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Bibliography

Owens, Jessie Ann : Cipriano De Rore (The New Grove)

in : Grove Dictionary of Music and Musicians, The New -, (NG), Second Edition (published in twenty-nine volumes in the year 2001), Edited by Stanley Sadie, Executive Editor John Tyrell, (2001)



This source is completely devoted to De Rore.
Mentions sources of the works of De Rore :
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Mentions works of De Rore : -->

Reference mentioned in :

- Schiltz, Katelijne : Rore, Rorus, Cipriano, Ciprianus, de (MGG) (Schiltz, Katelijne (1999–2007))
- Acciai, Giovanni (1986) : La canzone alla vergine del Petrarca nell'interpretazione madrigalistica di Cipriano de Rore e Giovanni Pierluigi da Palestrina, in : Studi palestriniana, II: Palestrina 1986, 165–74 (Acciai, Giovanni (1986))
- Agee, Richard (1983) : Ruberto Strozzi and the Early Madrigal, in : Journal of the American Musicological Society (JAMS), Vol. 36, 1983, 1-17 (Agee, Richard (1983))
- Agee, Richard (1983) : The Venetian Privilege and Music-Printing in the Sixteenth Century, in : Early Music History (EMH), III, 1983, 1-43 (Agee, Richard (1983))
- Agee, Richard (1998) : The Gardano Music Printing Firms, 1569-1611, ISBN: 1-58046-020-8 (University of Rochester Press, Rochester (NY, USA) en Woodbridge (Suffolk, UK)) (Agee, Richard (1998))
- Bartoli, R (1990 (1991?)) : L'apprendistato italiano di Orlando di Lasso, in : Studi musicali, XX, 1990 (1991?), 235-265 (Bartoli, R (1990 (1991?)))
- Beck, Hermann (1969) : Grundlagen des venezianischen Stils bei Adrian Willaert und Cyprian de Rore., in : Robijns, Josef : Renaissance-muziek 1400-1600. Donum natalicium René Bernard Lenaerts. (met medewerking van Willem Elders, Roelof Lagas en Guido Persoons), p.39-50 (1969) (Beck, Hermann (1969))
- Bernstein, Jane A. (1991) : Financial Arrangements and the Role of Printer and Composer in Sixteenth-Century Italian Music Printing, in : Acta Musicologica (AcM), Vol 63, nr 1 (1991): 39-56 (Bernstein, Jane A. (1991))
- Bernstein, Jane A. (1998) : Music Printing in Renaissance Venice - The Scotto Press (1539-1572), ISBN: 0-19-510231-2 (Oxford University Press, New York, Oxford) (Bernstein, Jane A. (1998))
- Blackburn, Bonnie J. - Lowinsky, Edward E. (1993) : Luigi Zenobi and His Letter on the Perfect Musician, in : Studi musicali, XXII (1993), 61–114 (Blackburn, Bonnie J. - Lowinsky, Edward E. (1993))
- Blackburn, Bonnie J. (1987) : Music for Treviso Cathedral in the Late Sixteenth Century: a Reconstruction of the Lost Manuscripts 29 and 30, ISBN: 0947854029, ISBN-13: 978-0947854027 (Royal Musical Association, Londen) (Blackburn, Bonnie J. (1987))
- Bossuyt, Ignace (1998) : O socii durate: a Musical Correspondence from the Time of Philip II, in : Early Music (EM), XXVI (1998), 432–44 (Bossuyt, Ignace (1998))
- Bridgman, Nanie - Lesure, François (1958) : Une anthologie “historique” de la fin du XVIe-siècle: le Manuscrit Bourdeney, in : Miscelánea en homenaje a Monseñor Higinio Anglés, I (Barcelona, 1958), 161–174 (Bridgman, Nanie - Lesure, François (1958))
- Cambier, Albert (1981) : De grootste roem van de stad Ronse : De komponist Cypriaan De Ro(de)re, "omnium musicorum princeps., in : Annalen van de Geschied- en Oudheidkundige Kring van Ronse en het Tenement van Inde, XXX (1981), p. 5–56 (Ronse) (Cambier, Albert (1981))
- Cambier, Albert (1982) : Meer gegevens over de ronse komponist Cypriaan De Rore., in : Annalen van de Geschied- en Oudheidkundige Kring van Ronse en het Tenement van Inde, XXXI (1982), p. 91-95 (Ronse) (Cambier, Albert (1982))
