Cites the following works of De Rore
1 : A che con nuovo laccio, 5vv (Madrigaal) - [0, 4 Refs., , +T]
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: 'A che con nuovo laccio, which was included along with Quando lieta sperai as part of a ‘filler’ gathering added to the third book of madrigals, is probably not by him. Two others, Deh hor foss’io and Volgend’al ciel, from a Scotto reprint (1562_21), can be challenged on stylistic grounds.'
2 : Alma real, se come fida stella, 5vv (Madrigaal) - [1, 10 Refs., , +Tne]
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: 'No evidence about de Rore’s early musical training has surfaced. Cambier and others have speculated that he could have been in the retinue of the young Margaret of Parma. Meier (1969, pp.103-05) argued that a phrase in Alma real, se come fida stella, a madrigal de Rore composed in her honour, probably in 1559, suggested a long-standing connection with her. Margaret, an illegitimate daughter of Charles V, was born in Oudenaarde, just 6 km from Ronse. In 1533 she traveled to Italy and took up residence in Naples, and three years later married Alessandro de’ Medici; it is not impossible that the young Cipriano could have been in her entourage.'
3 : Anchor che col partire, 4vv (Madrigaal) - [274, 16 Refs., , +Tne]
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: 'His setting of Anchor che co’l partir, on a text traditionally ascribed to Alfonso d’Avalos (but this ascription has been challenged by Haar, 1990), participates in the traditional madrigalian topos of death as sexual release. This madrigal achieved extraordinary popularity.'
4 : Ave Regina coelorum, Mater Regis, 7vv (Motet) - [7, 1 Ref., , +Tne]
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: 'As in his madrigals, de Rore’s preferred ensemble was for five voices, the majority of which employ low clefs or low equal voices. The six- and seven-voice pieces are the special, large-scale antiphon settings employing two or three voices in canon that frame the Munich manuscript: Descendi at the beginning, Hodie Christus natus es, Ave regina caelorum, and Quem vidistis at the end.'
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5 : Beati omnes - Ecce sic benedicetur, 5-7vv (Motet) - [2, 2 Refs., , +T]
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: 'During his decade in Ferrara de Rore’s reputation became European in scope. He composed music for the elite of Europe: Charles V; Lamoral, Count of Egmont; Cardinal Antoine Perrenot de Granvelle; Wolfgang Engelbert I von Auersperg; and Albrecht V, Duke of Bavaria, to whom, in January 1559 he sent a New Year’s gift, described as a psalm. This may have been Beati omnes (Lowinsky), Donec gratus eram tibi (Owens, 1978), or Exspectans exspectavi (preserved in D-Mbs 20). '
6 : Calami sonum ferentes, 4vv (Motet) - [11, 14 Refs., , +Tnfe]
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: 'The years in Ferrara, especially the decade between 1547 and 1557, saw the publication or composition of 107 pieces [. . .] three compositions concerning the unauthorized departure of Prince Alfonso for France in 1552 and his return in 1554 (Calami sonum ferentes, Volgi’l tuo corso, Quando lasciaste signor). [. . .] His daring chromatic experiments in Calami sonum ferentes, written for four bass voices, and published by Lassus together with one of his own experiments, fit in with the Ferrarese passion for chromaticism displayed by Vicentino, Manara, Fiesco and others.'
7 : Cantiamo lieti (2p La terra di novelli), 5vv (Madrigaal) - [3, 7 Refs., , +Te]
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: 'De Rore seems to have sought employment at an Italian court, probably in the early 1540s. His secular motet for Cardinal Ippolito II d’Este, O qui populos, contains the plea ‘Cypriam gentem suscipe quaeso’. He also had connections with Guidubaldo della Rovere, Duke of Urbino, for whom he composed Cantiamo lieti and with Cristoforo Madruzzo, Cardinal of Trent, dedicatee of Quis tuos presul. From this period dates the six-voice motet on the text of the prodigal son newly appreciative of his father’s generosity, Nunc cognovi, Domine; addressed to an unknown patron, this piece has the witty ostinato ‘Fac me sicut unum ex mercenariis tuis’.'
