Patterns for Sixteenth- to Early Seventeenth-Century Portuguese Polyphonic Settings of the Requiem...

ManuelPedroFerreiraTeresaCascudo

(coord.)

MÚSICAEHISTÓRIA:ESTUDOSEMHOMENAGEM

AMANUELCARLOSDEBRITO

EdiçõesColibri

•CentrodeEstudosdeSociologiaeEstéticaMusical

UniversidadeNovadeLisboa

BibliotecaNacionaldePortugal–CatalogaçãonaPublicaçãoMÚSICAEHISTÓRIAMúsicaehistória:estudosemhomenagemaManuelCarlosdeBrito/coord.ManuelPedroFerreira,TeresaCascudo.–(Estudosmusicológicos;18)ISBN978-989-689-662-1I–FERREIRA,ManuelPedro,1959-II–CASCUDO,Teresa,1968-CDU78

TítuloMúsicaehistória:estudosemhomenagemaManuelCarlosdeBritoCoordenaçãoManuelPedroFerreiraTeresaCascudoPaginaçãoLuísaGomesEdiçãoEdiçõesColibri/CentrodeEstudosdeSociologiaeEstéticaMusicalIlustraçãodacapa[Jovemcantoraacompanhadaporflautista],BibliotecaNacionaldePortugal,cotae-1129-vDepósitolegal424195/17Lisboa,Junhode2017

Índice

TabulaGratulatoria viiHistoriaravidamusicalportuguesa:Umpercursoexemplar xiPublicaçõesdeManuelCarlosdeBrito xviiEnsaios OcadernoBarbierieasCantigasdeSantaMaria:Umanotaderodapé ManuelPedroFerreira 3RelatingHistory:MusicandMeaningintheRelacionesoftheCanonizationofStRaymondPenyafort,Barcelona1601

TessKnighton 27PatternsforSixteenth-toEarly-Seventeenth-CenturyPortuguese

PolyphonicSettingsoftheRequiemMass JoãoPedrod’Alvarenga 53ApresençadoórgãonaliturgiaportuguesaentreoConcílio

TridentinoeaSecularização

GerhardDoderer 77Músicapolítica:Losembajadoresenlavidamusicaldelossiglos

XVIIyXVIII AnnaTedesco 143Música,cerimonialerepresentaçãopolítica:Sant’AntoniodeiPortoghesinocontextodasigrejasnacionaisemRomaduranteaépoca

barroca(1683-1728)

CristinaFernandes 155NaplesinOpera:PartenopebyDomenicoSarro(1722)andLeonardo

Vinci(1725)DinkoFabris 175ElFaccoqueseve AníbalEnriqueCetrangolo 201SobreosprimórdiosdacríticamusicalemPortugal PauloFerreiradeCastro 213GaietéetsensibilitédansSophieetMoncars,oul’intrigueportugaise(1797) MichelNoiray 229

x

FigaroandMusicalBarbersandHairStylistsintheTeatrodeCordel DavidCranmer 259OperaHousesinEighteenthCenturyPortugueseAmerica RosanaMarrecoBrescia 273OTeDeumeaobraconhecidadeLuísÁlvaresPinto:Atrajetóriadeumespóliodostrópicos–Cronologia(comentada)dasediçõese

registrosdiscográficosdisponíveis SérgioDias 283Elgranausente:ReflexionessobreelsigloXIXmusicalespañol JuanJoséCarreras 299Osprimeirospassosemdirecçãoàcríticamusical:Algumas

consideraçõessobreapresençadamúsicanaimprensadaLisboa

liberal(1822-1855)

FrancescoEsposito 309«Lesdeuxpigeons»easvicissitudesdoamor:Transferênciasculturais

eintertextualidadenoteatromusicaldeFranciscodeSáNoronha LuísaCymbron 331Política,risoecensura:OcasodaóperacómicaportuguesaAspenasdeumPavão(1868) IsabelNovaisGonçalves 357Tresóperas«montañesas»enlaprensa:Unestudiocomparativodela

recepcióncríticadeSerrana,LaFadayMendi-mendiyan TeresaCascudo 371OFadonacomposiçãoeruditadofinaldeoitocentos MariaJoséArtiaga 383«Contribuiractivamenteparaaeducaçãomusicaldosportuguezes»:

AugustoMachadoeareformadavidamusicalemPortugal JoaquimCarmeloRosa 403VisãoeperspectivasdoprojectoGermInArte:Aqualificaçãoderecursoshumanoseprofissionaisnoscuidadosprestadosnainfância

comoalicerceparaodesenvolvimentosocialehumano

HelenaRodrigues,PauloMariaRodrigues,PauloFerreiraRodrigues 423Notasbiográficasdosautores 441

Índicesremissivos 449

PatternsforSixteenth-toEarly-Seventeenth-Century

PortuguesePolyphonicSettingsofthe

RequiemMass

JoãoPedrod’Alvarenga

Few polyphonic settings of the Requiemmass are known to havesurvived inPortuguese sources from the sixteenth to theearly-seven-teenthcentury,althoughenoughareextanttoshowthatsuchsettingswerearegularpartofchurchritualsforthedeadandthattheyshapeda traditionwith specific compositional featuresmainly rooted in im-provisedcounterpointandsharedwithothergenresmostlyoffunerary

music. Like the better-known Spanish Requiem masses, Portuguesesettings are characterized by an intimate relation to chant and itsperformingpractices.Thesepracticesoftendetermine foreachmove-ment which segments are to be set polyphonically, which are to bevariedintexture,andwhicharetobeperformedmonophonically.Also,use of chant as a structural cantus firmus usually with little or no

elaboration and presented in full as a distinct element of the poly-phonictextureformostofthemovements,andchantparaphrasegivePortugueseandSpanishsettingstheappearanceofauniformrepertorywith a common style and structuring, which accordingly is oftenlabelledas “Iberian”.1However,andparticularlybefore theacceptance

A shorter version of this essaywas read at the42ndMedieval and RenaissanceMusic Confe-rence, University of Birmingham, UK, on July 3, 2014. I am grateful to Owen Rees for hisinsightful comments on an early draft of this text and tomywife, Isabel, forher support. IacknowledgetheassistanceoftheFCT—PortugueseFoundationforScienceandTechnology,andCESEM—Centre for theStudyofSociologyandAestheticsofMusicat theUniversidadeNOVAdeLisboa.


