gerelateerde werken
Genre:
Vocaal
Subgenre:
Gemengd koor
Bezetting:
GK
Song of Life (Levenslied) : for mixed choir / Kris Oelbrandt; lyrics by Anneke Grunder
Genre:
Vocaal
Subgenre:
Gemengd koor
Bezetting:
GK
Canto II : for five solo voices or mixed choir a cappella / Daan Manneke
Genre:
Vocaal
Subgenre:
Gemengd koor
Bezetting:
SSATB
Perfectly Broken (Volmaakt gebroken) : for mixed choir a cappella / text and music: Kris Oelbrandt
Genre:
Vocaal
Subgenre:
Gemengd koor
Bezetting:
GK
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