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| Latest update: | 06-04-2024 |
Louis Chein
c.1636 - 1694
France
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| L. Chein |
Louis Chein (c.1636 – 17/06/1694), a French priest, serpent player and composer (from Beaune?).
| Source: | The new Grove dictionary of music and musicians |
Missa pro defunctis
| Period: | Baroque |
| Composed in: | 1690 |
| Musical form: | mass |
| Text/libretto: | Latin mass |
This Missa pro defunctis is for four voices. One copy is preserved by the Centre de musique baroque Versaille (CMBV) and dated 1690. Transcription by CMBV, with the collaboration of Gaëlle Richeux and the Centre de musique ancienne, Geneva.
| Source: | http://www.cmbv.com/fr/edit/mav_cah.htm |
| Contributor: | Tassos Dimitriadis |
This Missa pro Defunctis Mass of the Dead is written for four voices (SATB) and contains:
01. Graduale ad usum Parisiensem [Introït]: Requiem Aeternam.
02. Kyrie Criste Kyrie.
03. Graduale ad usum Parisiensem: Si ambulem.
04. Graduale ad usum Romanum: Requiem aeternam.
05. Offertorium: Domine Jesu Christe.
06. Hostias & preces tibi Domine.
07. Sanctus.
08. Pie Jesu Domine.
09. Benedictus.
10. Agnus Dei I, II, III.
11. Post-communio: Lux aeterna.
12. Responsorium: Ne recorderis.
This Missa pro Defunctis (1690) is published by Jean-Baptiste Christophe Ballard (1663 – 1750) in Paris 1690 with the title: Missa pro defunctis quatuor vocum, authore Ludovico Chein. Presbytero, sacrae Regiae Capellae Palatii Parisiensis Capellano, nec-non insignis Ecclesiae Cathedralis Corisopitensis Capellano. The Ballard family of music printers held exclusive Royal privilege for printing music in France for over 200 years starting in 1551 with their association with Adrian Le Roy. Jean-Christophe Ballard's very large collection of musical works contained in his music library, were listed in his inventory after death, numbers almost 1050! This Mass is written in a modest polyphonic counterpoint with homophone phrases in: Et tibi reddetur, Pie Jesu Domine, Qui tollis peccata mundi I, II, III and Et lux Perpetua. Chein uses the plainchant at the expecting places in the score. But it is interesting Chein added and placed the Pie Jesu Domine between Sanctus and Benedictus., the Pie Jesu Domine is in fact the end of the Sequentia Dies Irae, dies Illa and further not used/arranged by Chein. Chein has composed two versions of the Graduale the first according Paris mode and the second according Roman mode. Chein advises the organ to accompany but it is not necessary. This Missa pro Defunctis has ideally be sung by Counter-Tenor, Tenor, Baritone and Bass.
01. Graduale ad usum Parisiensem [Introït]: Requiem Aeternam.
02. Kyrie Criste Kyrie.
03. Graduale ad usum Parisiensem: Si ambulem.
04. Graduale ad usum Romanum: Requiem aeternam.
05. Offertorium: Domine Jesu Christe.
06. Hostias & preces tibi Domine.
07. Sanctus.
08. Pie Jesu Domine.
09. Benedictus.
10. Agnus Dei I, II, III.
11. Post-communio: Lux aeterna.
12. Responsorium: Ne recorderis.
This Missa pro Defunctis (1690) is published by Jean-Baptiste Christophe Ballard (1663 – 1750) in Paris 1690 with the title: Missa pro defunctis quatuor vocum, authore Ludovico Chein. Presbytero, sacrae Regiae Capellae Palatii Parisiensis Capellano, nec-non insignis Ecclesiae Cathedralis Corisopitensis Capellano. The Ballard family of music printers held exclusive Royal privilege for printing music in France for over 200 years starting in 1551 with their association with Adrian Le Roy. Jean-Christophe Ballard's very large collection of musical works contained in his music library, were listed in his inventory after death, numbers almost 1050! This Mass is written in a modest polyphonic counterpoint with homophone phrases in: Et tibi reddetur, Pie Jesu Domine, Qui tollis peccata mundi I, II, III and Et lux Perpetua. Chein uses the plainchant at the expecting places in the score. But it is interesting Chein added and placed the Pie Jesu Domine between Sanctus and Benedictus., the Pie Jesu Domine is in fact the end of the Sequentia Dies Irae, dies Illa and further not used/arranged by Chein. Chein has composed two versions of the Graduale the first according Paris mode and the second according Roman mode. Chein advises the organ to accompany but it is not necessary. This Missa pro Defunctis has ideally be sung by Counter-Tenor, Tenor, Baritone and Bass.
| Author: | Wim Goossens |