La musique de Cipriano De Rore

In die tribultionis meae

A. Type: Motet
B. Nombre de voix: 5vv
Ct. Texte: : Lire

E. Se trouve dans les sources de partitions suivantes:

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

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

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

suivant: 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. Partition moderne:

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

Contenu de cette volume de Meier

American Institute of Musicology : Uitgave De Rore (B. Meier)

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

L. Références:

Références avec citation/commentaire:

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.'

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Mon code : #6247 (M_1_19)