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Graciáno Baban
c.1620 - 1675
Spain
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G. Baban
Graciáno Babán (ca.1620 - 02/02/1675), a Spanish composer (from Aragon or Valencia). Graciáno Babán was a Spanish musician and composer of the 17th century. Less is known about his musical education. Perhaps Baban studied in Zaragoza. For a short time Baban was Chapel master in 1653 of the Collegiate Church of Santa María de Daroca –Zaragoza. But in the same year in August 1653 Baban was appointed chapel master (maestro di capilla) at Saint Mary of Huesca Cathedral in Huesca, Aragon. (period 1653-1657). In April 1657 Baban was appointed chapel master (mestre de Capella) at the Saint Mary’s cathedral of Valencia, (Església Catedral-Basílica Metropolitana de l'Assumpció de la Mare de Deu de València), He served there until his death in 1675. Babán was a very prolific and highly regarded Spanish composer of his age. His best regarded compositions are his Masses and polychoral motets. The archive of this cathedral (Archivo de la Catedral) contains more than often polychoral (up to 16 voices in two, three and four choirs ) 40 works by Babٔán, some written by a harp accompaniment. He is one of the most important composers of Baroque in the Valencian country.
Author:Wim Goossens
Source:The new Grove dictionary of music and musicians and Propylaën - Welt der Musik - Die Komponisten
Misa de Requiem
Period:Baroque
Musical form:Missa a 8 voces con bc
Text/libretto:Latin mass
Gracian Baban wrote a Misa de Requiem a 8 voces divided in Coro I SATB. and Coro II SATB written for the funeral of Kings and bishops. This work is found and preserved in the Archivo de la Catedral de Valencia and in the biblioteca de Catalunya.
Author:Wim Goossens
Libera me, Domine
Period:Baroque
Musical form:Motet à 8 vocibus con bc
Text/libretto:Officium defunctorum
The ”Libera me, Domine de morte” is in general a plainchant from the Exsequiarum Ordo (in Exsequiis) more specific sung during the Absolutio super tumulum. This Responsorium is sung during the final blessing of the coffin on its catafalque at the end of the funeral after the Mass of the Dead. This Libera me (there are four (4) plain-chant variations known) is an old Responsorium and is among others published in the old Liber Usualis (edition 1936) pages 1767 – 1768. The normal version of this plainchant is sung at the absolution of the Dead (In Exsequis) a service of prayers after the Requiem Mass but before the burial. At this stage we don’t’ know which version Baban used. Baban sets this Responsory Libera me Domine for eight voices but in a polychoral setting Coro I SSAT and Coro II SATB with figured basso continuo. This responsory is written for the funeral of Kings and bishops. ( In the score; “para el funeral de Reyes y Señores Obispos) This Responsory is mentioned in Músicos del Seiscientos Hispánico: Miguel de Aguilar, Sebastián Alfonso, Gracián Babán, Y Mateo Calvette by Antonio Ezquerro-Esteban, 2006 and is found in the archives of Valencia Catedral, Metropolitan, Archivo Y biblioteca, Archivo de Musica.
Source:Wim Goossens
Subvenite Sancti Dei
Period:Baroque
Musical form:Motet à 8 vocibus con bc
Text/libretto:Exsequiarum ordo pro defunctis
The ”Subvenite Sancti Dei” is in general a plainchant from the Exsequiarum Ordo (in Exsequiis) more specific sung during at the beginning of the funeral celebration more specific the entrance of the coffin (the body of the deceased) into the church. This Responsory is published in the old liber Usualis (edition 1936) page 1765. It’s a specific alternatim (alternate) plainchant. Baban sets this special Responsory Subvenite Sancti Dei for eight voices but in a polychoral setting Coro I SSAT and Coro II SATB with figured basso continuo. This Responsory is written for the funeral of Kings and bishops. (In the score is written: “para el funeral de Reyes y Señores Obispos ). This motet is mentioned in Músicos del Seiscientos Hispánico: Miguel de Aguilar, Sebastián Alfonso, Gracián Babán, Y Mateo Calvette by Antonio Ezquerro-Esteban, 2006 and is found in Segorbe, Archivo de la Catedral.
Author:Wim Goossens
Text:
Subvenite, Sancti Dei, occurrite, Angeli Domini,
Suscipientes animam eius,
Offerentes eam in conspectu Altissimi.
V. Suscipiat te Christus, qui vocavit te,
et in sinum Abrahae Angeli deducant te.
Suscipientes animam eius,
Offerentes eam in conspectu Altissimi.
V. Requiem aeternam dona ei, Domine:
et lux perpetua luceat ei.
Offerentes eam in conspectu Altissimi.

