Information About ™Pierre Moulu |
| CATEGORIES ABOUT PIERRE MOULU | |
| renaissance composers | |
| moulu, pierre | |
| french composers | |
| 1550 deaths | |
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Little is known of his life, but internal evidence in his compositions indicates he was probably at the French royal chapel during the first two decades of the 16th Century , at least. He composed music for ceremonial occasions, for example a sombre lament for the death of Queen Anne Of Brittany ( 1514 ), and he also composed a Motet which lists all the composers which he considered to be the most celebrated in France, arranged chronologically, and ending with Josquin . Documents from the Vatican ( 1505 – 1513 ) show us that a 'Petrus Moulu' also worked in the town of Meaux , not far from Paris. Perhaps he wrote his mass ''Stephane gloriose'' for the cathedral of St. Stephens in this town. His music was clearly influenced by Josquin, and though Pierre Ronsard wrote that he studied with him, no documentary evidence survives to substantiate this claim. The motet ''Anxiatus est in me spiritus meus'' which laments Queen Anne's death is modeled on a similar, and much more famous composition by Josquin for the death of Ockeghem , ''La Déploration sur la mort Ockeghem.'' Moulu's music shows the style of pervasive Imitation and smooth Polyphony with exactly equal voices which was prevalent in the generation after Josquin (well exemplified by, and perhaps most famous in, the music of Nicolas Gombert ). Of Moulu's music, five . In addition to the masses, Moulu wrote motets and Chanson s, some of which are of doubtful authorship ( Mouton and Josquin are also suggested as the composer for several of these pieces). WORKS Masses # Missa ''Alma Redemptoris mater'', 4vv # Missa ''Missus est Gabriel angelus'' (based on the motet by Josquin), 4vv # Missa ''Mittit ad virginem'', 4vv # Missa ''Paranymphus'' (based on the motet by Compère), 4vv # Missa ''Stephane gloriose'', 4vv Motets # Adest nobis dies laetitiae, 4vv; # Alleluia, Regem ascendentem, 4vv; # Domine Dominus noster, 4vv; (by Mouton) # Fiere attropos, 5vv; # Induta est caro mea, 4vv; # In hoc ego sperabo, 3vv; # In illo tempore, 4vv; (probably by Mouton) # In omni tribulatione, 4vv; (by Mouton) # In pace, 5vv; # Mater floreat florescat, 4vv; # Ne projicias, 6vv; # Oculi omnium, 3vv; # O dulcis amica Dei, 5vv; # Oremus pro conctis, 4vv; # Quam dilecta, 3vv; # Quam pulchra es 4vv; (also attributed to Mouton) # Regina caeli, 4vv; # Salve Barbara martyr, 7vv; # Salve regina Barbara, 4vv; # Sancta Maria, Dei mater, 4vv; (only alt-voice) # Saule, Saule, quid me persequeris, 4vv; (by Jean le Brung) # Sicut malus, 3vv; # Tu licet (same as the 'Crucifixus' from the ''Missa Alma Redemptoris mater''), 2vv; # Virgo carens criminibus, 4vv; (by Andreas de Silva) # Vivo ego, 3vv; # Vulnerasti cor meum, 5vv. Chansons # Amy souffrez, 3vv; (by Heinrich Isaac) # Au bois, au bois, madame, 4vv; # En despit des faux mesdisans, 6vv; # Et dout venès vous, 3vv; # Hellas, hellas madame, 4vv; # J'ay mis mon cueur, 7vv; (probably by Descaudain) # La rousée de moys de may, 6vv; (by Mouton) # N'aymés jamais ces gens, 3vv; # Voicy le may, 4vv. In addition some works of Moulu have survived without text. For example, as late as 1592, an untexted 3-voice canon appears in Lodovico Zacconi 's ''Prattica de musica'' under the name 'Pietro Molu'. This canon already appeared in 1503, printed by Petrucci, so Moulu's atrribution is very unlikely. REFERENCES AND FURTHER READING
RECORDING
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