Lobo - Missa Pro Defunctis

The literal translation of Missa pro defunctis is “Mass for the deceased”. So does that mean we can expect only music which is sombre or subdued? Not when it’s written by a master of late Renaissance polyphony like Duarte Lobo. Rather than making of this Latin mass text a dour commiseration for a life lived, Lobo imbues it with a feeling of celebration. His music is economical, yet expansive – deftly arranged for eight voices, but sounding like many more; his ear for vocal colour bringing to life each line of text. Under Jeremy Summerly, one of early music’s most committed advocates, Schola Cantorum of Oxford make those colours shine brilliantly.

Holy night

Sung without embellishment, the opening Requiem aeternam (Rest eternal) of the Introitus is typically reverential. So it’s a little surprising to then be enveloped by the warmth of sound that follows this plain introduction. It gives this music a flavour of an altogether different mass: that of Christmas. You can picture caroling, mulled wine, hot breath clouding cold air. Very far from sadness and grieving.

Then when all eight voices join in exaltation of the words et tibi reddetur votum in Jerusalem; exaudi orationem meam (and a vow will be repaid you in Jerusalem; hear my prayer) (T1-2:24), the powerful projection of these lines carries us still further from anything remotely solemn or morose.

Simplicity and piety

Later composers have made of the Kyrie an extended vocal extravaganza. But Lobo sets each of its three lines – essentially, the same three words, sung three times - just once. What he creates by this treatment is somehow a reflection in miniature of his music for the whole mass.

The proceeding Graduale, musically akin to the Introtius, is handled equally simply; while the Offertorium makes a moving plea to God for the freedom of the faithful dead, beseeching the Lord to spare them hell’s punishments and reward their fidelity with an eternity in holy light. It’s earnest, and moving.

After life

In common with many requiem settings, the Sanctus and Benedictus are presented together. Lobo has the voices sing gently the words Sanctus, sanctus, sanctus Dominus Deus Sabaoth (Holy, holy, holy Lord God of Hosts); the lines weaving seamlessly in and out of one another.

Then at Pleni sunt caeli et terra gloria tua (Heaven and earth are full of your glory) (T5-0:40), Lobo showers us with a burst of divine light – the voices of Schola Cantorum raining down as though from paradise.

The uncomplicated and sincere Agnus Dei stands out more for its plainchant solo, which announces periodically its title, than for its rich harmonies or the glorious crowning of its final line.

When we reach the closing Communio, Lobo seems to bring us full circle – here again, that spirit of Christmas. The words speak of peace everlasting; the singing proclaims life eternal. This is a remembrance that makes us look forward, as well as back.