Fragment (sometimes added to Richafort's Missa pro defunctis) for the death of king Phillipus II (1527 - 1698) of Spain who died in 1598. Lobo was Maestro de capilla at Toledo cathedral from 1593 and Seville cathedral from 1603. He published a volume of masses and motets in a Palestrinian style in 1602, and left more church music in manuscript.


♫ Libera me
© Brilliant Classics 95789

The Libera me Domine de morte aeterna is a plainchant from the Exsequiarum Ordo more specific a Responsorium sung during the final blessing of the coffin on its catafalque. This Libera me (there are more (4) plain-chant variations known and in use) is an old Responsorium out of the In Exsequis and sung in the part Absolutio super tulum and is published in the old Liber Usualis page 1767.
This used text is not to be confused with the Libera me Domine de vis inferni which is sung after the ninth lesson from the Officium Defunctorum ad Matutinum page 1798 in the Liber Usualis.
But after the Missa pro defunctis, in the absolutio pro Defunctis is indeed sung this Libera me Domine de morte aeterna. This setting of the Libera me Domine de morte aeterna by Alonso Lobo is written for five voices (SSTTB) alternated with the belonging plainchant. We make notice nor the belonging plainchant neither the more voice setting are found in the manuscript from the time Lobo lived. But this vocal setting is found in the Toledo Cathedral due to the fact that the setting of this Libera me by Lobo is continuously used in funeral services in the Toledo Cathedral. In general the belonging plainchant of Lobo’s time survived in old choir-books. The imposing vocal settings by Lobo are short but consists out of 83 bars and are written in polyphonic of course more homophonic style. In good tradition the Respond is repeated as a whole up to “per ignem” and ends with a threefold Kyrië eleison, Lord have mercy upon us. In this work Lobo uses extra flats, and sharps to express his feelings.
This funeral motet is found in the Toledo Cathedral, Libro de polifonia no. 24 in a manuscript compiled in the eighteenth century. Due to the fact Alonso Lobo was Maestro di capilla of Toledo Cathedral (1593-1604) this piece shall be set by Alonso Lobo in that period.

Responso para el dia de defuntos for 5 voices, is only known in manuscript in Toledo (ms. 24).
(The above mentioned "Libera me, Domine" might be part of this Responsory.)

♫ Vivo ego, dicit Dominus
© Brilliant Classics 95789

The “Vivo ego, dicit Dominus” is a plainchant from the Exsequiarum Ordo more a very specific one to compare in the Iberian Peninsula with the here already discussed Respond “Versa est in Luctum”. But of course in the more general Roman rites this “Vivo ego” is a plainchant sung too on various occasions during Lent, including the Reconciliation of Penitents on Maundy Thursday. Moreover this plainchant is sung as a communion Antiphon at Friday in the first week of Lent.
The text of this plainchant is out of Ezequiel 33:11. Especially Bruno Turner qualified this motet in his first transcription in 1978 too as a Motete exequial a cuatro voces, a motet form the Exsequiarium Ordo for four voices. As we know in the Iberian Peninsula there are more specific and other motets sung in the Exsequiarium Ordo. The variations differs per town, region and land. We already mentioned above the famous “Versa est in luctum” and we discussed here too “Circumdederunt” and “Regem cui” (set by De Morales c. 1500-1553 by Hernando Franco 1532-1585 and Bartolomeo Trosylho 1500 - 1567) as special Requiem legacy of the Iberian Peninsula. Of course settings of other composers have we discussed here.
This setting of the “Vivo ego, dicit Dominus” by Alonso Lobo is written for four voices (CATB). The start of this motet has an appropriate contemplative mood. But as from bar 46 in “et vivat / and lives” ends this motet with a more lively setting to underline those words.
As from the beginning Lobo uses imitative counterpoint. Altus starts, followed by Cantus, Tenor and Bassus. Cantus, Tenor and Bassus have each a descending fifth + ascending minor third and descending half ( d-g-bb-a) while the Bassus starts a fourth lower with the same motive (g-c-eb-d).
Lobo uses on parts of important words in different voices syncope’s which creates a rhythmical and an emotional tension, ( for instance: T Ms 8 ; C Ms 10; B Ms 11; T Ms 13). Lobo uses some dissonant (See for instance closing Ms 54) and a lot of sharps and flats to express his feelings. As from measure 46 Lobo paints with lively settings the wording “et vivat!” with two syncope’s in Cantus (Ms 50) followed by the Altus (Ms 52). This vocal setting by Lobo is short and consists out of 54 bars and is written in g-Phrygian. This funeral motet is found and published in Liber primus missarum, Madrid MDCII,1602, Moteta ex devotione inter missarum solemnia decantanda.

♫ Versa est in luctum
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A motet from the Responsorium de Officium Defunctorum Responsory from Matins of the Dead composed for six voices (SSATTB). The Versa est in luctum is an old Responsorium and even used by Victoria. There are about 138 Responsoria de Officium Defunctorum known and used during centuries in the Office of the Dead. They are all well ordered. This setting by Alons Lobo was published in Liber primus Missarum, Madrid 1602, Moteta ex devotione inter missarum solemnia decantanda. The motet was composed for the funeral of Philip II, King of Spain: Ad exsequias Philip II Cathol. Regis. Hisp and is one of the finest settings by Lobo. Alonso Lobo (not related to Duarte) uses from the beginning a very sophisticated counterpoint in polyphonic style.

Responsorium nr 95.
Versa est in luctum cithara mea et organum meum in vocem flentium.
Parce mihi, Domine, quia nihil sunt dies mei.

Translation
My harp is tuned for lamentation ,and my organ to the voice of those who weep.
Spare me, O Lord, for my days are as nothing.

♫ Credo quod redemptor
© Gimell CDGIM 205

A motet from the Responsorium de Officium Defunctorum ad Matutinum a responsory from Matins of the Dead composed for four voices (SATB). The Credo quod redemptor is an old Responsorium and still published in the old Liber Usualis. This setting by Alonso Lobo was published in Liber primus Missarum, Madrid 1602, Moteta ex devotione inter missarum solemnia decantanda.. Alonso Lobo uses a very transparent counterpoint in polyphonic style.