Benedictus Buns wrote two Requiem masses for five voices. They were published in 1693 in a Opus VII together with some other motets out of the rite Pro Defunctis. Opus VII named by Buns ‘Orpheus gaudens ac lugens, sive Cantica gaudii ac luctus’, A 1, 2, 3, 3 & 5 vocibus ac instrumentis composita. Edited - Antwerp, Hendrick Aertssens, 1693. This Opus VII consists out of fifteen motets for 1-5 solo voices, instruments en bc and of four four masses for 4-5 solo voices, instruments and bc. This first Missa Requiem Opus VII in the catalogue numbered 18 is written for SSATB In this Requiem Mass the five voices are accompanied by Violin I & II, Alto Viola, Tenor Viola, Fagot and Basso continuo.

Benedictus Buns wrote two Requiem masses for five voices. They were published in 1693 in an Opus VII together with some other motets out of the rite Pro Defunctis. Opus VII named by Buns ‘Orpheus gaudens ac lugens, sive Cantica gaudii ac luctus’, A 1, 2, 3, 3 & 5 vocibus ac instrumentis composita. Edited - Antwerp, Hendrick Aertssens, 1693. This Opus VII consists out of fifteen motets for 1-5 solo voices, instruments en bc and of four masses for 4-5 solo voices, instruments and bc. This first Missa Requiem Opus VII in the catalogue numbered 19 is written for SSATB and this Requiem is written in a solemn style with a Dies Irae and a Libera me. In this Requiem Mass the five voices are accompanied by Violin I & II, Alto Viola, Tenor Viola, Fagot and Basso continuo.

This Requiem: “Missa Requiem solemnis cum Dies Irea, et Libera” me consists out of the following eight movements:
01. Introitus: Requiem
02. Kyrie Kyrie, Christe, Kyrie
03. Gradual Requiem aeternam Plainchant Canitur choraliter
04. Tractus Absolve Domine
05. Sequentia Dies Irae, dies illa
06. Offertorium Domine Jesu Christe
07. Agnus Dei Agnus Dei
08. Communio Lux Aeterna
09. Requiescant Requiem aeternam Plainchant Canitur choraliter

For this occasion Benedictus à Sancto Josepho sets the whole liturgical text, with exception of the Benedictus and the Gradual Requiem aeternam. In the Gradual he prescribes the Plainchant ‘Canitur choraliter’ as he did at the end the closing song/oration Requiescant in pace, Amen.

Introit: Requiem aeternam
The composer starts with the normal plainchant intro Requiem, directly followed with an introductory ‘Symphonia’ consisting out of 13 measures. This movement is set for five voices CCATB with Violino I, II and III, Alto & Tenor Viola, Basso viola (Fagotto) and Basso Continuo. The tone of this movement is solemn. The really austere sphere in the already mentioned sinfonia exposes the motives set by the composer which will occur in this Introit. Tenor starts (M-4) followed by the other four voices. The phrase ‘Luceat’ is larded with sixteenth notes (M 39-46). The Psalmus (M-54) ‘Te decet’ is sung in plainchant. This movement is full of interesting harmonic frictions and tonal fluctuations and consists including the prescribed repetition out of 104 Measures. In the score Benedictus à Sancto Josepho has noted: Repetitur Requiem sine Symphonia usque Psalmum. Which is in accordance liturgical practice.

Kyrie
The first Kyrie starts with Tenor, Violino III/Alt Viola, Tenor Viola, Bass Viola (Fagotto) and Basso Continuo, followed by the other voices. CI,CII, A. again T and B. The first threefold Kyrie and the threefold Christe eleison is set without the Violino I and II. The Violino I and II will first join at Measure 14 in part Grave, 3/2, triple time signature, the last threefold Kyrie. The texture is from here more homophonic, the tone is solemn in an austere sphere. This piece is full of harmonic frictions is set in E-flat major and consists out of 43 bars.

Gradual: Requiem aeternam
Plainchant.