54

of the reformed Roman liturgy, Portuguese polyphonic RequiemmassesdonotmatchtheSpanishinthearrayofmovementsandtextsset. The former avoid using variable texts, making the polyphonicsettings suitable for almost anyparticular liturgicaluse andoccasion,while the latter often include texts traceable to specific diocesanliturgies.DifferencesinformulariesandthespreadoftheRomanusein

PortugalpartlyaccountforthemorestandardizedPortugueseRequiemmasses (see Table 1 in the Appendix). Moreover, and although it isdifficulttoascertainwhenmostofthesurvivingpolyphonicmassesforthedeadwereprobably composedespeciallybecauseof the relativelylatedateof their sources, earlySpanish settings seemdefinitelyolderthan the Portuguese settings. Also, Spanish settings, either complete

orfragmentary, survive in Portuguese sources (see Table 2 in theAppendix). 2 Structural and stylistic models for early PortuguesepolyphonicRequiemmassesarethuslikelytobefoundinSpain.

Table3 intheAppendixpresentstheextantpolyphonicsettingsof

the Requiem mass from sixteenth- to mid-seventeenth-century Por-

tugalinapproximatechronologicalorder.Theearliestsetting—datable

tobetweenaround1520andthe1530sandpreservedanonymouslyina

manuscriptfromtheAugustinianMonasteryofSantaCruzinCoimbra

(P-CugMM 6, dated to c.1540-c.15553)—is the less typical in both its

notational and musical features: chant is unaltered and carried

throughout by the tenor voice, which is written in square black

notationfortheintonationsandchantsectionsandinbothblacknota-

tion and white breves and breves-based ligatures for the polyphonic

sections, with no mensural or key signatures; the other voices are

written in common void mensural notation, in a continuous contra-

puntal style worked out from improvisatory models and techniques.

1For an overview of the development of the polyphonic mass for the dead in Spain andPortugal, see, respectively,GraysonWAGSTAFF, “Music for theDead:Polyphonic Settingsofthe ‘Officium’ and ‘Missa proDefunctis’ by Spanish and LatinAmericanComposers before1630” (Ph.D.diss.,UniversityofTexas atAustin, 1995), andRuiCabralLOPES, “AMissa proDefunctis na escola de Manuel Mendes: Ensaio de análise comparada”, 3 vols. (diss. demestrado,UniversidadeNovadeLisboa,1996).2Exceptforafewlatesettingsinprint,PortugueseRequiemmassesseemtohavebeenlargely

unknown in Spain; see for instance, Juan RUIZ JIMÉNEZ, La librería de Canto de Órgano:CreaciónypervivenciadelrepertoriodelRenacimientoenlaactividadmusicaldelaCatedraldeSevilla,Granada:JuntadeAndalucía,2007,pp.283-284.3Onthismanuscript,seeOwenREES,PolyphonyinPortugalc.1530–c.1620:SourcesfromtheMonasteryofSantaCruz,Coimbra,NewYork–London:Garland,1995[OutstandingDisserta-

tionsinMusicfromBritishUniversities],pp.155-160.

PatternsforSixteenth-toEarly-Seventeenth-CenturyPortuguesePolyphonicSettings

55

ThisstylewasbythetimewellestablishedandwidespreadinPortugal

particularlyforsettingitemsfromtheProperofthemass.4Contraryto

theothersettingsinTable3(seetheAppendix),ithasbeenpossibleto

trace a context for this particular Requiemmass, in connectionwith

thereburialceremoniesof the first twokingsofPortugal,whichtook

placeatSantaCruz inCoimbraonOctober25, 1520,andtheirannual

commemorationonDecember6inthemonastery’schurch.5

Settings preserved inmanuscriptCoimbraMM34 (P-CugMM34)

includeacompositeRequiemmassanda fragmentaryRequiemmass.

The source is a choirbook entitled Livro dos defuntos (Book of theDead),possiblyfromthecathedralorsomeotherchurchinCoimbra—

theStMichael’sChapelintheUniversitybeingalikelycandidate—and

is dated to c.1575-c.1590.6The composite mass (see Table 4 in the

Appendix) consists of movements by a certain “Bernal” (the Introit,

Kyrie, Gradual verse, Offertory antiphon, Sanctus, Agnus Dei, and

Communion;7seeTable3,no.5);FranciscoGuerrero(theGradualand

its verse from his 1566 Requiem mass); Cristóbal de Morales (the

Gradual verse fromhis five-voice Requiemmass); and FernãoGomes

Correia(theOffertoryverse,Hostiasetpreces;seeTable3,no.2),8with

inserted motets by Bartolomeu Trosilho and António Lopes.9This is

4See João Pedro d’ALVARENGA–ManuelPedro FERREIRA, “The Liber Introitus ofMiguel daFonseca,andaPossibleImprovisatoryModel”,inS.GASCH–D.J.BURN(eds.),HeinrichIsaacandPolyphonyfortheProperoftheMassintheLateMiddleAgesandRenaissance,Turnhout:Brepols,2011,pp.81-121.5On the anonymous Coimbra Requiem mass, see João Pedro d’ALVARENGA, “A NeglectedAnonymousRequiemMassoftheEarlySixteenthCenturyanditsPossibleContext”,MusicaDisciplina57(2012),pp.155-189.6OnCoimbraMM34,itsstructure,contentsanddating,seeO.REES,Polyphony inPortugal(seen.3),pp.237-245.7AlsoincompleteinOportoMM40(P-PmMM40),aBenedictinechoirbookdatedtoc.1590.

OnOportoMM 40, see João Pedro d’ALVARENGA, “ManuscriptsOporto, Biblioteca PúblicaMunicipal, MM 40 and MM 76-79: Their Origin, Date, Repertories, and Context”, inT.KNIGHTON–B.NELSON(eds.),PureGold:GoldenAgeSacredMusicintheIberianWorld.AHomagetoBrunoTurner,Kassel:EditionReichenberger,2011,pp.27-58;unpublishedappen-dicestothisarticleavailableat<www.academia.edu/1364366>.8This setting ofHostias et preces—clearly a late setting because of its textural variety and

motet-like arrangement—seemsmore likely an independentpiece, but it could alsobe theremainderofanotherpolyphonicRequiemmass.Itisascribedto“fernamgomes”,whocanbenootherthanFernãoGomesCorreia.HewasasingerandchaplaintotheBishopofCoimbrain1505andwasstillactivein1532.9BartolomeuTrosilhowas a singer and then chapelmaster in the Portuguese royal chapelbetween about 1548 and 1567. Lopes’ motet appears anonymously also in OportoMM 40,


56

followedby the fragmentarymass, ascribed to “franciscoMouro” and

consistingofjusttheIntroitandKyrie(seeTable3,no.3),towhichthe

followingpiecesareappended:theGradualverse fromJuanGarcíade

Basurto’sRequiemmass(fols.38v-39r;seeFigure1);10thesettingofthe

responsoryNerecorderiscommonlyattributedtoFranciscodelaTorre

(fols. 39v-40r);and two four-voice settings of the funerary litany Jesuredemptor (fol. 40v).11The incomplete anonymous movements at the

end ofCoimbraMM34 (Offertory antiphon, Sanctus andAgnusDei;

seeTable3,no.4)areprobablypartofFranciscoMouro’ssetting.

