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La musique de Cipriano De Rore

Beatus homo - Longitudo dierum - Dominus sapientia


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


E. Se trouve dans les sources de partitions suivantes:

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) :
- 1545 : {Lewis_1} - 73 : 'RORE. MOTETS A 5'

suivant: Meier, Bernardus (1959) :
- 1545 : {Meier_I} - R1545 : 'Cipriani Rore Musici Excellentissimi Motetta nunc primum summa diligentia in lumen prodita. Venetiis apud Antonium Gardane. MDXXXXV'


F. Partition moderne:

See 'Meier, Bernardus : Cipriani Rore Opera Omnia, Vol I : Motets' : p.34

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


    I. Incipit: M_1_34.jpg Source: 'Meier, Bernardus : Cipriani Rore Opera Omnia', American Institute of Musicology


    L. Références:

    Références avec citation/commentaire:

    1 : Meier, Bernardus, Cipriani Rore Opera Omnia, Vol I : Motets (American Institute of Musicology (AIM), 1959)
    - p.III : 'Particularly striking in these early works is the skill with which Rore often illustrates the pictorial or expressive features of the text by the so-called musical figures. Figures of hypotyposis are easily recognised, for instance in the setting of the words pacifica (Beatus homo, bars 89-91), in curribus (Exaudiat me Dominus, bars 110-116: Circulatio, from the turning wheels), eadem lumina (Hesperice cum laeta, bars 90-92: the two eyes correspond to the Quintus-Bassus duet). '

    2 : Meier, Bernardus, Cipriani Rore Opera Omnia, Vol I : Motets (American Institute of Musicology (AIM), 1959)
    - p.III : 'Effective use is made of the juxtaposition of high and low tonal levels, for instance in bars 13 3 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.'

    3 : Meier, Bernardus, Cipriani Rore Opera Omnia, Vol I : Motets (American Institute of Musicology (AIM), 1959)
    - p.II : 'Modus : 1, transposed'


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    Mon code : #6251 (M_1_34)