The music of Cipriano De Rore

Domine quis habitabit - Ad nihilum deductus est

A. Type: Motet
B. Number of voices: 5vv
Ct. Text: : Read

E. To be found in the following score sources:

following: Bernstein, Jane A. (1998) :
- 1545 : {Bernstein} - 52 : 'Rore, Motetta quinque vocum'

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

following: Lewis, Mary S. (1988) :
- 1545 : {Lewis_1} - 73 : 'RORE. MOTETS A 5'

following: 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. Modern score:

See 'Meier, Bernardus : Cipriani Rore Opera Omnia, Vol I : Motets' : p.104

  • Contents of this volume of Meier
  • American Institute of Musicology : Uitgave De Rore (B. Meier)

    I. Incipit: M_1_104.jpg Source: 'Meier, Bernardus : Cipriani Rore Opera Omnia', American Institute of Musicology

    L. References:

    References with citation/remark:

    1 : Meier, Bernardus, Cipriani Rore Opera Omnia, Vol I : Motets (American Institute of Musicology (AIM), 1959)
    - p.V : 'It is also noteworthy that in some cases dissonances (suspensions of 6 5 or 6/4 5/3 , related in each case to the really lowest voice) are used in the sense of affective symbolism, as for example in Angustiae mihi sunt undique (bars 61-64: falsum testimonium, and 81f.: malitiose), Domine quis habitabit (bars 49-51: malum), In die tribulationis meae (bars 36f., 38f.: prae ladirimis), Levavi oculos meos (bars 94f.: ab omni malo), Quanti mercenarii (bars 20-27: Ego autem hic fame pereo) and Tribularer, si nescirem (bars 73f.: dolorum meorum). With this use of dissonances Rore apparently follows the steps of his teacher Willaert, whose motets too contain passages of this kind, when the text suggests such a procedure.'

    Page last updated : 30/06/2022 20:08:43
    My code : #6262 (M_1_104)