Figure1.P-CugMM34,fols.38v-39r,includingBasurto’sthree-voicesettingoftheGradualverse.

Identifying the composers will help in dating the mass settings.

According to Owen Rees, “Bernal” can be either Bernal Gonçález, a

fols.224v-225r;nobiographicaldatacouldbefoundonthisparticularindividual,sincebothhisnameandsurnamearetoocommon.10ThisisaconcordanceInoticedquiterecently.Therefore,itisnotreportedinmyearlier“A

NeglectedAnonymousRequiemMass”(seen.5).11On polyphonic funerary litanies in Portugal, see OwenREES, “‘Jesu redemptor’: FuneraryLitaniesinPortugal”,inT.KNIGHTON–B.NELSON(eds.),PureGold(seen.7),pp.228-261.


57

composeractiveinSevillearound1550,orAfonsoPereaBernal,aSpa-

niardpossiblyalsofromSevillewhowasappointedprofessorofmusic

at Coimbra University on May 29, 1553 and who died in 1593.12The

latterhypothesisseemsmorelikely,giventheoriginofCoimbraMM34

and the wording of the original ascriptions in the manuscript, sug-

gestingacquaintancewiththecomposer:“Dobernal”;whilethemove-

ments by Guerrero are: “De gurreiro”. “FranciscoMouro” is probably

the same as Francisco de Santa Maria, chapel master at Santa Cruz

fromthemid-1560suntil1597,whenhediedonFebruary13.Hewasof

Moorish ascendancy (“mouro”) according to the Monastery of Santa

Cruz’s Livro do recebimento dos nouiços (Book of the Receiving ofNovices).13Born in thenorthwest ofCastile nearCiudadRodrigo, not

far fromthePortugueseborder,FranciscodeSantaMariawassucces-

sively chapelmaster to theBishopofGuarda,Dom JoãodePortugal,

and then, for a short period, to the Bishop of Coimbra, Dom João

Soares,beforehe joined theAugustinianCanonsRegular in 1562.The

movementsascribedto“FranciscoMouro”—IntroitandKyrie;andpos-

siblyalsotheOffertoryantiphon,SanctusandAgnusDeiattheendof

CoimbraMM34—arethusdatabletothelate1550sorearly1560satthe

latest;themovementsascribedto“Bernal”inthecompositemassmust

havebeencomposedsometimelater,possiblyaround1570.14

TheexistenceofSpanishsettingsoftheRequiemmassandRequiem

massmovementsinrelativelylatePortuguesesourceshasfar-reaching

consequences hitherto unnoticed in assessing this repertory—conse-

quenceswhicharealsoextensive toother repertoriesof Iberianpoly-

phonicmusic transmitted inmanuscript form.Evidencesuggests that

polyphonic settings of the Requiem mass did travel far beyond the

context of the specific liturgical use or local tradition forwhich they

were composed.At least some settingswerewidelydisseminatedand

surelyperformedmanytimes,evenregularly,notonly in theplaceor

generalareaoftheiroriginbutindifferent,distantplacesaswell.This

is clear from the presence of Basurto’s Gradual verse in Coimbra

MM34andMorales’ four-voiceRequiemmass inOportoMM40(see

Figure2);also,thealternativesettingsoftheGradualinthemassesof

12O.REES,PolyphonyinPortugal(seen.3),pp.242-243.

13P-LantCód.90,fol.9r.

14This essentially because Roman chants are used as the basis for the psalm verse in the

Introit,theKyrie,SanctusandAgnusDei.


58

ManuelMendesandLourençoRibeiro15andthealternativesettingsof

the Communion in the first version of Guerrero’s mass were surely

intendedforvarietyifthepiecesweretoberepeatedlyperformed.

Figure2.P-PmMM40,fols.211v-212r,containingtheIntroitofMorales’four-voiceRequiemmass.

Evidencealsosuggeststhatmusicaltexts in lateperipheralsources

should eventually be appraised as testimonies close to the original

work,insofarastheirprocessesoftransmissioncanbeascertained.Itis

clearthattransplantedtexts,whatevertheirnature,arebetterandlong

-er preserved in peripheral traditions than within the core tradition

fromwhere theywere brought. Although unrelated to the subject of

thisessay,FranciscodePeñalosa’sPassionmotetPrecorte,Domineisa

15OnthesetwoRequiemmasses,seeJoãoPedroD’ALVARENGA,“TwoPolyphonicSettingsoftheMass for theDead fromLateSixteenth-CenturyPortugal:BridgingPre-andPost-TridentineTraditions”,ActaMusicologica88/1(2016),pp.5-33.


59

case in point: it survives in its seemingly original, long form in the

somewhatlatemanuscriptCoimbraMM32(P-CugMM32,datedtothe

1540s-early 1550s), while its three Spanish earlier sources16transmit a

shortenedversionlackingitstertiapars.17Similarly,manuscriptOportoMM40islikelytocontaintheearliest

extantversionofMorales’four-voiceRequiemmass,althoughitomits

thepossiblyauthenticsettingoftheTractSicut cervus (seeTable5 inthe Appendix). The work was not only transmitted to the north of

PortugalthroughCastile,mostprobablyfromValladolidandarguably

in the late 1550sor early 1560s18—thusclose to its likelydateof com-

position in 1548-50—but also the Portuguese source preserves the

reading of the median cadence in the Introit psalm-verse closest to

Bermudo’squotinginhis1555Declaracióndeinstrumentosmusicales;19all Spanish sources for thework, saveoriginallyValladolidMs 21 and

possiblyalsoSegoviaMs3,20haveitamended.Becauseofitsoriginand

latedate,OportoMM40ishoweverunderestimatedinthemostrecent

volume of Morales’Opera omnia containing the four-voice Requiem

mass,theeditionofwhichislargelybasedontheValladolidsources.21

ItshouldbestressedthattheuniquenessoftheGradualSiambulavero,

16E-BbcM454/C,c.1520-25;E-TZMss2-3,1520s-30s;andE-TcMs21,1542.

17A different short version of themotet is found in P-Cug MM 12; see KennethKREITNER,

“Peñalosa, ‘Precor te’, and Us”, in T. KNIGHTON – B. NELSON (eds.), Pure Gold (see n. 7),pp.291-308.18SeeJ.P.d’ALVARENGA,“ManuscriptsOporto”(seen.7),pp.31,33.

