Surname
Grossin
Given Name
Étienne
Role
Composer
Musician
Active period
1418 - 1421
Workplace
Sens
Biography
Voir Dictionnaire
Serment Paris 1418
Bulletin de la Société des antiquaires de l'Ouest et des musées de ... - Page 207
books.google.fr1844 - Afficher la publication entière
Chapelains en ladite eglise St-Marry… Estienne Grossin. — Jehan Audebert. Chanoines de l'esglise du Sépulcre à Paris. Jehan Brisson. Jehan des Mares. Nicolas Grenon. Jehan. Pierre des Mares. Jehan de Couvere. Nicolas de Dun. Guille Forget. Chapelains de ladiete église du ...
Grossin [Grossim], Estienne (fl 1418--21). French composer. He appears to have been an older contemporary of Du Fay. The manuscripts that preserve his compositions date from the middle of the 15th century. In 1418 he was named among the chaplains of the church of St Merri in Paris, and in 1421 he was listed in a register of the Cathedral of Notre Dame in Paris as a clerk of matins (singer) in the cathedral. This latter source reveals that he was a priest and originally from the diocese of Sens.
Grossin seems to have written mostly sacred works. Foremost among these is a four-movement setting of the Ordinary of the Mass (the Agnus is lacking) that is unified by a 'trumpetta' part in each of the movements. Whether the designation 'trumpetta' means that this line is to be played on a slide trumpet or to be sung in the manner of a trumpet is not certain. In each of the four movements of the mass, vocal duets supported by the 'trumpetta' alternate with sections for full chorus. Besides this unified mass, there are also polyphonic settings of individual items of the Ordinary. Of these the Kyrie carries the inscription 'faulx bourdon' next to the tenor, indicating that a third voice is to be added. The second of the two Glorias, as it is found in I-TRmp 87, concludes with a vocal flourish in the top voice that is not present in the other three surviving versions of the piece. The additional melisma may be a passage of vocal coloratura added by a performer. Grossin's two French chansons include a rondeau,
Va t'ent, souspier, and a through-composed piece, Tres douchement et soutiement. Of his two extant motets, only one, the song-motet Imera dat hodierno, is preserved complete; it survives today in at least six sources and was evidently one of his most popular compositions. All his works seem likely to have been written before about 1430.
WORKS
Edition:
Early Fifteenth-Century Music, ed. G. Reaney, CMM, xi/3 (1966) [R]
Ky, Gl, Cr, San, 3vv, R
Kyrie, 3vv, R ('Tenor faulx bourdon')
Gloria, 3vv, R (version in D-Mbs 3232a a 5th higher than those of other sources)
Gloria, 3vv, R
Credo, 3vv, R
Sanctus, 3vv, R
Agnus Dei, 3vv, R (with trope 'Pro salute hominum')
Agnus Dei, 4vv, R
Imera dat hodierno, 3vv, R
Mater dulcis, mater pia, ?4vv, R (only triplum survives)
Lyesse m'a mande salut, 3vv; ed. in Cw, xxii (1933); conflicting attributions (Grossin and Binchois), probably not by Grossin
Tres douchement et soutiement, 3vv, R
Va t'ent, souspier, 3vv, R
BIBLIOGRAPHY
A. Pirro: La musique a Paris sous le regne de Charles VI (1380--1422) (Strasbourg, 1930/R), 33
G. De Van: 'A Recently Discovered Source of Early Fifteenth Century Polyphonic Music: the Aosta Manuscript', MD, ii (1948), 5--74, esp. 13
H. Besseler: 'Die Entstehung der Posaune', AcM, xxii (1950), 7--35, esp. 13
K. von Fischer: 'Neue Quellen zur Musik des 13., 14. und 15. Jahrhunderts', AcM, xxxvi (1964), 79--97, esp. 95
R.D. Reynolds: 'Tres douchement by Grossin', MD, xxxv (1981), 199--202
S. Meyer-Eller: Musikalischer Satz und Uberlieferung von Messensatzen des 15. Jahrhunderts: die Ordinariumsvertonungen der Handschriften Aosta 15 und Trient 87--92 (diss., Munich U., 1989)
D. Fallows: A Catalogue of Polyphonic Songs, 1415--1480 (Oxford, 1999)
CRAIG WRIGHT/R
Serment Paris 1418
Bulletin de la Société des antiquaires de l'Ouest et des musées de ... - Page 207
books.google.fr1844 - Afficher la publication entière
Chapelains en ladite eglise St-Marry… Estienne Grossin. — Jehan Audebert. Chanoines de l'esglise du Sépulcre à Paris. Jehan Brisson. Jehan des Mares. Nicolas Grenon. Jehan. Pierre des Mares. Jehan de Couvere. Nicolas de Dun. Guille Forget. Chapelains de ladiete église du ...
