La musique de Cipriano De Rore
Domine Deus - Quis enim tibi - Tu ergo rerum
A. Type:
Motet
B. Nombre de voix:
5vv
Ct. Texte:
(avec traduction en Néerlandais Anglais)
: Lire
E. Se trouve dans les sources de partitions suivantes:
suivant: CMME Project(The) - Dumitrescu (e.a.), Theodor :
-
{Census} - ParisBNC 851 ("Bourdeney Manuscript")
: '{Census} - ParisBNC 851 ("Bourdeney Manuscript")'
suivant: Collins Judd, Cristle (2000) :
-
1560, circa ) (source: OwensM) :
{Census} - ModE C.314
: '{Census} - ModE C.314'
suivant: Lewis, Mary S. (1988) :
-
1549 :
{Lewis_1} - 134
: 'RORE. MOTETTI A 5 LIB. III°'
suivant: Meier, Bernardus (1959) :
-
1549 :
{RISM} - 1549_08
: 'Il terzo libro di Motetti a cinque voci di Cipriano de Rore, et de altri eccellentissimi musici, novamente ristampato, con una buona gionta de motetti novi.'
F. Partition moderne:
See 'Meier, Bernardus : Cipriani Rore Opera Omnia, Vol I : Motets' : p.133
Contenu de cette volume de Meier
American Institute of Musicology : Uitgave De Rore (B. Meier)
I. Incipit:
Source:
'Meier, Bernardus : Cipriani Rore Opera Omnia', American Institute of Musicology
J. Discographie:
1 - '
Cipriano De Rore : Sacred Sounds (Currende)
, Currende, Erik Van Nevel (Warner Classics)
L. Références:
Références avec citation/commentaire:
1 : Meier, Bernardus,
Cipriani Rore Opera Omnia, Vol I : Motets
(American Institute of Musicology (AIM), 1959)
- p.IV
: 'The introduction of accidentals foreign to the mode often leads to the formation of irregular Phrygian cadences, for instance in bars 130-135 of In convertendo Dominus (Euntes ibant et flebant), bars 45-48 and 100-104 of Plange quasi virgo (et amara calde), bars 55-64 of Quanti mercenarii (pecavi), and bars 102f. of Levavi oculos meos (ab omni malo). Also worth mentioning is the music of the question Quid fecisti? (Domine Deus, bars 65-73): together with two regular cadences on the final G (second mode transposed), there are irregular Phrygian cadences in a and d. Still more unusal is the setting of the words dolorum meorum in corde meo (Tribularer, si nescirem, bars 72ff.): the Phrygian cadence in a which is, strictly speaking, not allowed in the third mode, is followed by a second cadence on d, still further away from the normal Phrygian closes. In contrast to this, Rore makes use of the Phrygian cadences d, a, and e at the end of the section of the motet O altitudo divitiarum beginning with the words et investigabiles vice eius (bars 33-48). All these cadences deviate from the norm adopted by the second mode transposed, though admittedly the cadence on e is somewhat disguised by the cadential progressions of the Cantus and Bassus.'
Références sans citation:
2 : Meier, Bernardus,
Cipriani Rore Opera Omnia, Vol III : Madrigali 5 vocum
(American Institute of Musicology (AIM), 1961)
- p.VIII
Page (re)travaillée la dernière fois :
30/06/2022 20:08:43
Mon code :
#6267 (M_1_133)
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