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Diego de Torrijos
c.1653 - 1691
Spain
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D. de Torrijos
Diego de Torrijos (ca.1653 - 30/12/1691), Diego de Torrijos was born in Torrijos, in the province of Toledo, around 1653. His real name was Diego Díaz de Castro. Less is known about his first musical education, but he entered the Real Monasterio San Lorenzo El Escorial de Madrid in 1669 as a choirboy. He seemed to have an exceptional musical talent. He played both organ and harp and with among others the famous Juan de Durango (1632-1696). De Torrijos was one of the leading figures in all aspect in the music-scene at the Real Monastery El Escorial in Madrid. He was appointed Maestro de capilla of the Monastery and he taught music to the choirboys and the incoming novices in the Monastery. Torrijos’s sacred music and handwriting - about 70 manuscripts - are preserved in the archives at El Escorial de Madrid. His Latin Polyphony consists among others out of nine masses, 17 psalms settings, Hymns, Sequences, Lamentations, Magnificat settings and music for the Office of the Dead. He wrote several villancicos. He passed away in 1691 in El Escorial.
Author:Wim Goossens
Office de Difuntos
Period:Baroque
Musical form:Motet à 4 vocibus aequalium con basso sin continuo
Text/libretto:Latin from the Officium Defunctorum
This office of the Dead consists out of the following movements and is set for SSAT:
1. Libera me Domine , responsorio Modo I
2. Misa:
-Introito
-Kyries
-In memoria aeterna
-Secuencia
-Sanctus Y Benedictus
-Agnus Dei
-Lux aeterna
3. Invitatorio Modo VI
4. Parce mihi Domine Modo V
5. Responde mihi Modo II
6. Spiritus meus Modo II
7. Domine, quando veneris, response Modo I
8. Ne recorderis, response Modo VI
9. Libera me Domine Modo I
10. Requiescant in pace Modo VI
11. Deus qui nobis in sancta sindone Modo VI
12. Misa:
-Introito
-Kyries
-In memoria
-Secuencia
-Sanctus Y Benedictus
-Agnus Dei
-Lux aeterna

Diego de Torrijos composed this Officio de Difuntos, this Office of the Dead in Madrid at the end of the seventeenth century. De Torrijos has chosen a setting for four voices SSAT. That means this Officio can be sung by TTBB. Parts of this Officio are published in several sources found in the archives of the Monastery El Escorial. Several composers have set a Officio de difuntos or an Agenda Defunctorum we mention here Juan Vasquez (c. 1510-1560) with his imposing large Agenda defunctorum composed in 1556 and further we mention Gioseffo Zarlino (1517 – 1590), Officium Defunctorum ad Matutinum, tres Lectiones, Giovanni Matteo Asola (c.1528 – 1609), Officium defunctorum, Ginez Peres (1548 – 1612), Officium defunctorum, Giacomo Moro (c.1555 - c.1610), Officium and Missa defunctorum, Ambrosio (Coronado de) Cotes (c.1550 – 1603), Officium defunctorum, Francesco Cellavenia (c.1500 – 1567), Officium defunctorum, Christobal de Morales (c.1500 – 1553), Officium defunctorum, Estevão de Brito (c.1570 – 1641), Officium defunctorum, Lodovico Grossi da Viadana (1564 – 1627), Officium ac Missa defunctorum (1604), Officium defunctorum (1600), Duarte Lôbo (c.1565 – 1646), Officium defuntorum, Marco da Gagliano (1582 – 1642), Officium defunctorum, Estacio de la Serna (1570 – 1616), Officium defunctorum, Juan Esquivel de Barahona (c.1560 - c.1615), Officium defunctorum, Filipe de Magalhães (c.1571 – 1652), Officium defunctorum, Gregor Aichinger (1564 – 1628), Officium pro defunctis quinque vocibus, Domenico Belli (c.1560 – 1627), Officium defunctorum, Heinrich Schutz (1585 – 1672), Officium defunctorum, SWV 65, Christian Erbach (c.1570 – 1635), Officium pro fidelibus defunctis, Sebastián de Vivanco (c.1551 – 1622), Officium defunctorum, Gregorio Zucchini (c.1540 - c.1616), Officium pro defunctis. Some Officium defunctorum/Office of the Dead have been published here at this great website. Sometimes the name doesn’t fit with the real meaning of the Office of the Dead formulated in and in accordance with the Liber Usualis (edition 1936, pages 1772-1805). Sometimes a Missa pro defunctis as such is categorised as an Officium/Office even by composers.