- Cambier, Albert (1983) : De definitieve bevestiging van Cypriaan De Rore's ronsische afkomst uit archiefstukken te Parma en te Ronse: een nieuwe en definitieve oplossing in verband met zijn genealogie., in : Annalen van de Geschied- en Oudheidkundige Kring van Ronse en het Tenement van Inde, XXXII (1983), p. 221–249 (Ronse) (Cambier, Albert (1983))
- Cambier, Albert (1984) : Onderzoekingen over Cypriaan De Rore's vroegste verblijf in Italië., in : Annalen van de Geschied- en Oudheidkundige Kring van Ronse en het Tenement van Inde, XXXIII (1984), p. 35–46 (Ronse) (Cambier, Albert (1984))
- Cambier, Albert (1985) : Een huldedicht voor Cypriaan De Rore uit 1576 en een proeve van discografie., in : Annalen van de Geschied- en Oudheidkundige Kring van Ronse en het Tenement van Inde, XXXIV (1985), p. 43-46 (Ronse) (Cambier, Albert (1985))
- Cambier, Albert (1986) : Een paar Italiaanse lofdichten op Cypriaan De Rore uit ca. 1540., in : Annalen van de Geschied- en Oudheidkundige Kring van Ronse en het Tenement van Inde, XXXV (1986), p. 103-109 (Ronse) (Cambier, Albert (1986))
- Cambier, Albert (2007) : Hoe de Herkomst van Cypriaan de Rore ontrafeld werd., in : Annalen van de Geschied- en Oudheidkundige Kring van Ronse en het Tenement van Inde, LVI (2007) (Cambier, Albert (2007))
- Carey, Frank (1991) : Composition for Equal Voices in the Sixteenth Century’, in : Journal of Musicology, IX/3 (1991), 300–342 (Carey, Frank (1991))
- Degrada, Francesco (1965) : Dante e la musica del Cinquecento, in : Chigiana, XXII, new ser., II (1965), 257–75 (Degrada, Francesco (1965))
- Dobbins, Frank (1969–70) : “Doulce Memoire” – a Study of the Parody Chanson, in : Proceedings of the Royal Musical Association (PRMA), XCVI (1969–70), 85–101 (Dobbins, Frank (1969–70))
- Einstein, Alfred (1942) : Cipriano di Rore and the Madrigal, in : Bulletin of the American Musicological Society (BAMS), vi (1942), 17. (Einstein, Alfred (1942))
- Eitner, Robert (1885) : Cyprian de Rore, in : Monatshefte für Musikgeschichte, 17, p.37-76 (Eitner, Robert (1885))
- Feldman, Martha (1989) : Rore's 'Selva selvaggia' : The Primo Libro of 1542., in : Journal of the American Musicological Society (JAMS), 42, p. 547-603 (Feldman, Martha (1989))
- Feldman, Martha (1989) : The Composer as Exegete: Interpretations of Petrarchan Syntax in the Venetian Madrigal, in : Studi musicali, XVIII (1989), 203–238 (Feldman, Martha (1989))
- Feldman, Martha (1995) : City Culture and the Madrigal at Venice, ISBN: 0-520-08314-8 (University of California Press, Berkeley, Los Angeles, London) (Feldman, Martha (1995))
- Ferand, Ernest. T. (1962) : Anchor che col partire - Die schicksale eines berühmten Madrigals, in : Festschrift (für) Karl Gustav Fellerer zum 60. Gebursttag, 1962, pp. 137-154 (1962) (Ferand, Ernest. T. (1962))
- Ferrarese, Francesca - Gallo, Cristina (1990) : Il fondo musicale della biblioteca capitolare del duomo di Treviso, ISBN: 8885147224, ISBN-13: 9788885147225 (Torre d'Orfeo, Rome) (Ferrarese, Francesca - Gallo, Cristina (1990))
- Fischer, Kurt (von) (1995) : Zur mehrstimmigen Passions-Vertonung des 16. Jahrhunderts in Spanien und Böhmen, in : Archiv für Musikwissenschaft (AfMw), lII (1995), 1–17 (Fischer, Kurt (von) (1995))
- Haar, James (1965) : The note negre Madrigal, in : Journal of the American Musicological Society (JAMS), XVIII (1965), 22–41 (Haar, James (1965))
- Haar, James (1973) : The Fantasie et recerchari of Giuliano Tiburtino, in : Musical Quarterly (MQ), LIX (1973), 223–38 (Haar, James (1973))
