componist
Cipriano De Rore was a Flemish composer who was born in 1515/6 in Ronse, a small town between Brussels and Courtrai (Belgium, in the 16th century The Netherlands). He moved ...
gerelateerde werken
Genre:
Vocaal
Subgenre:
Gemengd koor
Bezetting:
GK
Ach, wat heerlijkheid : vocaal kwintet, 5 soli: sopraan, alt, tenor, bariton, bas / Hanna Beekhuis
Genre:
Vocaal
Subgenre:
Vocaal ensemble (2-12); Gemengd koor
Bezetting:
sopr alt ten bar bas / GK5
Genre:
Vocaal
Subgenre:
Gemengd koor
Bezetting:
GK
Assumpta est Maria : for mixed choir a cappella / Sem Dresden
Genre:
Vocaal
Subgenre:
Gemengd koor
Bezetting:
GK
compositie
26 Secular & Religious Motets (Volume II) : for 4, 5, 6 and 8 voices / Cipriano de Rore; transcribed and edited by Cees Wagemakers
Overige auteurs:
Wagemakers, Cees
(editor)
Bevat:
Benedictum nomen tuum – Ad te Domine – Iustus es, Domine | AATTB (8’15”)
Laudem dicite Deo | SATTB (2’45”)
Da pacem, Domine | SATTB (3’15”)
O altitudo divitiarum – Quis enim cognovit | SATTB (5’)
O qui populos suscipis | SATTB (3’)
O fortuna potens – Hæc aufert | SATTB (6'15")
Ecce odor filii – Esto, Domine | AATTB (5’15”)
Hodie Christus natus est | SSAATB (3’30”)
Mirabar solito – Virtutum ante alios | SSATBB (7’)
Ave regina coelorum | SAATTBB (4’15”)
Quem vidistis pastores | SAATTBB (4’15”)
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