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The music of Cipriano De Rore

Mia benigna fortuna (2p Crudele acerba)


A. Type: Madrigaal
B. Number of voices: 4vv
C. Author of the text: Petrarca, Francesco
Ct. Text: (with translation in Dutch French English) : Read


E. To be found in the following score sources:

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

following: Lewis, Mary S. (1997) :
- 1557 : {Lewis_2} - 231 : 'RORE. II° LIBRO DE MADREGALI A 4'

following: Meier, Bernardus (1969) :
- 1557 : {RISM} - 1557_24 : 'Di Cipriano de Rore il secondo libro de madregali a quatro voci con una canzon di Gianneto sopra di Pace non trovo con quatordeci stance novamente per Antonio Gardano stampato e dato in luce.'

following: Vogel, Emil (1892 (2de uitg., 1977)) :
- 1569 : {Vogel} - 52 : '(1569) CANTO | DI CIPRIANO DE RORE IL SECONDO LIBRO DE' MADRIGALI A QVATTRO VOCI | CON VNA CANZON DI GIANNETTO (!) | Di Quatordeci Stanze Sopra di Pace non trouo, | NVOVAMENTE CON OGNI | DILIGENTIA RISTAM-PATO. | LIBRO (Drz) SECONDO | IN VENETIA, Appresso Claudio da Correggio. | MDLXVIIII.'
- 1571 : {Vogel} - 53 : '(1571) CANTO | DI CIPRIANO DE RORE | IL SECONDO LIBRO DE MADRIGALI | A Quatro Voci, Con vna Canzon di Gianetto; sopra di Pace non trouo, Con | quatordeci stanze. Noua-mente con ogni dilligentia Ristampato. | A QVATRO (Drz) VOCI | CON GRATIA ET PRIVILEGIO | di Antonio Gardano. | 1571.'
- 1577 : {Vogel} - 51 : '(1577) TENOR | DI CIPRIANO DE RORE | IL SECONDO LIBRO DE MADREGALI | a quatro voci Con vna Canzon di Gianneto (!) sopra di Pace non trouo Con quatordeci | stanze Noua-mente per Antonio Gardano stampato et dato in luce. | CON GRATIA ET PRIVILEGIO | A QVATRO (Drz) VOCI | In Venetia Appresso di | Antonio Gardano. | 1557.'
- 1577 : {Vogel} - 54 : '(1577) TVTTI I MADRIGALI | DI CIPRIANO DI RORE | A QVATTRO VOCI, | SPARTITI ET ACCOMMODATI PER | sonar d'ogni sorte d'Instrumento perfetto, & per Qualunque studioso di Contrapunti (!). | Nouamente posti alle stampe. | (Drz) | In Venetia Apresso di Angelo Gardano. | 1577.'


F. Modern score:

See 'Meier, Bernardus : Cipriani Rore Opera Omnia, Vol IV : Madrigali 3-8 vocum' : p.79

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


    I. Incipit: M_4_79.jpg Source: 'Meier, Bernardus : Cipriani Rore Opera Omnia', American Institute of Musicology


    J. Discography:

    1 - ' Adriaan Willaert en Italië: Willaert, De Macque, De Rore , Capella Sancti Michaelis, Currende Consort, Erik Van Nevel (Eufoda) (listen MP3, 30sec. )
    2 - ' Cipriano De Rore - Portrait of the Artist as a Starved Dog (graindelavoix) , Graindelavoix, Björn Schmelzer (Glossa)
    3 - ' Cipriano de Rore : Le Vergine (Hilliard Ensemble) ' : [only 2p 'Crudele acerba'] , The Hilliard Ensemble (Harmonia Mundi)
    4 - ' Cipriano de Rore : Missa Praeter Rerum Seriem (Huelgas Ensemble) , Huelgas Ensemble, Paul Van Nevel (Harmonia Mundi)
    5 - ' DGG 629517/8 ' : [-] , Quartet Vocal, Brussel (-)
    6 - ' En vos adieux , Klemisch Consort Berlin, Guido M. Klemisch (Eigen beheer)
    7 - ' In Morte di Madonna Laura , Pentacost Vocaal Ensemble (Quality Classics)
    8 - ' L'aura mia sacra , La Main Harmonique, Frédéric Betous (Ligia Digital)
    9 - ' The Flemish masters Vol. 1 , Pomerium Musices, Alexander Blachly (Classic Masters)
    10 - ' The Hilliard Ensemble : English and Italian Renaissance Madrigals , The Hilliard Ensemble (Veritas)

