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Claudin Patoulet
c.1525 - c.1570
Belgium / The Netherlands
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C. Patoulet
Claudin Patoulet (c.1525 - c.1570), a composer from the South of the Netherlands. Claudin [Claudius] Patoulet [Potoulet, Potoletus]: 1545-1550 Haarlem / 1546-1548 Leiden / 1550-1550 Delft, singer, choirmaster, at St.Bavokerk and Pieterskerk. Patoulet belongs to the fourth generation of polyphonic composers out of the Netherlands. Unfortunately only a little is known about Patoulet, but he is certainly born in the region known at that time as the Netherlands, the Low Countries. His native land seems to be the southern part of the Netherlands, which had an enormous area of distinguished musicians. Place and date of birth are unknown. Patoulet is more known in the latinized form of his name (Potoletus). Known about his work is a small period in the northern part of the Netherlands. Claudin Patoulet was initially a singer and soon choirmaster in Haarlem at the church of St. Bavo (1545-1546;1548-1549), later in Leiden (Pieterschurch,1546-1548) and some later in Delft (New Church, 1550), before suddenly disappearing out of the history of music. Some minor court cases are mentioned in Leiden between 1546 September 1547 in which Patoulet was involved. Fortunately some of his work has been preserved in the CODEX E published between 1549 and 1567 in Leiden. Codex E is one of the six magnificent Leiden Choir books (Codex A –F). Six compositions by Claudius Potoletus are found in this choir book. In these six anthologies 34 Netherlands composers are represented with 314 compositions. It is interesting to see in these anthologies not only the great masters of the Netherlands polyphonic composers, but a lot rather unknown. They produced among others sacred music for the Mass and the Seven Hours. After the Reformation the head emphasis came lie on the celebration of the Mass. Before the Reformation the second form of celebration in the catholic church was even so important: The singing of the Seven Hours the Officie. These Services resulted in large numbers of polyphonic music. See all the choir books containing polyphonic music which has been provided for this sort of Services. This music in the mentioned seven hours Services was already practised in abbeys and monasteries all over Europe and so a source of large number of interesting sacred polyphonic music. By means of the performed music it was Magna cum pompa: Power by pomp and circumstance in the Minsters! That’s the reason it was busy in the churches. Patoulet lived in that time during the generation of Jacob Clement non Papa (c.1510 -c.1556), Nicolas Gombert (c.1494-c.1557 ) and Adrian Willaert (c.1488 - 1562). Patoulet must have especially appreciated and known the sound palette of Gombert more specific his dark and low colouring in the voices, which Patoulet practices too in his compositions. The musical example of his ability is shown in his motet De Sancto Cornelio a 6 voices and in the plainchant Te Deum Laudamus in alternatim form a 4 voices.
Author:Wim Goossens
De Profundis (+ Requiem aeternam)
Period:High Renaissance
Composed in:1550c
Musical form:psalm & mass fragment, Motet ŕ 4 vocibus
Text/libretto:Latin from de Officium Defunctorum
Label(s):MD 97104
Etcetera KTC 1414

♫ De Profundis
© Etcetera Records KTC 1414

The De Profundis is a motet from the de Officium Defunctorum composed for four voices (STTB). This De Profundis is the text of Psalm 129. But on three places in the Liber Usualis this text is used in de Officium Defunctorum, Office of the Dead. First in the Exsequarium ordo, Burial service bearing the corpse to the church, page 1763, second in Ad Vesperas, Vespers page 1774 and third in Ad Laudes, the Lauds page 1805. It is without any doubt Patoulet composed this variation for the Office of the Dead because he used at the end Requiescant in pace. The choice of texts and the order in which they occur in sources all around Europe vary according to local uses! The more often in the Spanish region this text is used in the Office of the Dead see Pedro de Cristo (c.1550-1618) and Sebastián de Vivanco (c.1550-1622). Even Pierre de Manchicourt (c.1510-1562) and Leonard Lechner (1553-1606) used the same text in a way there Spanish colleagues did. Of course a lot of composers in that time composed on the plainchant De profundis: I mention Mouton (1558), Clement (1559), Ducis (1542), Josquin (1520, 1521, 1539), Willaert (1550), Lassus (1559), but nearly all of them used the Gloria Patri et filio. Thus that compositions were – principally spoken - not used in the Office of the Dead.
This motet is written in imitative polyphonic counterpoint, with broad, quite elements. The sphere breaths a peaceful and serene feeling. Nevertheless an interesting composition showing us in my opinion the power and quality of a far unknown representative of the generation after Josquin. The motet De Profundis contains 182 bars and is divided in two parts. The second part starts with Sustinuit (from bar 91). This De Profundis ends with a stilled Requiescant in pace. The motet is published in book Codex E Leidse Getijdenboeken around 1566/1567. These six Leiden Choir books have been written between 1549 and 1567.
Author:Wim Goossens
Text De Profundis

Pars Ia:
De Profundis Clamavi ad Te, Domine; Domine exaudi vocem meam.
Fiant aures tuae intendentes in vocem depractionis meae.
Si iniquitates observaveris, Domine; Domine quis sustenebit?
Quia apud Te propitiatio est; et propter legem tuam sustinui Te Domine.
Pars IIa:
Sustinuit anima mea in verbo ejus; speravit anima mea in Domino.
A custodio maturina usque ad noctem, speret Israel in Domino;
Quia apud Dominum misericordia et copiosa apud eum redemptio.
Et ipse redimet Israel ex omnibus iniquitatibus ejus.
Requiescant in pace.

First part:
Out of the depths I have cried to you, Lord; Lord, hear my voice.
Let your ears attend to the voice of my calling.
If you, Lord, shall mark our iniquities; Lord who shall abide it?
For there is a mercy with you; and by reason of your law I have waited for you Lord.
Second part:
My soul has relied on His word; my soul has hoped in the Lord.
From the morning watch even until night, let Israel hope in the Lord;
for with the Lord there is mercy and with him copious redemption.
And He shall redeem Israel from all his iniquities.
Rest in peace.
Contributor:Wim Goossens