This requiem for 5 voices mixed (STTBarB), has been performed at the funeral of Phillip II of Spain (1527 - 1598), who died in 1598. The Requiem is probably written for the funeral of his father Charles V (1500 - 1558) or his mother Isabel of Portugal (1503 - 1539).
01. Introitus: Requiem aeternam ( 6’58” )
02. Kyrie ( 5’59” )
03. Graduale: Requiem aeternam ( 8’33” )
04. Sequentia: Dies Irae ( 1’40” )
05. Offertorium: Domine Jesu Christe ( 8’57” )
06. Sanctus ( 2’13” )
07. Benedictus ( 1’19” )
08. Agnus Dei ( 2’48” )
09. Communio: Lux aeterna ( 2’39” )
Author: | Herman Ram and Wim Goossens |
Source: | http://www.musicanet.org/en/cherchen.php |
♫ 01. Introitus: Requiem aeternam
© Astrée E 8765
♫ 02. Kyrie
© Astrée E 8765
♫ 03. Graduale: Requiem aeternam
© Astrée E 8765
♫ 04. Sequentia: Dies Irae
© Astrée E 8765
♫ 05. Offertorium: Domine Jesu Christe
© Astrée E 8765
♫ 06. Sanctus
© Astrée E 8765
♫ 07. Benedictus
© Astrée E 8765
♫ 08. Agnus Dei
© Astrée E 8765
♫ 09. 09. Communio: Lux aeterna
© Astrée E 8765
This five-part Missa pro Defunctis setting by De Morales contains 10 parts, he set too an Officium defunctorum and a four-part Missa pro Defunctis. Certain is that this Requiem is sung in 1559 in Mexico in the New World at the memorial services for Emperor Charles the fifth.
The plainchant is in generally found in the top voice of each part, followed by the other voices weaving a contrapuntal net under the top-voice. De Morales follows the normal liturgical structure which was common at that time. De Morales uses in this Requiem four lower parts (TTT/BarB) which allows the dark and austere sphere in this imposing serene composition. This Missa pro Defunctis is written by De Morales in general in a solemnly sober imitative counterpoint. Besides De Morales uses some minor homophonic passages too which can be heard nearly in each part. It culminates in the Sanctus and Agnus Dei. Furthermore it seems the Bass to be not a fully part of the polyphonic movements in all pieces. Very certain in the Sanctus and Benedictus the Bass is only involved in it with fourths and fifths of course with a clear harmonic function, the same applies in the Sequentia verse Pie Jesu.
This Missa pro defunctis is in general written for five parts (ATTT/BarB), although the Gradual verse, “in memoria aeterna” is written for three voices TTB and the Offertory verse, “Hostias et preces” is written for ATTB. This Missa is scored for Falsett/Altus, two Tenors, Baritone and Bass. Normally in the Renaissance-period in this pitching the bass is doubled by a dulcian and in accordance with the sources played muted. Every part of this Missa pro Defunctis/Mass of the Dead starts with the normal plainchant intonation followed by a quotation in long notes often by the upper voice(s). The Tractus “Absolve Domine” is the plainchant and is set unisono. In the Sequentia only the last words/verse “Pie Jesu Domine, Dona eis Requiem, Amen” of the Dies Irae are set by De Morales. This could be for liturgical or more practical reasons. Normally the Dies Irae counts 20 verses.
Jacobus de Kerle (c.1531-1591) was involved in de Council of Trent/Concilium Tredentinum (1545-1563) and took knowledge of the developments there and the concluded implementation of the Dies Irae in the Office of the Dead. Among others Giovanni Mateo Asola (1528-1609), in 1575 and Giulio Belli (c.1560-1621) followed the example of the Kerle. Already in 1510 Antoine Brumel (c.1460-1520) used the Sequence Dies Irae, Dies Illa in a polyphonic alternating setting in his Requiem Mass so did Engarandus Juvenis (15th/16th C) in circa 1520 in his Missa pro Defunctis. Most of the Renaissance composers didn’t use the Dies Irae, see nearly all of them – who composed a Requiem Mass - mentioned in this Requiem survey. The plaintiff moods are set by De Morales in this Missa pro Defunctis in using minor thirds and sixths. De Morales set this Requiem with a great look to the clarity and transparency of the texture certainly a mark in the works by De Morales. But all together this very but natural reservedness makes this masterpiece just full of dignity as a result of the high technical skill which De Morales possesses.
