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La musique de Cipriano De Rore

O sonno, O della queta' humida ombrosa


A. Type: Madrigaal
B. Nombre de voix: 4vv
C. Auteur du texte: Della Casa, Giovanni
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: Lewis, Mary S. (1997) :
- 1557 : {Lewis_2} - 231 : 'RORE. II° LIBRO DE MADREGALI A 4'

suivant: Meier, Bernardus (1969) :
- 1557 : {RISM} - 1557_24 : 'Di Cipriano de Rore il secondo libro de madregali a quatro voci con una canzon di Gianneto sopra di Pace non trovo con quatordeci stance novamente per Antonio Gardano stampato e dato in luce.'

suivant: Vogel, Emil (1892 (2de uitg., 1977)) :
- 1569 : {Vogel} - 52 : '(1569) CANTO | DI CIPRIANO DE RORE IL SECONDO LIBRO DE' MADRIGALI A QVATTRO VOCI | CON VNA CANZON DI GIANNETTO (!) | Di Quatordeci Stanze Sopra di Pace non trouo, | NVOVAMENTE CON OGNI | DILIGENTIA RISTAM-PATO. | LIBRO (Drz) SECONDO | IN VENETIA, Appresso Claudio da Correggio. | MDLXVIIII.'
- 1571 : {Vogel} - 53 : '(1571) CANTO | DI CIPRIANO DE RORE | IL SECONDO LIBRO DE MADRIGALI | A Quatro Voci, Con vna Canzon di Gianetto; sopra di Pace non trouo, Con | quatordeci stanze. Noua-mente con ogni dilligentia Ristampato. | A QVATRO (Drz) VOCI | CON GRATIA ET PRIVILEGIO | di Antonio Gardano. | 1571.'
- 1577 : {Vogel} - 51 : '(1577) TENOR | DI CIPRIANO DE RORE | IL SECONDO LIBRO DE MADREGALI | a quatro voci Con vna Canzon di Gianneto (!) sopra di Pace non trouo Con quatordeci | stanze Noua-mente per Antonio Gardano stampato et dato in luce. | CON GRATIA ET PRIVILEGIO | A QVATRO (Drz) VOCI | In Venetia Appresso di | Antonio Gardano. | 1557.'
- 1577 : {Vogel} - 54 : '(1577) TVTTI I MADRIGALI | DI CIPRIANO DI RORE | A QVATTRO VOCI, | SPARTITI ET ACCOMMODATI PER | sonar d'ogni sorte d'Instrumento perfetto, & per Qualunque studioso di Contrapunti (!). | Nouamente posti alle stampe. | (Drz) | In Venetia Apresso di Angelo Gardano. | 1577.'


F. Partition moderne:

See 'Meier, Bernardus : Cipriani Rore Opera Omnia, Vol IV : Madrigali 3-8 vocum' : p.66

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


    I. Incipit: M_4_66.jpg Source: 'Meier, Bernardus : Cipriani Rore Opera Omnia', American Institute of Musicology


    J. Discographie:

    1 - ' A Diamond Glint on Snow , The Bemidji Choir (Westmark)
    2 - ' Cipriano de Rore : Missa Vivat Felix Hercules, Nulla scientia melior, Six madrigals (Cappella Cordina) , Cappella Cordina, Enrique Planchart (Musical Heritage Society)
    3 - ' Dangerous Graces : Music by Cipriano de Rore and pupils , Musica Secreta (Linn Records)
    4 - ' Girolamo dalla Casa: Il vero modo di diminuir ' : [Arrangement: Girolama dalla Casa] , Ensemble Ars Cantus, Lapo Bramanti, Stefano Lorenzetti (Florentia Musicae)
    5 - ' I Vaghi Fiori - Madrigaux Italiens du XVI°s , Chamber Choir of Pécs, Aurel Tillai (Hungaroton Classical Diamonds)
    6 - ' Mirth and melancholy , Tactus (-)
    7 - ' Musa latina: l'invention de l'Antique , Ensemble Daedalus, Roberto Festa (Alpha)
    8 - ' Musik in alten Städten und Residenzen : München - Die Hofkapelle unter Orlando Di Lasso , Maria Frieshausen, Emmy Lisken, Theo Altmeyer, Claus Ocken (Columbia)
    9 - ' Quinta vox. Madrigale des 16. Jahrhunderts mit selbstgemachten Diminutionen ' : [Bewerking van Miko Ito en Martin Ehrhardt] , Miko Ito, Martin Ehrhardt (Tirando)
    10 - ' Saturn and Polyphony , Ensemble Daedalus, Roberto Festa (Accent) (listen MP3, 30sec. )
    11 - ' The Art of Melancholy , Ensemble Daedalus, Roberto Festa (Accent)
    12 - ' The Hilliard Ensemble : English and Italian Renaissance Madrigals , The Hilliard Ensemble (Veritas)
    13 - ' Toutes les nuits , Mattea Musso (Acqua Records)


