La musique de Cipriano De Rore

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

J. Discographie:

MP3, 30sec.

Jr. Emission radio:

K. Remarques:

Parodieën en vroege bewerkingen (bron: Arnold Loose):
- Philippus De Monte: Missa super Anchor che col partire
- Balduin Hoyoul: Missa super Anchor che col partire
- Jachet de Mantua: Missa super Anchor che col partire
- Orlandus Lassus: Magnificat super Anchor che col partire
- Andrea Gabrieli: Anchor che col partire (tabulatuur voor klavecimbel naar De Rore)
- Antonio Gardano: bewerking voor instrumenten
- Thomas Mancinus: bewerking voor zangers
- Giovanni Battista Spadi: bewerking voor blokfluit en klavecimbel
- Vicento Galilei: bewerking voor luit
- Antonio de Cabezòn: Anchor che col partire: sobre una obra de Rore (bewerking voor klavier)
- Giovanni Bassano: Anchor che col partire (bewerking voor melodische instrumenten)
- Riccardo Rogniono (ca. 1550 – 1620) in: Passaggi per potersi essercitare (Venetië, 1592)

L. Références:

Références avec citation/commentaire:

1 : Grimshaw, Jeremy, Anchor che col partire : Composition Description ()
in : All Music Guide (www.allmusic.com), : 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.' '

2 : Owens, Jessie Ann, Cipriano De Rore (The New Grove) (, 2001)
in : Grove Dictionary of Music and Musicians, The New -, (NG), Second Edition (published in twenty-nine volumes in the year 2001), Edited by Stanley Sadie, Executive Editor John Tyrell, (2001) : 'His setting of Anchor che co’l partir, on a text traditionally ascribed to Alfonso d’Avalos (but this ascription has been challenged by Haar, 1990), participates in the traditional madrigalian topos of death as sexual release. This madrigal achieved extraordinary popularity.'

3 : Swigchem, Lineke (Van), Io canterei d'amor si novamente: de madrigalen van Cipriano De Rore (, Doctoraalscriptie, Universiteit van Amsterdam, 1993)
- p.131-137 : analyse

4 : Einstein, Alfred, The Italian Madrigal (vertaald naar het Engels door Alexander H. Krappe, Roger H. Sessions en Oliver Strunk) (Princeton University Press, New Jersey, 1949)
- p.403-404 : 'Anchor che col partire was even reprinted as late as the seventeenth century, and there were dozens of arrangements, paraphrases, and parodies for the lute and other instruments, for example the arrangement for the lute by Vincenzo Galilei (1568). As late as 1612 it was parodied by Gabriello Puliti of Montepulciano in the form of a mascherata for three voices: Ancor ch'al parturire. . . . As an aid to the understanding of the idiom of Rore's four-part madrigals and of the taste of his time, it will perhaps be best to reproduce it here, although through Hawkins and Kiesewetter it again became familiar in the eighteenth and nineteenth centuries.
However strange it may seem to us, there can be no doubt that the poem contributed also to this unparalleled success; it is the work of Alfonso d'Avalos Marchese del Vasto (1502-1546), a cousin of the famous Pescara and hence a brother-in-law of the equally famous Vittoria Colonna. It is the exact opposite of poetry - an epigram, an argument reduced to the most concise formula, remote from all true feeling but for this very reason accessible and attractive to the taste of the time. Even so, the chief factor was the music. This still recalls the early madrigal in that the voices are led in pairs, two against two, an arrangement which gives way to a more compact texture only in the central section and at the end. This too is essential to success, which comes most readily, not to radical, revolutionary works, but to those that combine the old with the new. The new elements in this madrigal are three: the freedom in the voice-leading, the transparency of the harmonie texture, and above all the freedom of tempo, which cannot be explained as due to a pictorial intention as in the older madrigal, where at the words correre and fuggire the voices may begin to run or fly. This madrigal no longer has a uniform tempo; technically speaking, it is a matter of indifference that the time-signature is C and not . A new freedom of incalculable consequence has been won. The madrigal may now change its tempo in two ways, according to its expressive need. With the sign it may accelerate the tempo, while with the sign C it may retard it. This new freedom will obtain international validity, and by measuring the extent of its use, one may estimate the Italian influence on a French, a German, or an English master. As an example, there is the case of Anthoine de Bertrand of Auvergne, who recalls Rore and his successors in his harmonic boldness also.'

5 : Einstein, Alfred, The Italian Madrigal (vertaald naar het Engels door Alexander H. Krappe, Roger H. Sessions en Oliver Strunk) (Princeton University Press, New Jersey, 1949)
- p.389 : 'When Orazio Vecchi wishes to parody a familiar madrigal in his Amphiparnasso (1579), he chooses Rore's Anchor che col partire.'

Références sans citation:

6 : Reynolds, Christopher, Alessandro' Striggio's Analysis of Cipriano de Rore's "Ancor che col partire" (, 2017)
in : Journal of the Alamire Foundation - Volume 9, Number 2, Autumn 2017: Theme: Cipriano De Rore I, 197-2018 (2017)

7 : Ferand, Ernest. T., Anchor che col partire - Die schicksale eines berühmten Madrigals (, 1962)
in : Festschrift (für) Karl Gustav Fellerer zum 60. Gebursttag, 1962, pp. 137-154 (1962)

8 : Meier, Bernardus, Cipriani Rore Opera Omnia, Vol IV : Madrigali 3-8 vocum (American Institute of Musicology (AIM), 1969)
- p.IV (footnote)

9 : Feldman, Martha, City Culture and the Madrigal at Venice (University of California Press, Berkeley, Los Angeles, London, 1995) , ISBN: 0-520-08314-8
- p.372

10 : François, Anne - Hoof, Els (Van), Collection F. J. Fétis - Catalogus I : Manuscripts (Koninklijke Bibliotheek Brussel , Brussel, 1995)
- p.352

11 : Vereertbrugghen, Liersbet - Opstal, Nicole (Van) - Abeele, Hendrik (Vanden), De stilte van de muziek voor Bach (Borgerhoff & Lambrechts, Gent, 2020) , ISBN: 9789463 632448
- p.275

12 : Edelmann, Bernd, Komposition als Vexierbild: Das Madrigal Anchor che col partire von Cipriano de Rore (, 1999)
in : Edelmann, Bernd - Kurth, Sabine : Festschrift Reinhold und Roswitha Schlötterer zum 70. Geburtstag, 39-46 (1999)

13 : Schick, Hartmut, Musikalische Einheit im Madrigal von Rore bis Monteverdi (Verlegt bei Hans Schneider, Tutzing, 1998) , ISBN: 3_7952-0926-9
- p.42f.

14 : Lockwood, Lewis, Text and Music in Rore's Madrigal 'Anchor Che Col Partire" (, 1992)
in : Musical Humanism and its Legacy - Essays in Honor of Claude V. Palisca (Festschrift Series No. 11), p. 243–51 (1991)

15 : Roche, Jerome, The Madrigal (Oxford University Press, Oxford, 1990) , ISBN: 0-19-313131-5
- p.30, 37, 57

16 : Haar, James, The Science and Art of Renaissance Music (Princeton University Press, Princeton, New Jersey, 1998) , ISBN: 0-691-02874-5
- p.245

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