This Missa defunctorum is for three voices and basso continuo (organ), written in 1598.

Officium defunctorum, opus 11, is for four voices, written in 1600.

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.

Officium ac Missa defunctorum, opus 15, is for five voices, written in 1604.
This might be the same requiem as Missa solemnis pro defunctis (1604), see above.

This Officium defunctorum ac Missa pro defunctis opus 15 is set by Viadana for five voices CATQB (Cantus, Altus, Tenor, Quintus, Bassus) and is published in 1604.
This Officium defunctorum ac Missa pro defunctis consists out of the following movements:
01. Invitatorium : Regen cui omnia vivunt et Psalmus 94 Venite Adoremus Domino 9’.35”
- In primo Nocturno
02. Antiphon Dirige, Domine Deus meus Psalmus 5 Verba mea 7’.55”
03. Antiphon Convertere Domine - Psalmus 6 Domine, ne in furore 6’. 12”
04. Antiphon Confitebuntur - Psalmus 7 Domine Deus 8’.22”

Missa pro defunctis contains:
01. Introitus Requiem aeternam 4’.15”
02. Kyrië Kyrië, Christe, Kyrië 2’.52”
03. Sequentia Dies Irae 12’.16”
04. Offertorium Domine Jesu Christe 5’.18”
05. Sanctus Sanctus & Benedictus 1’. 53”
06. Agnus Dei Agnus Dei I, II, III 1‘.48“
07. Communio Lux aeterna 2’.12”
08. Responsorium Libera Me, Domine de morte 7’.03”

Officium defunctorum:


♫ 01. Officium defunctorum: Regem cui omnia vivunt
© Tactus TC 562201


♫ 02. Officium defunctorum: Verba mea
© Tactus TC 562201


♫ 03. Officium defunctorum: Domine, ne in furore
© Tactus TC 562201


♫ 04. Officium defunctorum: Domine Deus meus
© Tactus TC 562201


Missa pro Defunctis:


