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De muziek van Cypriaan De Rore

Calami sonum ferentes


A. Type: Motet
B. Aantal stemmen: 4vv
Ct. Tekst: (met vertaling in het Nederlands Frans Engels) : Lezen


E. Te vinden in de muziekbundel(s):

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

volgens: Huys, Bernard (1965) :
- 1566 : {Huys} - 378 : 'RORE (Cyprien de). Di Cipriano [de Rore] e Annibale [Padovano] Madrigali a quatro voci insieme altri eccellenti autori. Nuovamente per Antonio Gardano con ogni diligentia ristampati.'
- 1566 : {RISM} - 1566_18 : 'Di Cipriano e Annibale madrigali a quatro voci insieme altri eccellenti autori, nuovamente per Antonio Gardano con ogni diligentia ristampati . . .'

volgens: Lewis, Mary S. (2005) :
- {Lewis_3} - 291 : 'CANTO (TENORE, BASSO) | Dl CIPRIANO ET ANNIBALE | MADREGALI A QVATRO VOCI INSIEME | ALTRI ECCELLENTI AVTORI NOVAMENTE | Con ogni diligentia stampati & dati in Luce. | CON GRATIA ET PRIVILLEGIO. | A QVATRO VOCI | In Venetia appresso di | Antonio Gardano. | 1561.'
- 1566 : {Lewis_3} - 380 : 'CANTO (ALTO, TENORE, BASSO) | DI CIPRIANO ET ANNIBALE | MADRIGALI A QVATRO VOCI INSIEME | ALTRI ECCELLENTI AVTORI, NVOVAMENTE | per Antonio Gardano Con ogni diligentia Ristampati. | A QVATRO [pr mk] VOCI | In Venetia apresso di Antonio Gardano. | 1566'

volgens: Meier, Bernardus (1975) :
- 1555 : {RISM} - 1555_29 : 'D'Orlando di Lasus il primo libro dovesi contengono madrigali, vilanesche, canzoni francesi e motetti a quattro voci, nuovamene impressi.'
- 1555 : {RISM} - 1555_19 : 'Le quatoirsiesme livre a quatre parties contenant dixhuyct chansons italiennes, six chansons francoises, & six motetz faictz (la nouvelle composition d'aucuns d'Italie) par Rolando di Lassus nouvellement imprimé . . .'

volgens: Vogel, Emil (1892 (2de uitg., 1977)) :
- 1561 : {Vogel} - 50 : '(1561) CANTO | Dl CIPRIANO ET ANNIBALE | MADREGALI A QVATRO VOCI INSIEME | ALTRI ECCELLENTI AVTORI NOVAMENTE | Con ogni diligentia stampati & dati in Luce. | CON GRATIA ET PRIVILLEGIO (!) | A QVATRO (Drz) VOCI l In Venetia appresso di | Antonio Gardano. | 1561.'
- 1561 : {Vogel} - 50a : '(1561) CANTO | Dl CIPRIANO ET ANNIBALE MADRIGALI A QVATRO VOCI INSIEME | ALTRI ECCELLENTI AVTORI NOVAMENTE | Con ogni diligentia stampati & dati in Luce. | LIBRO (Drz) QVINTO (!) | In Venetia Appresso di | Antonio Gardano. | 1561.'
- 1575 : {Vogel} - 50c : '(1575) TENORE | Dl CIPRIANO ET ANNIBALE | MADRIGALI A QVATTRO VOCI . . . (wie 50b, 1566) NVOVAMENTE | Con nuoua Gionta Ristampati. j CON PRI-VILEGGIO. | AQVATRO (Drz) VOCI | In Venetia Appresso li Figliuoli | di Antonio Gardano. | 1575.'
- 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. Moderne partituur:

See 'Meier, Bernardus : Cipriani Rore Opera Omnia, Vol VI : Motets' : p.108

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


    I. Incipit: M_6_108.jpg Bron : 'Meier, Bernardus : Cipriani Rore Opera Omnia', American Institute of Musicology


    J. Discografie:

    1 - ' Blast ' : [jazzy bewerking van 'Calami sonum ferentes' van De Rore] , Kumquat (Vibrant)
    2 - ' Cipriano de Rore : Ancor che col partire ' : [3 bass viols, violone] , Cappella Mediterranea, Choeur de Chambre de Namur, Doulce Mémoire, Vox Luminis, Clematis, L'Achéron, Bernard Foccroulle, Jean Tubéry, Juliette Perret, Paulin Bündgen, Jérémie Papasergio, Marie Bournisien, Quito Gato, Miguel Henry, Lionel Desmeules (Ricercar)
    3 - ' Cipriano de Rore : Missa Praeter Rerum Seriem (Huelgas Ensemble) , Huelgas Ensemble, Paul Van Nevel (Harmonia Mundi) (listen MP3, 30sec. )
    4 - ' Codex Tarasconi diminuito , I Fedeli (Passacaille)
    5 - ' In Musica Vivarte: Musical Selection from Huelgas Ensemble ' : [originele uitgave op CD : Italia Mia : Musical Imagination of the Renaissance] , Huelgas Ensemble, Paul Van Nevel (Sony Vivarte)
    6 - ' Italia Mia : Musical Imagination of the Renaissance , Huelgas Ensemble, Paul Van Nevel (Sony Classical Vivarte)
    7 - ' L’Arte dei Piffari: Cornetts and Sackbuts in Early Baroque Italy , Ensemble Ventosum (Pan Classics)
    8 - ' O, monde aveugle ! ' : [arr. van Zefiro Torna] , Zefiro Torna (Homerecords)
    9 - ' Phoenixvoegel : Tage Alter Music, Herne 2006 , Weser Renaissance, Manfred Cordes (Stadt Herne)
    10 - ' Universal Melodies , United Sounds of Bassoon (Camerata)


