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Pierre (Petrus) Hercule Bréhy
1673 - 1737
Belgium
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P.H. Bréhy
Petrus Bréhy (13/09/1673 - 28/02/1737), a Belgium organist and composer (born in Brussels) and choir master of the Sainte-Gudule in Brussels.
Source:Grove’s dictionary of music and musicians
The Flemish composer and organist Petrus Hercules Brehy was born in Brussels 1673. He as from his sixteenth was connected to the Saint Nicholas church of Brussels, firstly as a choirboy and later on as organist, and as from 1705 up to its dead in 1737 he remained in Brussels as a appointed ‘Zangmeester’ Chapel Master to the collegiate church of Saint-Michael and Saint-Gudula. The motets of Brehy give a view of the concerto principles in motet style ("stile concertato") in the Netherlands at that times. The modern concerto principles for motets started with the Venetian School! ( see: Willaert, de Rore, Gabrieli). These motets by Brehy give proof of Brehy's skill discretion, and show that he was as a composer both under French and Italian influence. His motets are recently published among others in Monumenta Flandriae Musica.
Author:Wim Goossens
Source:Baratz, Lewis Reece. Ph.D., Musicology, Case Western Reserve University, 1993. The Concerted Motets of Petrus Hercules Brehy (1673-1737), Zangmeester of the Brussels Collegiate Church of Saints Michael and Gudula.
Libera me, Domine
Period:Baroque
Musical form:motet à 4 vocibus
Text/libretto:Latin from the Exsequiarum Ordo de Officium Defunctorum
Motet for soli, chorus, strings and basso continuo.
De Profundis
Period:Baroque
Musical form:Concerted Motet à 4 vocibus
Text/libretto:Latin from The Officium Defunctorum
Both concerted motets, thanks to the Venetian school, are written for four voices (SATB) violins and Basso continuo.(V I, V II, Viola, Vlc and Bc.). They are both considered and written by Brehy as Requiem motets. The Libera me Domine de morte is a motet 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) variations known) is an old Responsorium out of the In Exsequis and sung in the part Absolutio super tulum published in the old Liber Usualis pages 1763 – 1771. The Psalm 129 De profundis was for a long period part of the Officium Defunctorum more specific ad Laudes and is the last part of the mentioned Ad Laudes, pages 1805-1806 Liber Usualis and ending the lauds. The Officium Defunctorum consists out of three parts: Vesperae Defunctorum, Ad Matutinum and Ad Laudes after that follows the Missae pro Defunctis. Both motets showing Brehys skill discretion, proving he was as composer both under French and Italian influence. If we compare this music by Brehy with that of Benedictus à Sancto Josepho Buns this music is more merrily.
Author:Wim Goossens
Missa pro defunctis in F major
Period:Baroque
Musical form:mass
Text/libretto:Latin mass
No details available.
Source:Dagny Wegner, Requiemvertonungen in Frankreich zwischen 1670 und 1850, Hamburg, 2005
Bréhy wrote a requiem for solo voices and instruments.
Contributor:Tassos Dimitriadis