♫ 01. Introitus Requiem aeternam
© Tactus TC 562201


♫ 02. Kyrië Kyrië, Christe, Kyrië
© Tactus TC 562201


♫ 03. Sequentia Dies Irae
© Tactus TC 562201


♫ 04. Offertorium Domine Jesu Christe
© Tactus TC 562201


♫ 05. Sanctus Sanctus & Benedictus
© Tactus TC 562201


♫ 06. Agnus Dei Agnus Dei I, II, III
© Tactus TC 562201


♫ 07. Communio Lux aeterna
© Tactus TC 562201


♫ 08. Responsorium Libera Me, Domine de morte
© Tactus TC 562201

This Officium defunctorum is set by Lodovico da Viadana for five voices Cantus, Altus, Tenor, Quintus and Bassus and consists in this case out of the part Ad Matutinum (Matins) the Invitatorium (invitation) and three psalms out of the Primo Nocturno (first Nocturn). Invitatorium ‘Regem Cui omnia vivunt et psalmus 94 Venite Exultemus’ is set by Viadana in alternatim practice (in alternate sections). The belonging plainchant is published in the Liber Usualis (edition 1936, pages 1779-1781). At this Officium the Antiphon ‘Regem cui ‘….. plainchant starts unisono, followed by an instrumental choir consisting out of Cornetto, Trombone, Violino, Violono, Oganano e Spinetta as an introduction of the vocal choir. The first time the Antiphon ‘Regem cui’ is set in a homophonic way (CATQB) , after that the Antiphon or a ‘Venite Domnus’ will be repeated only in plainchant during the whole performance of psalm 94. The psalm-parts are set for the two choirs instrumental & vocal together. The musically interpretation by Viadana differs per text. They are extremely lively, original with strong contracts in following the text. The Requiem aeternam is fully set for the two choirs (instrumental and vocal). The Antiphon ‘Regem cui’ or the ‘Venite Adoremus’ will be sung in plainchant as prescribed in the Liber Usualis. At the closing the Antiphon Regem cui, will be repeated in plainchant.
Antiphon I Dirige Domine Deus meus is followed by Psalm 5. The odd numbers of the 17 verses are set in unison plainchant according to the Liber Usualis (edition 1936 p. 1782). The straight numbers are set in a rich polyphonic setting with striking contrasts and lively elements due to the text. Viadana is aware of the text and with his skills he paints musically the words. The psalm parts are set for two choirs instrumental and vocal together. At the end Viadana has set a fine ‘Requiem aeternam dona eis Domine’. After that the Antiphon Dirige Domine is repeated in plainchant.
Antiphon II Convertere Domine, et eripe animam meam is followed by Psalm 6. The odd numbers of the 12 verses are set in unison plainchant according to the Liber Usualis (edition 1936 p. 1783). The straight numbers are set in a rich polyphonic setting with striking contrasts and lively elements due to the text. Viadana is by using word-painting aware of the text. The psalm parts are set for two choirs instrumental and vocal together. At the end Viadana has set in this case a very open ’Et lux perpetua, luceat eis’ with a very demanding surprising closing with the words ‘Convertere Domine’ for the two choirs (Instrumental and vocal). After that the Antiphon Convertere Domine is again fully repeated in plainchant. Antiphon III Confitebuntur tibi populi followed by Psalm 7. The plainchant choirs starts with a very special Antiphon ‘Confitebuntur tibi populi’ which is at this time not anymore applicable in the Office of the Dead. Nowadays in the Gregorian rite is sung the Antiphon ‘Nequando rapiat ut leo animam meam, dum non est qui redimat, neque qui salvum faciat’, (See Liber Usualis edition 1936 p. 1784). Viadana sets this last psalm 7 in a very introvert way. He omitted in the instrumental choir all wind instruments. The Violone and the Theorbo in this setting are the instrumental choir. The odd numbers of the 20 verses are set in unison plainchant according to the Liber Usualis (edition 1936 p. 1784). The straight numbers are set in a more introvert polyphonic setting even with some a cappella phrases and as mentioned with a very small instrumental choir. The ‘Et lux perpetua luceat eis’ is set by Viadana a cappella. The Antiphon Confitebuntur will be repeated. At the end of the Renaissance you see in this part of the Officium Baroque elements in it. Sound and Rhythm are in a special interaction with the text. And there is an interaction between the serene Plainchant and the enormous variations of the Polyphonic phrases. Those Polyphonic settings all over these four psalms will amaze. It is highly recommended to execute all the plainchant by a small group (4 or 5) of specialised singers! That use will give even more contrasts which Viadana seems to look after.
In these four movements Viadana shows how to interpret the new figured bass, though it is clear that many performers had by this time already learned the new method, at least in the most progressive musical centres in Italy. In fact we see and hear the start of the Baroque area. After these four Antiphons and psalms follows the Missa pro defunctis. This mass is set by Viadana four five voices (CATQB). Added to the score is a consortium of plainchant, besides a vocal and an instrumental choir consisting out of Violine, Violone, Cornetto, Trombone, Theorbo, Organo and Organo & Spinetta. Introitus Requiem aeternam. This movement starts with a short plainchant ‘Requiem’. All voices are doubled by Violine, Violone and basso continuo with theorbo. As from Ms 12-13 the wind-chorus Cornetto and Trombone Tenor joined the vocal chorus. Viadana uses in all parts – excluded Bassus - ascending and descending eighths. The ‘Te decet hymnus deus in Sion’ is again plainchant and the vocal choir starts again with the continuo and violins. As from Ms 27 the wind-chorus joins in ‘Exaudi orationem meam’ with long notes (brevis) in Altus. That wind-chorus is very moving and amazing too and this addition gives a special Polychoral effect. This movement has 37 Measures. Kyrie.