8 : Chi vol veder tutta raccolta insieme (2p Vedrà i biondi capei), 4vv (Madrigaal) - [0, 3 Refs., , +T]
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: 'also attrib. Ingegneri'
9 : Clamabat autem mulier, 5vv (Motet) - [Rore?, 6, 2 Refs., , +T]
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: '. . . two motets published in 1549 became associated with de Rore through mistakes in the print transmission (Clamabat autem mulier is by Morales; Virtute magna remains anonymous). Most of these pieces are uncharacteristic of his style, but even more telling is that most employ combinations of clefs or tonal types not represented elsewhere among his securely attributed works'
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10 : Da le belle contrade d'oriente, 5vv (Madrigaal) - [12, 12 Refs., , +Tne]
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: 'Monteverdi, whose brother referred to de Rore as ‘il primo rinovatore’ of the ‘seconda pratica’ (usually translated in English as ‘founder of the Second Practice’), found in his music the use of harmonic devices to illustrate the text both locally in terms of counterpoint and at the higher level of tonal organization (for example, Da le belle contrade). '
11 : Deh hor foss'io co'l vago de la luna, 5vv (Madrigaal) - [0, 3 Refs., , +Tne]
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: 'A che con nuovo laccio, which was included along with Quando lieta sperai as part of a ‘filler’ gathering added to the third book of madrigals, is probably not by him. Two others, Deh hor foss’io and Volgend’al ciel, from a Scotto reprint (1562_21), can be challenged on stylistic grounds.'
12 : Descendi in hortum meum, 8vv (Motet) - [6, 1 Ref., , +T]
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: 'As in his madrigals, de Rore’s preferred ensemble was for five voices, the majority of which employ low clefs or low equal voices. The six- and seven-voice pieces are the special, large-scale antiphon settings employing two or three voices in canon that frame the Munich manuscript: Descendi at the beginning, Hodie Christus natus es, Ave regina caelorum, and Quem vidistis at the end.'
13 : Donec gratus eram tibi, 8vv (Motet) - [1, 4 Refs., , +Tnfe]
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: 'During his decade in Ferrara de Rore’s reputation became European in scope. He composed music for the elite of Europe: Charles V; Lamoral, Count of Egmont; Cardinal Antoine Perrenot de Granvelle; Wolfgang Engelbert I von Auersperg; and Albrecht V, Duke of Bavaria, to whom, in January 1559 he sent a New Year’s gift, described as a psalm. This may have been Beati omnes (Lowinsky), Donec gratus eram tibi (Owens, 1978), or Exspectans exspectavi (preserved in D-Mbs 20). '
14 : En voz adieux - Hellas, comment, 4vv (Chanson) - [5, 11 Refs., , +Tne]
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: 'The years in Ferrara, especially the decade between 1547 and 1557, saw the publication or composition of 107 pieces [. . .] a chanson (En voz adieux) celebrating the wedding of Anna d’Este in 1548'
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15 : Et in saecula saeculorum, (Motet) - [0, 1 Ref.]
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: 'fragm., D-Mbs'
16 : Expectans expectavi - Et immisit in os meum, 5vv (Motet) - [0, 4 Refs., , +T]
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: 'During his decade in Ferrara de Rore’s reputation became European in scope. He composed music for the elite of Europe: Charles V; Lamoral, Count of Egmont; Cardinal Antoine Perrenot de Granvelle; Wolfgang Engelbert I von Auersperg; and Albrecht V, Duke of Bavaria, to whom, in January 1559 he sent a New Year’s gift, described as a psalm. This may have been Beati omnes (Lowinsky), Donec gratus eram tibi (Owens, 1978), or Exspectans exspectavi (preserved in D-Mbs 20). '
17 : Gratia vobis et pax - Deus pacis, 4vv (Motet) - [0, 1 Ref., , +T]
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: Owens considers the 2nd part as an independent motet
18 : Hesperiae com laeta - Quis mihi te similem, 5vv (Motet) - [1, 4 Refs., ]
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: 'The years in Ferrara, especially the decade between 1547 and 1557, saw the publication or composition of 107 pieces [. . .] a motet (Hesperiae cum laeta) on a text by Ferrarese poet and diplomat Girolamo Faletti, describing a painting by Girolamo Carpi of Anna portrayed as Venus (Lowinsky)'
19 : Hodie Christus natus est, 6vv (Motet) - [3, 1 Ref., , +T]
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: 'As in his madrigals, de Rore’s preferred ensemble was for five voices, the majority of which employ low clefs or low equal voices. The six- and seven-voice pieces are the special, large-scale antiphon settings employing two or three voices in canon that frame the Munich manuscript: Descendi at the beginning, Hodie Christus natus es, Ave regina caelorum, and Quem vidistis at the end.'
