Pierre Moulu


Pierre Moulu was a Franco-Flemish composer of the Renaissance who was active in France, probably in Paris.

Life

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, and was also associated with the cathedral in Meaux, on the Marne east of Paris. He composed music for ceremonial occasions, for example a sombre lament for the death of Queen Anne of Brittany, 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 help establish his identity, as they indicate that a "Petrus Moulu" held various clerical positions at Meaux Cathedral. He may have written his mass Stephane gloriose, for the cathedral of St Etienne in this town.

Music

Moulu's music was clearly influenced by Josquin, but no documentary evidence survives to substantiate Pierre de Ronsard's claim that he studied with Josquin. 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.
Of Moulu's music, five masses survive, the most famous being his mass on the Marian antiphon Alma Redemptoris Mater, which can be sung in two different manners: with or without rests longer than a quarter. The latest discovery is the mass Paranymphus, based on a motet by Loyset Compère. In addition to the masses, Moulu wrote motets and chansons, some of which are of doubtful authorship.

Masses

  1. Missa Alma Redemptoris mater, 4vv
  2. Missa Missus est Gabriel angelus, 4vv
  3. Missa Mittit ad virginem, 4vv
  4. Missa Paranymphus, 4vv
  5. Missa Stephane gloriose, 4vv

    Motets

  6. Adest nobis dies laetitiae, 4vv;
  7. Alleluia, Regem ascendentem, 4vv;
  8. Domine Dominus noster, 4vv;
  9. Fiere attropos, 5vv;
  10. Induta est caro mea, 4vv;
  11. In hoc ego sperabo, 3vv;
  12. In illo tempore, 4vv;
  13. In omni tribulatione, 4vv;
  14. In pace, 5vv;
  15. Mater floreat florescat, 4vv;
  16. Ne projicias, 6vv;
  17. Oculi omnium, 3vv;
  18. O dulcis amica Dei, 5vv;
  19. Oremus pro conctis, 4vv;
  20. Quam dilecta, 3vv;
  21. Quam pulchra es 4vv;
  22. Regina caeli, 4vv;
  23. Salve Barbara martyr, 7vv;
  24. Salve regina Barbara, 4vv;
  25. Sancta Maria, Dei mater, 4vv;
  26. Saule, Saule, quid me persequeris, 4vv;
  27. Sicut malus, 3vv;
  28. Tu licet, 2vv;
  29. Virgo carens criminibus, 4vv;
  30. Vivo ego, 3vv;
  31. Vulnerasti cor meum, 5vv.

    Chansons

  32. Amy souffrez, 3vv;
  33. Au bois, au bois, madame, 4vv;
  34. En despit des faux mesdisans, 6vv;
  35. Et dout venès vous, 3vv;
  36. Hellas, hellas madame, 4vv;
  37. J'ay mis mon cueur, 7vv;
  38. La rousée de moys de may, 6vv;
  39. N'aymés jamais ces gens, 3vv;
  40. 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 attribution is very unlikely.

Recordings