Pierre Moulu

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Pierre Moulu (* 1484 in the Eure-et-Loir department (uncertain); † after 1540) was a Franco-Flemish composer and cleric of the Renaissance .

Live and act

Documents in the form of petitions to the Pope from 1505 say that a clergyman named "Petrus Moulu" from the diocese of Meaux was 21 years old that year, which gives the composer's year of birth. These documents also indicate that he was chaplain at the Saint-Etienne cathedral in that city from 1505 to 1513 ; he may also have written his mass “Stephane gloriose” for this church. Even if his name does not appear on the payrolls of the French court in Paris , there are clear indications that Moulu had a close relationship with the court of the French King Louis XII in the first two decades of the 16th century . (Tenure 1498-1515) had and worked for them. When the French Queen Anne de Bretagne was January 9, 1514, died Moulu wrote the song - motet "Fiere Attropos," a lament about her death; In addition, in the 2nd part of his motet "Mater floreat florescat" there is an appeal to thirteen musicians to pay homage to the king and queen with string instruments and the organ . Seven of these musicians, namely Antoine de Longueval , Jean Braconnier (called Lourdault; † 1512, active since 1478), Johannes Prioris , Antoine de Févin , Hilaire Bernnoneau, Antonius Divitis and Jean Mouton were employed either by the Queen or the King. No information has survived about Moulu's lifetime after 1520; there is great uncertainty especially about the year of his death. The composer Jehan Daniel , called maître Mitou , (1530) as well as the poets François Rabelais (1552) and Pierre de Ronsard (1560) have included Pierre Moulu in lists of famous musicians, which primarily include people who worked as singers at court to have.

meaning

The spatial distribution of Pierre Moulu's music corresponds to the distribution of compositions by other contemporary court composers, such as Jean Mouton and Jean Richafort . Pierre de Ronsard described Moulu as a student of Josquin ; However, there is no evidence of this. The style of his music is also much closer to that of Jean Mouton: like Mouton, he uses a soft, flowing, imitative counterpoint , which is also reflected in the uncertainty of the assignment of four works. This sentence style is enlivened by a section-wise reduction in the number of voices, paired imitations and isolated short homophonic sections. Some of his four-part motets and chansons contain subtle, rhythmic figures and repetitions of final sections and thus show an anticipation of the compositional techniques of Claudin de Sermisy and his contemporaries, although the counterpoint Moulus is more even and harmoniously less transparent. In his more than four-part pieces he uses cantus firmus or canon techniques . Several of his three-part chansons show a transition style between the three-part compositions by Antoine de Févin and the lyrical chansons by Claudin de Sermisy. In four of his five mass settings, Moulu used melodic or contrapuntal material from Josquin or his contemporaries. His mass “Alma Redemptoris Mater”, also called Missa duarum facierum , is particularly noteworthy , which can be performed in two different ways: with pauses that are longer than a quarter pause, or without them.