Tractus: Absolve Domine.
In the Renaissance as Gradual plainchant a lot of composers uses the text ‘Si Ambulem.’ Before the reforms of the Council of Trent (1543-1563) there were diverse alternative texts for the Proper’s of the Mass of the Dead in use which differs per region. Nowadays we use ‘Requiem aeternam’. We already saw the use of this particular Gradual-text (Si Ambulem) among others by the Netherlandish composers like Ockeghem (c.1420-1497), Divitis (c.1473-c.1528), de Févin (1473-1512), Prioris (c.1460-c.1514), Richafort (1480-1547), Claudin Sermisy (c.1490-1562), Benedictus Appenzeller (c.1480-1558aft), Jacobus de Kerle (1531-1591) and Lassus (1532-1594). This use depends on and vary per region. For instance and on the other hand the Spanish Polyphonists and Engarandus Juvenis (16th Century) use in the now known Gradual-text ‘Requiem aeternam’, page 1808 Liber Usualis (edition1936) nor did use the Gradual-text but other parts of the Proper’s for instance ‘Tractus sicut servus’ like Pierre de la Rue ( 1460-1518) did. Benedictus à Sancto Josepho uses in the Requiem another text ‘Absolve Domine’ published in Liber Usualis (edition1936) page 1809 in use by the Carmelites in the 17th Century, see too the great Requiem book by Plantijn, Antwerp, Plantinia, Antwerpiae, edition MDCLXV, page 10. See for the translation the Latin Text with translation in the head of this website.
This Tractus starts with the belonging plainchant, ‘absolve’ followed by an introductory ‘Symphonia’ consisting out of 13 measures. This intro characterize this movement as a whole, but is in fact a literal repeat of the Sinfonia in the Kyrie. This movement is full of harmonic frictions. In fact this movement is the most interesting of the three first movements of this Requiem Mass set by Benedictus à Sancto Josepho. In ‘Mereantur evadere judicium ultionis’, ‘may they deserve to avoid the judgment of revenge’, (M 41-50) seems Benedictus à Sancto Josepho in the vocals to imitate trombones or trumpets by dotted motifs followed by a sixteenth notes, but he didn’t prescribe those instruments. This interesting part is followed by a section with a contrasting triple time signature in ‘Et lucis aeternae, the eternal light’ (M 51-71) up to the end. This movement consists out of 71 bars.

Sequentia: Dies Irae
The sequence ‘Dies Irae’ in the middle of this Missa pro defunctis has seen the title of this Requiem Mass specially been written for a special - unknown - occasion. In the most interesting part of this Missa pro defunctis. In Gregorian mode the “Dies Irae’ is set in an alternatim/alternate principle. Benedictus starts with a Symphonia consisting out of 11 measures. The first four notes by the Alto are Eb – D – Eb - C. The starting notes of the Plainchant ‘Dies Irae’ the first verse is set for ATB, Bvla and Bc.
The second verse M-22 is set for Tutti-ensemble VI,II,III, Viola A, Viola T, Bvla Bc, CCATB, unfortunately without cupper instruments.
The third verse ‘Tuba, Mirum’ M-33 CI,CII,B, Bvla and Bc.
The fourth verse ‘Mors, stupedit, M-46 Tutti-ensemble.
The fifth verse ‘Liber scripturus’ M-55, T-solo, VI,VII, Bvla, Bc.
The sixth verse ‘Judex ergo’ M-66, Tutti-ensemble.
The seventh verse ‘Quis sum miser’ M- 75, B-Solo, VI,VII, Bvla, Bc.
The eight verse ‘Rex tremendae’, M-84, Tutti-ensemble.
The ninth verse ‘Recordare’ M-95, CI,CII,A, Bvla, Bc.
The tenth verse ‘Quaerens me’ M-107, Tutti-ensemble.
The eleventh verse ‘Juste Judex’ M-117, T,B, VI,VII, Bvla, Bc.
The twelfth verse ‘Ingemisco’ M-130, Tutti-ensemble.
The thirteenth verse ‘Qui Mariam’, M-143, A-solo, Bvla, Bc. Interesting here in this verse Benedictus à Sancto Josepho uses in the accompanying instruments only groups of eight notes (quavers).
The fourteenth verse ‘Preces meae’ M-153, Tutti-ensemble in triple time signature.
The fifteenth verse ‘Inter oves’ M-176, CI,B, Bvla,Bc.
The sixteenth verse ‘Confutatis, M-188, Tutti-ensemble, in triple time signature.
The Seventeenth verse ‘Oro supplex’ M-197, CII,A,T, Bvla,Bc.
The eighteenth verse ‘Lacrimosa’ M-205, Tutti-ensemble. Homophonic with ascending eights M-207 in ‘Qua resurget’.
The nineteenth verse ‘Judicandus’ M-223, B-solo, VI,VII,VII,Tvla, all tremolo up to M-227, Bvla, Bc.
The twentieth verse ‘Pie Jesu’ M-234, Tutti-ensemble, but starting (M-234) with CI,CII,A. A very interesting movement with solemn atmosphere and following the text emotional feelings This movement has several keys. Mind the several church modes. The total score counts 245 bars.

