Gracian Baban wrote a Misa de Requiem a 8 voces divided in Coro I SATB. and Coro II SATB written for the funeral of Kings and bishops. This work is found and preserved in the Archivo de la Catedral de Valencia and in the biblioteca de Catalunya.

The ”Libera me, Domine de morte” is in general a plainchant from the Exsequiarum Ordo (in Exsequiis) more specific sung during the Absolutio super tumulum. This Responsorium is sung during the final blessing of the coffin on its catafalque at the end of the funeral after the Mass of the Dead. This Libera me (there are four (4) plain-chant variations known) is an old Responsorium and is among others published in the old Liber Usualis (edition 1936) pages 1767 – 1768. The normal version of this plainchant is sung at the absolution of the Dead (In Exsequis) a service of prayers after the Requiem Mass but before the burial. At this stage we don’t’ know which version Baban used. Baban sets this Responsory Libera me Domine for eight voices but in a polychoral setting Coro I SSAT and Coro II SATB with figured basso continuo. This responsory is written for the funeral of Kings and bishops. ( In the score; “para el funeral de Reyes y Señores Obispos) This Responsory is mentioned in Músicos del Seiscientos Hispánico: Miguel de Aguilar, Sebastián Alfonso, Gracián Babán, Y Mateo Calvette by Antonio Ezquerro-Esteban, 2006 and is found in the archives of Valencia Catedral, Metropolitan, Archivo Y biblioteca, Archivo de Musica.

The ”Subvenite Sancti Dei” is in general a plainchant from the Exsequiarum Ordo (in Exsequiis) more specific sung during at the beginning of the funeral celebration more specific the entrance of the coffin (the body of the deceased) into the church. This Responsory is published in the old liber Usualis (edition 1936) page 1765. It’s a specific alternatim (alternate) plainchant. Baban sets this special Responsory Subvenite Sancti Dei for eight voices but in a polychoral setting Coro I SSAT and Coro II SATB with figured basso continuo. This Responsory is written for the funeral of Kings and bishops. (In the score is written: “para el funeral de Reyes y Señores Obispos ). This motet is mentioned in Músicos del Seiscientos Hispánico: Miguel de Aguilar, Sebastián Alfonso, Gracián Babán, Y Mateo Calvette by Antonio Ezquerro-Esteban, 2006 and is found in Segorbe, Archivo de la Catedral.

This ‘Qui Lazarum resuscitasti’ is a second plainchant Responsorium from de Officium Defunctorum Ad Matutinum in primo nocturno (Office of the Dead, ad Matins, first Nocturn). This plainchant is published in the old liber Usualis (edition 1936) page 1786. It is normally sung after the Lectio II in the Office of the Dead. Baban sets this Responsory Qui Lazarum resuscitasti for eight voices but in a polychoral setting Coro I SSAT and Coro II SATB with figured basso continuo. This Responsory is written for the funeral of Kings and bishops, (In the score is written: “para el funeral de Reyes y Señores Obispos). This motet is mentioned in Músicos del Seiscientos Hispánico: Miguel de Aguilar, Sebastián Alfonso, Gracián Babán, Y Mateo Calvette by Antonio Ezquerro-Esteban, 2006 and is found in Segorbe, Archivo de la Catedral.

Domine, quando veneris is a plainchant from the Responsorium de Officium Defunctorum Ad Matutinum, Office of the Dead ad Matins, in primo nocturne (Office of the Dead, ad Matins, first Nocturn).The Domine, quando veneris is an old Responsorium/Respond and is still published in the old Liber Usualis (edition 1936) page 1787 and is sung after Lectio III in the Office of the Dead. Baban sets this Responsory Domine, quando veneris for eight voices but in a polychoral setting Coro I SSAT and Coro II SATB with figured basso continuo. This Responsory is written for the funeral of Kings and bishops, (In the score is written: “para el funeral de Reyes y Señores Obispos). This motet is mentioned in Músicos del Seiscientos Hispánico: Miguel de Aguilar, Sebastián Alfonso, Gracián Babán, Y Mateo Calvette by Antonio Ezquerro-Esteban, 2006 and is found in Segorbe, Archivo de la Catedral.

The “Ne recorderis” is the last plainchant Responsorium from de Officium Defunctorum Ad Matutinum in secundo nocturne, Office of the Dead, ad Matins, second Nocturn. The “Ne recorderis” is an old Responsorium/Respond and still published in the old Liber Usualis page (Edition 1936) page 1792 and is sung after Lectio VI in the Office of the Dead at Matins. Baban sets this Responsory Ne recorderis for eight voices but in a polychoral setting Coro I SSAT and Coro II SATB with figured basso continuo. This Responsory is written for the funeral of Kings and bishops, (In the score is written: “para el funeral de Reyes y Señores Obispos). This motet is mentioned in Músicos del Seiscientos Hispánico: Miguel de Aguilar, Sebastián Alfonso, Gracián Babán, Y Mateo Calvette by Antonio Ezquerro-Esteban, 2006 and is found in Segorbe, Archivo de la Catedral.

Examined the literature this offertory Domine Jesu Christe could be considered as a solitaire work. This Domine Jesu Christe is an offertory out of the Missa pro defunctis (see liber Usualis edition 1936, page 1813). This Offertory is set by Baban in Poychoral style for 8 voices consisting out Coro I SATB and Coro II SATB. As unfigured continuo Baban prescribes in the score a harp or a spinet. The first sentence of this offertory will be sung in plainchant by the Altus in Coro II. This incipit is notated at the bottom of the 19th century manuscript (1890) with harp or spinet line. Thereafter Coro I starts in Altus/Bassus with a descending minor-third (e-c#) and in Superior/Tenor (a-f#). Baban starts the movement in a polychoral but imitative way Ms. 1-4. In Coro II Altus and Superius followed in a descending minor-third (e-c#) Bassus, and Tenor with a minor-third (a-f#). Thereafter unfolds the polychoral imitative but slightly homophonic polyphony in baroque style. As from Ms. 5 the Altus of Coro II quotes the belonging plainchant in long notes up to the end. There is in general a slightly certain predominance of vertically and homophony, but of course with frequent inclusion of passages dialogue between the two choirs/ Coro. Nevertheless the whole work is set in imitative style, with a lot of descending lines in Coro I and Coro II. In Ms. 27 – 32 only Coro II is acting. Sometimes we see real homophonic phrases in Ms 57 -62 and from Ms. 71- 77 in Coro I. Baban omitted the belonging Verse ‘Hostias et preces. This work is set in D-Dorian and contains 79 measures. This work is found in Obres polifoniques de diversoso autors folio 173-178 published round 1890, Ofertorio de la Misa de Requiem and in a manuscrit de 1920, folio 30 num. 27.