- Haar, James (1977) : False Relations and Chromaticism in Sixteenth-Century Music’, in : Journal of the American Musicological Society (JAMS), XXX (1977), 391–418 (Haar, James (1977))
- Haar, James (1980) : Music in 16th-century Florence and Venice: Some Points of Comparison and Contrast, in : Bertelli, Sergio - Rubinstein, Nicolai - Smyth, Craig Hugh : Florence and Venice, comparisons and relations. acts of two Conferences at Villa I Tatti in 1976-1977, II (Florence, 1980), 267–84 (1979) (Florence) (Haar, James (1980))
- Haar, James (1983) : The “Madrigale arioso”: a Mid-Century Development in the Cinquecento Madrigal, in : Studi musicali, xii (1983), 203–19 (Haar, James (1983))
- Haar, James (1986) : Essays on Italian Poetry and Music in the Renaissance, ISBN: 0-520-05397-4 (ISBN-13: 978-0520053977) (University of California Press, Berkeley, Los Angeles, London) (Haar, James (1986))
- Haar, James (1990) : Popularity in the Sixteenth-century Madrigal: a Study of Two Instances, in : Wolf, Eugene K. - Roesner, Edward H. : Studies in Musical Sources and Styles: Essays in Honor of Jan LaRue, 191–212 (1990) (Haar, James (1990))
- Haar, James (1993) : Cipriano de Rore and the Seconda Pratica: Some Ferrarese Testimonials, in : Tuksar, S : Glazba, ideje i društvo: Svecani zbornik za Ivana Supicica / Music, Ideas, and Society: Essays in Honour of Ivan Supicic (= Muzikoloski Zbornici 2), 69–87 (1993) (Haar, James (1993))
- Harrán, Don (1973) : Rore and the Madrigale Cromatico, in : The Music Review, Vol 34 (1973) : 66-81 (Harrán, Don (1973))
- Harrán, Don (1983) : Stories from the Hebrew Bible in Music, in : Musica Disciplina (MD), XXXVII (1983), 235–88 (Harrán, Don (1983))
- Harrán, Don (1986) : Word-Tone Relations in Musical Thougth - From Antiquity to the Seventeenth Century (American Institute of Musicology (AIM)) (Harrán, Don (1986))
- Hol, J.C. (1933) : Cipriano de Rore, in : Festschrift Karl Nef zum 60. Geburtstag, p.134–49 (1933) (Zürich, Leipzig) (Hol, J.C. (1933))
- Hüschen, Heinrich (1973) : Lob- und Preismotetten auf die Musik aus fruheren Jahrhunderten, in : Hüschen, Heinrich : Musicae scientiae collectanea: Festschrift Karl Gustav Fellerer zum siebsigsten Geburtstag, p. 225–242 (1973) (Hüschen, Heinrich (1973))
- Johnson, Alvin Harold (1953) : The Masses of Cipriano de Rore, in : Journal of the American Musicological Society (JAMS), Vol 6, 1953, p. 227-239 (Johnson, Alvin Harold (1953))
- Johnson, Alvin Harold (1954) : The Liturgical Music of Cipriano de Rore (Yale University Press) (Johnson, Alvin Harold (1954))
- Johnson, Alvin Harold (1966) : A Musical Offering to Hercules II, Duke of Ferrara, in : LaRue, J. and others : Aspects of Medieval and Renaissance Music: A Birthday Offering to Gustave Reese, p. 448–54 (1966) (Johnson, Alvin Harold (1966))
- Johnson, Alvin Harold (1980) : The 1548 editions of Cipriano de Rore' third book of madrigals., in : Studies in musicology in honor of Otto E. Albrecht, p. 110-124 (1980) (Johnson, Alvin Harold (1980))
- Kade, O (1893) : Die älteren Passionskomposition bis zum Jahre 1631 (Gutersloh) (Kade, O (1893))
- Kenner, F (1894) : Die Porträtsammlung des Erzherzogs Ferdinand von Tirol, in : Jahrbuch der kunsthistorischen Sammlungen des Allerhöchsten Kaiserhauses, xv (1894), 147 (Kenner, F (1894))
- La Via, Stefano (1990) : Madrigale e rapporto fra poesia e musica nella critica letteraria del cinquecento, in : Studi musicali, XIX (1990), 32–70 (La Via, Stefano (1990))
