gerelateerde werken
Genre:
Vocaal
Subgenre:
Gemengd koor
Bezetting:
GK
Psalm 120 : for mixed choir / br Kris Oelbrandt ocso; text translated by Kees Waaijman
Genre:
Vocaal
Subgenre:
Gemengd koor
Bezetting:
GK4
Madrigal concerto : for mixed choir, 1984 / Jurriaan Andriessen
Genre:
Vocaal
Subgenre:
Gemengd koor
Bezetting:
GK4
Genre:
Vocaal
Subgenre:
Gemengd koor
Bezetting:
GK4
compositie
26 Secular & Religious Motets (Volume I) : for 4, 5, 6 and 8 voices / Cipriano de Rore; transcribed and edited by Cees Wagemakers
Overige auteurs:
Wagemakers, Cees
(Editor)
Rore, Cipriano De
(Componist)
Bevat:
Descendi in hortum meum | SSAATTB (5’)
Deus pacis | ATTB (3’30”)
Illuxit nunc sacra dies | SAATB (2’45”)
Confitebor tibi Domine | AATTB (3’45”)
Agimus tibi | SAATB (2’)
Pater noster | SATBB (5’15”)
Dissimulare etiam – Quin etiam – Mene fugis | SATTB – SSATTB – SSAATTB (7’45”)
Donec gratus eram | SSAT-ATTB (5’30”)
Beati omnes qui timent Dominum – Ecce benedicetur homo | AATB (4’30”)
Miserere nostri – Alleva manum tuam | ATTB (4’30”)
Sub tuum præsidium | ATTB (2’15”)
O Crux benedicta | ATTB (3’)
Caro mea est vere cibus – Hic est panis | ATTB (6’45”)
Gratia vobis et pax | ATTB (3’15”)
Toelichting:
This bundle of motets (1559) - both religious and secular - shows imitational and canonic techniques, that must have inspired composers as Lassus, Palestriana, De Monte and later on even Monteverdi. It contains texts from ancient Latin poets as Virgil and Horace; and also psalms, antiphons and both canonic and apocryphal bible books. And there is also a poem by Nicolaus Stopius (Mirabar solito) written at the occasion of the wedding of Duke William V of Bavaria with Renata of Lorraine in 1568.
The most complicated secular motet - Dissimulare etiam sperasti for 5, 6 and 7 voices - is a part from Dido’s Lament from Virgil’s Aeneid. A complete range of emotions are presented: hope, sadness, loneliness, love and revenge. De Rore opens an arsenal of style figures that is so admired by later composers. We hear off-modus cadenzas, chromaticism, free dissonants, minor-major changes and more. The result is a piece full of tone repeats, dramatic outbursts and crescendos that point forward to Monteverdi’s Lamento d’Arianna. No wonder that Monteverdi’s admiration for De Rore is still tangible 50 years later.
Cees Wagemakers