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De muziek van Cypriaan De Rore

In convertendo Dominus - Converte, Domine

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

E. Te vinden in de muziekbundel(s):

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

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: Huys, Bernard (1965) :
- 1553 : {Huys} - 351_3 : 'PSALMI. Psalmorum selectorum a praestantissimis hujus nostri temporis in arte musica artificbus in harmonias quatuor, quinque, et sex vocum redactorum tomus primus (secundus, tertius, quartus)… - Tomus III (1553)'

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

volgens: 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. Moderne partituur:

See 'Meier, Bernardus : Cipriani Rore Opera Omnia, Vol I : Motets' : p.40

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

    I. Incipit: M_1_40.jpg Bron : 'Meier, Bernardus : Cipriani Rore Opera Omnia', American Institute of Musicology

    L. Referenties:

    Referenties met citaat/commentaar:

    1 : Meier, Bernardus, Cipriani Rore Opera Omnia, Vol I : Motets (American Institute of Musicology (AIM), 1959)
    - p.IV : 'This use of anabasis is no longer directiy pictorial but has acquired an expressive significance in the setting of the word laetantes (In convertendo Dominus, bars 80-90), coupled as it is with short measures and melismatically arranged text.'

    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.'

    3 : Meier, Bernardus, Cipriani Rore Opera Omnia, Vol I : Motets (American Institute of Musicology (AIM), 1959)
    - p.IV : 'Semitones too are powerful aids in the portrayal of emotion, as in bars 114-122 of In convertendo Dominus at the words qui seminant in ladirymis. '

    Referenties zonder citaat:

    4 : Lowinsky, Edward E., Rore's New Year's Gift for Albrecht V of Bavaria (, 1989)
    in : Blackburn, Bonnie J. : Music in he Culture of the Renaissance, and other essays: Edward E. Lowinsky, p. 636-643 (1989)

    Pagina laatst bewerkt : 18/08/2023 11:09:28
    Eigen code : #6252 (M_1_40)