- La Via, Stefano (1991 (october)) : Cipriano De Rore as reader and as read - A Literary-Musical Study of Madrigals from Rore's Later Collections (1557-1566). (Princeton University-UMI Research Press, Ann Arbor (MI)) (La Via, Stefano (1991 (october)))
- Leuchtmann, Horst (1980) : Die Münchner Fürstenhochzeit von 1568. Massimo Troiano: Dialoge, ISBN: 3-87397-503-3, ISBN-13: 978-3-87397-503-3 (Leuchtmann, Horst (1980))
- Lewis, Mary S. (1981) : Antonio Gardane’s Early Connections with the Willaert Circle, in : Fenlon, Iain : Music in Medieval and Early Modern Europe: Patronage, Sources, Texts, 209-226 (1981) (Lewis, Mary S. (1981))
- Lewis, Mary S. (1985-1986) : Rore's setting of Petrarch's "Vergine bella" : a history of its composition and early transmission., in : Journal of Musicology, 4 (1985-1986), p. 365-409 (Lewis, Mary S. (1985-1986))
- Lewis, Mary S. (1988–) : Antonio Gardano, Venetian Music Printer - 1538–1569 - A Descriptive Bibliography and Historical Study (New York) (Lewis, Mary S. (1988–))
- Lloyd, Angela Jane (1997) : Ordering and Reordering in Cipriano de Rore’s 1542 and 1550 Madrigal Books, in : Muziek en Wetenschap, VI/1 (1997), 3–25 (Lloyd, Angela Jane (1997))
- Lockwood, Lewis (1992) : Text and Music in Rore's Madrigal 'Anchor Che Col Partire", in : Musical Humanism and its Legacy - Essays in Honor of Claude V. Palisca (Festschrift Series No. 11), p. 243–51 (1991) (Lockwood, Lewis (1992))
- Lockwood, Lewis (2006) : From Josquin Desprez to Cipriano de Rore: Tradition and Transformation in Sixteenth-Century Ferrares Musical Culture, in : Renaissance Quarterly, Vol 59, Nr 2, Summer 2006, pp. 656-681 (Lockwood, Lewis (2006))
- Lowinsky, Edward E. (1967) : The Musical Avant-Garde of the Renaissance, or The Peril and Profit of Foresight, in : Singleton, Charles S. : Art, Science, and History in the Renaissance, p. 111–162 (1967) (Lowinsky, Edward E. (1967))
- Lowinsky, Edward E. (1989) : Calami sonum ferentes : A New Interpretation, in : Blackburn, Bonnie J. : Music in he Culture of the Renaissance, and other essays: Edward E. Lowinsky, p. 595-626 (1989) (Lowinsky, Edward E. (1989))
- Lowinsky, Edward E. (1989) : Cipriano de Rore's Venus Motet: Its Poetic and Pictorial Sources, in : Blackburn, Bonnie J. : Music in he Culture of the Renaissance, and other essays: Edward E. Lowinsky, p. 575-59 (1989) (Lowinsky, Edward E. (1989))
- Lowinsky, Edward E. (1989) : Rore's New Year's Gift for Albrecht V of Bavaria, in : Blackburn, Bonnie J. : Music in he Culture of the Renaissance, and other essays: Edward E. Lowinsky, p. 636-643 (1989) (Lowinsky, Edward E. (1989))
- Lowinsky, Edward E. (1989) : Two Motets and Two Madrigals for the Este Family, in : Blackburn, Bonnie J. : Music in he Culture of the Renaissance, and other essays: Edward E. Lowinsky, p. 627-635 (1989) (Lowinsky, Edward E. (1989))
- Luoma, Robert Gust (1977) : Relationships between Music and Poetry (Cipriano de Rore's “Quando signor lasciaste”), in : Musica Disciplina (MD), XXXI (1977), 135–54 (Luoma, Robert Gust (1977))
- Macey, Patrick (1994) : Frescobaldi’s Musical Tributes to Ferrara, in : Snyder, Kerala J : The Organist as Scholar: Essays in Memory of Russell Saunders, 197–231 (1994) (Macey, Patrick (1994))
- Meier, Bernardus (1969) : Staatskompositionen von Cyprian de Rore, in : Tijdschrift van de Vereniging voor Nederlandse Muziekgeschiedenis, 21, p 81-118 (Meier, Bernardus (1969))
- Meier, Bernardus (1970) : Rex Asiae et Ponti: Poklonitveno de lo Cypriana de Roreja’, in : Muzikoloski zbornik / Musicological Annual, VI (1970), 5–11 (Meier, Bernardus (1970))