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20 : Levate in caelum oculos vestros - Salus autem Domini, 5vv (Motet) - [Rore?, 0, 2 Refs., , +T]
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: '(? by Porta)'
21 : Lieta vivo e contenta, 6vv (Madrigaal) - [1, 5 Refs., , +T]
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: 'cf I-Moe C.311)
22 : Missa ‘Doulce mémoire', 5vv (Mis) - [1, 3 Refs.]
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: 'De Rore’s other two masses are both written in the transparent chordal style typical of his late music and probably date from the late 1550s or later. Both are five-voice imitation masses based on chansons: Missa a note negre, based on de Rore’s own chanson Tout ce qu’on peut en elle voir (published in 1557); and Missa Doulce memoire, based on the popular (and frequently reworked) chanson by Pierre Sandrin. [. . .] Archduke Ferdinand II of Tirol commissioned a mass from de Rore in November 1564. From the letters of the Venetian Francesco della Torre, who served as intermediary, we learn of the progress of the composition. By 20 January 1565 the Kyrie and Gloria had been composed and performed for a private audience, and de Rore reported that the mass was almost finished, and on 7 April della Torre reported that the mass was ready to be sent. The most likely candidate among de Rore’s surviving masses is Missa Doulce memoire.'
23 : Missa ‘Praeter rerum seriem', 7vv (Mis) - [1, 4 Refs.]
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: 'Two extraordinary masses securely date from the period of his tenure in Ferrara (1546–59), probably from the mid-1550s. These are the two masses composed in honour of Duke Ercole: the five-voice Missa Vivat felix Hercules and the seven-voice Missa Praeter rerum seriem. In both masses, de Rore acknowledged his status as maestro di cappella at the court of Ferrara and thus as inheritor of the position held by his great predecessor, Josquin des Prez. He paid double homage to his patron and to Josquin himself, while at the same time, through artistic means, seeking to surpass Josquin. [. . .] Missa Praeter rerum seriem takes as its model the motet by Josquin, and adds a chant-based cantus firmus, ‘Hercules secundus dux Ferrariae quartus vivit et vivet’. [. . .] Three of de Rore’s five masses were copied into manuscripts for Munich in the 1550s, and the duke knew de Rore’s music well enough to ask for a copy of Missa Praeter rerum seriem by name in 1557. His comments about the music, in the letter he sent thanking Duke Ercole for having sent the mass, are extraordinary in their appreciation for de Rore and for Ercole as his patron.'
24 : Missa ‘Vous ne l'aurez pas', 5vv (Mis) - [0, 3 Refs.]
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: 'The earliest mass, Missa Vous ne l’aurez pas, is of doubtful attribution. Based on an unidentified model, possibly a lost Josquin six-voice chanson or a reworking by Willaert, it occurs in only one source, Scotto’s 1555 edition of Jachet masses (1555_1), as ‘a voci pari’ and ‘vus ne larez’. It is incomplete, lacking part of the Sanctus and Agnus, and seems to have been included to fill out the print'
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25 : Missa a note negre, 5vv (Mis) - [2, 2 Refs.]
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: 'De Rore’s other two masses are both written in the transparent chordal style typical of his late music and probably date from the late 1550s or later. Both are five-voice imitation masses based on chansons: Missa a note negre, based on de Rore’s own chanson Tout ce qu’on peut en elle voir (published in 1557); and Missa Doulce memoire, based on the popular (and frequently reworked) chanson by Pierre Sandrin. '
26 : Missa Vivat felix Hercules, 5vv (Mis) - [1, 3 Refs.]
