Version imprimante

Bibliographie

Meier, Bernardus : Cipriani Rore Opera Omnia, Vol II : Madrigali 5 vocum

American Institute of Musicology (AIM), 1963


Ref_6226.jpg




Cette source est entièrement dédié à De Rore.
Il s'agit de l'édition nouvelle (XXème siècle) des partitions de De Rore:
Ouvrir.
Cite des sources des oeuvres de De Rore : -->
Cites des oeuvres de De Rore : -->

Naar top

Cite les sources suivantes des oeuvres de De Rore

Naar top

1 : {RISM} - 1544_17 : 'Di Cipriano il secondo libro de madregali a cinque voci insieme alcuni di M Adriano e altri autori a misura comune novamente posti in luce a cinque voci.'
- p. IV : '... the madrigals of the second book display no such systematic arrangement : nos 3 and 17 are demonstrably in the tonus 1 transpositus; 14 and 26 in tonus 3;, 15 and 16 in tonus 4, untransposed; no 18 likewise in tonus 4 but transposed.'


Naar top

Cite les oeuvres suivantes de De Rore

1 : Altiero sasso lo cui gioco spira, 5vv (Madrigaal) - [1, 5 Refs., , +T]
- p. III : 'Tonus 3'

2 : Amor che vedi (2p Ben veggio di lontano), 5vv (Madrigaal) - [0, 1 Ref., , +Tne]
- p. III : 'Tonus 8'

3 : Beatus vir, 4vv (Vesper psalm) - [0, 1 Ref., ]
- p. III : 'Effective use is made of the juxtaposition of high and low tonal levels, for instance in bars 133 ff. of the motet Beatus homo, or at the words eruperunt abyssi, where the soprano descends suddenly into the plagal reaches of what has hitherto been an authentic mode. In the following section et nubes rore concrescunt, the opening imitation moves again within the limits of the authentic mode, though it obviously prefers its higher notes.'

4 : Ben si conviene a voi, 5vv (Madrigaal) - [0, 2 Refs., , +T]
- p. III : 'The madrigals 18-20 are not part of the above-mentioned organized corpus, and are apparently a foreign body incorporated after the original has been submitted for printing. nevertheless, even these additional madrigals are also, tonally, systematic rather than arbitrary, in that they may be delegated to tonus 1 transpositus (whose final cadence deviates from the tonal order due to textual considerations), tonus 2 transpositus and tonus 3.'

Naar top

5 : Cantai mentre ch'i arsi, 5vv (Madrigaal) - [1, 7 Refs., , +Tn]
- p. III : ex. d'un 'strong cadence' : 'where ... an emphatic exclamatory assertion occurs'
- p. IV : 'The passage Ov'hora in libertá piango e sospiro (mm. 81 ff.), ... may be cited as an example of the chromatic style. This style, which involves the descending circle of fifths, is to be found in the works of other "modern" composers of the period, sometimes as an ostentatious novelty; and it is expressly used by Rore as representative of the "true music" exemplified in the works of Willaert.'
- p. III : 'Tonus 1 transpositus'

6 : Cantiamo lieti (2p La terra di novelli), 5vv (Madrigaal) - [3, 6 Refs., , +Te]
- p. III : 'Rore even employs a full cadence at a syntactically weak part of the "sentence", in order to emphasize the Generalpause which follows the words Raro un silentio (Per mezzi' bosschi, mm. 105 ff.) and l'aria e'l vento tace (Cantiamo lieti, mm. 37 ff.).'

7 : Chi vol veder quantunque (2p Vedrà, s'arriva), 5vv (Madrigaal) - [0, 3 Refs., , +Tne]
- p. III : 'Tonus 7'

8 : Da quei bei lumi ond'io sempre sospiro, 5vv (Madrigaal) - [0, 3 Refs., , +T]
- p. III : 'The madrigals 18-20 are not part of the above-mentioned organized corpus, and are apparently a foreign body incorporated after the original has been submitted for printing. nevertheless, even these additional madrigals are also, tonally, systematic rather than arbitrary, in that they may be delegated to tonus 1 transpositus (whose final cadence deviates from the tonal order due to textual considerations), tonus 2 transpositus and tonus 3.'

