Michel Delalande wrote one requiem mass, which is not extand.

DeLalande’s De Profundis consists out of nine movements:

01. De Profundis Clamavi
02. Fiant Aures Tuae intendentes
03. Si Iniquitates observaveris
04. Quia Apud te propitio
05. Sustinuit Amima Me
06. Sustinuit Amima Mea
07. A custodia matutina
08. Quia Apud Dominum
09. Et Ipse Redimet Israel - Requiem - Et lux Perpetua

♫ 01. De Profundis Clamavi
© Vanguard 08 5058 71


♫ 02. Fiant Aures Tuae intendentes
© Vanguard 08 5058 71


♫ 03. Si Iniquitates observaveris
© Vanguard 08 5058 71


♫ 04. Quia Apud te propitio
© Vanguard 08 5058 71


♫ 05. Sustinuit Amima Me
© Vanguard 08 5058 71


♫ 06. Sustinuit Amima Mea
© Vanguard 08 5058 71


♫ 07. A custodia matutina
© Vanguard 08 5058 71


♫ 08. Quia Apud Dominum
© Vanguard 08 5058 71


♫ 09. Et Ipse Redimet Israel - Requiem - Et lux Perpetua
© Vanguard 08 5058 71

Michel-Richard DeLalande's (1657-1726) De Profundis, is composed in 1689 and is one of the masterpieces of French church music out of the Baroque area. This Psalm/Psalmus is set by Delalande for five voices (SATBB), basso continuo, five-part strings, organ, two obligato woodwind instruments (Flute and oboe), and five solo voices (two sopranos, contralto, tenor and bass). De profundis is based on the 129th Psalm (or 130) with two additional lines of text, generally included for the Catholic Burial Service or for a Requiem Mass. So Delalande did. In the services for the Dead this psalm 129 is sung at the beginning of the Exsequiarum ordo Defunctorum – in Exsequiis - see the old Liber Usualis page 1763, so at the moment when the body is at the entrance of the church. The De profundis consists in total out of nine movements following the text of the Psalm 129. Seen movement nine –Requiem aeternam and Et lux perpetua – this oratorio De Profundis has been without any doubt written by DeLalande for the Service for the Dead.
DeLalande gives in general French sacred music a nobility and intensity formerly found only in secular forms. DeLalande provided a maximum variety in texture by his various arrangement of the recitatives and solo arias with obligato instruments accompanied by the organ, and of the arias for a trio and quartet of solo voices alternating with sections of orchestra and chorus. This form of composing was really prophetic of the oratorio works of Bach a generation later. There are two versions of manuscript known and available, we will follow the first complete version of the score. The first movement De profundis clamavi is set for Baritone solo and full Chorus (SSATBB) as you will see sometimes with doubled Soprano. This movement is set in tempo gravement, accompany with full orchestra. The second movement Fiant Aures Tuae tuae intendentes is set for solo quartet Soprano 1, Soprano 2, Tenor 1 and Tenor 2 in tempo Rondement sans lenteur, with continuo accompany.
The third movement Si Iniquitates observaveris is set for Tenor solo in tempo rondement with solo continuo accompany. The fourth movement Quia Apud te propitio is set for a solo trio Soprano, Tenor and Baritone in tempo léger sans vitesse , too with continuo accompany. The fifth movement Sustimuit Amima Mea is set for Soprano solo in tempo gracieusement, with a nice oboe part and continuo accompany. The sixth movement A custodia matutina is set for full chorus (SSATBB) with some doubled Soprano, with a very repeating and praying “speret Israel in Domino, let Israel wait for the Lord” accompany with full orchestra. The seventh movement Quia Apud Dominum is set for Tenor solo in tempo gracieusement, with continuo and flute solo direct followed (attaca) by the eight movement Et ipse redimet Israel in full chorus (SSATBB) in tempo lègérement. This Ipse redimet Israel is direct followed by the ninth movement Requiem aeternam which starts with full Chorus (SATBB) in tempo lentement and is a very moving - due to a lot of dissonant notes – the last part of this Oratorio. It is followed and closed by a real joyful, hopeful, contrapuntal and lively written Et lux perpetua (SATBB) with elegant ascending quarter notes in all parts. DeLalande composed large volumes of music for the King's Chapel in Versailles. In several functions DeLalande was appointed as Surintendant de la Chapelle Royale and Maïtre de Musique and Compositeur ordinaire de la Chapelle et de la Chambre de sa Majestie (Louis XIV). In this function DeLalande composed many ballets, pastorales, and divertissements for the Royal Court, among others Symphonies de Noëls, Musique pour les Soupers du Roy, and concertos for trumpets and timbales for the elaborate Fêtes Nautiques staged on the Grand Canal at Versailles, performed by a large orchestra with hundred instruments from the various bands of the Chamber and Chapelle brought together with those of the Ecuries. In spite of all this Royal pomp and circumstances DeLande’s fame rests on his composed sacred music. The total score of DeProfundis (consisting out of 686 bars) was printed in the ninth book of an impressive collection of DeLalande's 40 Motets de Feu for chorus and orchestra – written for the Royal Chapel at Versailles – posthumously and handsomely printed in 1729 for DeLalande's devoted young admirer Louis XV.

Dies irae (S. 31) contains:
01. Dies iræ 01:17
02. Quantus tremor est futurus 01:08
03. Tuba mirum spargens sonum 01:16
04. Mors stupebit et natura 01:19
05. Liber scriptus proferetur 03:28
06. Recordare 02:00
07. Quærens me 02:34
08. Juste judex 03:33
09. Inter oves locum præsta 02:09
10. Oro supplex et acclinis 01:52
11. Lacrymosa dies illa 02:52
12. Pie Jesu Domine 03:49

♫ 01. Dies iræ
© Harmonia Mundi HMM 902625


♫ 02. Quantus tremor est futurus
© Harmonia Mundi HMM 902625


♫ 03. Tuba mirum spargens sonum
© Harmonia Mundi HMM 902625


♫ 04. Mors stupebit et natura
© Harmonia Mundi HMM 902625


♫ 05. Liber scriptus proferetur
© Harmonia Mundi HMM 902625


♫ 06. Recordare
© Harmonia Mundi HMM 902625


♫ 07. Quærens me
© Harmonia Mundi HMM 902625


♫ 08. Juste judex
© Harmonia Mundi HMM 902625


♫ 09. Inter oves locum præsta
© Harmonia Mundi HMM 902625


♫ 10. Oro supplex et acclinis
© Harmonia Mundi HMM 902625


♫ 11. Lacrymosa dies illa
© Harmonia Mundi HMM 902625


♫ 12. Pie Jesu Domine
© Harmonia Mundi HMM 902625

This Dies irae (S.31) was written in memory of Duchess Maria Anna Christina Victoria of Bavaria (28/11/1660 – 20/04/1690) was Dauphine of France as spouse of Louis, le Grand Dauphin, son and heir of Louis XIV of France, and thereafter was known as Dauphine Victoire. She was the eldest daughter of Ferdinand Maria, Elector of Bavaria and his wife Adelaide Henriette of Savoy. Her maternal grandparents were Victor Amadeus I, Duke of Savoy and Christine Marie of France. Christine Marie was the second daughter of Henry IV of France and Marie de' Medici. She married Louis, Monseigneur, son and heir of Louis XIV of France, on 7 March 1680 in Chalons-sur-Marne. Her husband predeceased his father. She became the mother of the Dauphin Louis, Philip V of Spain and Charles de Bourbon, Duc de Berry. The dauphin, her first son, was father to Louis XV of France.

This Dies irae is lost.