Giuseppe Antonio Bernabei wrote one Missa pro defunctis for four voices and instruments in 1710, as part of his 6 Missarum brevium cum una defunctis, Liber primus.
| Source: | Riemann Musik Lexikon |
| Contributor: | Tassos Dimitriadis |
Later in the 17th century numerous requiem settings, many in concertato style, were produced by composers including G.B. Bassani, G.A. Bernabei, Antonio Bertali (eight settings), Biber, Giovanni Cavaccio, Cavalli, Cazzati, Joan Cererols, G.P. Colonna, P.A. Fiocco (three settings), Santino Girelli, J.K. Heller, J.C. Kerll (two settings), A.V. Michna, Marcin Mielczewski, Alessandro Scarlatti, Johann Stadlmayer, Christoph Straus (two settings) and Viadana.
| Author: | Steven Chang-Lin Yu |
The pricipal musical change in the Requiem mass during the 18th century was simple expansion of the settings through more frequent text repetition and, in particular, through more lengthy treatment of the sequence. The requiem by G.A. Bernabei treats each verse of the sequence as an individual movement
| Author: | James W. Pruett |
| Source: | The new Grove dictionary of music and musicians |