Requiem a V vocibus for voices alone, survives in manuscript and is much smaller and considerable less successful work (than the 1689 one); it has the archaic trait of alternating chant with polyphony.

Kerll's Requiem (1689) contains:
01. Glock/Praeambulum Sechster Thon
02. Mass For All Souls' Day: Intro
03. Mass For All Souls' Day: Kyrie
04. Officium Defunctorum Op.11: Oratio
05. Officium Defunctorum Op.11: Lectio
06. Officium Defunctorum Op.11: Graduale
07. Requiem: Tractus
08. Mass For All Souls' Day: Sequentia
09. Mass For All Souls' Day: Evangelium: Domine Jesu Christe
10. Requiem: Offertorium: Hostias Et Preces
11. Mass For All Souls' Day: Praefatio
12. Mass For All Souls' Day: Sanctus/Benedictus
13. Delectus Sacrarum Cantionum Op.1: Elevatio: Admiramini
14. Mass For All Souls' Day: Pater Noster
15. Mass For All Souls' Day: Agnus Dei
16. Mass For All Souls' Day: Communio
17. Postcommunio
18. Son
19. Exulta Satis

The actual Missa pro Defunctis contains:
01. Introïtus
02. Kyrie
03. Dies Irae
04. Offertorium
05. Sanctus
06. Agnus Dei
07. Lux aeterna

♫ 01. Introïtus
© Ricercar RIC 081063


♫ 02. Kyrie
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♫ 03. Dies Irae
© Ricercar RIC 081063


♫ 04. Offertorium
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♫ 05. Sanctus
© Ricercar RIC 081063


♫ 06. Agnus Dei
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♫ 07. Lux aeterna
© Ricercar RIC 081063

Dedicated to Emperor Leopold I (who wrote a Requiem as well). Kerll was a Baroque composer. He studied in Munich and then in Italy with Carissimi and Frescobaldi. He was the court opera conductor in Munich from 1656-1674 and organist of St. Stephen's Cathedral in Vienna from 1677-1684. He composed masses, magnificats and at least two requiems.
Later in the 17th century numerous requiem settings, many in concertato style, were produced by composers including G.B. Bassani, G.A. Bernabei, Antonio Bertali (eight settings), Biber, Giovanni Cavaccio, Cavalli, Cazzati, Joan Cererols, G.P. Colonna, P.A. Fiocco (three settings), Santino Girelli, J.K. Heller, J.C. Kerll (two settings), A.V. Michna, Marcin Mielczewski, Alessandro Scarlatti, Johann Stadlmayer, Christoph Straus (two settings) and Viadana. In Kerll's multi-sectional sequence, solo vocal settings are provided for several of the central verses; and effective word-painting is achieved by means of string tremolandos for the "Quantus tremor" section and fanfare-like arpeggios, vocal and instrumental, for "Tuba mirum".