De muziek van Cypriaan De Rore

Domine Deus - Quis enim tibi - Tu ergo rerum

A. Type: Motet
B. Aantal stemmen: 5vv
Ct. Tekst: (met vertaling in het Nederlands Engels) : Lezen

E. Te vinden in de muziekbundel(s):

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

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

volgens: Lewis, Mary S. (1988) :
- 1549 : {Lewis_1} - 134 : 'RORE. MOTETTI A 5 LIB. III°'

volgens: Meier, Bernardus (1959) :
- 1549 : {RISM} - 1549_08 : 'Il terzo libro di Motetti a cinque voci di Cipriano de Rore, et de altri eccellentissimi musici, novamente ristampato, con una buona gionta de motetti novi.'

F. Moderne partituur:

See 'Meier, Bernardus : Cipriani Rore Opera Omnia, Vol I : Motets' : p.133

  • Inhoud van dit volume van Meier
  • American Institute of Musicology : Uitgave De Rore (B. Meier)

    I. Incipit: M_1_133.jpg Bron : 'Meier, Bernardus : Cipriani Rore Opera Omnia', American Institute of Musicology

    J. Discografie:

    1 - ' Cipriano De Rore : Sacred Sounds (Currende) , Currende, Erik Van Nevel (Warner Classics)

    L. Referenties:

    Referenties met citaat/commentaar:

    1 : 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.'

    Referenties zonder citaat:

    2 : Meier, Bernardus, Cipriani Rore Opera Omnia, Vol III : Madrigali 5 vocum (American Institute of Musicology (AIM), 1961)
    - p.VIII

    Pagina laatst bewerkt : 30/06/2022 20:08:43
    Eigen code : #6267 (M_1_133)