- Meier, Bernardus (1990) : Rhetorical Aspects of the Renaissance Modes, in : Journal of the Royal Musical Association (JRMA), CXV (1990), 183–90 (Meier, Bernardus (1990))
- Mischiati, Oscar (1965) : Nota bibliografica su Cipriano de Rore, in : Chigiana, XXII (1965), 35–46 (Mischiati, Oscar (1965))
- Mischiati, Oscar (1975) : Un antologia manoscritta in partitura del secolo XVI, in : Rivista Italiana di Musicologia (RIM / RIDM), X (1975), 265–328 (Mischiati, Oscar (1975))
- Monson, Craig (1990) : Elena Malvezzi’s Keyboard Manuscript: a New Sixteenth-Century Source, in : Early Music History (EMH), IX (1990), 73–128 (Monson, Craig (1990))
- Musiol, Josef (1933) : Cyprien de Rore, ein Meister der venezianische Schule (Kling, Eduard, Breslau) (Musiol, Josef (1933))
- Nevel, Paul (Van) (1985) : Vier neniae op de dood van Adriaan Willaert, in : Vlaanderen. Tijdschrift voor kunst en cultuur, 34, 1985,160-167 (Nevel, Paul (Van) (1985))
- Niemöller, Klaus Wolfgang (1990 / 1993) : Die musikalische Rhetorik und ihre Genese in Musik und Musikanschauung der Renaissance, in : Plett, Heinrich F : Renaissance-Rhetorik, 285–315 (1993) (Niemöller, Klaus Wolfgang (1990 / 1993))
- Nuernberger, L. Dean (1963) : The Five-Voiced Madrigals of Cipriano de Rore. (University of Michigan) (Nuernberger, L. Dean (1963))
- Ongaro, Guilio (1986) : The Chapel of St. Mark’s at the Time of Adrian Willaert (1527-–1562): A Documentary Study, Diss. Univ. of North Carolina at Chapel Hill (Ongaro, Guilio (1986))
- Owens, Jessie Ann (1979) : An Illuminated Manuscript of Motets of Cipriano De Rore (München, Baierische Statsbibliothek, Mus. Ms. B) - Phil. D. diss. (Princeton University Press) (Owens, Jessie Ann (1979))
- Owens, Jessie Ann (1983) : Music and Meaning in Cipriano De Rore's Setting of 'Donec gratus eram tibi', in : Music and Language - Studies in the History of Music., I, 95-117. (New York) (Owens, Jessie Ann (1983))
- Owens, Jessie Ann (1984) : The Milan Partbooks : Evidence of Cipriano de Rore's Compositional Process, in : Journal of the American Musicological Society (JAMS), 37 (1984), p. 270-298 (Owens, Jessie Ann (1984))
- Owens, Jessie Ann (1986) : Milan, Biblioteca del Conservatorio di Musica Giuseppe Verdi: the Tarasconi Codex, in : Renaissance Music in Facsimile, XI (1986) (Owens, Jessie Ann (1986))
- Owens, Jessie Ann (1990) : Mode in the Madrigals of Cipriano de Rore., in : Charteris, Richard : Altro Polo, Essays on Italian Music in the Cinquecento, p. 1-16 (1989) (Owens, Jessie Ann (1990))
- Owens, Jessie Ann (1997) : Composers at Work - The Craft of Musical Composition (1450-1600), ISBN: 0-19-509577-4 (Oxford University Press, New York) (Owens, Jessie Ann (1997))
- Owens, Jessie Ann (1997) : How Josquin Became Josquin: Reflections on Historiography and Reception, in : Owens, Jessie Ann - Cummings, Anthony M. : Music in Renaissance Cities and Courts: Studies in Honor of Lewis Lockwood, 271–9 (1997) (Owens, Jessie Ann (1997))
- Palisca, Claude V. (1956) : Vincenzo Galilei’s Counterpoint Treatise: a Code for the Seconda pratica, in : Journal of the American Musicological Society (JAMS), ix (1956), 81–96 (Palisca, Claude V. (1956))
- Palisca, Claude V. (1961) : Scientific Empiricism in Musical Thought, in : Rhys, Hedley Howell : Seventeenth Century Science and the Arts, p 91-137 (1961) (Palisca, Claude V. (1961))
- Palisca, Claude V. (1989) : The Florentine Camerata: Documentary Studies and Translations, ISBN: 0300039166 (Yale University Press, New Haven) (Palisca, Claude V. (1989))