    L. Références:

    Références avec citation/commentaire:

    1 : La Via, Stefano, Cipriano De Rore as reader and as read - A Literary-Musical Study of Madrigals from Rore's Later Collections (1557-1566). (Princeton University-UMI Research Press, Ann Arbor (MI), 1991 (october))
    - p.431 : Here an english transation of the poem can be found

    2 : La Via, Stefano, Cipriano De Rore as reader and as read - A Literary-Musical Study of Madrigals from Rore's Later Collections (1557-1566). (Princeton University-UMI Research Press, Ann Arbor (MI), 1991 (october))
    - p.437-460 : Here a detailed analysis can be found

    3 : Haar, James, Essays on Italian Poetry and Music in the Renaissance (University of California Press, Berkeley, Los Angeles, London, 1986) , ISBN: 0-520-05397-4 (ISBN-13: 978-0520053977)
    - p.120, 210 : p.210=musical example

    4 : Einstein, Alfred, The Italian Madrigal (vertaald naar het Engels door Alexander H. Krappe, Roger H. Sessions en Oliver Strunk) (Princeton University Press, New Jersey, 1949)
    - p.417 : 'It is the companion piece to the setting of Niccolo Amanio's sonnet Strane rupi, aspri monti . . . printed fifteen years earlier in the first book of the five-voiced madrigals. There the somber, romantic expression, the "inner tone-painting," was attained through the interweaving of the voices, through expansion, through disintegration - one might almost say, through unravelling - but at all events through polyphony and without alteration of the tonality. The later work rests its expression almost entirely upon homophony and the harmonie. It is a grandiose choral declamation, but it is a declamation governed by meaning, not by rhyme. Was Rore personally acquainted with della Casa, who was in Venice as papal nuncio from 1544 to 1550? One has the impression here that he has begun by reducing the sonnet to prose, or that he has sought to accommodate himself to the individual manner of the poet who "fancied the long period, avoided the constructions of familiar speech, affected the unusual word-order, caused his sentences to run over the ends of lines and stanzas, and in his choice of expression and phrase recalls Dante rather than Petrarch" (Wiese and Percopo, 'Gcschichte der italienischen Literatitur', p, 328). Not until the second part does the part-writing become more animated, though never so much so as to destroy the character of the grandiose choral monody.'

    Références sans citation:

    5 : Meier, Bernardus, Cipriani Rore Opera Omnia, Vol VIII : Psalmi, Cantica B.M.V., Cantiones Gallicae, etc (American Institute of Musicology (AIM), 1977)
    - p.XI

    6 : La Via, Stefano, Cipriano De Rore as reader and as read - A Literary-Musical Study of Madrigals from Rore's Later Collections (1557-1566). (Princeton University-UMI Research Press, Ann Arbor (MI), 1991 (october))
    - p.152-186

    7 : McClary, Susan, Modal Subjectivities - Self-fashioning in the Italian Madrigal (University of California Press, Berkeley, Los Angeles, London, 2004) , ISBN: 0 520 23493 6
    - p.107n6

    8 : Perkins, Leeman L., Music in the Age of the Renaissance (Norton & Company, W. W., 1999) , ISBN: 0-393-04608-7
    - p.681-685

    9 : Schick, Hartmut, Musikalische Einheit im Madrigal von Rore bis Monteverdi (Verlegt bei Hans Schneider, Tutzing, 1998) , ISBN: 3_7952-0926-9
    - p.48-52, 57

    10 : La Via, Stefano, Poesia per Musica e Musica per Poesia. Dai trovatori a Paulo Conte (Carocci Editore, Roma, 2006 (2de uitgave:2007)) , ISBN: 978 88 430 3899 2
    - p.39, 83, 103-105 115

    11 : Einstein, Alfred, The Italian Madrigal (vertaald naar het Engels door Alexander H. Krappe, Roger H. Sessions en Oliver Strunk) (Princeton University Press, New Jersey, 1949)
    - p.423


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    Mon code : #5796 (M_4_66)