Offertorium: Domine Jesu Christe.
The offertory-motet starts of course with the belonging plainchant ‘Domine Jesu Chrsite’, followed with an instrumental Symphonia , consisting out of VI, VII, VIII, Tvla, Bvla, Bc up to M-10. The Tutti-ensemble will follow, C,C,A,T starts again with ‘Domine Jesu Chrsite’ in chromatic settings M-12 and M-17. As from M-56 to 59 in ‘ne cadant in obscurum’ Benedictus à Sancto Josepho sets descending notes in all parts to underline that words: ‘nor they be plunged into darkness’.
From M-62 to M-85 this motet continues in triple time signature ‘Sed singnifer sanctus Michael’ with A, T, Vla, Bc and instrumental echoes in VI, VII, VII Tvla, Bvla, Bc.
With M-85 starts the famous words ‘Quam olim Abrahae’ with the tutti-ensemble and ending in M-101.
The verse ‘Hostias et preces’ M-102 starts with the belonging plainchant, followed by the tutti-ensemble and a Bass-solo as from M-112 accompanied by VI,VII, Bvla, Bc. As from M-123 ‘Quam Olim Abrahae’ will be repeated with the same texture as from bar M- 92 up to the end of this motet in bar 101. This motet has 132 measures.

Sanctus.
The Sanctus is set up by Benedictus à Sancto Josepho in a strongly contrapuntal polyphonic way. Due to normal practice that days the Benedictus is omitted. This Sanctus consists out of 27 Bars. Benedictus à Sancto added in the score to the Benedictus ‘Benedictus canitur choraliter’.

Agnus Dei.
In the ‘Agnus Dei’ all verses start with the belonging plainchant, and has been written in the normal threefold different settings. The second Agnus Dei is set in Triple time signature and has a more lively character. The Agnus Dei in general has a lot of harmonic frictions and contains out of 35 bars.

Communio. Lux aeterna.
The motet ‘Lux Aeterna’ starts with the belonging plainchant. The first part has chromatic passages and consists out of 20 bars. The motet continues with the plainchant ‘Requiem aeternam Dona eis Domine’ and ends with the same Tutti-ensemble ‘Quia pius es’ and consists out of 42 bar.

Requiescant
At the end of this Missa pro defunctis Benedictus à Sancto Josepho follows an old ritual sung at the end of the ceremony the post communion with ‘Requiescant in pace, Amen’ sung by the chorus: he added ‘Requiescant cantitur choraliter’, the Requiescant will be sung by the chorus.

Libera me
The respond ‘libera me Domine’ is not yet found in the known sources.

This surviving Missa Pro defunctis by Benedictus à Sancto Josepho (1643-1716) is very important, it’s the sole and only preserved Requiem settings by a seventeenth-century Dutch composer working in the Southern-Netherlands. This historical value is beyond any question. It is a gift in which sense a Requiem Mass was executed in the free enclave of Boxmeer at the end of the 17th Century. This composition gives inside in what way the Carmelites honoured their important diseased the more so as another more simple Requiem Mass opus VII no. 18, 1693 composed by Benedictus à Sancto Josepho in that same opus VII has been lost. We categorise this Requiem in the category Grand Concertato.

This solo-motet is an rare oratio pro defunctis prayed in the 17th Century in the Requiem liturgy and is set by Benedictus à Sancto Josepho for one voice Canto Primo together with Violino I, Violino II, Violino III, alto Viola, Tenor Viola, fagotto and Basso continuo. It’s published in 1693 in Opus VII number 1, but is at this moment lost.

This solo-motet is nowadays the well-known Tractus Sicut Cervus published in the modern Liber Usualis, (edition 1961) Page 776BB.This Tractus is set by Benedictus à Sancto Josepho for Alto with Violino I, Violino II, Violino III, alto Viola, Tenor Viola, fagotto and Basso continuo. It’s published in 1693 in Opus VII number 2, but at this moment unfortunately lost.
In general this motet is a setting of a part of Psalm 42. The Psalm was a prescribed tract for the blessing of the water on Holy Saturday, recalling the water of baptism as well as the "living water of the Eucharist". The text, speaking of the longing for God, retained its association with funeral music, having been widely used as the Tractus before the Tridentine Roman Missal of 1570 standardized the Tractus in favour of ‘Absolve, Domine’. For instance Ockeghem (c.1420-1497), Pierre de la Rue ( 1452-1518), Benedictus Appenzeller (c.1480/88-aft.1558), Anonymus Leidse Choirbook 16th Century, Jacobus Vaet (1529-1567), Luigi da Palestrina (1525-1594) use this Sicut Cervus version.