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Etienne Moulinié

1599 - 1676

France

E. Moulinié

Etienne Moulinié -also: Estienne Molinier, Moulinier- (10/10/1599 - 1676), a French composer, born in Laure-Minervois (Languedoc). He began as a cantor at Saint-Just Church in Narbonne before joining his brother Antoine in Paris, where the latter obtained a position for him in the royal institutions. From 1627 until the prince's death in 1660, he was in charge of music for Gaston of Orléans, the king's brother. He composed ten or so books of airs de cour, and although he composed no petits motets (a form that would only appear a generation later) he accommodated the intimate genre of the air to domestic piety (one may see in this the influence of protestant practice) in his Mélanges de sujets chrétiens de 2 à 5 parties avec la basse continue published in 1658.

Source:

http://www.hoasm.org/VIIB/Moulinie.html

Missa pro defunctis

Period:	Late Renaissance
Composed in:	1636
Musical form:	mass
Text/libretto:	Latin mass
Duration:	ca.20'
Label(s):	Erato/Musifrance 2292-45774/2

Missa pro defunctis (6 movements) for five voices:
01. Requiem aeternam
02. Kyrie
03. Graduale
04. Offertorium
05. Sanctus & Benedictus
06. Dies irae

Source:

booklet of cd Erato 2292-457742

♫ 01. Requiem aeternam
© Erato 2292-457742

♫ 02. Kyrie
© Erato 2292-457742

♫ 03. Graduale
© Erato 2292-457742

♫ 04. Offertorium
© Erato 2292-457742

♫ 05. Sanctus & Benedictus
© Erato 2292-457742

♫ 06. Dies irae
© Erato 2292-457742

Early in the 17th century the Renaissance polyphonic style, in various modified forms, served for several decades as a principal medium for requiem composition. A fine example, in Palestrinian style, is G.F. Anerio's setting (published in 1614, and reprinted three times up to 1677), the introit of which reveals an elegant use of chant paraphrase. Similar in approach, but with more archaic cantus firmus treatment, are the expressive settings of two of Victoria's successors, Duarte Lobo (Officium defunctorum, 1603) and J.P. Pujol (requiem for four voices, before 1626). An important innovation, evident in a number of works, is the inclusion of an organ continuo part (with figured or unfigured bass), which allowed greater variations in texture and dynamics. Early examples include Aichinger's requiem (1615; D-As) and settings, from 1619, by Antonio Brunelli and Jean de Bournonville. In France, finely moulded part-writing, close in style to that of Lassus, is found in requiem settings by Eustache Du Caurroy (1606, ed. in Le pupitre, lxv, 1983) and Etienne Moulinié (1636, ed. D. Launay, Paris, 1952). Du Caurroy's work, which omits the sequence but includes settings of the gradual and its psalm verse (Psalm xxii.4), was sung at the funeral of Henri IV in 1610, and adopted thereafter for the obsequies of all French kings until 1774.

Author:

Steven Chang-Lin Yu

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