Translation:
Holy God, come to his aid! Come to meet him, angels of the Lord!
Receive his soul and present him to God the Most High.
V. May Christ, Who called you, take you to Himself;
may angels lead you to Abraham's side.
Receive his soul and present him to God the Most High.
V. Give him eternal rest, O Lord, and may Your light shine upon him forever.
Receive his soul and present him to God the Most High.
Contributor:Wim Goossens
Qui Lazarum resuscitasti
Period:Baroque
Musical form:Motet à 8 vocibus con bc
Text/libretto:Latin from a Responsorium de Officium Defunctorum
This ‘Qui Lazarum resuscitasti’ is a second plainchant Responsorium from de Officium Defunctorum Ad Matutinum in primo nocturno (Office of the Dead, ad Matins, first Nocturn). This plainchant is published in the old liber Usualis (edition 1936) page 1786. It is normally sung after the Lectio II in the Office of the Dead. Baban sets this Responsory Qui Lazarum resuscitasti for eight voices but in a polychoral setting Coro I SSAT and Coro II SATB with figured basso continuo. This Responsory is written for the funeral of Kings and bishops, (In the score is written: “para el funeral de Reyes y Señores Obispos). This motet is mentioned in Músicos del Seiscientos Hispánico: Miguel de Aguilar, Sebastián Alfonso, Gracián Babán, Y Mateo Calvette by Antonio Ezquerro-Esteban, 2006 and is found in Segorbe, Archivo de la Catedral.
Author:Wim Goossens
Text:
R. Qui Lazarum resucitasti a monumento foetidum:
Tu eis Domine, dona requiem et locum indulgentiae.
V. Qui venturus est judicare vivos et mortuos, et saeculum per ignem.
R. Tu eis Domine, dona requiem et locum indulgentiae
V. Kyrie eleison. Requiescat in pace.

Translation:
R. Thou which didst raise Lazarus stinking from the grave:
Thou O Lord give them rest, and place of pardon.
V. Which art to come to judge the living, and the dead, and the world by fire.
R. Thou O Lord give them rest, and place of pardon.
Lord have mercy upon me.
V. Eternal rest give unto them.
Contributor:Wim Goossens
Domine, quando veneris
Period:Baroque
Musical form:Motet à 8 vocibus con bc
Text/libretto:Latin from a Responsorium de Officium Defunctorum
Domine, quando veneris is a plainchant from the Responsorium de Officium Defunctorum Ad Matutinum, Office of the Dead ad Matins, in primo nocturne (Office of the Dead, ad Matins, first Nocturn).The Domine, quando veneris is an old Responsorium/Respond and is still published in the old Liber Usualis (edition 1936) page 1787 and is sung after Lectio III in the Office of the Dead. Baban sets this Responsory Domine, quando veneris for eight voices but in a polychoral setting Coro I SSAT and Coro II SATB with figured basso continuo. This Responsory is written for the funeral of Kings and bishops, (In the score is written: “para el funeral de Reyes y Señores Obispos). This motet is mentioned in Músicos del Seiscientos Hispánico: Miguel de Aguilar, Sebastián Alfonso, Gracián Babán, Y Mateo Calvette by Antonio Ezquerro-Esteban, 2006 and is found in Segorbe, Archivo de la Catedral.
Author:Wim Goossens
Text:
R. Domine quando veneris judicare terram,
ubi me abscondam a vultu irae tuae?
Quia peccavi nimis in vita mea.
V.Commíssa mea, Domine, pavesco, et ante te erubesco.
Dum veneris judicare,
Noli me condemnare, V.Requiem aeternam dona eis Domine:
Et lux perpetua luceat eis
Quia peccavi nimis in vita mea.

