Lux Aeterna By Clint Mansell

Clinton Darryl "Clint" Mansell, (born 7 January 1963) is an English, musician, composer, and former lead singer and guitarist of the band Pop Will Eat Itself. After the disbanding of Pop Will Eat Itself in 1996, Mansell was introduced to film scoring when his friend, director Darren Aronofsky, hired him to score his debut film, Mansell then wrote the score for the next Aronofsky film, Requiem for a Dream.

A Requiem or Requiem Mass, also known as Mass for the dead (Latin: Missa pro defunctis) or Mass of the dead (Latin: Missa defunctorum), is Mass celebrated for the repose of the soul or souls of one or more deceased persons, using a particular formula of the Roman Missal. It is frequently, but not necessarily, celebrated in the context of a funeral.

Musical settings of the propers of the Requiem Mass are also called Requiems, and the term has subsequently been applied to other musical compositions associated with death and mourning, even when they lack religious or liturgical relevance.

The term is also used for similar ceremonies outside the Catholic Church, especially in the Anglo-Catholic branch of Anglicanism and in certain Lutheran churches. A comparable service, with a wholly different ritual form and texts, exists in the Eastern Orthodox and Eastern Catholic Churhes.

The Mass and its settings draw their name from the introit of the liturgy, which begins with the words "Requiem aeternam dona eis, Domine" – "Grant them eternal rest, O Lord". ("Requiem" is the accusative singular form of the Latin noun requies, "rest, repose".) 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.

The Requiem Mass is notable for the large number of musical compositions that it has inspired, including the settings of Mozart, Verdi, Durufle' and Faure'. Originally, such compositions were meant to be performed in liturgical service, with monophonic chant. Eventually the dramatic character of the text began to appeal to composers to an extent that they made the requiem a genre of its own, and the compositions of composers such as Verdi are essentially concert pieces rather than liturgical works.