Version imprimante

Bibliographie

Meier, Bernardus : Cipriani Rore Opera Omnia, Vol VIII : Psalmi, Cantica B.M.V., Cantiones Gallicae, etc

American Institute of Musicology (AIM), 1977


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

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Cite les sources suivantes des oeuvres de De Rore

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1 : {Census} - BolC Q24 : '{Census} - BolC Q24'
- p. XII

2 : {Census} - MadM 6829 : '{Census} - MadM 6829'
- p. XI + voetnoot : 'The last group in the present volume comprises the five motets already mentioned in volume VI, p. xiv, handed down under the name "Ziprianus" - not "Zipriano" - in a manuscript formerly at the Biblioteca Medinaceli, Madrid, today in private ownership (cited here as: Mad) . The style of these motets is of a "non-Italianized" Netherlander of the mid-sixteenth century; i.e., the style in only a few atypical compositions of Rore, for example, in the Missa Vous ne l'aurez and the motet Quae est ista. However, as long as no documentary proof exists on the identity or nonidentity of the "Ziprianus" in the Madrid manuscript with Cyprian de Rore it may be permissible to include the five motets of the manuscript Mad as opera dubia in this edition.'
Voetnoot : 'The editor is especially obliged to the current owner of the manuscript, Don Bartolomé March Servera, Madrid, and his librarian, Senor Lorenzo Pérez Martinez, for photocopies of the five above-mentioned motets. The manuscript was first referred to by J. B. Trend, "Music in the Biblioteca Medinaceli", in: Revue Hispanique 71 (1927), p. 504. Detailed description of the manuscript, statement of contents, and publication of a part of the secular works contained in the manuscript: Monumentos de la Musica Espanola, vol. VIII, ed. M. Querol Gavalda (Barcelona 1949). Especially concerning the motets composed by "Ziprianus" see A. H. Johnson, "The Liturgical Music of Cipriano de Rore" (Diss. Yale University, New Haven/Conn. 1954), pp. 316 and 337; in addition see MGG XI, col. 898. ("A. R. Johnson", cited in vol. VI, p. x, note 3, is an error.)'

3 : {Meier_VIII} - Ox : 'Oxford manuscript, Christ Church College, Ms. 272-276'
- p. IX

4 : {Meier_VIII} - Stg 29 : 'Stuttgart manuscript, Württembergische Landesbibliothek, Cod. Mus. Fol. I 29'
- p. I

5 : {Meier_VIII} - Trev 10 : 'Treviso, Archivio Musicale del Duomo, Ms. 10'


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Cite les oeuvres suivantes de De Rore

1 : Alma Susanna, 5vv (Madrigaal) - [1, 5 Refs., , +Tne]
- p. XI

2 : Amour ne faict - Amour ne veut, 5vv (Chanson) - [0, 1 Ref., , +Tne]
- p. X

3 : Ben qui si mostra il ciel, 4vv (Madrigaal) - [14, 3 Refs., , +Te]
- p. XI, footnote

4 : Canon, 6-stemmig, 6vv (Canon) - [Rore?, 0, 1 Ref., ]
- p. XI : 'Even Cerone is careful on the authorship of the canon: "...and a few say that it might be by Cyprian de Rore." '

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5 : En voz adieux - Hellas, comment, 4vv (Chanson) - [5, 10 Refs., , +Tne]
- p. X

6 : Memento Domine David, 4vv (Vesper psalm) - [0, 1 Ref., ]
- p. IX

7 : Missa ‘Vous ne l'aurez pas', 5vv (Mis) - [0, 3 Refs.]
- p. XI

8 : Mon petit cueur, 8vv (Chanson) - [2, 3 Refs., , +Tne]
- p. 60 voetnoot : 'Partbooks of C and B: Ciprian de Rore; Partbooks of C2, A, T and B2: Incertus Author; partbook of the A: no authors name.'
- p. X

9 : O sonno, O della queta' humida ombrosa, 4vv (Madrigaal) - [13, 11 Refs., , +Tne]
- p. XI

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10 : Passio Domini nostri Jesu Christi secundum Johannem, 2-6 vv (Passie) - [Rore?, 0, 5 Refs.]
- p. XII : 'The Passion of St. John comes to us in two sources. The first, the print Passio Domini nostri Jesu Christi..., Paris 1557, has Cyprian de Rore as the composer. The second source, the Bologna manuscript, Civico Museo Bibliografico, Q 24, names Willaert as the author of the work. Musicology has given preference to the Paris print; and accordingly the Passion was published by Arnold Schmitz as a work by Rore . A thorough study of both sources, however, led the present editor to the conclusion that the print is by no means to be regarded as the earlier and therefore more reliable source, the Bologna manuscript seen then only as "a later copy". On the contrary: the Bologna manuscript offers a more reliable musical text, albeit in some details more archaic, and free of stylistic errors and untenable accidentals. Furthermore, in the Bologna manuscript the mode is adhered to throughout the whole composition whereas in the print, which omits the concluding gospel, the work breaks off against the rules of the mode. The "disputed" Passion of St. John will appear, therefore, in Willaert's Opera Omnia after the text of the Bologna manuscript Q 24.'

11 : Quae est ista quae processit, 4vv (Motet) - [2, 3 Refs., , +Tnfe]
- p. XI

12 : Regina caeli laetare, 3vv (Motet) - [1, 3 Refs., , +Tnfe]
- p. X : 'Rore's only setting of the Antiphona finalis Beatae Mariae Virginis, likewise belonging to the liturgy of the office, is to be added to the Magnificat settings. It is the Regina caeli laetare, come down incomplete in RISM 1551_16, and complete in the later editions of this print. This work, again based on the liturgical melody, shows at the same time the close connection between Rore and his teacher Willaert: both masters have set the antiphon Regina caeli to music in the same source and have made use of the same tenor voice, which therefore appears only once in the source, valid for both compositions.'

13 : Reiouyssons nous, 4vv (Chanson) - [2, 3 Refs., , +Tne]
- p. X

14 : Sine nomine, 2. Toni per b-molle, 5vv () - [1, 1 Ref., ]
- p. XI

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15 : Susann'un jour, 5vv (Chanson) - [2, 3 Refs., , +Tne]
- p. X

16 : Tout ce qu'on peut en elle voir, 4vv (Chanson) - [0, 2 Refs., , +Tne]
- p. X

17 : Vous scavez bien, 4vv (Chanson) - [1, 5 Refs., , +Tne]
- p. X


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