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De muziek van Cypriaan De Rore

Hesperiae com laeta - Quis mihi te similem


A. Type: Motet
B. Aantal stemmen: 5vv
C. Tekstdichter: Faletti, Girolamo


E. Te vinden in de muziekbundel(s):

volgens: _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)'

volgens: Bernstein, Jane A. (1998) :
- 1549 : {Bernstein} - 88 : 'Primo libro de motetti a cinque voci'

volgens: CMME Project(The) - Dumitrescu (e.a.), Theodor :
- {Census} - ParisBNC 851 ("Bourdeney Manuscript") : '{Census} - ParisBNC 851 ("Bourdeney Manuscript")'

volgens: Lewis, Mary S. (1988) :
- 1549 : {Lewis_1} - 134 : 'RORE. MOTETTI A 5 LIB. III°'

volgens: 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.'

volgens: Owens, Jessie Ann (2001) :
- 1549 : {RISM} - 1549_07 : 'Primo libro di motetti a cinque voci da diversi eccellentissimi music composti et non stampati, novamente posti in luce, et con somma diligentia coretti. Come a' cantanti sarà manifesto.'


F. Moderne partituur:

See 'Meier, Bernardus : Cipriani Rore Opera Omnia, Vol I : Motets' : p.127

  • Inhoud van dit volume van Meier
  • American Institute of Musicology : Uitgave De Rore (B. Meier)


    I. Incipit: M_1_127.jpg Bron : 'Meier, Bernardus : Cipriani Rore Opera Omnia', American Institute of Musicology


    J. Discografie:

    1 - ' Motette und Madrigale der Renaissance - Josquin Des Prés - Cyprian de Rore , Die Prager Madrigalisten, Miroslav Venhoda (Intercord)


    L. Referenties:

    Referenties met citaat/commentaar:

    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.IV-V : 'The employment of unusual cadences brings us to a further method of relating word and tone, which was apparently widely used in the present motets, namely the commixtio tonorum inspired by pictorial or expressive elements in the text. Already Nulla scientia melior provides an impressive example at the words Nihil recte existimat, qui se ipsum ignorat (bars 94-108). The imitations starting on f and c (together with their octave transpositions), the melody formed from the fifth c'-f (c’'-f') and the fourth f'-c' (f"-c", f-c), and the cadences on F of this section (bars 97f., 101 f., 103 f.) belong to the fifth mode, which occurs here as a conscious break with the basic principle of adhering to the mode chosen for the composition. Such a change from the first mode transposed to the upper fourth (G, with b flat) can only be due to consideration for the text. This is true also of the cadence on G in bars 101 f. of Usquequo Domine (praevalui adversus eum) and the unprepared appearance of the fifth a'-e'' (re-la) instead of g-d" (ut-sol) in the superius of the motet Quid gloriaris in malitia (bars 67 ff., Propterea Deus destruet te) - Commixtio of the first with the third mode appears in the present motets particularly in Hesperia cum laeta: here the introduction of the third mode is bound up with the textlines Et modo divitias miratur fertilis agri (bars 21-29) and Quis mihi te similem pinxit, mea dulcis imago? (bars 58-71), and finally with the concluding distich (bars 96ff.).
    The return to the first mode is made by bringing in imitative motifs, whose melody is formed from this mode's species of fifth, re-la, before the entry of cadence on d, as in bars 29f. (Tenor, Quintus) and the imitative groups of bars 69ff. and 107ff. It is also in bars 55-57 of the motet In Domino confido (third mode) that we expect a cadence on d at the words Justus autem quid fecit?" ending the prima pars, but instead we get a turn to G on the final chord, a change only to be found otherwise at a „fuggir la cadenza". Thus Rore increases here the impression of confusion. The fact that „commixtio" is an unusual feature is stressed in bars 53-59 of Angustiae mihi sunt undique, where it is applied at the words „qui absconditorum es cognitor" in the melody of Tenor, Bassus, Quintus and Altus. AIthough by no means obvious here, the fifth la-re (d-G or d'-g) does replace the prevailing species sol-ut (c-f), while cadences on g are continually avoided.
    The return to the first mode is made by bringing in imitative motifs, whose melody is formed from this mode's species of fifth, re-la, before the entry of cadence on d, as in bars 29f. (Tenor, Quintus) and the imitative groups of bars 69ff. and 107ff. '

    3 : Owens, Jessie Ann, Cipriano De Rore (The New Grove) (, 2001)
    in : Grove Dictionary of Music and Musicians, The New -, (NG), Second Edition (published in twenty-nine volumes in the year 2001), Edited by Stanley Sadie, Executive Editor John Tyrell, (2001) : 'The years in Ferrara, especially the decade between 1547 and 1557, saw the publication or composition of 107 pieces [. . .] a motet (Hesperiae cum laeta) on a text by Ferrarese poet and diplomat Girolamo Faletti, describing a painting by Girolamo Carpi of Anna portrayed as Venus (Lowinsky)'

    Referenties zonder citaat:

    4 : Lowinsky, Edward E., Cipriano de Rore's Venus Motet: Its Poetic and Pictorial Sources (, 1989)
    in : Blackburn, Bonnie J. : Music in he Culture of the Renaissance, and other essays: Edward E. Lowinsky, p. 575-59 (1989)


    Pagina laatst bewerkt : 4/11/2017 15:29:08
    Eigen code : #6266 (M_1_127)