Translation:
R. O Lord, when Thou shall come to judge the earth,
where shall I hide from the face of Thy wrath?
For I have sinned greatly in my life.
V.I begin to fear my transgressions,
and I blush before thee.
When thou shalt come to judge,
do not condemn me.
For I have sinned greatly in my life.
V. Eternal rest give unto them, O Lord
And let perpetual light shine upon them.
For I have sinned greatly in my life.
Contributor:Wim Goossens
Ne recorderis
Period:Baroque
Musical form:Motet à 8 vocibus con bc
Text/libretto:Latin from a Responsorium de Officium Defunctorum
The “Ne recorderis” is the last plainchant Responsorium from de Officium Defunctorum Ad Matutinum in secundo nocturne, Office of the Dead, ad Matins, second Nocturn. The “Ne recorderis” is an old Responsorium/Respond and still published in the old Liber Usualis page (Edition 1936) page 1792 and is sung after Lectio VI in the Office of the Dead at Matins. Baban sets this Responsory Ne recorderis for eight voices but in a polychoral setting Coro I SSAT and Coro II SATB with figured basso continuo. This Responsory is written for the funeral of Kings and bishops, (In the score is written: “para el funeral de Reyes y Señores Obispos). This motet is mentioned in Músicos del Seiscientos Hispánico: Miguel de Aguilar, Sebastián Alfonso, Gracián Babán, Y Mateo Calvette by Antonio Ezquerro-Esteban, 2006 and is found in Segorbe, Archivo de la Catedral.
Author:Wim Goossens
Text:
R. Ne recorderis peccata mea, Domine,
Dum veneris judicare saeculum per ignem.
V. Dirige, Domine Deus meus,
In conspectu tuo viam meam.
R. Dum veneris judicare saeculum per ignem.
V.Requiem aeternam dona eis Domine:
Et lux perpetua luceat eis
R. Dum veneris judicare saeculum per ignem.

Translation:
R. Remember not O Lord my sins,
whilst thou shalt come to judge the world by fire.
V. Direct O Lord my God
my way in thy sight.
R. Whilst thou shalt come to judge the world by fire.
V. Eternal rest give unto them, O Lord
And let perpetual light shine upon them.
R. Whilst thou shalt come to judge the world by fire.
Contributor:Wim Goossens
Offertorio Domine Jesu Christe, difuntos
Period:Baroque
Musical form:Motet à 8 vocibus con bc
Text/libretto:Latin mass
Duration:2’58”
Examined the literature this offertory Domine Jesu Christe could be considered as a solitaire work. This Domine Jesu Christe is an offertory out of the Missa pro defunctis (see liber Usualis edition 1936, page 1813). This Offertory is set by Baban in Poychoral style for 8 voices consisting out Coro I SATB and Coro II SATB. As unfigured continuo Baban prescribes in the score a harp or a spinet. The first sentence of this offertory will be sung in plainchant by the Altus in Coro II. This incipit is notated at the bottom of the 19th century manuscript (1890) with harp or spinet line. Thereafter Coro I starts in Altus/Bassus with a descending minor-third (e-c#) and in Superior/Tenor (a-f#). Baban starts the movement in a polychoral but imitative way Ms. 1-4. In Coro II Altus and Superius followed in a descending minor-third (e-c#) Bassus, and Tenor with a minor-third (a-f#). Thereafter unfolds the polychoral imitative but slightly homophonic polyphony in baroque style. As from Ms. 5 the Altus of Coro II quotes the belonging plainchant in long notes up to the end. There is in general a slightly certain predominance of vertically and homophony, but of course with frequent inclusion of passages dialogue between the two choirs/ Coro. Nevertheless the whole work is set in imitative style, with a lot of descending lines in Coro I and Coro II. In Ms. 27 – 32 only Coro II is acting. Sometimes we see real homophonic phrases in Ms 57 -62 and from Ms. 71- 77 in Coro I. Baban omitted the belonging Verse ‘Hostias et preces. This work is set in D-Dorian and contains 79 measures. This work is found in Obres polifoniques de diversoso autors folio 173-178 published round 1890, Ofertorio de la Misa de Requiem and in a manuscrit de 1920, folio 30 num. 27.
Author:Wim Goossens
Domine Jesu Christe, Rex gloriae, (in PLAINCHANT)
libera animas omnium fidelium defunctorum
de poenis inferni,
et de profundo lacu.

Libera eas de ore leonis,
ne absorbeat eas tartarus,
ne cadant in obscurum.

Sed signifer sanctus Michaël
representet eas in lucem sanctam,
quam olim Abrahae promisisti
et semini ejus.

Hostias et preces tibi, (is OMMITED by Baban)
Domine, laudis offerimus.
Tu suscipe pro animabus illis
quarum hodie memoriam facimus.

Fac eas, Domine,
de morte transire ad vitam,
quam olim Abrahae promisisti
et semini ejus.

Translation:
Lord Jesus Christ, king of glory,
deliver the soulds of all the faithful departed
from the pains of Hell
and the bottomless pit.

Deliver them from the jaws of the lion,
lest hell engulf them,
lest they be plunged into darkness;

but let the holy standard-bearer Michael
lead them into the holy light,
as once you promised to Abraham
and to his seed.

Lord, in praise we offer you
Sacrifices and prayers,
accept them on behalf of those
who we remember this day:

Lord, make them pass
from death to life,
as once you promised to Abraham
and to his seed.
Contributor:Wim Goossens