La musique de Cipriano De Rore

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

J. Discographie:

MP3, 30sec.

L. Références:

Références avec citation/commentaire:

1 : La Via, Stefano, Cipriano De Rore as reader and as read - A Literary-Musical Study of Madrigals from Rore's Later Collections (1557-1566). (Princeton University-UMI Research Press, Ann Arbor (MI), 1991 (october))
- p.437-460 : Here a detailed analysis can be found

2 : La Via, Stefano, Cipriano De Rore as reader and as read - A Literary-Musical Study of Madrigals from Rore's Later Collections (1557-1566). (Princeton University-UMI Research Press, Ann Arbor (MI), 1991 (october))
- p.431 : Here an english transation of the poem can be found

3 : Haar, James, Essays on Italian Poetry and Music in the Renaissance (University of California Press, Berkeley, Los Angeles, London, 1986) , ISBN: 0-520-05397-4 (ISBN-13: 978-0520053977)
- p.120, 210 : p.210=musical example

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.417 : 'It is the companion piece to the setting of Niccolo Amanio's sonnet Strane rupi, aspri monti . . . printed fifteen years earlier in the first book of the five-voiced madrigals. There the somber, romantic expression, the "inner tone-painting," was attained through the interweaving of the voices, through expansion, through disintegration - one might almost say, through unravelling - but at all events through polyphony and without alteration of the tonality. The later work rests its expression almost entirely upon homophony and the harmonie. It is a grandiose choral declamation, but it is a declamation governed by meaning, not by rhyme. Was Rore personally acquainted with della Casa, who was in Venice as papal nuncio from 1544 to 1550? One has the impression here that he has begun by reducing the sonnet to prose, or that he has sought to accommodate himself to the individual manner of the poet who "fancied the long period, avoided the constructions of familiar speech, affected the unusual word-order, caused his sentences to run over the ends of lines and stanzas, and in his choice of expression and phrase recalls Dante rather than Petrarch" (Wiese and Percopo, 'Gcschichte der italienischen Literatitur', p, 328). Not until the second part does the part-writing become more animated, though never so much so as to destroy the character of the grandiose choral monody.'

Références sans citation:

5 : Meier, Bernardus, Cipriani Rore Opera Omnia, Vol VIII : Psalmi, Cantica B.M.V., Cantiones Gallicae, etc (American Institute of Musicology (AIM), 1977)
- p.XI

6 : La Via, Stefano, Cipriano De Rore as reader and as read - A Literary-Musical Study of Madrigals from Rore's Later Collections (1557-1566). (Princeton University-UMI Research Press, Ann Arbor (MI), 1991 (october))
- p.152-186

7 : Duffin, Ross W., Cipriano de Rore, Giovanni Battista Benedetti and the Just Tuning Conundrum (, 2017)
in : Journal of the Alamire Foundation - Volume 9, Number 2, Autumn 2017: Theme: Cipriano De Rore I, 239-266 (2017)

8 : McClary, Susan, Modal Subjectivities - Self-fashioning in the Italian Madrigal (University of California Press, Berkeley, Los Angeles, London, 2004) , ISBN: 0 520 23493 6
- p.107n6

9 : Perkins, Leeman L., Music in the Age of the Renaissance (Norton & Company, W. W., 1999) , ISBN: 0-393-04608-7
- p.681-685

10 : Schick, Hartmut, Musikalische Einheit im Madrigal von Rore bis Monteverdi (Verlegt bei Hans Schneider, Tutzing, 1998) , ISBN: 3_7952-0926-9
- p.48-52, 57

11 : La Via, Stefano, Poesia per Musica e Musica per Poesia. Dai trovatori a Paulo Conte (Carocci Editore, Roma, 2006 (2de uitgave:2007)) , ISBN: 978 88 430 3899 2
- p.39, 83, 103-105 115

12 : 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.423

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Mon code : #5796 (M_4_66)