9 : Far potess'io vendetta (2p Così gli afflitti), 5vv (Madrigaal) - [0, 3 Refs., , +Tne]
- p. III : 'Tonus 8'

Naar top

10 : Hor che l'aria (2p Sol nel mio petto), 5vv (Madrigaal) - [2, 3 Refs., , +T]
- p. III : 'The madrigals 18-20 are not part of the above-mentioned organized corpus, and are apparently a foreign body incorporated after the original has been submitted for printing. nevertheless, even these additional madrigals are also, tonally, systematic rather than arbitrary, in that they may be delegated to tonus 1 transpositus (whose final cadence deviates from the tonal order due to textual considerations), tonus 2 transpositus and tonus 3.'

11 : Hor che'l ciel (2p Così sol d'una chiara fonte), 5vv (Madrigaal) - [8, 4 Refs., , +Tne]
- p. III : 'Tonus 1 transpositus'

12 : Il mal mi preme (2p Ben ch'i non sia), 5vv (Madrigaal) - [0, 2 Refs., , +Tne]
- p. III : 'Tonus 4'

13 : O dolci sguardi (2p E se talhor), 5vv (Madrigaal) - [0, 2 Refs., , +Tne]
- p. III : ex. d'un 'strong cadence' : 'where the text calls for such musical punctuation, e.g. Hor fia mai il dí ch'io vi riveggia et oda ?'

14 : Per mezz'i boschi (2p Parmi d'udirla), 5vv (Madrigaal) - [1, 9 Refs., , +Te]
- p. III : ex. de fugir la cadenza
- p. III : 'Rore even employs a full cadence at a syntactically weak part of the "sentence", in order to emphasize the Generalpause which follows the words Raro un silentio (Per mezzi' bosschi, mm. 105 ff.) and l'aria e'l vento tace (Cantiamo lieti, mm. 37 ff.)."
- p. III : 'Tonus 5'

Naar top

15 : Perseguendomi amor (2p Io dicea franio cor), 5vv (Madrigaal) - [0, 2 Refs., , +Tne]
- p. III : 'Tonus 6'

16 : Poggiand'al ciel (2p Tal si trova), 5vv (Madrigaal) - [0, 4 Refs., , +T]
- p. III : ex. de fugir la cadenza
- p. III : 'Tonus 1 transpositus'

17 : Pommi ov'il sol, 5vv (Madrigaal) - [1, 5 Refs., , +Tne]
- p. IV : ' ... the setting of the words libero spirito in Rore's madrigal Pommi ov'il sol occide may be cited as an example of the chromatic style. This style, which involves the descending circle of fifths, is to be found in the works of other "modern" composers of the period, sometimes as an ostentatious novelty; and it is expressly used by Rore as representative of the "true music" exemplified in the works of Willaert.'

18 : Quand'io son tutto volto (2p Così davanti ai colpi), 5vv (Madrigaal) - [0, 4 Refs., , +Tne]
- p. III : 'Tonus 2 transpositus'
- p. III : ex. de fugir la cadenza

19 : Quanto più m'avicino (2p Perchè con lui cadrà), 5vv (Madrigaal) - [0, 2 Refs., , +Tne]
- p. III : 'Tonus 6'

Naar top

20 : Quel sempre acerbo (2p L'atto d'ogni gentil pietate), 5vv (Madrigaal) - [0, 2 Refs., , +Tne]
- p. III : 'Tonus 7'

21 : S'io'l dissi mai, fortuna (2p Ma s'io no'l dissi), 5vv (Madrigaal) - [0, 2 Refs., , +T]
- p. IV : 'Sonnet S'io'l disse mai, included in the second edition of the first book, employs tonus 7.'

22 : Solea lontana (2p Non ti soven), 5vv (Madrigaal) - [0, 3 Refs., , +Tne]
- p. III : 'Tonus 2 transpositus'

23 : Strane ruppi (2p A guisa d'hom), 5vv (Madrigaal) - [0, 4 Refs., , +T]
- p. III : 'Tonus 3'

24 : Tu piangi (2p Lei tutta intenta), 5vv (Madrigaal) - [0, 5 Refs., , +T]
- p. III : 'Tonus 4'


Naar top



Page (re)travaillée la dernière fois : 4/11/2017 15:44:51
Mon code : #Ref_6226