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: 'Two extraordinary masses securely date from the period of his tenure in Ferrara (1546–59), probably from the mid-1550s. These are the two masses composed in honour of Duke Ercole: the five-voice Missa Vivat felix Hercules and the seven-voice Missa Praeter rerum seriem. In both masses, de Rore acknowledged his status as maestro di cappella at the court of Ferrara and thus as inheritor of the position held by his great predecessor, Josquin des Prez. He paid double homage to his patron and to Josquin himself, while at the same time, through artistic means, seeking to surpass Josquin. [. . .] Missa Vivat felix Hercules employs a cantus firmus that is a soggetto cavato dalle vocali, like Josquin’s mass for Ercole I, Missa Hercules dux Ferrariae'
27 : Mon petit cueur, 8vv (Chanson) - [2, 3 Refs., , +Tne]
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: '(doubtful)'
28 : Non mi toglia il ben mio, 4vv (Madrigaal) - [4, 4 Refs., , +T]
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: 'also attrib. Ingegneri'
29 : Nunc cognovi, domine - Beati servi tui, 6vv (Motet) - [0, 5 Refs., , +Tne]
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: 'De Rore seems to have sought employment at an Italian court, probably in the early 1540s. His secular motet for Cardinal Ippolito II d’Este, O qui populos, contains the plea ‘Cypriam gentem suscipe quaeso’. He also had connections with Guidubaldo della Rovere, Duke of Urbino, for whom he composed Cantiamo lieti and with Cristoforo Madruzzo, Cardinal of Trent, dedicatee of Quis tuos presul. From this period dates the six-voice motet on the text of the prodigal son newly appreciative of his father’s generosity, Nunc cognovi, Domine; addressed to an unknown patron, this piece has the witty ostinato ‘Fac me sicut unum ex mercenariis tuis’.'
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30 : O fortuna potens - Haec aufert iuvenis, 5vv (Motet) - [0, 2 Refs., , +Tne]
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: concerning the text : 'C.F. Simphosius, attrib. Virgil'
31 : O qui populos suscipis, 5vv (Motet) - [1, 4 Refs., , +Tne]
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: 'De Rore seems to have sought employment at an Italian court, probably in the early 1540s. His secular motet for Cardinal Ippolito II d’Este, O qui populos, contains the plea ‘Cypriam gentem suscipe quaeso’. He also had connections with Guidubaldo della Rovere, Duke of Urbino, for whom he composed Cantiamo lieti and with Cristoforo Madruzzo, Cardinal of Trent, dedicatee of Quis tuos presul. From this period dates the six-voice motet on the text of the prodigal son newly appreciative of his father’s generosity, Nunc cognovi, Domine; addressed to an unknown patron, this piece has the witty ostinato ‘Fac me sicut unum ex mercenariis tuis’.'
32 : Passio Domini nostri Jesu Christi secundum Johannem, 2-6 vv (Passie) - [Rore?, 1, 5 Refs.]
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: 'Parijs, 1557 (Willaert ?); ed. A. Schmitz, Oberitalienische Figuralpassion (Mainz, 1955), 57'
33 : Quando lieta sperai, 5vv (Madrigaal) - [Rore?, 5, 6 Refs., , +T]
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: 'The works pose some problems of attribution. [. . .] Quando lieta sperai is almost certainly by Morales '
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: 'A che con nuovo laccio, which was included along with Quando lieta sperai as part of a ‘filler’ gathering added to the third book of madrigals, is probably not by him. Two others, Deh hor foss’io and Volgend’al ciel, from a Scotto reprint (1562_21), can be challenged on stylistic grounds.'
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: '(? By Morales)'
34 : Quando signor lasciaste (2p Ma poi che vostr'altezza), 5vv (Madrigaal) - [1, 15 Refs., , +Te]
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: 'The years in Ferrara, especially the decade between 1547 and 1557, saw the publication or composition of 107 pieces [. . .] three compositions concerning the unauthorized departure of Prince Alfonso for France in 1552 and his return in 1554 (Calami sonum ferentes, Volgi’l tuo corso, Quando lasciaste signor).'
