Versa est in Luctum is a plainchant from the Responsorium de Officium Defunctorum, Respond from Matins of the Dead and set as a motet by the Netherlander Gerardus Dyricke, for six voices (CAATTB). The Versa est in luctum is an old Responsorium and even used and set by for instance Francisco de Peñalosa (c.1470-1528), Alonso Lobo (c.1535-1617), Tomás Luis de Victoria (1548-1611), Sebastián de Vivanco (c.1550-1622), Estêvão Lopes Morago (c.1575-1630), Juan Gutiérrez de Padilla (c.1590-1664), Juan Miquel Marqués (1600-1699) and José de Torres y Martinez Bravo (1665-1738). Those settings from “Versa est in luctum” have to be considered as an Iberian inheritance. Although out of the Iberian region we saw Versa est in luctum settings by the Italian Alexandro Grandi (1586-1630), Anselmo di Facio (1590-1610), Ludovica Viadana (1575-1620) and the Slovene Jacobus Gallus (1550-1591) and even by more modern composers. There are about 138 Responsoria de Officium Defunctorum known and used during centuries in the Office of the Dead. They are all well ordered. The Versa est in Luctum is Respond nr 95. To this Respond belongs Versicle nr. 43 Cutis mea. The text is from the book of Job and has become in certain European regions a Respond in the Office of the Dead. This variation of the Respond is found with some introductions in two Offices of the Dead in Lyon and in Otto of Riedenburg’s Pontifical. And from there it is spread into Europe. The text Versa est in luctum was not a direct part of the traditional Spanish liturgy but much more an extra-liturgical motet during the Obsequies of very important dignitaries of State or Church.
We think Gerard Dyricke must have found special inspiration in the text of this motet, especially for funeral purposes. This text of this motet used by Dyricke is known and are verses from the book Job XXX, 31, VII, 16 an XXX, We consider this Versa est in luctum due to an intense expression of deep mourning but with a glimpse of hope at the end a motet indeed used for funeral purposes. The text and music of this motet are penitential in feeling. Gerard Dyricke uses imitative counterpoint which he has learned in the Netherlands. Of course he uses functional accidentals sharps and flats. The approach by Dyricke is stylistically non English. This splendid six part motet (CAATTB) – original in a male setting - in a-minor by Dyricke starts in imitative counterpoint with ‘versa est’ with the same motive - an interval a fourth - in Superior, and further Quintus (A), Contratenor (A1), Sextus (T2), Tenor and Bassus. With ‘Parce mihi’ starts a new musical sentence and a very interesting piece is the ‘nihil enim’. Dyricke starts nihil enim in all voices with a prime down. And that’s word-painting. The first movement counts 74 bars and ends in A. The secunda pars ‘Cutis mea’ starts with Tenor, Bassus, Quintus, Contratenor, Sextus and Superior with a major third down, the sentence ‘Parce mihi’ will be repeated in this part which is normal practice in the Respond plainchant practise. The second part consists out of 54 bars and ends in E. This setting by Gerardus Dyricke is published in British Library, Royal Appendix, 17-22.