- Palisca, Claude V. (1990) : Mode Ethos in the Renaissance, in : Lockwood, Lewis - Roesner, Edward H. : Essays in Musicology: a Tribute to Alvin Johnson, 126–39 (1990) (Palisca, Claude V. (1990))
- Piperno, Franco (1985) : Gli ‘eccellentissimi musici della citta di Bologna’: Con uno studio sull’antologia madrigalistica del Cinquecento (Olschki, Firenze) (Piperno, Franco (1985))
- Piperno, Franco (1997) : Guidubaldo II Della Rovere, la musica e il mondo: lo studio della committenza musicale e il caso del ducato di Urbino, in : Il Saggiatore musicale, IV (1997), 249–70 (Piperno, Franco (1997))
- Powers, H. (1981) : Tonal Types and Modal Categories in Renaissance Polyphony, in : Journal of the American Musicological Society (JAMS), 34 (1981), p. 428-470 (Powers, H. (1981))
- Powers, H. (1989) : Monteverdi’s Model for a Multimodal Madrigal, in : Seta, Fabrizio (della) - Piperno, Franco : In cantu et in sermone: for Nino Pirrotta on his 80th birthday, 185–219 (1989) (Powers, H. (1989))
- Prizer, W (1998) : Music in Ferrara and Mantua at the Time of Dosso Dossi: Interrelations and Influences, in : Ciammitti, Luisa - Ostrow, Steven F. - Settis, Salvatore : Dosso’s Fate: Painting and Court Culture in Renaissance Italy, 290–308 (1998) (Prizer, W (1998))
- Rossi, Umberto (1888) : Sei lettere di Cipriano de Rore, con cenni biografici (Reggio [nell'Emilia]) (Rossi, Umberto (1888))
- Schick, Hartmut (1998) : Musikalische Einheit im Madrigal von Rore bis Monteverdi, ISBN: 3_7952-0926-9 (Verlegt bei Hans Schneider, Tutzing) (Schick, Hartmut (1998))
- Schmitz, Arnold (1955) : Oberitalienische Figuralpassionen des 16. Jahrhunderts, in : Musikalische Denkmaler, I (Mainz, 1955/R). (Schott's SöÌhne) (Schmitz, Arnold (1955))
- Solerti, A (1891) : Ferrara e la corte Estense nella seconda metà del secolo decimosesto: i discorsi di Annibale Romei, gentilhuomo ferrarese (Città di Castello) (Solerti, A (1891))
- Sonoda, Midori (1993) : Chipuriano de Rore no madorigare: “Shi no yomikata” no kanten kara’ [Cipriano de Rore's madrigals and his manner of ‘reading' verse], in : Ongaku-gaku, XXXIX (1993), 131–50 (Sonoda, Midori (1993))
- Straeten, Edmond (vander) (1894) : A la recherche du berceau de Cyprien de Rore, in : Guide musical, xl (1894), 669 (Straeten, Edmond (vander) (1894))
- Tarrini, Maurizio (1985) : Una gara musicale a Genova nel 1555, in : Note d'archivio per la storia musicale, III (1985), 159–70 (Tarrini, Maurizio (1985))
- Tomlinson, Gary (1987) : Monteverdi and the End of the Renaissance, ISBN: 0 19 315151 0 (Clarendon Press Oxford) (Tomlinson, Gary (1987))
- Vettori, Romano (1985) : Note storiche sul patronato musicale di Cristoforo Madruzzo Cardinale di Trento, in : Rivista Italiana di Musicologia (RIM / RIDM), XX (1985), 3–43 (Vettori, Romano (1985))
- Wagner, P (1893) : Francesco Petrarcas Vergini in der Komposition des Cipriano de Rore; Herausgegeben und mit einer enleitung versehen von Peter Wagner (Breitkopf & Härtel , Leipzig) (Wagner, P (1893))
- Waisman, Leonardo Julio (1988) : The Ferrarese Madrigal in the mid-sixteenth century. Dissertation (University of Chicago Press, The, Chicago) (Waisman, Leonardo Julio (1988))
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- Weyler, Walter (1942) : De teksten van de Rore's madrigalen, in : Vlaams jaarboek voor muziekgeschiedenis, 4 (1942), pp. 165-175 (Weyler, Walter (1942))
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- Wiering, Frans (2001) : The language of the modes: Studies in the History of Polyphonic Modality (Criticism and Analysis of Early Music), ISBN: 0815333420 (ISBN-13: 978-0815333425) (Routledge) (Wiering, Frans (2001))

