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Alonso Lobo
c.1555 - 1617
Spain
Picture
A. Lobo
Alonso Lobo (c.1555 - 05/04/1617), a Spanish composer of church music, born in Borja.
Source:Grove's dictionary of music and musicians
Contributor:Tassos Dimitriadis (picture)
Libera me, Domine
Period:High Renaissance
Composed in:1598c
Musical form:motet with plainchant
Text/libretto:Latin Exsequiarum Ordo Officium Defunctorum
Duration:ca.9'00''
Label(s):Hyperion CA 67046
CDH 55248
CDGIM 031
SIC CD 005
Fragment (sometimes added to Richafort's Missa pro defunctis) for the death of king Phillipus II (1527 - 1698) of Spain who died in 1598. Lobo was Maestro de capilla at Toledo cathedral from 1593 and Seville cathedral from 1603. He published a volume of masses and motets in a Palestrinian style in 1602, and left more church music in manuscript.
The Libera me Domine de morte aeterna is a plainchant 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) plain-chant variations known and in use) is an old Responsorium out of the In Exsequis and sung in the part Absolutio super tulum and is published in the old Liber Usualis page 1767.
This used text is not to be confused with the Libera me Domine de vis inferni which is sung after the ninth lesson from the Officium Defunctorum ad Matutinum page 1798 in the Liber Usualis.
But after the Missa pro defunctis, in the absolutio pro Defunctis is indeed sung this Libera me Domine de morte aeterna. This setting of the Libera me Domine de morte aeterna by Alonso Lobo is written for five voices (SSTTB) alternated with the belonging plainchant. We make notice nor the belonging plainchant neither the more voice setting are found in the manuscript from the time Lobo lived. But this vocal setting is found in the Toledo Cathedral due to the fact that the setting of this Libera me by Lobo is continuously used in funeral services in the Toledo Cathedral. In general the belonging plainchant of Lobo’s time survived in old choir-books. The imposing vocal settings by Lobo are short but consists out of 83 bars and are written in polyphonic of course more homophonic style. In good tradition the Respond is repeated as a whole up to “per ignem” and ends with a threefold Kyrië eleison, Lord have mercy upon us. In this work Lobo uses extra flats, and sharps to express his feelings.
This funeral motet is found in the Toledo Cathedral, Libro de polifonia no. 24 in a manuscript compiled in the eighteenth century. Due to the fact Alonso Lobo was Maestro di capilla of Toledo Cathedral (1593-1604) this piece shall be set by Alonso Lobo in that period.
Author:Wim Goossens
Text:
R. Libera me, Domine, de morte aeterna, in die illa tremenda
quando coeli movendi sunt et terra, dum veneris iudicare saeculum per ignem.
V. Tremens factus sum ego et timeo, dum discussio venerit atque venture ira:
quando coeli movendi sunt et terra.
V. Dies illa, dies irae,
Calamitatis et miseriae, dies magna et amara valde.
Dum veneris iudicare saeculum per ignem.
V. Requiem aeternam dona eis Domine: Et lux perpetua luceat eis.
R. Libera me, Domine, de morte aeterna, in die illa tremenda
quando coeli movendi sunt et terra, dum veneris iudicare saeculum per ignem.
V. Kyrie eleison, Christe eleison, Kyrie eleison

Translation:
R. Deliver me, O Lord, from eternal death on that awful day
when the heavens and earth shall be shaken and Thou shall come to judge the world by fire.
V. I am seized with fear and trembling until the trial is at hand and the wrath to come:
when the heavens and earth shall be shaken.
V. This day, this day of wrath, that day of disaster and misery,
That day of great and exceeding bitterness, when Thou shall come
to judge the world through fire.
V. Eternal rest give unto them, O Lord
And let perpetual light shine upon them.
R. Deliver me, O Lord, from eternal death on that awful day
when the heavens and earth shall be shaken and Thou shall come to judge the world by fire.
V. Lord have mercy upon us, Christ have mercy upon us,
Lord have mercy upon us.
Contributor:Wim Goossens
Picture
king Philips II
(dedicatee)
Responso para el dia de defuntos
Period:Late Renaissance
Text/libretto:Latin
Responso para el dia de defuntos for 5 voices, is only known in manuscript in Toledo (ms. 24).
(The above mentioned "Libera me, Domine" might be part of this Responsory.)
Source:Grove's dictionary of music and musicians
Versa est in luctum
Period:Late Renaissance
Composed in:1602c
Musical form:motet à 6 vocibus
Text/libretto:Latin Officium Defunctorum
Duration:3’48”
Label(s):CDGIM 012
CDGIM 205
CDGIM 031
A motet from the Responsorium de Officium Defunctorum Responsory from Matins of the Dead composed for six voices (SSATTB). The Versa est in luctum is an old Responsorium and even used by Victoria. There are about 138 Responsoria de Officium Defunctorum known and used during centuries in the Office of the Dead. They are all well ordered. This setting by Alons Lobo was published in Liber primus Missarum, Madrid 1602, Moteta ex devotione inter missarum solemnia decantanda. The motet was composed for the funeral of Philip II, King of Spain: Ad exsequias Philip II Cathol. Regis. Hisp and is one of the finest settings by Lobo. Alonso Lobo (not related to Duarte) uses from the beginning a very sophisticated counterpoint in polyphonic style.
Author:Wim Goossens
Responsorium nr 95. Versa est in luctum cithara mea et organum meum in vocem flentium, Parce mihi, Domine, quia nihil sunt dies mei. My harp is tuned for lamentation ,and my organ to the voice of those who weep. Spare me, O Lord, for my days are as nothing.
Contributor:Wim Goossens
Credo quod redemptor
Period:Late Renaissance
Composed in:1602c
Musical form:motet à 4 vocibus
Text/libretto:Latin Officium Defunctorum
Duration:3’15”
Label(s):CDGIM 205
CDGIM 031
A motet from the Responsorium de Officium Defunctorum ad Matutinum a responsory from Matins of the Dead composed for four voices (SATB). The Credo quod redemptor is an old Responsorium and still published in the old Liber Usualis. This setting by Alonso Lobo was published in Liber primus Missarum, Madrid 1602, Moteta ex devotione inter missarum solemnia decantanda.. Alonso Lobo uses a very transparent counterpoint in polyphonic style.
Author:Wim Goossens