Cite les oeuvres suivantes de De Rore
1 : Alma Susanna, 5vv (Madrigaal) - [2, 5 Refs., , +Tne]
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p. XI
2 : Amour ne faict - Amour ne veut, 5vv (Chanson) - [0, 1 Ref., , +Tne]
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p. X
3 : Ben qui si mostra il ciel, 4vv (Madrigaal) - [14, 3 Refs., , +Te]
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p. XI, footnote
4 : Canon, 6-stemmig, 6vv (Canon) - [Rore?, 0, 1 Ref., ]
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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, 11 Refs., , +Tne]
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p. X
6 : Memento Domine David, 4vv (Vesper psalm) - [0, 1 Ref., ]
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p. IX
7 : Missa ‘Vous ne l'aurez pas', 5vv (Mis) - [0, 3 Refs.]
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p. XI
8 : Mon petit cueur, 8vv (Chanson) - [2, 3 Refs., , +Tne]
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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.'
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p. X
9 : O sonno, O della queta' humida ombrosa, 4vv (Madrigaal) - [15, 12 Refs., , +Tne]
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p. XI
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10 : Passio Domini nostri Jesu Christi secundum Johannem, 2-6 vv (Passie) - [Rore?, 1, 5 Refs.]
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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]
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p. XI
12 : Regina caeli laetare, 3vv (Motet) - [1, 3 Refs., , +Tnfe]
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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]
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p. X
14 : Sine nomine, 2. Toni per b-molle, 5vv () - [1, 1 Ref., ]
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p. XI
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15 : Susann'un jour, 5vv (Chanson) - [2, 3 Refs., , +Tne]
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p. X
16 : Tout ce qu'on peut en elle voir, 4vv (Chanson) - [0, 2 Refs., , +Tne]
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p. X
17 : Vous scavez bien, 4vv (Chanson) - [1, 5 Refs., , +Tne]
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p. X
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