Works

  • measure up
    • Missa "Alma Redemptoris mater" with four voices (= "Mass à deux visaiges")
    • Missa "Missus est Gabriel angelus" for four voices (based on a motet by Josquin)
    • Missa "Mittit ad virginem" with four voices (based on a model by Josquin)
    • Missa Paraninphus for four voices (based on a motet by Loyset Compère )
    • Missa "Stephane gloriose" with four voices (based on a model by Layolle)
  • Motets
    • “Adest nobis dies laetitiae” to four votes
    • “Alleluia, Regem ascendentem” for four voices
    • "Domine ante te" to three votes
    • “Fiere attropos” to five voices
    • “Induta est caro mea” to four voices
    • “In hoc ego sperabo” to three votes
    • "In pace. Si dedero ”to five votes
    • “Mater floreat florescat” with four voices
    • “Ne projicias nos” to six votes
    • "Oculi omnium" for three voices (incomplete)
    • “O dulcis amica Dei” to five voices
    • "Oremus pro conctis" to four voices (only cantus preserved)
    • "Quam dilecta" to three voices (lost)
    • “Regina caeli” with four voices
    • “Salve Barbara martyr” to seven votes
    • “Salve regina Barbara” to four voices
    • "Sancta Maria, Dei mater" to four voices (only cantus preserved)
    • “Sicut malus” to three votes
    • "Tu licet et Thamiram superes" for two voices (= 'Crucifixus' from the Missa "Alma Redemptoris mater")
    • "Vivo ego" to three voices (incomplete)
    • “Vulnerasti cor meum” to five voices
  • Chansons
    • “Au bois, au bois, madame” to four voices
    • “En despit des faux mesdisans” to six voices
    • “Et dout venès vous” to three voices
    • “Hellas, hellas madame” to four votes
    • “J'ay mis mon cueur” to seven voices
    • “N'aymés jamais ces gens” with three votes
    • “Voicy le may” to four voices
  • Pieces without text
    • “J'ay” to three votes
    • Canon with three voices (the canon appeared in Lodovico Zacconi's Prattica de musica under the name Pietro Molu . However, this canon was printed by Petrucci as early as 1503, which is why the attribution to Moulu is very unlikely)
  • Compositions of uncertain attribution and doubtful things
    • “Amy souffrez que je vous ayme” to four voices; Attributed to Moulu, Le Hurteur, Claudin de Sermisy, and D. Izhaga
    • “Domine Dominus noster” to four votes; Attributed to Moulu, but probably by Mouton
    • “In illo tempore accesserunt ad Jesum” to four voices; Attributed to Moulu and Mouton, but probably from Moulu
    • “In omni tribulatione” to four voices; by Mouton
    • “La roussée de moys de may” with six votes; Attributed to Moulu, but probably from Mouton
    • “Quam pulchra es” to four voices; Attributed to Moulu, Verdelot, Mouton or Josquin, but probably from Moulu
    • “Saule, Saule, quid me persequeris” to four voices; Attributed to Moulu, but probably by Jean le Brung
    • “Virgo carens criminibus” with four voices; Attributed to Moulu, but probably by Andreas de Silva

Literature (selection)

  • Y. Rihouët: Un Motet du Moulu et ses diverse transscriptions pour orgue. In: Congress report Basel 1924, Leipzig 1925, pages 286–292
  • Gustave Reese : Music in the Renaissance , WW Norton & Co., New York 1954, ISBN 0393095304
  • JG Chapman, The Works of Pierre Moulu: A Stylistic Analysis , 2 volumes, dissertation at New York University 1964 (with work edition)
  • R. Sherr: The Membership of the Chapels of Louis XII and Anne de Bretagne in the Years Peceding their Deaths. In: Journal of Musicology No. 15, 1988, pp. 60-82
  • IT Brobeck: Some ›Liturgical Motets‹ for the French Royal Court: A Reconsideration of Genre in the Sixteenth-Century Motet. In: Musica disciplina No. 47, 1993, pages 139-142
  • Article Pierre Moulu. In: The New Grove Dictionary of Music and Musicians , edited by Stanley Sadie, 2nd Edition, Volume 17, McMillan, London 2001, ISBN 0-333-60800-3
  • Jan Jaap Zwitser: De Missa Paranymphus, een onbekende mis van Pierre Moulu? , Dissertation at the University of Utrecht 2002
  • Howard Mayer Brown / Richard Freedman: Pierre Moulu , Grove Music Online, edited by L. Macy (Accessed March 29, 2007), (subscription access)

Recordings

  • Capilla Flamenca, The A-La-Mi-Re Manuscripts , Flemish Polyphonic Treasures for Charles V. Naxos CD 8.554744. Contains the motet mater floreat florescat
  • The Brabant Ensemble, Stephen Rice, Missa Alma Redemptoris & Missa Missus Est Gabriel , Hyperion Records CD CDA67761

Web links

Individual evidence

  1. ↑ The Music in Past and Present (MGG), Person Part Volume 12, Bärenreiter and Metzler, Kassel and Basel 2004, ISBN 3-7618-1122-5
  2. ↑ Marc Honegger, Günther Massenkeil (ed.): The great lexicon of music. Volume 5: Köth - Mystical Chord. Herder, Freiburg im Breisgau a. a. 1981, ISBN 3-451-18055-3 .
personal data
SURNAME Moulu, Pierre
ALTERNATIVE NAMES Molu, Pierre; Mollu, Peter; Moullu, Pierre
BRIEF DESCRIPTION Franco-Flemish composer and cleric of the Renaissance
DATE OF BIRTH 1484
PLACE OF BIRTH uncertain: Eure-et-Loir department
DATE OF DEATH after 1540