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The music of Cipriano De Rore

In Domino confido - Dominus in templo sancto suo


A. Type: Motet
B. Number of voices: 5vv
Ct. Text: : Read


E. To be found in the following score sources:

following: Bernstein, Jane A. (1998) :
- 1545 : {Bernstein} - 52 : 'Rore, Motetta quinque vocum'

following: CMME Project(The) - Dumitrescu (e.a.), Theodor :
- {Census} - ParisBNC 851 ("Bourdeney Manuscript") : '{Census} - ParisBNC 851 ("Bourdeney Manuscript")'

following: Lewis, Mary S. (1988) :
- 1545 : {Lewis_1} - 73 : 'RORE. MOTETS A 5'

following: Meier, Bernardus (1959) :
- 1545 : {Meier_I} - R1545 : 'Cipriani Rore Musici Excellentissimi Motetta nunc primum summa diligentia in lumen prodita. Venetiis apud Antonium Gardane. MDXXXXV'


F. Modern score:

See 'Meier, Bernardus : Cipriani Rore Opera Omnia, Vol I : Motets' : p.51

  • Contents of this volume of Meier
  • American Institute of Musicology : Uitgave De Rore (B. Meier)


    I. Incipit: M_1_51.jpg Source: 'Meier, Bernardus : Cipriani Rore Opera Omnia', American Institute of Musicology


    L. References:

    References with citation/remark:

    1 : Meier, Bernardus, Cipriani Rore Opera Omnia, Vol I : Motets (American Institute of Musicology (AIM), 1959)
    - p.V : 'It is also in bars 55-57 of the motet In Domino confido (third mode) that we expect a cadence on d at the words Justus autem quid fecit? ending the prima pars, but instead we get a turn to G on the final chord, a change only to be found otherwise at a fuggir la cadenza. Thus Rore increases here the impression of confusion.

    2 : Meier, Bernardus, Cipriani Rore Opera Omnia, Vol I : Motets (American Institute of Musicology (AIM), 1959)
    - p.III : 'Katabasis is used in the introductory imitations of Itala qua cecidit, and moreover the melismatic, descending melodie line of pluet (In Domino confido, bars 101-103) should probably be interpreted in the same way.'

    3 : Meier, Bernardus, Cipriani Rore Opera Omnia, Vol I : Motets (American Institute of Musicology (AIM), 1959)
    - p.V : 'Traces of the modern dualism of major and minor are to be found clearly enough in a few motets belonging to the third mode. Thus we find several cadences on G and C one after the other in Tribularer, si nescirem (bars 29-40 and 80-91). Although they are regular closes in the third mode, these cadences, which have a major third in the final chord, must be considered as expressive in nature. Without going beyond the limits of the chosen mode, they emphasise the joyful nature of the sections sed ut magis convertatur, et vivat and consolationes tua laetificaverunt animam meam in contrasting manner. The text Dominus in templo sancto suo: Dominus in coelo habitatio eius (In Domino confido, bars 58-73) is set in a similar way. However both melody and intervallic distance in the imitative entries suggest first a commixtio with the seventh, and then, after a cadence on F, even a transitory one with the fifth mode. Moreover, in bars 116-124 chords with a major third are frequently found to the words Quoniam iustus Dominus, et iustitias dilexit'.


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