Version imprimante

La musique de Cipriano De Rore

Exaudiat me Dominus - Impleat Dominus


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: 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.56

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


    I. Incipit: M_1_56.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 : 'A further example of this type of contrast is provided by the upper voice of Exaudiat me Dominus, bars 133-144. The text reads, significantly enough: . .. et ceciderunt: nos autem surreximus, et erecti sumus, et erecti sumus. This is illustrated in the music by katabasis and low position on the one hand, with further episodic entry of the plagal range, and on the other by a melodie line which continually moves higher as phrase succeeds phrase (e '-a', a *-d '-b \ e '-c"-b *). In this chain of rising phrases, the final link is forged by the ascent from e to c" in the melody which illustrates the words Domine, salvos nos fac.'

    3 : Meier, Bernardus, Cipriani Rore Opera Omnia, Vol I : Motets (American Institute of Musicology (AIM), 1959)
    - p.IV : 'The arrangement of the superius in bars 51-54 of the motet Exaudiat me Dominus, at the words Tribuat mihi secundum cor meum, corresponds to the rhetorical 'Topos of Selfabnegation'. The effect of this katabasis is heightened by the simultaneous introduction of a commixtio primi toni, in other words a mode whose final lies below that of the otherwise prevailing fourth church mode.'


    Page (re)travaillée la dernière fois : 4/11/2017 15:44:27
    Mon code : #6254 (M_1_56)