It is the strangest part of the work, notably with the unusual utilization of the traditional organ stops and that of rare stops (Glockenspiel, Voix Céleste 16', Bourdon 32', Montre 32', Basson 32', Bombarde 32', tremolo on 4 of the 5 keyboars, etc.).
(28) "Requiem". Expression of uneasiness of this unknown situation, with its fears and disarrays, where the child's voice brigns some consolation and hope, in the middle of sometimes creaking tones (Cymbales alone + 32').
(29) "Kyrie". Contrast between the softness of the Kyrie's verses (child's voice) with its plaintive introduction, and the violent and dramatic reply of the organ alone.
(30) "Entry into the Eternity (1)". After a serene and melodious introduction, long chords, strange and soft, and then grandiose and strong, give us an idea of never-ending duration.
(31) "Peaceful Happiness". A very nice rythmic theme, with short variations in pleasant sonorities, let us already catch a sight of this peaceful hapiness, where others are already waiting for us : ...
(32) "Choruses of the Blest". We are indeed greeted by the Blessed of all ages, in a 4-voices choral for organ, expressed sometimes in softness, sometimes in the quiet force of a multitude of saints.
(33) "The Martyrs". A place apart is given to the "Martyrs" and to all people who have suffered for or by the others. The theme takes fast a dramatic force and is ending in crowning moment (martyr's crown).
(34) "Entry into the Eternity (2)". The martyrs invite us to join them in the eternity. We find the same soft chords again as in (30), but they don't have an end and become blurred in the distance...