Cite les oeuvres suivantes de De Rore
1 : Anchor che col partire, 4vv (Madrigaal) - [266, 16 Refs., , +Tne]
: www.allmusic.com : Anchor che col partire : 'In defending his transgressive use of dissonance in his madrigals, Monteverdi sought to demonstrate that his works continued a stylistic trajectory already undertaken decades before by Cipriano de Rore, a trajectory in which all compositional rules are subject to one overriding consideration: the vivid portrayal of the text and the emotions conveyed by it. Rore represents a crucial stage in this development of the madrigal, one in which poetic expression begins to be translated musically into finer, more nuanced gestures rather than in broad strokes and more general moods. Rore's works serve as a pivot in this shift from the more stylized, rhetorical approach of Willaert and the earlier Venetian school to the more immediate emotionality of the Seconda Prattica - essentially, from music as read poetry to music as experienced poetry. An examination of Rore's well-known and highly influential four-voice madrigal Anchor che col partire (published in 1547), demonstrates how this tension between delivering and embodying mirrors the similar tension, characteristic of the madrigal tradition, between technique and expression. In fact, the imagery of the madrigal text itself is fraught with this kind of dichotomous stress. The speaker says that whenever he has to leave his love, his sorrow is so poignant that it makes him want to leave continually, in order to continually enjoy the rapture of returning (all of this, of course, euphemistically projecting the eroticism at the heart of the Italian madrigal tradition). This back-and-forth idea finds close corollaries in the music, both in the deployment of the contrapuntal textures as well as the gravitation toward harmonic centers (the word ritorno falling on the first clear cadence). The texture thickens from freely alternating voice pairs to dense, imitative counterpoint as the speaker imagines leaving his love "1,000 times a day," then splits again, this time with voice pairs in shimmering homophony, anticipating the "sweet return." Rore continues the conceit here, however, veering the "return" gesture toward an unexpected and unfulfilling deceptive cadence in order to facilitate the idea being expressed. Thus, the dense counterpoint of "1,000 times a day" passage returns, again leading into the paired duets of the "sweet return" lines. This time the return is final, as all four voices combine in the anticipatory build-up leading to the conclusive closing cadence. Rore thus seeks to embody the immediate, first-hand feelings of the speaker, rather than the indirect experience of the reader.'
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