Pascal de L'Estocart
One of the hallmarks of L'Estocart's style is his daring harmony, and this is particularly marked in his Octonaires de la vanité du monde. He liked harmonies that were used very little by his contemporaries, such as augmented 5ths and augmented 6ths in discords and unusual sequences, and he enlivened his melodic lines with many intervals that are difficult to pitch. His concern was to convey as vividly as possible the sense of the words and to evoke precise ideas. He was one of the most thoroughly italianate of French composers in the second half of the 16th century; however, in that his works are exclusively religious L'Estocart remains an essentially Huguenot composer, and his music has a strength and austerity that well accords with this. [The last phrase I also find a little bit too 'confessional', Dick Wursten]
Psalm 137, sung by the "ensemble 1607"
Psalm 98 Chanteze à Dieu nouveau cantique in a festive, yet stylish performance: La Fenice and the Ensemble Clément Janequin.
Imagine this at the catholic Court of the Duke of Lorraine.
CD: La Renaissance en Lorraine... Ens. Clément Janequin & La Fenice (dir. Jean Tubery). Adda, 199
Réveillez vous, chacun fidèle...
This joyous Psalm is performed by the Esemble Clément Janequin, who first sing the melody unisono, austere, but then the music explodes, as the text prescribes: with alle kinds of instruments. Note the 'musical painting' on the words like 'douce harpe' 'luths' and 'espinettes'.
CD: Psaumes et chansons de la Réforme, Ensemble Clément Janequin, HMC 901672