Early in the 17th century the Renaissance polyphonic style, in various modified forms, served for several decades as a principal medium for requiem composition. A fine example, in Palestrinian style, is G.F. Anerio's setting (published in 1614, and reprinted three times up to 1677), the introit of which reveals an elegant use of chant paraphrase. Similar in approach, but with more archaic cantus firmus treatment, are the expressive settings of two of Victoria's successors, Duarte Lobo (Officium defunctorum, 1603) and J.P. Pujol (Requiem for four voices, before 1626). An important innovation, evident in a number of works, is the inclusion of an organ continuo part (with figured or unfigured bass), which allowed greater variations in texture and dynamics.

This Missa pro defunctis a 8 vocibus contains:
01. Introitus: Requiem aeternam
02. Kyrie
03. Graduale: Requiem aeternam
04. Offertorium: Domine Jesu Christe.
05. Sanctus
06. Agnus Dei I, II, III
07. Communio: Lux aeterna

♫ 01. Introitus: Requiem aeternam
© Naxos 8.550682


♫ 2. Kyrie
© Naxos 8.550682


♫ 03. Graduale: Requiem aeternam
© Naxos 8.550682


♫ 04. Offertorium: Domine Jesu Christe
© Naxos 8.550682


♫ 05. Sanctus
© Naxos 8.550682


♫ 06. Agnus Dei I, II, III
© Naxos 8.550682


♫ 07. Communio: Lux aeterna
© Naxos 8.550682

This Missa pro defunctis is for 8 mixed voices (SSAATTBB).

This requiem skilfully retains the polyphonic style of Palestrina alongside the more modern dissonances, setting the sombre text almost in the style of his Spanish counterpart Victoria. Seven voices weave a contrapuntal web around the plainchant - itself often a paraphrase of the original chant - and reduced combinations, thereby creating a unique style out of seemingly anachronistic components.

This Missa pro defunctis is published in the Liber missarum III, V,VI, et VIII vocibus Antverpiae,/ ex officina Plantiniana/ Balthasaris Moreti./ MDC.XXI. so printed by the famous Plantin Press in Antwerp in 1621.
This Missa pro defunctis written for eight voices CCAATTBB is originally printed as for two choirs Cantus 1, Altus 1, Tenor 1, Bassus 1 and Cantus 2, Altus 2, Tenor 2, Bassus 2, although not designated as such by Duarte Lôbo. He had chosen for one eight-part counterpoint. Most of the Requiem Masses written in the 16th and 17th Century are severe and austere compositions due to sombre texts but all written by distinguished composers using their full skills.
This Missa pro defunctis is mastering due to the use of eight voices but written rather plainly - see for instance the exceptional start of the Sanctus with two full b flat chords - and given in all the last movements longer notes than usual compared to other polyphone works. Only the movement in the Graduale "In memoria aeterna erit iustus; ab auditione mala: In eternal memory equitability will be, for angry tidings" is small written for three voices SAT. But the following last part of the sentence "non temibit!: he will not fear!" is like a statement of Lôbo written for all impressing eight voices. As we saw in other Requiem settings The Graduale, Offertorium and Lux aeterna are set in contrapuntal style contrary to the other more modest counterpoint but impressing mass movements.

♫ Audivi vocem de caelo
© Hyperion Records CDA68306

This motet Audivi vocem de caelo is a very short Versicle/verse and response used during the office of the Dead, and still published in the Liber Usualis pages 1775 and 1804. This motet is written by Duarto Lôbo for six voices CCTTTB. This Audivi vocem de caelo consists out of 45 bars. It is set up in a classical polyphonic style. Lôbo uses some fine and interesting dissonant. The motet starts with Cantus I followed by Tenor II, Tenor III, Bassus, Cantus II and Tenor I. “Dicentem mihi” (from bar 15/4) is repeated five times by several different homophone parts. And what did that voice from Heaven saying to me? Interesting is the real modest answer in the second phrase “Beati mortui” which starts in the solo Cantus I (bar23/2) followed by pregnant homophonic answers (bar 25/4) of the other lower voices. In fact a musical answer on the question in the Versicle by Lôbo! The motets ends with a modest conflicting a (CI) to b (CII,TI) but immediate ending in E. This marvellous piece is even today very often performed.
Be aware there are other motets Audivi vocem de caelo composed in the Renaissance period for instance by de Manchicourt, Sheppard, Vecchi, Tallis, Tavener, Byrd and Lalleman. Check the text carefully whether it is the same Versicle/Verse or Antiphon out of the Office of the Dead! This Audivi vocem de caelo is published in Liber missarum of 1621and edited by Baltasar Moretus and by Plantin Antwerp preserved in the Bibliotheca Nacional Lisbon in Liber missarum III, V,VI, et VIII vocibus Antverpiae,/ ex officina Plantiniana/ Balthasaris Moreti./ MDC.XXI. Thus printed by Plantin Press in Antwerp in 1621. A huge lot of manuscript-copies from this Book did survive.

Text of this Versicle:
V. Audivi vocem de caelo, dicentem mihi.
R. Baeti mortui qui in Domino moriuntur.

Translation of the Verse:
V. I heard a voice from heaven, saying to me:
R. Blessed are the Dead who die in the Lord.

This Missa pro defunctis a 6 vocibus contains:
01. Introitus: Requiem aeternam
02. Kyrie
03. Graduale: Requiem aeternam
04. Sequenz: Dies irae
05. Offertorium: Domine Jesu Christe
06. Sanctus Y Benedictus
07. Agnus Dei I, II, III
08. Communio: Lux Aeterna
09. Responsorium Pro Defunctis: Memento mei

♫ 01. Introitus: Requiem aeternam
© Gimell CDGIM 205


♫ 02. Kyrie
© Gimell CDGIM 205


♫ 03. Graduale: Requiem aeternam
© Gimell CDGIM 205


♫ 04. Sequenz: Dies irae
© Gimell CDGIM 205


♫ 05. Offertorium: Domine Jesu Christe
© Gimell CDGIM 205


♫ 06. Sanctus & Benedictus
© Gimell CDGIM 205


♫ 07. Agnus Dei I, II, III
© Gimell CDGIM 205


♫ 08. Communio: Lux Aeterna
© Gimell CDGIM 205


♫ 09. Responsorium Pro Defunctis: Memento mei
© Gimell CDGIM 205

This Missa pro defunctis is written for six voices CAATTB. The Missa pro defunctis is published in the Liber missarum III, V, VI et VIII vocibus Antverpiae,/ ex officina Plantiniana/ Balthasaris Moreti./ MDC.XXXIXI. so printed by the famous Plantin Press in Antwerp in 1639. This six-voice Requiem by Lôbo is a later work – published in 1639 as opposed to the 1621 of the eight-voice Requiem – but Lôbo continues the sonorous and contrapuntal idiom of his earlier years, see too the eight-voice Missa pro defunctis. Lôbo writes the chant in the single Cantus part, instead of the more usual Tenor part. The final Responsory "Memento Mei" is reduced to four voices CATB.