    L. Referenties:

    Referenties met citaat/commentaar:

    1 : Gauldin, Robert, A Practical Approach to Sixteenth-Century Counterpoint (Prentice Hall, Inc., Englewood Cliffs, New Jersey 07632, 1985, (reissued: 1995 Waveland Press)) , ISBN: 0-88133-852-4 (ISBN-13: 978-0-88133-852-2
    - p.269_270 : (with music example)

    2 : Feeney, Ann, Calami sonum ferentes : Composition Description ()
    in : All Music Guide (www.allmusic.com), : www.allmusic.com : Calami sonum ferentes : 'This is one of the most unusual works of Renaissance vocal writing, and later a highly influential one, especially as it serves as almost a compedium of techniques of vocal writing. The text is a Latin poem describing how nothing can remove sorrow from the poet's heart, not the sound of music or the sounds of nature. The gloom of the text is vividly reflected in the music, right from the beginning. The piece starts with a chromatic entry in the bass line, and so the listener expects the next voice to come in at a higher pitch, but instead, another bass enters, followed by yet another bass, and then a fourth. (Occasionally the work is sung by three basses and one baritone.) The voices largely imitate one another, but in the middle of the work there is a section of more chordal writing, and also a very striking sudden monophony. The entire work is peppered with chromaticism, which, coupled with the unrelenting gloom of the four bass voices, makes this work as unsettling as some of Gesualdo's works'

    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 [. . .] three compositions concerning the unauthorized departure of Prince Alfonso for France in 1552 and his return in 1554 (Calami sonum ferentes, Volgi’l tuo corso, Quando lasciaste signor). [. . .] His daring chromatic experiments in Calami sonum ferentes, written for four bass voices, and published by Lassus together with one of his own experiments, fit in with the Ferrarese passion for chromaticism displayed by Vicentino, Manara, Fiesco and others.'

    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.414-415 : 'Rore, too, seems to have paid his respects to the goddess of experimentation: namely, with his four-voiced ode Calami sonum ferentes, published in 1555 in a print of Orlando Lasso's (Il primo libro dove si contengono Madrigali, Vïlansche, Canzoni francesi, e Motetti . . . Antwerp, T. Susato). Lasso added to it his own rival composition Alma nemes. He must have become acquainted with Rore's piece in 1554 or 1555 on his journey from Rome to Antwerp and perhaps obtained it in Ferrara from Rore himself. The text implores the muse to brighten the poet's melancholy mood with her sweet song. [. . .] It is a frank challenge, like Willaert's duo, and as such represents no norm; but it reveals a perfect understanding of the harmonie relationships within a circle of keys extending from B major to F minor, and this understanding is made to serve a poetic and artistic intention, as is the opposition of the polyphonic outer sections to the more chordal inner section in triple time. And with this we touch on a new and characteristic feature of Rore's madrigal style, and not only Rore's: any excursion into the region of unfamiliar harmonies is usually associated with homophony. The antithesis of the linear and chordal orientations has become more pronounced. Thus, in the pieces in which it is harmonie, Rore's second book of four-voiced madrigals is also homophonic, A new field of expression has been won. The Latin ode was not really an experiment. Yet it was also not a norm; this follows even from the most extreme among the nine pieces of this second book. [. . .]'

    Referenties zonder citaat:

    5 : Lowinsky, Edward E., Calami sonum ferentes : A New Interpretation (, 1989)
    in : Blackburn, Bonnie J. : Music in he Culture of the Renaissance, and other essays: Edward E. Lowinsky, p. 595-626 (1989)

    6 : Meier, Bernardus, Cipriani Rore Opera Omnia, Vol VI : Motets (American Institute of Musicology (AIM), 1975)
    - p.XI-XII

    7 : Daeleman, Wim, De madrigaalkunst van Cypriaan De Rore, een Vlaams componist werkzaam in Italië midden 16de eeuw, en door tijdgenoten 'Omnium Musicorum Princeps' genoemd. (, Ronse, 2007)
    in : Annalen van de Geschied- en Oudheidkundige Kring van Ronse en het Tenement van Inde, LVI (2007)

    8 : Bossuyt, Ignace, De Vlaamse polyfonie (Davidsfonds , Leuven, 1994) , ISBN: 90-6152-843-7
    - p.135

    9 : Williams, Peter, The Chromatic Fourth during Four Centuries of Music (Clarendon Press Oxford, Oxford, 1997) , ISBN: ISBN13: 9780198165637, ISBN10: 0198165633
    - p.12-16

    10 : Nuernberger, L. Dean, The Five-Voiced Madrigals of Cipriano de Rore. (University of Michigan Press , 1963)
    - p.21

    11 : Roche, Jerome, The Madrigal (Oxford University Press, Oxford, 1990) , ISBN: 0-19-313131-5
    - p.108

    12 : Lowinsky, Edward E., Tonality and Atonality in Sixteenth-Century Music (University of California Press, Berkeley, Los Angeles, 1961, 1962)
    - p.39

    13 : Schiltz, Katelijne, Vulgare Orecchie - Purgate Orecchie - De relatie tussen publiek en muziek in het Venetiaanse motetoeuvre van Adriaan Willaert (Universitaire Pers, Leuven , Leuven, 1993) , ISBN: 90 5867 328 6
    - p.127


    Pagina laatst bewerkt : 22/10/2017 16:14:29
    Eigen code : #5867 (M_6_108)