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Cites the following sources works of De Rore

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1 : {Owens_2001} - 1549_b : 'Musica di Cipriano Rore sopra le stanze del Petrarcha in laude della Madonna, e cinque madrigali di due parte l'uno non piu veduti, ne stampati, con alcuni madrigali di M. Adriano. Libro terzo.'
- : Is mentioned as the source where the madrigal A che con nuovo laccio can be found

2 : {Owens_2001} - I-TVd : '{Owens_2001} - I-TVd'
- : 'formerly I-TVd, destroyed World War II'


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Cites the following works of De Rore

1 : A che con nuovo laccio, 5vv (Madrigaal) - [0, 4 Refs., , +T]
- : '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, 8 Refs., , +Tne]
- : '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) - [250, 14 Refs., , +Tne]
- : '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) - [6, 1 Ref., , +Tne]
- : '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]
- : '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) - [10, 13 Refs., , +Tnfe]
- : '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, 6 Refs., , +Te]
- : '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]
- : 'also attrib. Ingegneri'

9 : Clamabat autem mulier, 5vv (Motet) - [Rore?, 5, 2 Refs., , +T]
- : '. . . 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) - [11, 9 Refs., , +Tne]
- : '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]
- : '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]
- : '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]
- : '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, 10 Refs., , +Tne]
- : '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.]
- : 'fragm., D-Mbs'

16 : Expectans expectavi - Et immisit in os meum, 5vv (Motet) - [0, 4 Refs., , +T]
- : '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]
- : Owens considers the 2nd part as an independent motet

18 : Hesperiae com laeta - Quis mihi te similem, 5vv (Motet) - [1, 4 Refs., ]
- : '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) - [2, 1 Ref., , +T]
- : '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]
- : '(? by Porta)'

21 : Lieta vivo e contenta, 6vv (Madrigaal) - [1, 3 Refs., , +T]
- : 'cf I-Moe C.311)

22 : Missa ‘Doulce mémoire', 5vv (Mis) - [1, 3 Refs.]
- : '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.]
- : '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.]
- : '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.]
- : '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.]
- : '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]
- : '(doubtful)'

28 : Non mi toglia il ben mio, 4vv (Madrigaal) - [4, 4 Refs., , +T]
- : 'also attrib. Ingegneri'

29 : Nunc cognovi, domine - Beati servi tui, 6vv (Motet) - [0, 4 Refs., , +Tne]
- : '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]
- : concerning the text : 'C.F. Simphosius, attrib. Virgil'

31 : O qui populos suscipis, 5vv (Motet) - [1, 3 Refs., , +Tne]
- : '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?, 0, 5 Refs.]
- : 'Parijs, 1557 (Willaert ?); ed. A. Schmitz, Oberitalienische Figuralpassion (Mainz, 1955), 57'

33 : Quando lieta sperai, 5vv (Madrigaal) - [5, 6 Refs., , +T]
- : '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.'
- : '(? By Morales)'
- : 'The works pose some problems of attribution. [. . .] Quando lieta sperai is almost certainly by Morales '

34 : Quando signor lasciaste (2p Ma poi che vostr'altezza), 5vv (Madrigaal) - [1, 14 Refs., , +Te]
- : '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]
- : '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]
- : '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]
- : '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]
- : 'Early or doubtul'

39 : Spesso in parte, 4vv (Madrigaal) - [0, 4 Refs., , +T]
- : 'also attrib. Ingegneri'

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40 : Virtute magna - Repleti quidem, 5vv (Motet) - [Rore?, 0, 2 Refs., , +T]
- : '. . . 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]
- : '? Porta or P. Animuccia)'

42 : Volgend'al ciel, 5vv (Madrigaal) - [0, 3 Refs., , +T]
- : '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) - [0, 6 Refs., , +T]
- : '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]
- : 'Early or doubtful', 'F-CA 125-8 (anon., dated 1542)'


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