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Joan Brudieu
c.1520 - 1591
France / Spain
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J. Brudieu
Joan Brudieu (c.1520 - 1591), a Franco-Spanisch composer, spending the greater part of his life in Catalonia.
Source:Grove’s dictionary of music and musicians
Brudieu was born circa 1520 in Limoges. Nothing is known of his childhood and his musical training. He was chapel master in the Seu d'Urgell Cathedral from 1534 to 1539 and from 1545 to 1577, and he was ordained as a priest in 1543. Beginning in 1577, he began to travel, and he relocated in 1585 to Barcelona, where he published his madrigals. The next year he obtained an important eclesiastical appointment. Finally, he died in Barcelona in 1591. His 16 madrigals show us his preferences in the use of disonances, his style being less strict than that of Victoria's compositions. Some of them are written on texts of the Valencian poet of the 15th Century, Ausiŕs March.
Brudieu was Chapel Master for almost 50 years. During that time the number of singers increased from four to eight, besides the organist and the choirsters, the so called preveners for whom Brudieu was also expected to teach singing and provide lodging at his own town. Brudieu was expected to provide music for the worship services. Thus, his requiem mass is, in all likelihood, the only extant example of a larger output for liturgical use. In 1575 the Canons of the Cathedral asked him to revise and correct the choir books in accordance with Pope Pius 5th's "Moto Propio".
Author:Montserrat Albet
Contributor:Maurice Blouin
Missa defunctorum
Period:High Renaissance
Composed in:1575c
Musical form:mass
Text/libretto:Latin mass
Duration:ca.23'
Label(s):PDI 80.1041
Edigsa
Harmonia Mundi France
Brudieu is the author of a requiem mass for four voices, preserved in manuscript. This Missa defunctorum is for four voices and contains:
- Introitus 4'51
- Kyrie 2'48
- Graduale 1'56
- In memoria 1'37
- Offertorium 4'12
- Sanctus 1'43
- Benedictus 0'59
- Agnus Dei 2'42
- Absolta 1'37
Source:The new Grove dictionary of music and musicians
Contributor:Maurice Blouin
His requiem is one of the finest of the period and makes use of bold dissonances, as do his madrigals of 1585. These set Catalán as well as Italian texts and are comparable with those of Brudieu's more talented Italian contemporaries.