De Morales combines and alternates the counterpoint - in using different voice-setting - with delicates homophonic sonorities. In the Offertorium and in the last part Communio we see the high counterpoint skills by De Morales used in and with a strong involvement of all voices both ending with a superb closure. The Introit consists out of 86, Kyrie 65, Graduale 127, Sequentia 32, Offertorium 196, Sanctus 48, Benedictus 25, Agnus Dei 50 and Communio 49 bars.
This Missa pro Defunctis was published in Christophori Moralis Hispaniensis Missarum Liber secundus in Roma, primera parte, 1544, Valerio & Ludovico Dorico and reprinted in 1551 by Jacobum Modernum, Lyon.
The plainchant is in generally found in the top voice of each part, followed by the other voices weaving a contrapuntal net under the top-voice. De Morales follows the normal liturgical structure which was common at that time. De Morales uses in this Requiem four lower parts (TTT/BarB) which allows the dark and austere sphere in this imposing serene composition. This Missa pro Defunctis is written by De Morales in general in a solemnly sober imitative counterpoint. Besides De Morales uses some minor homophonic passages too which can be heard nearly in each part. It culminates in the Sanctus and Agnus Dei. Furthermore it seems the Bass to be not a fully part of the polyphonic movements in all pieces. Very certain in the Sanctus and Benedictus the Bass is only involved in it with fourths and fifths of course with a clear harmonic function, the same applies in the Sequentia verse Pie Jesu.
This Missa pro defunctis is in general written for five parts (ATTT/BarB), although the Gradual verse, “in memoria aeterna” is written for three voices TTB and the Offertory verse, “Hostias et preces” is written for ATTB. This Missa is scored for Falsett/Altus, two Tenors, Baritone and Bass. Normally in the Renaissance-period in this pitching the bass is doubled by a dulcian and in accordance with the sources played muted. Every part of this Missa pro Defunctis/Mass of the Dead starts with the normal plainchant intonation followed by a quotation in long notes often by the upper voice(s). The Tractus “Absolve Domine” is the plainchant and is set unisono. In the Sequentia only the last words/verse “Pie Jesu Domine, Dona eis Requiem, Amen” of the Dies Irae are set by De Morales. This could be for liturgical or more practical reasons. Normally the Dies Irae counts 20 verses.
Jacobus de Kerle (c.1531-1591) was involved in de Council of Trent/Concilium Tredentinum (1545-1563) and took knowledge of the developments there and the concluded implementation of the Dies Irae in the Office of the Dead. Among others Giovanni Mateo Asola (1528-1609), in 1575 and Giulio Belli (c.1560-1621) followed the example of the Kerle. Already in 1510 Antoine Brumel (c.1460-1520) used the Sequence Dies Irae, Dies Illa in a polyphonic alternating setting in his Requiem Mass so did Engarandus Juvenis (15th/16th C) in circa 1520 in his Missa pro Defunctis. Most of the Renaissance composers didn’t use the Dies Irae, see nearly all of them – who composed a Requiem Mass - mentioned in this Requiem survey. The plaintiff moods are set by De Morales in this Missa pro Defunctis in using minor thirds and sixths. De Morales set this Requiem with a great look to the clarity and transparency of the texture certainly a mark in the works by De Morales. But all together this very but natural reservedness makes this masterpiece just full of dignity as a result of the high technical skill which De Morales possesses.
De Morales combines and alternates the counterpoint - in using different voice-setting - with delicates homophonic sonorities. In the Offertorium and in the last part Communio we see the high counterpoint skills by De Morales used in and with a strong involvement of all voices both ending with a superb closure. The Introit consists out of 86, Kyrie 65, Graduale 127, Sequentia 32, Offertorium 196, Sanctus 48, Benedictus 25, Agnus Dei 50 and Communio 49 bars.
This Missa pro Defunctis was published in Christophori Moralis Hispaniensis Missarum Liber secundus in Roma, primera parte, 1544, Valerio & Ludovico Dorico and reprinted in 1551 by Jacobum Modernum, Lyon.