19JuanBERMUDO,Comiençaellibrollamadodeclaraciõdeinstumẽtosmusicales,Ossuna:Iuan

deLeõ,1555,fol.CXXXJX.20E-VMs21(olimMss.s.)andE-SEMs3(Cantoralno.1)respectively.Thelattermanuscript

lackstheAltusandBassuspartsintheIntroit;theformermanuscripthastheoriginalreading

atthatpointvisibleundererasure.21This,despite theeditor’searlier judgement; see JosepMariaLLORENSCISTERÓ, “ElMM.40

de laBibliotecaMunicipaldeOporto fuenteúnicade laMisa L’home armédeF.Guerrero,MisapequeñadeC.Moralesydeotrasnovedades”,AnuarioMusical49(1994),pp.75-102[98];and idem (ed.), Cristóbal de Morales Opera omnia. IX: Officium, missa et motectadefunctorum,Barcelona:CSIC,2010[Monumentosde laMúsicaEspañola78].OnE-VMs21

(olimMss.s.),seeEleanorRUSSELL,“ANewManuscriptSourcefortheMusicofCristóbalde

Morales:Morales’‘Lost’MissaproDefunctisandEarlySpanishRequiemTraditions”,AnuarioMusical33-35(1978-1980),pp.9-49;seealsothe“sourcedescription”at<http://www.diamm.

ac.uk/jsp/Descriptions?op=SOURCE&sourceKey=2621> (cons.October6, 2015).OnE-VpMs

s.s.(knownas“SantiagoCodex”,or“DiegoSánchezCodex”),seeNuriaTORRES,“TheSantiago

CodexofValladolid:Origins,ContentsandDating”,FontesArtesMusicae61/2(2014),pp.173-191; see also <http://www.diamm.ac.uk/jsp/Descriptions?op=SOURCE&sourceKey=1192>

(cons.October6,2015).


60

theTractsDe profundis andDicit Dominus, the twoOffertory verses,

and the CommunionAbsolve, Domine to ValladolidMs 21 (see again

Table5 in theAppendix),while linking thismanuscript toaSevillian

provenance—as Juan Ruiz Jiménez convincingly suggests 22—makes

Morales’ authorship of these pieces highly suspicious. So, despite it

being possibly one of the earliest sources for the work, only hardly

couldValladolidMs21beconsideredasthemanuscriptcontaining“the

version of Morales’ RequiemMass closest to the composer”.23On its

turn,OportoMM40 includes only themovements common tomost

sourcesandretains inadditionanumberofgoodreadings,whichare

changed in othermanuscripts into uniform or banalised though rea-

sonablecompetingreadings.ForinstanceintheIntroit,besidespreser-

ving the original form of the median cadence in the psalm-verse,

Oporto MM 40 has a’ ga’ g f setting the word “perpetua” in the

Superius,exactlyas intheplainchantmelody(seeFigure2,aboutthe

middleofthesecondstaffintheSuperiuspart).Thisisalsothereading

inMontserratMs 753 at the same place,24but this latter manuscript

doesnotretaintheoriginalformofthemediancadenceinthepsalm-

verse; the other sources (save Málaga Ms P.11) have a’ gf g f at“perpetua”, turning the passage consistentwith all other ornamented

suspensions in the piece, but altering the cantus firmus melody.25In

sum, considering the Introit only, the readings in Oporto MM 40

shouldbe takenasgoodreadingsascending to thearchetype(that is,

the oldest, non-extant common ancestor of all existing sources),ma-

king thatmanuscript the best source for the piece, which Valladolid

Ms21 isnot, since itcarriesat leastonetrivialisation(in theSuperius

partat“perpetua”).Thishastobetakenintoaccountinassessingthe

wholeworkand itsextantsources.Again,aswiththePeñalosamotet

referred to above, the earliest and geographically closer source is not

22JuanRUIZJIMÉNEZ,“‘SoundsoftheHollowMountain’:MusicalTraditionandInnovationin

SevilleCathedral in theEarlyRenaissance”,EarlyMusicHistory29(2010),pp. 189-239[232-233].23J.RUIZJIMÉNEZ,“‘SoundsoftheHollowMountain’”(seen.22),p.233.

24E-MO Ms 753; see <http://www.diamm.ac.uk/jsp/Descriptions?op=SOURCE&sourceKey=

2172>(cons.October7,2015).25Thereading inOportoMM40at thisplace isnotrecorded inthecriticalcommentaryto

Llorens’edition;seeJ.M.LLORENSCISTERÓ(ed.),CristóbaldeMorales (seen.21),p.28.TheMálagasource(E-MAMsP.11,olimMsIV),containingaheavilyreworkedversionofMorales’

four-voiceRequiemmass,hassimplya’gfsettingtheword“(per)petua”.


61

alwaystheonethatprovestobethe“closesttothecomposer”noreven

thesourcetransmittingthebesttextofagivenwork.

The route of Basurto’s Requiem mass—that is, the movementsascribed to Juan García de Basurto in the Tarazona Ms 5 compositeRequiemmass—canalsobereconstructed.ItwascomposedpossiblyinTarazona between 1517 and 152126and was then brought to Coimbraprobably throughCiudadRodrigonot later than the 1550s.Differencesbetween the Tarazona and Coimbra sources—besides text and trivialdifferences in notation, there are four variants of rhythm and one ofpitch, this latter removing the octave leap from the final cadence—however suggest, not a direct transmission, but a more complexdisseminationofthepiece.

In the 1520s to 1550s, settings of the Requiem mass from north

CastileandAragonlikeBasurto’swereundoubtedlyknowninPortugal.

Early Portuguese settings share certain stylistic and structural traits

whicharesupposedlycharacteristicofnorthernSpanishRequiemmass

-es:intheanonymousCoimbramass(Table3,no.1)andinthemove-

ments ascribed and attributable to FranciscoMouro (Table 3, nos. 3

and4)chant intonations intheIntroitandGradualare limitedtothe

word“Requiem”(with“aeternam”setinpolyphony),andintheOffer-

tory to thewords “Domine JesuChriste” (thepolyphonybeginningat

“Rexgloriae”).LongerintonationsintheIntroitandGradual,anappa-

rently Andalusian feature following Pedro de Escobar, appear first in

themass byBernal (Table 3, no. 5).27This is not surprising given the

originofFranciscoMourointhevicinityofCiudadRodrigo,andBernal

possiblyinSeville.AlongintonationintheOffertoryuptothewords

“Rexgloriae” (thepolyphonybeginningat “liberaanimas”),which the

mass by Bernal also features, was apparently introduced by Morales

withhisfive-voiceRequiemmass.

