Both concerted motets, thanks to the Venetian school, are written for four voices (SATB) violins and Basso continuo.(V I, V II, Viola, Vlc and Bc.). They are both considered and written by Brehy as Requiem motets. The Libera me Domine de morte is a motet from the Exsequiarum Ordo more specific a Responsorium sung during the final blessing of the coffin on its catafalque. This Libera me (there are more (4) variations known) is an old Responsorium out of the In Exsequis and sung in the part Absolutio super tulum published in the old Liber Usualis pages 1763 – 1771.
The Psalm 129 De profundis was for a long period part of the Officium Defunctorum more specific ad Laudes and is the last part of the mentioned Ad Laudes, pages 1805-1806 Liber Usualis and ending the lauds. The Officium Defunctorum consists out of three parts: Vesperae Defunctorum, Ad Matutinum and Ad Laudes after that follows the Missae pro Defunctis.
Both motets showing Brehys skill discretion, proving he was as composer both under French and Italian influence. If we compare this music by Brehy with that of Benedictus à Sancto Josepho Buns this music is more merrily.
♫ De profundis
© Etcetera KTC 1642