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François Eustache du Caurroy
1549 - 1609
France
Eustache du Caurroy (04/02/1549 - 07/08/1609), a French composer, from Beauvais. He served the French royal house during the reigns of Charles IX, Henry III and Henry IV.
French composer, of good family. Singer, and later maître de chapelle, to the French kings from 1569, he won prizes at the Évreux composition contests in 1576 and 1583, and was one of those who cultivated the musique mesurée style in secular music. He-was one of the first French composers to use the double-choir style, and his Requiem continued to be sung at the funerals of the French kings until the eighteenth century. He also wrote instrumental music, including some forty fantasias in three to six parts, many based on French popular songs.
Libera me
Libera me, a motet from Responsorium ad Absolutionem.
♫ Libera me © Opus 111 V 4901
Missa pro defunctis
Missa pro defunctis contains:
01. Requiem aeternam 02. Kyrie 03. Si ambulem 04. Domine Jesu Christe 05. Sanctus & Benedictus 06. Agnus Dei 07. Lux aeterna
♫ 01. Requiem aeternam © CRD Records CRD 5008 ♫ 02. Kyrie © CRD Records CRD 5008 ♫ 03. Si ambulem © CRD Records CRD 5008 ♫ 04. Domine Jesu © CRD Records CRD 5008 ♫ 05. Sanctus © CRD Records CRD 5008 ♫ 06. Agnus Dei © CRD Records CRD 5008 ♫ 07. Lux aeterna © CRD Records CRD 5008 Du Caurroy's Missa pro defunctis for 5 voices mixed, is an extremely famous piece, and was performed at all the funerals for French kings for nearly two hundred years, earning it the apocryphal title "Mass for the funerals of the Kings of France."
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. 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.
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