Treatmentofthechantmelodyisalsoquitedistinctive.Thesettings

of the Introit, typically the most hieratic movement in polyphonic

26Or in the Palencia-Valladolid region after c.1525, as suggested in Eleanor RUSSELL, “The

‘Missa in agendis mortuorum’ of Juan García de Basurto: Johannes Ockeghem, Antoine

Brumel,andanEarlySpanishPolyphonicRequiemMass”,Tijdschrift vandeVerenigingvoorNederlandseMuziekgeschiedenis 29 (1979), pp. 1-37.Basurtowas chapelmaster atTarazona

Cathedralin1517-21,stayedinSaragossaandPalenciain1521,andwasprobablyasingerinthe

chapelofEmpressIsabellaofPortugalinthe1530s.27OnEscobar’sRequiemmass,itsdatingandpossiblecontext,seeespeciallyJ.RUIZJIMÉNEZ,

“‘SoundsoftheHollowMountain’”(seen.22),pp.232-234.


62

Requiemmasses, exemplify the differences, all being based on essen-

tiallythesamechant:Bernalpresentsitunchangedinmostlyequaland

relativelylongvalues,asinearlyandmid-centuryAndalusiansettings,

ofwhichtheoverallstyleisfollowedbylatterSpanish,andPortuguese,

composers(seeExample1);FranciscoMourobreaksitinshortphrases

with alternating paraphrase and textual repetition, giving it more

rhythmicdefinitionespeciallyintheapproachtocadences,notunlike

BasurtoandthecomposeroftheanonymousSaragossaRequiemmass

(Table2,no.4;seeExample2).28

Asalreadymentioned,thereseemstobeapatternofthetextssetin

PortuguesepolyphonicRequiemmasses (see againTable 3): allmake

useof theRoman formulary;allbutFranciscoGarro’somit theTract;

andall transmittedinmanuscript formplusGarro’sandLobo’seight-

voice masses (which were printed in 1609 and 1621 respectively, the

formerfollowingaplansimilartothatofGuerrero’slaterversionofhis

Requiemmass; see Table 2, no. 10) give no verse for theOffertory.29

This will be nearly one of the patterns for post-Tridentine Iberian

settings as established with Victoria’s four-voice Requiem mass (see

Table2,no.11),possiblycorrespondingtotheoriginalplanofMorales’

four-voice mass (Table 2, no. 6, and Table 5); the other pattern, in-

cludingtheTractbutwithnosettingoftheGradual,alreadydevisedin

the earlymass by Gallego, is that of the Granadamass attributed to

Santos de Aliseda (Table 2 no. 9) which for instance, Sebastián de

Vivanco, Juan Esquivel and many later Spanish, but not Portuguese,

composersfollowedintheirRequiemmasses.

28On this anonymous Requiem mass, see Tess KNIGHTON, “Music for the Dead: An Early

Sixteenth-CenturyAnonymous RequiemMass”, in idem – B.NELSON (eds.),Pure Gold (seen.7),pp.262-288.29FranciscoGarro’seight-voiceRequiemmassisaratheruntypicalsettingforitstime:allits

movements begin directly with polyphony rather than a chant intonation (as some mid-

seventeenth-century Spanish Requiemmasses such as both the four-voice and seven-voice

settings by Joan Cererols) and chant is heavily paraphrased for the most part; Romaninfluence through the north of Castile is an issue worth considering with further study.

Francisco Garro was a Castilian who came over from Sigüenza possibly inMarch 1592, to

succeedAntónioCarreira,theElder,aschapelmasterattheRoyalChapelinLisbon,aposthehelduntilhediedin1623.BeforemovingtoLisbon,heworkedinLogroño,waschapelmaster

at Valladolid Cathedral for a short period in 1580, and became chapelmaster at Sigüenza

Cathedral in October that year. An edition of Garro’s setting is in José ABREU, “SacredPolychoral Repertory in Portugal, ca.1580-1660” (Ph.D. diss., University of Surrey, 2002),

vol.2, pp. 171-219; characteristics of style and possible influences are dealt with in vol. 1,

especiallyatpp.62-77and118-146.


63

Example1.Bernal,RequiemmassinP-CugMM34,Introit,bb.1-17.


64

Example2.FranciscoMouro,RequiemmassinP-CugMM34,Introit,bb.1-21.


65

Structuring of the Gradual is a possible clue of the models for

Portuguese settings of the Requiem mass, their hypothetical depen-

denceonSpanishsettings,andthelatterregionalearlycharacteristics.

AsshownonTable6intheAppendix,threetypesofstructureforthe

GradualRequiem aeternam coexist in late-sixteenth- and early-seven-

teenth-century Iberian settings: two-section, matching the respond-

versestructureofthetext;three-section,mirroringthemostcommon

performing practice for plainchant graduals; and alternating chant

intonations and polyphony. The latter is not used in any Portuguese

settingoftheRequiemmass.Two-sectionstructure,witheitheroneor

twopolyphonicsections,hasapparently theolder tradition in Iberian

Requiemmasssettings,sinceitisusedfirstlybyEscobar,whosetsthe

respondonlyinpolyphony,leavingtheentireversetochant,andalso

JuanVásquez,whosetsotherwisetheverseinpolyphony,therespond

being performed in chant. Both Basurto and the composer of the

anonymousCoimbramass set the respond and verse in two separate

polyphonicsections.Three-sectionstructurewithonepolyphonicsec-

tionisusedinthemassbyBernal,whosetsinpolyphonyonlytheverse

upto“abauditionemala”,theentirerespondandthefinalwordsinthe

verse,“nontimebit”,beinglefttochant.Two-andthree-sectionstruc-

ture of the Gradual with one polyphonic section seems thus a likely

characteristic of Sevillian, or Andalusian, early settings; two-section

structure with two polyphonic sections can be possibly related to

northernandcentralSpanishearlysettings.Three-sectionstructureof

theGradualwiththreepolyphonicsectionsprecededbyanintonation

was introduced by Morales in his five-voice Requiem mass, possibly

followingRomantrends,30thoughmostItaliansixteenth-centurypoly-

phonic Requiem masses omit the Gradual altogether. Morales’ five-

voice Requiem mass was widely-circulated in Portugal both in print

andmanuscript formbut only the first generation of post-Tridentine

Portuguesecomposers,andDuarteLobopossiblybecauseofhisfond-

ness forGuerrero’smusic,31adopted this form for their settingsof the

30ForasimilarcasewiththesettingoftheOffertorybyMorales,seeGraysonWAGSTAFF,“The

TwoRequiemsbyCristóbaldeMoralesandSpanishComposers’UseofChantMaterialfrom

theOfficeoftheDead”,YearbookoftheAlamireFoundation4(2000),pp.447-464[459].31ThisismadeclearfromthefactthatofthetenparodymassesbyLobo,fourtakeGuerrero

motetsasmodels:SanctaMaria4vv,Dicebat Jesus4vv,ElizabethZachariae5vvandDuctusestJesus4vv;seeArmindoBORGES,DuarteLobo(156?-1646):StudienzumLebenundSchaffendes portugiesischen Komponisten, Regensburg: Gustav Bosse, 1986 [Kölner Beiträge zur


66

Gradual, andMendes on just his alternative setting.Regarding struc-

ture, post-Tridentine Portuguese composers clearly followed a path

differentfromtheSpanish,continuingonatraditionwithrootsinpre-

TridentineIberiansettingsoftheRequiemmass.

