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Missa pro defunctis a 6 'Requiem'
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Requiem Mass

'Lôbo: Requiem' (CDGIM028)
Lôbo: Requiem
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'Requiem' (CDGIM205)
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Movement 1: Introitus: Requiem aeternam
Movement 2: Kyrie
Movement 3: Graduale: Requiem aeternam
Movement 4: Sequentia pro defunctis: Dies irae
Movement 5: Offertorium: Domine, Jesu Christe
Movement 6: Sanctus and Benedictus
Movement 7: Agnus Dei
Movement 8: Communio: Lux aeterna
Movement 9: Responsorium pro defunctis: Memento mei

Missa pro defunctis a 6 'Requiem'
Duarte Lôbo (whose name was Latinized as Eduardus Lupus and should not be confused with that of his Spanish near-contemporary Alonso Lobo) was born about 1565 and died in 1646 in Lisbon. Like Magalhães (c.1571–1652), Cardoso (c.1566–1650) and a number of other leading Portuguese musicians of the period, Lôbo studied at Évora Cathedral under Manuel Mendes (c.1547–1605). It is possible that it was Mendes who introduced them all to the Victoria Requiem. Lôbo later became mestre de capela at Évora before moving to Lisbon where he served in the same capacity at the Hospital Real and, by 1594, at the cathedral. He kept the latter post for over forty years, much honoured by the Royal Court, and became the most esteemed and widely performed Portuguese composer of his time.

A full picture of Lôbo as a composer is denied us because much of his music was destroyed in the Lisbon earthquake of 1755. From what survives he seems to have been relatively Renaissance-based, even by Portuguese standards, preferring single-choir polyphony to double-choir antiphony. Even his eight-voice Requiem (published in 1621), though originally printed for two separate choirs, in fact has few passages where all eight voices are not employed together. This penchant for sonority is equally on display in the probably later six-voice Requiem (published in 1639). Instead of Victoria’s scoring of SSATTB, Lôbo preferred the slightly thicker sound of SAATTB, in which he gave the chant, when he used it, to the single soprano part in long notes. The ‘In memoria’, the truncated Sequentia, the ‘Hostias’ and the final Responsorium are scored for four voices or fewer.

Whether writing for six voices or four, Lôbo was capable of some highly original turns of phrase, at a date when many modern commentators might be forgiven for assuming that everything possible in the Renaissance idiom had been long since tried and exhausted. In the three polyphonic statements of the Agnus Dei, for example, in which the soprano part effectively sings the same notes three times, Lôbo’s masterly control not only produces a succession of beautiful chords (especially in the second statement), but at the same time ensures that the music moves inevitably forward to the final ‘sempiternam’. The Graduale is also remarkable for its expressive dissonances, always carefully prepared as was appropriate for a Requiem, yet never predictable.

from notes by Peter Phillips ę 1992

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Details for CDGIM205 disc 1 track 13
Sequentia pro defunctis: Dies irae
Recording date
Recording venue
Salle Church, Norfolk, United Kingdom
Recording producer
Steve C Smith & Peter Phillips
Recording engineer
Sean Lewis & Philip Hobbs
Hyperion usage
  1. L˘bo: Requiem (CDGIM028)
    Disc 1 Track 4
    Release date: November 1992
  2. Requiem (CDGIM205)
    Disc 1 Track 13
    Release date: September 2005
    2CDs for the price of 1
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