L’Estocart had a strong connection with Huguenot circles in France, leanings evident in his music.
L’Estocart used unusual melodic intervals in his attempt to suit the meanings of the texts that he set in his Octonaires de la vanité du monde (‘Octosyllabics of the Vanity of the World’), published in Geneva and Lyons. He provided settings for Marot’s French versions of the Psalms.
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