As seen, in addition to differences in the choice of both text and

chant melody (the latter being a significant issue which I did not

touchedupon),earlysettingsoftheRequiemmassfromnorthernand

centralSpain,on theonehand,andAndalusia,on theother,dohave

some distinctive structural and stylistic features, even if other pro-

minent trends are similar in settings from both regions. Portuguese

earlysettingsoftheRequiemmassdependedonSpanishmodels,partly

because of the spread of Spanish settings and also because at least

someofthesePortugueseearlysettingswereindeedcomposedbySpa-

niardsworking inPortugal. Inthe latterhalfof thesixteenthcentury,

SpanishandPortuguesecomposersevolvedintowhatwemightterma

common Iberian style, combining strict processes of chant treatment

and presentation, which entailed a rather conservative approach to

texture (especiallynoted in settingsof the Introit and items fromthe

Ordinary), chant paraphrase allowing for a more interactive contra-

puntaldisplay,andstandardizedpatternsforthetextsset,basedonthe

Romanformulariesforthemassforthedead.Thiswasthelegacynot

onlyofMorales—whatwecommonlyassume in the lightof thewide

dissemination particularly of his five-voice Requiem mass—but cer-

tainlyalsoofothercomposersoflesserprominencefrombothsidesof

theborder,nowadaysunnoticed.

Musikforschung 132], pp. 137-140, 157-160; and Luís HENRIQUES, “As três missas de Duarte

LobosobremotetesdeFranciscoGuerreronoLiberMissarumde1621:Umavisãoanalíticado

seuprocessodeconstrução”(diss.demestrado,UniversidadeNovadeLisboa,2015).


67

Appendix

Table1Variabletextsinearly-sixteenth-centuryPortugueseAugustinianCanonsRegularUseandDiocesanUses

AugustinianMonasteryofSantaCruzinCoimbra,Missale,P-PmMs37(Santa

Cruz28),c.1518

GRequiemaeternamV.Inmemoriaaeterna

TAbsolve,DomineV.EtgratiatuaV.Etlucisaeternae

CAbsolve,DomineV.Requiemaeternam

Braga,Graduale,P-BRsMs34,c.1510-15

GRequiemaeternamV.AnimaeaeorumV.Inmemoriaaeterna

TProclericisSicutcervusV.SitivitanimameaV.Fueruntmihilachrimae


CLuxaeternaV.Requiemaeternam

Braga, Manuale secundum consuetudinem alme bracharensis ecclesie, Inantiquissimabracharensiscivitate:[PedroGonçalvesAlcoforado],1517

Coimbra,Manuale secundum consuetudinem alme Colymbriensis ecclesie, InpreclaraLixbonensiscivitate:perNicolaumGazini,1518


TDeprofundisclamaviV.FiantaurestuaeV.SiiniquitatesV.Quiaapudte

TProregeCommovistiDomineV.SanacontritionesV.Utfugiantafacie

TProsacerdoteSicutcervusV.SitivitanimameaV.Fueruntmihilachrimae

TProfeminisQuiseminantinlachrimisV.EuntesibantV.Venientesautem


Évora,MissalesecundumconsuetudinemElborensisecclesienouiterimpressum,

Ulixipone:perGermanumGalhardum,1509[recte1519]



TDeprofundisclamaviV.FiantaurestuaeV.SiiniquitatesV.Quiaapudte

T Pro sacerdotibus Sicut cervus V. Sitivit anima mea V. Fuerunt mihi

lachrimae


ThePortugueseRoyalChapelhasadoptedtheuseoftheRomanCuria inthe

period of regency of the InfanteDomPedro (1439-48) beforeKingAfonsoV

attainedhismajority,forwhichpurposeabullbyPopeEugeneIVwasissued


68

on September 21, 1439. The diocese of Lisbon accepted the Roman use by

decision of the diocesan synod of 1536; thiswas ratified by a bull of Paul III

issuedonDecember9,1538.TheRomanusewasalsointroducedintoOporto

CathedralpossiblyduringtheprelacyofBishopDiogodeSousabetween1496

and 1505, and imposed throughout the diocese in 1541. Coimbra definitely

relinquished its use during the prelacy of Bishop João Soares, who in 1555

orderedabreviaryforthediocesecombiningtheuseoftheRomanCuriaand

the use reformed underClementVII. All Portuguese dioceses created in the

sixteenthcentury—LeiriaandMirandain1545;Portalegrein1549;andElvasin

1570—alsoadoptedtheRomanuse.

Table2ExtantsettingsoftheRequiemMassbySpanishcomposersuptotheearly1580s

No. Composer Source(s) Polyphonicitems

1 PedrodeEscobar

E-TZMss2-3,Ms3fols.150v-159r+Ms2fol.123r

IKGnvT2OnvSAC3

2 JuanGarcíadeBasurto(etal.)

E-TZMs5,fols.68v-73r(73v-80r)

–P-CugMM34,fols.38v-39v(Gv)

IKG(T2SAC1)

3 AntonioGallego

E-VMs5,fols.59v-67r IKT2OnvSA

4 Anonymous(Saragossa?)

E-ZacMs17,fols.1v-8r IKT3OnvSAC1(T1/C3)

5 CristóbaldeMorales(a5)

MissarvmLiberSecvndvs,Roma:ValerioDorico&Lodovicofratres,1544

–P-CugMI62(ed.Venice,1544);P-CugMI21;P-LApLiv.143(ed.Lyon,1551);P-CugMI54(ed.Venice,1557)

–P-PmMM40,fols.198v-211r;P-BRpMs.965,fols.34v-49r(noSq);P-CugMM34,fols.27v-28r(Gvonly)

IKGSq*OSAC1


69

6 CristóbaldeMorales

E-AcMs1,pp.101-121;E-LEDcMss.s.,fols.109v-120r;E-MAMsP.11(olimMsIV),fols.10v-23r;E-MOMs753,fols.8v-22r;E-SEMs3(Cantoralno.1),fols.13v-19r;E-SIMs21,fols.63-76;E-VpMss.s.,fols.127v-141r;E-VMs21(olimMss.s.),fols.23v-47r

–P-PmMM40,fols.211v-218r(IKGOnvSAC2)

