La musique de Cipriano De Rore

Quanti mercenarii - Pater, peccavi

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

E. Se trouve dans les sources de partitions suivantes:

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

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

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

suivant: 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. Partition moderne:

See 'Meier, Bernardus : Cipriani Rore Opera Omnia, Vol I : Motets' : p.86

  • Contenu de cette volume de Meier
  • American Institute of Musicology : Uitgave De Rore (B. Meier)

    I. Incipit: M_1_86.jpg 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.'

    2 : Meier, Bernardus, Cipriani Rore Opera Omnia, Vol I : Motets (American Institute of Musicology (AIM), 1959)
    - p.IV : 'The introduction of accidentals foreign to the mode often leads to the formation of irregular Phrygian cadences, for instance in bars 130-135 of In convertendo Dominus (Euntes ibant et flebant), bars 45-48 and 100-104 of Plange quasi virgo (et amara calde), bars 55-64 of Quanti mercenarii (pecavi), and bars 102f. of Levavi oculos meos (ab omni malo). Also worth mentioning is the music of the question Quid fecisti? (Domine Deus, bars 65-73): together with two regular cadences on the final G (second mode transposed), there are irregular Phrygian cadences in a and d.
    Still more unusal is the setting of the words dolorum meorum in corde meo (Tribularer, si nescirem, bars 72ff.): the Phrygian cadence in a which is, strictly speaking, not allowed in the third mode, is followed by a second cadence on d, still further away from the normal Phrygian closes. In contrast to this, Rore makes use of the Phrygian cadences d, a, and e at the end of the section of the motet O altitudo divitiarum beginning with the words et investigabiles vice eius (bars 33-48). All these cadences deviate from the norm adopted by the second mode transposed, though admittedly the cadence on e is somewhat disguised by the cadential progressions of the Cantus and Bassus.'

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    Mon code : #6259 (M_1_86)