David J. Burn is professor of musicology and head of the Early Music Research Group at KU Leuven. Antonio Chemotti is assistant professor of musicology at the University of Leuven in association with the Alamire Foundation and research affiliate at the Royal Library of Belgium.

• Tables Musical ExamplesIntroduction Pieter Bergé, David J. Burn, and Antonio ChemottiJacobus Clemens non Papa (c. 1515–55/56): Missa pro defunctis Stephen RiceCristóbal de Morales (c. 1500–53): Missa pro defunctis for four voices and Missa pro defunctis for five voices Alison Sanders McFarlandPhilippe de Monte (1521–1603): Missa pro defunctis Katelijne SchiltzFrancisco Guerrero (1527/28–99): Missa pro defunctis Owen ReesJacobus de Kerle (1531/32–91): Missa pro defunctis Christian Thomas LeitmeirTomás Luis de Victoria (c. 1548–1611): Missa pro defunctis for four voices and Missa pro defunctis for six voices Owen ReesOrlando di Lasso (1530/32–94): Missa pro defunctis for four voices and Missa pro defunctis for six voices Franz KörndleGiovanni Pierluigi da Palestrina (1525/26–94): Missa pro defunctis for five voices Christian Thomas LeitmeirDuarte Lobo (c. 1565–1646): Missa pro defunctis for six voices and Missa pro defunctis for eight voices Owen ReesMateo Romero (1575/76–1647): Missa de requiem Antonio ChemottiManuel Cardoso (c. 1566–1650): Missa pro defunctis for six voices and Missa pro defunctis for four voices Bernadette NelsonFilipe de Magalhães (c. 1565–1652): Missa pro defunctis for six voices Bernadette NelsonCatalogue of Early Polyphonic Requiems Antonio ChemottiPrimary Sources Cited Bibliography Contributors

'The Book of Requiems' will become a primary reference tool on this fascinating genre and serve as a crucial aid to researchers, performers, and students of various disciplines. The editors of the second volume in the series have made a highly insightful decision to group together works from ca. 1550 to ca. 1650; this cuts across stylistic changes and reveals the most intense period of creation of Requiem settings and many shared compositional approaches across the traditional style periods. Organizing the volume in this way also allows important focus on many changes brought by Trent since some works exist in both pre-Tridentine versions reflecting local liturgical use and those based on the Reformed liturgy. Although significant in various regions of Europe, the Requiem as a genre witnessed what could be considered its most important flowering during this era in the Iberian sphere as is demonstrated by the works selected by the editors to be featured. I congratulate them on their wonderful achievement. - Grayson Wagstaff, The Catholic University of America