IKG(T2)OnvSAC2

seeTable5

7 JuanVásquez AgendaDefunctorum,Sevilla:MartinusaMontesdoca,1556

IKGvT2OnvSAC3

8 FranciscoGuerrero

LiberPrimvsMissarvm,Paris:extypographiaNicolaiduChemin,1566

–P-CugMM34,fols.24v-26r(G)

IKGG*T2OnvSAC2aC2(a5)

9 Anonymous(attributedtoSantosdeAliseda)

E-GRcCantoralno.6,fols.23v-32r

IKT1OnvSAC1

10 FranciscoGuerrero

MissarvmLiberSecvndvs,Roma:TypographiaDominiciBasae,apudFranciscumZanettum,1582

IKGT1OnvSAC1(a5)

11 TomásLuisdeVictoria

MissarvmLibriDvo,Roma:exTypographiaDominiciBasae,1583

–P-CugMI9

IKGOnvSAC1

Allsettingsa4unlessotherwisestated.Existing copies of prints in Portuguese collections and concordances inPortuguesemanuscriptsappearinthesource(s)’columnafterthemainsourceforeachwork.Abbreviations:I-Introit;K-Kyrie;G-Gradual(includingtheverse,Inmemoria);Gv-Gradualverse(Inmemoria);Gnv-Gradualwithnoverse;G*-GradualDicitDominusV.Etomnisqui vivit;T1-TractAbsolve,Domine;T2-TractSicut cervus;T3-TractDe profundis; Sq*- Sequence, strophe Pie Jesu; O- Offertory (including the


70

verse,Hostias);Onv-Offertorywithno verse; S- Sanctus andBenedictus;A-AgnusDei;C1-CommunioLux aeterna,V.Requiem aeternam;C2-CommunioLux aeterna... pro quorum; C3- Communio Absolve, Domine; aC- alternativesettingoftheCommunio.

Table3Extant settings of the Requiem Mass from sixteenth- to mid-seventeenth-centuryPortugal32

No. Composer Source(s) Polyphonicitems

1 Anonymous(Coimbra)

P-CugMM6,fols.13v-27r

IKGOnvSAC1

2 FernãoGomesCorreia

P-CugMM34,fols.30v-32r

Ov

3 «FranciscoMouro»(probablythesameasFranciscodeSantaMaria)

P-CugMM34,fols.37v-39v

IK

4 Anonymous(FranciscoMouro?)

P-CugMM34,fols.45r-45v+[47]r

OnvSA

incomplete:fol.46missing;possiblypartofthepreceding

5 «Bernal»(possiblythesameasAfonsoPereaBernal)

P-CugMM34,fols.21v-24r+26v-27r+28v-30r+32v-33r+35v-37r;P-PmMM40,fols.218v+220r-223r(incomplete:noK)

IKGvOnvSAC1

6 ManuelMendes P-LApLiv.143,addedfinalgathering,fols.[1]v-[11]r+[13]v-[15]r

IKGaGOnvSAC1

32ThistablecompletesandcorrectstheoneinJ.P.d’ALVARENGA,“ANeglectedAnonymous

RequiemMass”(seen.5),pp.182-183.


71

7 Anonymous(Braga) P-BRpMs.965,fols.26v-31r

IKGOnvSAC1

8 LourençoRibeiro P-BRpMs.965,fols.50v-65r

IKGaGOnvSAC1

9 FranciscoGarro(a8) Missaequatuor,octonisvocibustres,etunaduodenis[...],Lisboa:PetrumCraesbeeck,1609

IKGT1OnvSAC1

incomplete:onepartbookmissing

10 DuarteLobo(a8) LiberMissarumIV,V,VI,VIIIvocibus,Antwerp:OfficinaPlantiniana,1621

IKGOnvSAC1

11 ManuelCardoso(a6) MissaeQvaternisQvinisetSexVocibvsLiberPrimvs,Lisboa:PetrumCraesbeeck,1625

IKGOSAC1

12 EstêvãoLopesMorago

P-VaCód.3,fols.122v-129r(copiedsometimebetween1626and1628)

IKGOnvSAC1

13 FilipedeMagalhães(a6)

MissarumLiber,Lisboa:OfficinaLaurentijCraesbeeck,1636

IKGOSAC1nv

14 DuarteLobo(a6) LiberII.MissarumIIII.V.etVIvocibus,Antwerp:OfficinaPlantiniana,1639

IKGSq*OSAC1

15 ManuelCardoso LivrodeVariosMotetesOfficiodaSemanaSantaeOvtrasCovsas,Lisboa:LourençodeAnvers,1648

IKGOSAC1


72

Allsettingsa4unlessotherwisestated.Portuguese-borncomposers likeEstêvãodeBrito(c.1575-1641)whocomposedtheir Requiem masses for Spanish institutions do not enter the list (Brito’sRequiemmass—consistingofIKGOnvSAC1—isinE-MAMsP.11,olimMsIV, fols. 23v-41r); Spanish-born composers working in Portugal such asFranciscoGarro(diedin1623)areneverthelessincludedinthelist.

AreworkingofManuelMendes’Requiemmass(no.6)ispreservedinMEX-PcChoirbook 3, fols. 46v-67r, ascribed to Gonçalo Mendes Saldanha (c.1580-c.1645)andcomprisingeight-voiceversionsof the Introit,Kyrie,SanctusandAgnusDei,anewly-composedthree-voicesettingofthefirsthalfoftheIntroitpsalmverse,andtheOffertoryintheoriginal,four-voiceversion.Abbreviations:

I-Introit;K-Kyrie;G-Gradual(includingtheverse,Inmemoria);Gv-Gradualverse(Inmemoria);Gnv-Gradualwithnoverse;aG-alternativesettingoftheGradual;T1-TractAbsolve,Domine(oneverseonly);Sq*-Sequence,strophes1,3, 5, 8, 14, and 19;O-Offertory (including the verse,Hostias);Ov-Offertoryverse (Hostias);Onv-Offertorywithnoverse;S-SanctusandBenedictus;A-Agnus Dei; C1- Communion Lux aeterna, V. Requiam aeternam; C1nv-CommunionLuxaeternawithonlytheantiphonandrepetenda.

Table4ThecompositeRequiemMassinmanuscriptCoimbraMM34

No. Fols. Items Inscriptions Notes

1 21v-23r Introit(Requiemaeternam)DonaeisPs.(Tedecethymnus...)Ettibi

MissaDobernalAcompassinho

2 23v-24r Kyrie,Christe,Kyrie

3 24v-25r Gradual(Requiemaeternam)Donaeis

DamissaDgurreiro,gradual

Guerrero,1566

4 25v-26r V.Inmemoriaaeterna...(a3)Nontimebit

DeguerreiroAcompassinho

Guerrero,1566


73

5 36v-27r V.Inmemoriaaeterna...(Nontimebit)(a3)

Dobernal

6 27v-28r V.Inmemoriaaeterna(a3)a

erased:Dantoniocarreira/Morales

Morales,1544

7 28v-30r Offertory(DomineJesuChriste...)Liberaanimas

Dobernal

8 30v-32r V.Hostiasetpreces...(Quamolim...)

