arrangements in popular culture. while "dona nobis pacem" is replaced by "dona eis requiem sempiternam" (grant them eternal rest). as virtually every setting of the Mass Ordinary or Proper (of which there are thousands) includes an Agnus Dei.