    Jr. Radio:

    1 - ' RAI 2010-09-06 (22u30) ' : [2p: Crudele, acerba, inesorabil morte] , The Hilliard Ensemble (RAI (Italy))

    L. References:

    References with citation/remark:

    1 : La Via, Stefano, 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), 1991 (october))
    - p.431 : Here an english transation of the poem can be found

    2 : La Via, Stefano, 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), 1991 (october))
    - p.461-487 : Here a detailed analysis can be found

    3 : Haar, James, Essays on Italian Poetry and Music in the Renaissance (University of California Press, Berkeley, Los Angeles, London, 1986) , ISBN: 0-520-05397-4 (ISBN-13: 978-0520053977)
    - p.120, 210 : p.210=musical example

    4 : Owens, Jessie Ann, Mode in the Madrigals of Cipriano de Rore. (, 1990)
    in : Charteris, Richard : Altro Polo, Essays on Italian Music in the Cinquecento, p. 1-16 (1989)
    - p.6, 8 : On page 8 we find a long and interesting description on how De Rore in this piece (more precisely in the 2nd part 'Crudele acerba') makes use the mode in an exceptional way.

    5 : Einstein, Alfred, The Italian Madrigal (vertaald naar het Engels door Alexander H. Krappe, Roger H. Sessions en Oliver Strunk) (Princeton University Press, New Jersey, 1949)
    - p.415 : '[. . .] to every musician who set it to music - Arcadelt, Lasso, Monte, Wert, and lastly Marenzio - this poem was an occasion for the most profound expressiveness. And it seems that Rore must have known Lasso's five-voiced setting of the text, printed two years previously (1555); for in Lasso we already find, in the alto, the opening with the "pathetic" leap of a sixth which Rore outdoes by making the interval a major one. We reproduce the piece without attempting any change. I cannot spare the reader the difficulty inherent in Rore's notation: each of the two pairs of voices has a different key-signature, the soprano and tenor one flat, the alto and bass two. This apparent opposition or conflict is of the very essence of the piece. Equally so is the similar conflict in Josquin's harmonically experimental 'Fortuna d'un gran tempo' in Petrucci's Odhecaton, with its three key-signatures - the soprano without accidentals, the tenor with one flat, the contratenor with two. The road leads from Josquin through Willaert to Rore and to pieces of this kind. The very entrance of soprano and tenor is an infraction of the rules, for the leap of a major sixth was not allowed. (As late as 1725, J. J. Fux, in his Gradus ad Parnassum, forbids it in the strict style.) lts effect here actually is somewhat awe inspiring, somewhat extravagant, and it clashes with the bitterness of the e-flat in the alto at the word accerba. The whole is a masterpiece unparalleled in its audacity - and in its inner logic - and it has scarcely been outdone by the later "romanticists" of the chromatic madrigal.'

    6 : Roche, Jerome, The Madrigal (Oxford University Press, Oxford, 1990) , ISBN: 0-19-313131-5
    - p.35-36 : p36.: musical example

    References without citation:

    7 : Meier, Bernardus, Cipriani Rore Opera Omnia, Vol IV : Madrigali 3-8 vocum (American Institute of Musicology (AIM), 1969)
    - p.V

    8 : La Via, Stefano, 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), 1991 (october))
    - p.187-211

    9 : Bossuyt, Ignace, De Vlaamse polyfonie (Davidsfonds , Leuven, 1994) , ISBN: 90-6152-843-7
    - p.121

    10 : McClary, Susan, Modal Subjectivities - Self-fashioning in the Italian Madrigal (University of California Press, Berkeley, Los Angeles, London, 2004) , ISBN: 0 520 23493 6
    - p.113-121, 128, 149, 216, 290-296

    11 : Schick, Hartmut, Musikalische Einheit im Madrigal von Rore bis Monteverdi (Verlegt bei Hans Schneider, Tutzing, 1998) , ISBN: 3_7952-0926-9
    - p.48

    12 : La Via, Stefano, Poesia per Musica e Musica per Poesia. Dai trovatori a Paulo Conte (Carocci Editore, Roma, 2006 (2de uitgave:2007)) , ISBN: 978 88 430 3899 2
    - p.99-101, 118


    Page last updated : 4/11/2017 15:29:15
    My code : #5788 (M_4_79)