See also: Antoine de Févin. The Requiem Mass there mentioned is the same as this one.

The nine movements of this Missa pro Fidelibus Defunctis Anthonius Divitis pie memorie are:
- Introitus: Requiem aeternam.
- Kyrie Christe Kyrie.
- Graduale: Si ambulem.
- Tractus: Sitivit.
- Offertorium: Domine Jesu Christe.
- Sanctus.
- Benedictus.
- Agnus Dei I, II, III.
- Communio: Lux aeterna.

This nine-movement Requiem Mass is generally scored for soprano, alto, tenor and bass, (SATB) and (like all Renaissance requiems) based on the corresponding melodies from the plainsong Mass for the Dead. It is still rather uncertain whether Antonius Divitis or his colleague Antoine de Févin ( 1473-1512) wrote this Requiem Mass.
This Requiem Mass is written for 2 up to 5 voices. The Introitus, Kyrie, Graduale, Offertorium Communio and Requiem aeternam are written for SATB. The Sanctus, Benedictus and Agnus Dei I and III are written for five voices SATBB. But Agnus Dei II is written for three voices STB. Part of the Graduale Virga tua up to consolata sunt is written for two voices SA. So the last part of the Offertorium hostias et preces tibi ending with ad vitam. The Tractus starts with three voices SAB, and from fuerunt it is written for four voices SATB.
In the five voices parts of the Mass Divitis uses double Bass in colouring that parts very dark.
In the Occo Codex named to a rich Amsterdam merchant named Pompeius Occo (1483-1537) this setting of the Requiem Mass is found. Probably the Occo Codex is produced between 1526-1534 by Almire at Malines (Mechelen) and was certainly ordered by Pompeius Occo. In this source - the Occo Codex - this Requiem Mass is named: Missa pro Fidelibus Defunctis Anthonius Divitis pie memorie on the other hand in a Vienna source the same Mass is named Missa pro Fidelibus Defunctis Anthonius Févin pie memorie. What is mentioned by this dedication? Why these differences? We can only guess, which we prefer not to do.
The plainsong cantus firmus can be found in the Superius or Tenor. The ordinarium parts are written in a more homophone style, to the contrary the proprium parts are set in a some rich way. Of course Divitis uses imitative polyphonic style like his Netherlands contemporaries Obrecht (1450-1505), Alexander Agricola (c.1446-1506), Noël Bauldewijn (c.1480-1529) and Josquin Des Prez (1440-1521) did. In all the proprium and ordinarium parts Divitis starts with the applicable plainsong part. The plainsong parts are not written in the Kyrie parts, but due to the very short polyphonic parts used by Divitis alternating with plainsong seems admitted or even mend. This Requiem Mass is written in the very early part of the sixteenth century. This Requiem breaths a deep modest sphere.
It is interesting to compare and to listen to the other magnificent Requiems written by this third Netherlands generation like Johannes Ockeghem( c.1420-1497), Johannes Prioris (c.1460-1514), Antoine Brumel (c.1460-1513), Pierre de la Rue (1460-1518) and Josquin Des Prez (1440-1521). And don’t forget the Requiem by the Spanish Pedro de Escobar (c.1465-1535) composed at the same time.