Offertoriumpromortuis,fernamgomes/lusitanusdifferenthand:optimusEtoptimusinarte

9 32v-33r (Sanctus)Sanctus...(Plenisunt)Caelietterra...(Benedictus)Quivenit

SanctusDamissaDobernal

10 33v-34r MotetCircumdederuntme

ProDefunctistrosilho

11 34v-35r MotetHeumihiDomine

MoteteAntoniollopez

12 35v-36r (AgnusDei)Quitollis,(AgnusDei)Quitollis,(AgnusDei)Quitollis

AgnusDaMissaDebernal

13 36v-37r Communio(Luxaeterna)luceateisV.(Requiemaeternam...)Etluxperpetua

PostcommunioDaMissaDobernal

Incipitsofchantintonationsenclosedinroundbrackets.a The five-voice section on «non timebit» is omitted and text is adapted inordertofittheentireverseinthethree-voicesection.


74

Table5Cristóbal deMorales’ four-voice RequiemMass as presented initsextantsources

Items/Sources A B C D E F G H I

1 Introit(Requiemaeternam)Donaeis

Ps.(Tedecethymnus)Ettibi× × × × × × × × ×

2 Kyrie,Christe,Kyrie ]×[ × × × ]×[ × × × ×

3 Gradual(Requiemaeternam)Donaeis × × × [] × × × ×

V.(Animaeeorum)Inbonis (×) (×) (×)

V.(Inmemoriaaeterna)

eritiustus...nontimebit.

eruntiusti...nontimebunt.

×

×

×g

×

4 GradualSiambulavero[sic]inmedio

V.Virgatua(a3) (×)h

5 Tract V.1Deprofundis(a3)

V.2Fiantaurestuae(a2)

V.3Siiniquitates

(×)

(×)

(×)

6 Tract V.1Sicutcervus

V.2Fueruntmihilachrimae

×b

×

×

×

×

7 Tract

V.1DicitDominus

V.2Etomnisquivivit

(×)

8 Offertory(DomineJesuChriste...)Liberaanimas

× × × ×c × × × × ×

V.Hostiasetpreces(a3)

V.Redemptoranimarum

(×)

(×)

9 (Sanctus)Sanctus...(Plenisunt)Caelietterra...(Benedictus)Quivenit

× × × × × × × × ×

10 (AgnusDei)Quitollis,(AgnusDei)Quitollis,(AgnusDei)Quitollis

×a × × × × × ×e × ×

11 CommunioLuxaeterna...proquorum × ×d × × ×f × ×

12 CommunioAbsolve,Domine (×)


75

Sources:A)E-AcMs 1, c.1700;B)E-LEDcMss.s., c.1600,«Morales»;C)E-MAMsP.11(olimMsIV),firsthalfofthe17thc.,«ChristophoriMorales»;D)E-MO

Ms753,c.1610,«Morales»; E)E-SEMs3(Cantoralno. 1), 1590-1610,«Christo-

phorusMorales»;F)E-SIMs21,latehalfofthe16thc.;G)E-VpMss.s.(known

as «Santiago Codex», or «Diego Sánchez Codex»), dated 1616 but the main

layermayhavebeencompletedin1602-1606;H)E-VMs21(olimMss.s.),1581,

orearlier,withadditionsfrom1649;I)P-PmMM40,c.1590,«Morales».

Incipitsofchantintonationsenclosedinroundbrackets.

Items enclosed in round brackets under «sources» most probably not by

Morales;itemsenclosedinreversedsquarebracketsareincompleteduetothe

lack of folios; void square brackets denote amissing itembecause of lack of

folios.aOmitschantintonationforAgnusDeiIII.bCopiedwithotherextrapiecesafterMorales’massandafewmotets.c Four-voice setting of the funerary litany «Jesu redemptor suscipe N. sita

animaejusinparadiso»copiedaftertheOffertoryantiphon.dTruncated: firstpartofMorales’settingadaptedtobeusedastheantiphon

onlyoftheRomancommunion.eAgnusDeiIandIIonly.fStandardRomantextadapted.gOmitschantintonation.hItemno.4copiedimmediatelyafteritemno.7.

Table6The structureof theGradualRequiemaeternam in SpanishandPortuguesesettingsfromthelate-sixteenthtoearly-seventeenthcentury

1. Chant intonation, two polyphonic sections (as in the anonymousCoimbramassa):Mendes,*Anonymous(Braga)b,Morago,Cardosoa4

Requiemaeternam Chant

donaeisDomine:etluxperpetualuceateis. fulltexture

Inmemoriaaeternaeritjustus:abauditionemalanontimebit.

fulltexture,differentclefs/*sameclefs


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(asinBasurtoc):*Cardosoa6,*Magalhãesa6,EstêvãodeBritod

Requiemaeternam Chant

donaeisDomine:etluxperpetualuceateis. fulltexture

Inmemoriaaeternaeritjustus:abauditionemalanontimebit.

reducedtexture(a3)/*(a4)

2.Chantintonation,threepolyphonicsections(asinMoralesa5):Guerrero,Mendes‘aliudGraduale’,Ribeiro‘aliudGraduale’,Loboa8,Loboa6

Requiemaeternam ChantdonaeisDomine:etluxperpetualuceateis. fulltexture

Inmemoriaaeternaeritjustus:abauditionemala

reducedtexture(a3)

nontimebit. fulltexture

Ribeiro


Inmemoriaaeternaeritjustus:abauditionemala

fulltexture,differentclefs

nontimebit. fulltexture,initialclefs

3.Alternatingchantintonationsandpolyphony(asinMoralesa4):Victoriaa4,Victoriaa6


Inmemoriaaeterna Chanteritjustus:abauditionemalanontimebit. fulltexture

a Chant intonation on just the word «Requiem» and the verse in the pluralform,«Inmemoriaaeternaeruntjusti...nontimebunt»,infulltexturewiththesameclefsasintherespond.bHasthepluralformoftheverse:«eruntjusti...nontimebunt».cChantintonationonjusttheword«Requiem».dOnBrito’sRequiemmass,seethenotestoTable3above.Francisco Garro’s eight-voice Requiemmass, printed in 1609, adopts a two-sectionstructure for theGradualbutbegins itdirectly inpolyphonywithnochantintonation.

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