The first Kyrie starts with continuo and violone in a polyphonic way as follows: Altus, Tenor I, Cantus, Bassus and Quintus. Again Vidana sets a lot of eighth notes in all parts with baroque texture. The Bassus has like the Tenor more long notes (brevis). The Christe has long notes in Quintus and Bassus with a lively part in Cantus. The Christe ends in a homophonic way (Ms 27-28). The last Kyrie is ornamented with the wind-chorus, starting with Tenor I, Cantus, Altus, Quintus and Bassus. In this Kyrie the plainchant is quoted in Tenor and ‘supported’ by a Trombone Tenor. This movement has 45 Measures and is set in F. The Gradual and Tractus are not set by Viadana. Sequentia Dies irae. The Sequentia Dies Irae starts with an instrumental introduction by full instrumental chorus. The odd numbers are set by Viadana in a splendid but different way for different parts. The straight numbers are the normal plainchant verses of the Sequentia sung unisono with a separate (4/5 voices) vocal choir as we already mentioned before. The Sequentia is set in D-Dorian. The first verse ‘Dies Irae’ is set in a homophonic way CATQB with full instrumental chorus and ornamented parts in Cantus and Tenor. The third verse is more ornamented with full instrumental choir. See the striking d-minor and Bb-moll chord in Ms 16 on ‘Tuba’ and later in Ms 25 in ‘ante’. The fifth verse ‘Liber scriptus’ is more mildly set in a polyphonic way with the instrumental chorus, Cantus starts, followed by Altus, Tenor I, Bassus and Quintus. The seventh verse ‘Quid sum’ starts homophonic with some syncope’s (Ms 54) ornamented in all parts. The ninth verse ‘Recordare’ starts a cappella. As from measure 79 the instrumental chorus joins the vocal chorus in a nearly homophonic way. The eleventh verse ’Juste judex’ is very imposing and is set in ‘portio tripla’ (3/1) with full instrumental and vocal choir. Contrary to that the thirteenth verse ‘Qui Mariam’ is set in an introvert polyphonic way a cappella, for the three highest parts CAT. In the fifteenth verse ‘Inter oves’ is set for CATQB with only continuo and Violone, senza wind-chorus. There is more moving in all the parts of course with homophonic solutions. In the seventeenth verse ‘Oro supplex’ Viadana quotes in Bassus with long notes the plainchant ornamented by the other four parts. Only Continuo, Violone and Theorbo are the instrumental chorus, see the two closing chords. In the nineteenth verse ‘Judicandus’ each part starts with a quotation of three notes plainchant (a-c-d by CT), (a-c#!-d by Q) and a fifth lower (d-f-g by AB). In an imitative way Cantus starts, followed by Altus, Tenor, Bassus and Quintus. As from Ms 171 the four lower parts (ATQB) are homophonic larded from the beginning of this verse by Cantus with an ending in D on ‘Deum’. The ‘Pie Jesu’ is plainchant followed by the closing ‘Dona eis requiem, Amen’ in D-Dorian. This closing is set homophonic for full Chorus CATQB with a mild instrumental chorus (Continuo, Theorbo, Violone) senza wind-instruments. This total movement consists out of 187 measures.
Offertorium. It is remarkable Viadana set in all odd verses another polyphonic phrases and not what some other Renaissance colleagues for instance Giulio Belli (1560-1621) did in repeating some odd verses through the whole ‘Dies Irae’. The Offertorium ‘Domine Jesu Christe’ is set by Viadana for several variations of the plainchant chorus and on the other hand the instrumental and vocal chorus. This movement is written in a more lively style. Imposing word-painting is set by Viadana in the part ( Ms 27-31)‘ne absorbeat eas tartarus’, lest hell engulf them, or Let the abyss not devour them (with ‘portio tripla’ (3/1) tempo. This Offertorium is set in G-Dorian and consists out of 96 measures.
The Sanctus & Benedictus are set in a more homophonic style. The Quintus sings the plainchant and in the first four measures in long notes. The Cantus starts with ornamentation in the first four measures and joins in an a cappella homophonic phrase (Ms 6-9) CATQB. The full instrumental chorus joins and starts from Ms 10 in “pleni sunt caeli’. The ‘Gloria tua’ Ms 13 is again a cappella CATQB. The ‘Osanna’ Ms 16 is homophonic and the full instrumental chorus joins again. The Tenor starts with the Benedictus Ms 20. Full instrumental and vocal chorus follow (Ms 21-22). An a cappella phrase CATQB is set. As from ‘ín nomine’ Ms23, the continuo and Theorbo close the ‘Domine’ and ‘Osanna’ together with the vocal chorus with a crescendo. These two movements consists in total out of 30 measures. In those little movements you see and hear how surprisingly craftsman Viadana sets his music.
Agnus Dei.
The threefold Agnus Dei is set in a homophonic way. Quintus (twice in Agnus I and III) and Tenor start with the belonging plainchant. In the first Agnus only continuo, theorbo and violone are the instrumental chorus. The wind-instruments will follow in the second Agnus as from Ms 11 up to Ms 14/1. As from this part Ms 14/3 the Vocal chorus and continuo, theorbo and violone are finishing this and the third Agnus Dei. Agnus Dei I and III are set in G-Mixolydian and Agnus Dei II in D-Dorian. This Agnus Dei consists out of 26 measures.
Lux aeterna.
The Lux aeterna closes in accordance Gregorian Service-practise the last part of the Mass of the Dead. Continuo, theorbo and violone accompany the Vocal chorus CATQB. The belonging plainchant is sung by Tenor and Quintus. As from Ms 23 ‘cum sanctis’ the wind-section joins the vocal chorus up to the end. This movement consists out of 31 measures and is set in G-Mixolydian. After that starts the Absolutio super tulum, the last part of the funeral with the responsorium Libera me Domine de morte aeterna and a short closing Requiem aeternam (Liber Usualis edition 1936 page 1767-1768). They both are not set by Viadana but the plainchant is used.
This Officium defunctorum is extremely lively set by Viadana in a polyphonic way larded with the belonging plainchant. We described as much as possible a lot of interaction between sound (Plainchant chorus, Vocal and Instrumental chorus), rhythm and text. Viadana uses very often syncope’s and changing of tempi. Viadana lived between the end of the Renaissance and the beginning of the Baroque. That’s what we found in this Officium too. The text is important for Viadana but nevertheless Viadana was looking for a mix between the large vertical polyphonic elements and the unison Gregorian horizontal elements. In the sense of Viadana and the life-time of Viadana in which he lived music must move, certainly amaze as well to the contrary retires into prayers. This large work is published in Officum ac Missa Defunctorum quinque vocibus decantandum A Ludovico Viadana nunc primum in lucem editum in OPERA XV, Venetiis, Apud Jacobum Vincentium MDCIIII.