Return we to Diego de Torrijos. The Misa 2. and the Misa 12. mentioned above in the Officio de difuntos differ and are not of the same texture, but this total Officio is found in the same great Volume no. 1919 in Archivo de El Escorial. After the Lessons and Responds we mentioned the used Gregorian modes (Modo) by De Torrijos. Of the Lesson Parce mihi Domine (40074) and Spiritus meus attenuabitur (40078) we found two other settings but in a setting for SATB in Catalogo de Rubio p. 27 folio 1v-6 no. 2 and page 27 folio 18v-24 no. 6. They are the same as we mentioned above under 4. and 6. but there set for SSAT. This Officio de difuntos can be found in the Catalogo del Archivo del Monasterio de San Lorenzo El Real de El Escorial p. 561, no 1919. Several movements are found separately in El Escorial de Madrid Volume 27, page 105 more specific in the Catalogo de Rubio.
Author:Wim Goossens
Contributor:Tassos Dimitriadis
Misa de Difuntos
Period:Baroque
Musical form:Missa à 4 vocibus aequalium con basso continuo
Text/libretto:Latin from the Missa pro defunctis
This mass consists out of the following movements:
Misa:
-Introito
-Kyries -In memoria aeterna
-Secuencia
-Sanctus Y Benedictus
-Agnus Dei
-Lux aeterna

Diego de Torrijos composed this Misa de Difuntos, this Mass of the Dead in Madrid at the end of the seventeenth century between 1669 and 1691. De Torrijos has chosen a setting for four voices SSAT with a non-figured basso continuo. That means too this Misa de difuntos can be sung by TTBB. Of the gradual ‘Requiem aeternam’ only the verse ‘In memoria aeterna’ has been set for four voices. So the other verses will be sung in plainchant. Of the Sequence ‘Dies Irae’ only the first four verses have been set to music. That means in the performance of the Sequence you could alternate with the odd verses in coro and some soloists could sing the even plainchant verses.
This Missa pro defunctis can be found in the Archivo Musical del El Escorial Madrid no. 40635 and in the Catalogo del Archivo del Monasterio de San Lorenzo El Real de El Escorial p. 561. no. 1919-2.
Author:Wim Goossens
Manus tuae Domine fecerunt me
Period:Baroque
Musical form:Motet à 8 vocibus inaequalium con arpa
Text/libretto:Latin from the Officium Defunctorum
This “Manus tuae Domine fecerunt me” is Lesson III, Lectio tertio in primo nocturno used in the Officium Defunctorum ad Matutinum and still used and published in the Office of the Dead at Matins, in the old Liber Usualis (edition 1936) page 1787. This Lesson III in primo nocturno/in first nocturne is set by Diego de Torrijos in polychoral style Coro I SSAT and Coro II SATB with non-figured Harp and is set in g- hypo-Dorian. Coro II as mentioned has the non-figured Harp.
This motet “Manus tuae Domine fecerunt me” is published in 1669 or at the end of the seventeenth centrury by Real Monasterio de San Lorenzo de El Escorial and is found in the Archivo Musical del El Escorial Madrid no. 40647 and in the Catalogo del Archivo del Monasterio de San Lorenzo El Real de El Escorial page 562 no. 1921.
Author:Wim Goossens