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35 : Quem vidistis pastores, 7vv (Motet) - [6, 1 Ref., , +T]
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: 'As in his madrigals, de Rore’s preferred ensemble was for five voices, the majority of which employ low clefs or low equal voices. The six- and seven-voice pieces are the special, large-scale antiphon settings employing two or three voices in canon that frame the Munich manuscript: Descendi at the beginning, Hodie Christus natus es, Ave regina caelorum, and Quem vidistis at the end.'
36 : Quis tuos presul (2p Quin tenes legum), 6vv (Madrigaal) - [1, 4 Refs., , +Tne]
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: 'De Rore seems to have sought employment at an Italian court, probably in the early 1540s. His secular motet for Cardinal Ippolito II d’Este, O qui populos, contains the plea ‘Cypriam gentem suscipe quaeso’. He also had connections with Guidubaldo della Rovere, Duke of Urbino, for whom he composed Cantiamo lieti and with Cristoforo Madruzzo, Cardinal of Trent, dedicatee of Quis tuos presul. From this period dates the six-voice motet on the text of the prodigal son newly appreciative of his father’s generosity, Nunc cognovi, Domine; addressed to an unknown patron, this piece has the witty ostinato ‘Fac me sicut unum ex mercenariis tuis’.'
37 : Regina caeli laetare, 3vv (Motet) - [1, 3 Refs., , +Tnfe]
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: 'De Rore is usually described as a pupil of Willaert’s, though the evidence is scanty. Paolo Vergelli’s dedication of the Scotto edition of the composer’s third book of madrigals to Gottardo Occagna (15489) includes the phrase ‘con alcuni [madrigali] del divinissimo Adriano Villaerth, et de altri suoi discepoli’ and he is again referred to as Willaert’s disciple on the title page of Fantasie, et recerchari a tre voci (1549_34). ‘Discepolo’ may, however, simply mean ‘a follower of Willaert’s practice’ (Feldman, 1995, p.xxviii). (It is worth noting that the two composers’ three-voice settings of Regina caeli in that print use identical tenors.) Whatever the nature of his relations with Willaert, he had clear connections with the group of musicians and composers that Lewis has described as the ‘Willaert circle’. '
38 : Reiouyssons nous, 4vv (Chanson) - [2, 3 Refs., , +Tne]
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: 'Early or doubtul'
39 : Spesso in parte, 4vv (Madrigaal) - [0, 4 Refs., , +T]
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: 'also attrib. Ingegneri'
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40 : Virtute magna - Repleti quidem, 5vv (Motet) - [Rore?, 0, 2 Refs., , +T]
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: '. . . two motets published in 1549 became associated with de Rore through mistakes in the print transmission (Clamabat autem mulier is by Morales; Virtute magna remains anonymous). Most of these pieces are uncharacteristic of his style, but even more telling is that most employ combinations of clefs or tonal types not represented elsewhere among his securely attributed works'
41 : Voce mea ad Dominum clamavi, 5vv (Motet) - [Rore?, 2, 2 Refs., , +T]
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: '? Porta or P. Animuccia)'
42 : Volgend'al ciel, 5vv (Madrigaal) - [0, 3 Refs., , +T]
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: 'A che con nuovo laccio, which was included along with Quando lieta sperai as part of a ‘filler’ gathering added to the third book of madrigals, is probably not by him. Two others, Deh hor foss’io and Volgend’al ciel, from a Scotto reprint (1562_21), can be challenged on stylistic grounds.'
43 : Volgi'l tuo corso, 5vv (Madrigaal) - [1, 7 Refs., , +T]
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: 'The years in Ferrara, especially the decade between 1547 and 1557, saw the publication or composition of 107 pieces [. . .] three compositions concerning the unauthorized departure of Prince Alfonso for France in 1552 and his return in 1554 (Calami sonum ferentes, Volgi’l tuo corso, Quando lasciaste signor).'
44 : Vous scavez bien, 4vv (Chanson) - [1, 5 Refs., , +Tne]
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: 'Early or doubtful', 'F-CA 125-8 (anon., dated 1542)'
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