Grossin [Grossim], Estienne (fl 1418--21). French composer. He appears to have been an older contemporary of Du Fay. The manuscripts that preserve his compositions date from the middle of the 15th century. In 1418 he was named among the chaplains of the church of St Merri in Paris, and in 1421 he was listed in a register of the Cathedral of Notre Dame in Paris as a clerk of matins (singer) in the cathedral. This latter source reveals that he was a priest and originally from the diocese of Sens.
Grossin seems to have written mostly sacred works. Foremost among these is a four-movement setting of the Ordinary of the Mass (the Agnus is lacking) that is unified by a 'trumpetta' part in each of the movements. Whether the designation 'trumpetta' means that this line is to be played on a slide trumpet or to be sung in the manner of a trumpet is not certain. In each of the four movements of the mass, vocal duets supported by the 'trumpetta' alternate with sections for full chorus. Besides this unified mass, there are also polyphonic settings of individual items of the Ordinary. Of these the Kyrie carries the inscription 'faulx bourdon' next to the tenor, indicating that a third voice is to be added. The second of the two Glorias, as it is found in I-TRmp 87, concludes with a vocal flourish in the top voice that is not present in the other three surviving versions of the piece. The additional melisma may be a passage of vocal coloratura added by a performer. Grossin's two French chansons include a rondeau,
Va t'ent, souspier, and a through-composed piece, Tres douchement et soutiement. Of his two extant motets, only one, the song-motet Imera dat hodierno, is preserved complete; it survives today in at least six sources and was evidently one of his most popular compositions. All his works seem likely to have been written before about 1430.
WORKS
Edition:
Early Fifteenth-Century Music, ed. G. Reaney, CMM, xi/3 (1966) [R]
Ky, Gl, Cr, San, 3vv, R
Kyrie, 3vv, R ('Tenor faulx bourdon')
Gloria, 3vv, R (version in D-Mbs 3232a a 5th higher than those of other sources)
Gloria, 3vv, R
Credo, 3vv, R
Sanctus, 3vv, R
Agnus Dei, 3vv, R (with trope 'Pro salute hominum')
Agnus Dei, 4vv, R
Imera dat hodierno, 3vv, R
Mater dulcis, mater pia, ?4vv, R (only triplum survives)
Lyesse m'a mande salut, 3vv; ed. in Cw, xxii (1933); conflicting attributions (Grossin and Binchois), probably not by Grossin
Tres douchement et soutiement, 3vv, R
Va t'ent, souspier, 3vv, R
BIBLIOGRAPHY
A. Pirro: La musique a Paris sous le regne de Charles VI (1380--1422) (Strasbourg, 1930/R), 33
G. De Van: 'A Recently Discovered Source of Early Fifteenth Century Polyphonic Music: the Aosta Manuscript', MD, ii (1948), 5--74, esp. 13
H. Besseler: 'Die Entstehung der Posaune', AcM, xxii (1950), 7--35, esp. 13
K. von Fischer: 'Neue Quellen zur Musik des 13., 14. und 15. Jahrhunderts', AcM, xxxvi (1964), 79--97, esp. 95
R.D. Reynolds: 'Tres douchement by Grossin', MD, xxxv (1981), 199--202
S. Meyer-Eller: Musikalischer Satz und Uberlieferung von Messensatzen des 15. Jahrhunderts: die Ordinariumsvertonungen der Handschriften Aosta 15 und Trient 87--92 (diss., Munich U., 1989)
D. Fallows: A Catalogue of Polyphonic Songs, 1415--1480 (Oxford, 1999)
CRAIG WRIGHT/R