The music of Cipriano De Rore

In die tribultionis meae

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

E. To be found in the following score sources:

following: _Onderzoek van de bron (internet) door Arnold Loose en/of Wim Daeleman (2016) :
- 1550 (ca.) : BSB 16 (ca.1550) : 'BSB 16 (ca.1550)'

following: Collins Judd, Cristle (2000) :
- 1560, circa ) (source: OwensM) : {Census} - ModE C.314 : '{Census} - ModE C.314'

following: Lewis, Mary S. (1988) :
- 1544 : {Lewis_1} - 56 : 'RORE. MOT. A 5 LIB. I'

following: Meier, Bernardus (1959) :
- 1544 : {RISM} - 1544_06 : 'Cipriani musici eccelentissimi cum quibusdam aliis doctis authoribus motectorum nunc primum maxima diligentia in lucem exeuntem Liber primus quinque vocum.'

F. Modern score:

See 'Meier, Bernardus : Cipriani Rore Opera Omnia, Vol I : Motets' : p.19

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

    I. Incipit: M_1_19.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 20:08:50
    My code : #6247 (M_1_19)