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Source of scores :

'{Census} - MunBS B'

({Census} - MunBS B)

Manuscript
1557-1559


Relations :

  • Principal description: BSB Mus.ms. B(1 (1559) : BSB Mus.ms. B(1 (1559), 1559 (#W:24)

  • References :

    References with citation/comment:

    1 : Census-Catalogue of Manuscript Sources of Polyphonic Music 1400-1550 (CC) Volume II (K-O) (American Institute of Musicology (AIM), Hänssler-Verlag, D-7303 Neuhausen-Stuttgart, 1982, Census) , ISBN: 3-7751-0645-6 - p.232-233
    : 'Handschriften-Inkunabelabteilung. Musica MS B (olim Cim. 52; = MaiM 128); Rore-25, Rore/(P.Animuccia)-1'
    Note: ‘Rore-25’ signifies (following Census-Catalogue, Vol I, p. XX): between 1 and 25 pieces are attributed to De Rore in the manuscript; other attributions (if not in the manuscript) where established from concordances.
    Note: ‘Rore/(P.Animuccia)-1’ signifies (following Census-Catalogue, Vol I, p. XX): the piece is attributed to De Rore in the manuscript, but to P.Animuccia in other sources.

    2 : Cambier, Albert, De grootste roem van de stad Ronse : De komponist Cypriaan De Ro(de)re, "omnium musicorum princeps. (, Ronse, 1981)
    in : Annalen van de Geschied- en Oudheidkundige Kring van Ronse en het Tenement van Inde, XXX (1981), p. 5–56
    : 'Het is waarschijnlijk tijdens die "ledige" jaren dat hij een reis naar München maakte, bij zijn grote bewonderaar, hertog Albrecht V van Beieren. Van dit verblijf in de Beierse hoofdstad is ons althans het verbluffend realistisch portret van de kunstenaar overgebleven, geschilderd door de Beierse hofschilder Hans Mielich (fig. 2), als frontbladzijde van een bundel komposities van onze musi­cus die eveneens op rijk versierde wijze zijn geminiaturiseerd (afgewerkt in December 1559). Cypriaan De Rore kan toen nauwelijks 43-44 jaar oud geweest zijn, maar hij is er ongevleid op afgebeeld als een versleten, en gekweld mens :

    Fig03

    '

    3 : 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.385-386
    : 'Albrecht V [of Bavaria] gave his admiration for Rore a further and monumental expression by ordering the preparation, during the following two years, of the magnificent Munich codex containing twenty-six of Rore's motets: 153 parchment leaves, among them 83 with miniatures by the Munich court painter Hans Muelich, and on p. 304 a half-portrait of the master. The codex was completed in December 1559; five years later there was added an equally magnificent commentary, the text of which was the work of the humanist Samuel Quickelberg, a learned younger compatriot of Rore's. The codex contains not only sacred motets but also five secular compositions to Latin texts : the great tripartite scène of Dido's death from the fourth book of the Aeneid 'Dissimulare etiam sperasti', Horace's ode 'Donec gratus eram tibi', a hymn of praise for five voices in honor of Duke Ercole, another in honor of Duke Albrecht V, also for five voices, and finally an epigram on the force of destiny, by Caelius Firmianus Simphosius 'O fortuna potens tantum iuris', Of these compositions, the only one printed by Rore himself is that for the Duke of Bavaria; not one has been reprinted. Rore was able to sit in person for the painter of the Munich miniature, in March or April 1558.'

    References without citation:

    4 : Digital Image Archive of Medieval Music (DIAMM) (Oxford, 1998-) - p.Webpage MunBS B

    5 : Fisher, A.J., The Munich court chapel (, 2009)
    in : Early Music (EM), 2009, vol.37, iss.1, pg113-114


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