Musical settings of Marots Psalms
Marot’s Psalm versifications were picked up by sixteenth-century professional musicians, composers who made settings to it, even before they were printed officially (as happened to his chansons). Also: these musicians did not wait until a melody was proposed for the texts in Strasbourg or Geneva (which happened partially in 1539, 1541 and 1543). They simply took the text as it was and ‘made explicit the music sleeping inside the words’. It is only after 1545 (Pierre Certon) that polyphonic settings were published based on the Geneva melodies. For these settings by Loys (or Louis) Bourgeois, Claude Goudimel etc.. I refer to other internetsites where recordings abound.
Examples of these
partitions can be found at my website dedicated
to Psalms set to Music
Ps. 137: Estans assis aux rives acquatiques de Babylon plourions melancoliques…
That is the first one that caught the attention of a certain Abel, an otherwise unknown musician. he made a polyphonic setting of the entire text in three parts (4vv), which was published in Lyon in 1540.
Ps. 130: Du fons de ma pensée, au fond de mes ennuys...
This is the famous penitential Psalm, De profundis clamavi… (ps. 130). Enormously expressive in Latin, well known, and now available in the vernacular: not a cripple rhyming adaption from the original, but a true poem in French. Benedictus Appenzeller's version was published in 1542 in Antwerp. Appenzeller was court-composer of Mary of Hungary, whose court-chaplain, Piere Alexandre, supervised the first publication of versified French Psalms (mostly by Marot) in 1540 (printed by De Gois in Antwerp - no melodies, a 'tune' is suggested for the non-Marot texts: contrafacts).
Telling: the first ones were not in any way linked to the French court, but – if a court connection has to be the case – then they rather seem to have connections with the Habsburg court of the Netherlands (Appenzeller) and the Bishop of Tournai (Manchicourt).
 Le parangon des chansons. Sixiesme livre : contenant xxv chansons nouvelles au singulier prouffit & delectation des musiciens. BM Music collections, K.10.a.9.(6)
 Superius [Contratenor/Ttenor/Bassus] Des chansons a quattre parties, composez par M. Benedictus: M. de la Chapelle de Madame la Regente, Douagiere de Honguerie. Appenzeller was court composer of Mary of Hungary. The print is very neat but oldfashioned (not the Attaingnant technique, but printed in two separate runs): BM Music Collections, K.4.f.5
 Le difficile des chansons. Second livre contenant xxxvi. Chansons nouvelles a quatre parties en quatre livres de la composition de plusieurs Maistres. Of the four partbooks only three survive: Superius & Tenor are in the Bayerische Staatsbib; Altus in BnF (Fonds Goujet, Chantilly). On the occasion of the 14th C.A. Mayer memorial lecture, the lost Bassus was reconstructed/added by Willem Ceuleers.
 Le Neufiesme Livre des Chansons a quatre parties, auquel sont contenues Vingt et Neuf Chansons nouvelles, convuenables tant a la Voix comme aux Instrumentz. Composées par Maistre Pier de Manchicourt. Manchicourt had just become Choir Master in the cathedral of Tournai.: BM Music Collections, K.3.a.9
 One should be careful using geographical origins as style markers: What is Flemish? what is French? What is Italian? Ockeghem was the court composer of Louis XII, Josquin worked mostly in Italy, and the Spanish emperor Charles V was born in Gent.