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La musique de Cipriano De Rore

Tribularer, si nescirem - Secundum multitudinem


A. Type: Motet
B. Nombre de voix: 5vv
Ct. Texte: : Lire


E. Se trouve dans les sources de partitions suivantes:

suivant: _Onderzoek van de bron (internet) door Arnold Loose en/of Wim Daeleman (2016) :
- 1550 (ca.) : BSB Mus.ms. 16 (ca.1550) : 'BSB Mus.ms. 16 (ca.1550)'

suivant: Bernstein, Jane A. (1998) :
- 1545 : {Bernstein} - 52 : 'Rore, Motetta quinque vocum'

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) :
- 1544 : {Lewis_1} - 56 : 'RORE. MOT. A 5 LIB. I'
- 1545 : {Lewis_1} - 73 : 'RORE. MOTETS A 5'

suivant: Meier, Bernardus (1959) :
- 1544 : {RISM} - 1544_06 : 'Cipriani musici eccelentissimi cum quibusdam aliis doctis authoribus motectorum nunc primum maxima diligentia in lucem exeuntem Liber primus quinque vocum.'


F. Partition moderne:

See 'Meier, Bernardus : Cipriani Rore Opera Omnia, Vol I : Motets' : p.29

  • Contenu de cette volume de Meier
  • American Institute of Musicology : Uitgave De Rore (B. Meier)


    I. Incipit: M_1_29.jpg Source: 'Meier, Bernardus : Cipriani Rore Opera Omnia', American Institute of Musicology


    J. Discographie:

    1 - ' Voces Aequales - Officium de Cruce , Voces Aequales (Fono Records)


    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.'

    2 : Meier, Bernardus, Cipriani Rore Opera Omnia, Vol I : Motets (American Institute of Musicology (AIM), 1959)
    - p.V : 'It is also noteworthy that in some cases dissonances (suspensions of 6 5 or 6/4 5/3 , related in each case to the really lowest voice) are used in the sense of affective symbolism, as for example in Angustiae mihi sunt undique (bars 61-64: falsum testimonium, and 81f.: malitiose), Domine quis habitabit (bars 49-51: malum), In die tribulationis meae (bars 36f., 38f.: prae ladirimis), Levavi oculos meos (bars 94f.: ab omni malo), Quanti mercenarii (bars 20-27: Ego autem hic fame pereo) and Tribularer, si nescirem (bars 73f.: dolorum meorum). With this use of dissonances Rore apparently follows the steps of his teacher Willaert, whose motets too contain passages of this kind, when the text suggests such a procedure.'

    3 : Meier, Bernardus, Cipriani Rore Opera Omnia, Vol I : Motets (American Institute of Musicology (AIM), 1959)
    - p.V : 'Traces of the modern dualism of major and minor are to be found clearly enough in a few motets belonging to the third mode. Thus we find several cadences on G and C one after the other in Tribularer, si nescirem (bars 29-40 and 80-91). Although they are regular closes in the third mode, these cadences, which have a major third in the final chord, must be considered as expressive in nature. Without going beyond the limits of the chosen mode, they emphasise the joyful nature of the sections sed ut magis convertatur, et vivat and consolationes tua laetificaverunt animam meam in contrasting manner. The text Dominus in templo sancto suo: Dominus in coelo habitatio eius (In Domino confido, bars 58-73) is set in a similar way. However both melody and intervallic distance in the imitative entries suggest first a commixtio with the seventh, and then, after a cadence on F, even a transitory one with the fifth mode. Moreover, in bars 116-124 chords with a major third are frequently found to the words Quoniam iustus Dominus, et iustitias dilexit'.


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