The music of Cipriano De Rore
Domine quis habitabit - Ad nihilum deductus est
A. Type:
Motet
B. Number of voices:
5vv
Ct. Text:
: Read
E. To be found in the following score sources:
following: Bernstein, Jane A. (1998) :
-
1545 :
{Bernstein} - 52
: 'Rore, Motetta quinque vocum'
following: CMME Project(The) - Dumitrescu (e.a.), Theodor :
-
{Census} - ParisBNC 851 ("Bourdeney Manuscript")
: '{Census} - ParisBNC 851 ("Bourdeney Manuscript")'
following: Lewis, Mary S. (1988) :
-
1545 :
{Lewis_1} - 73
: 'RORE. MOTETS A 5'
following: 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. Modern score:
See 'Meier, Bernardus : Cipriani Rore Opera Omnia, Vol I : Motets' : p.104
Contents of this volume of Meier
American Institute of Musicology : Uitgave De Rore (B. Meier)
I. Incipit:
Source:
'Meier, Bernardus : Cipriani Rore Opera Omnia', American Institute of Musicology
L. References:
References with citation/remark:
1 : Meier, Bernardus,
Cipriani Rore Opera Omnia, Vol I : Motets
(American Institute of Musicology (AIM), 1959)
- p.V
: 'It is also noteworthy that in some cases dissonances (suspensions of 6 5 or 6/4 5/3 , related in each case to the really lowest voice) are used in the sense of affective symbolism, as for example in Angustiae mihi sunt undique (bars 61-64: falsum testimonium, and 81f.: malitiose), Domine quis habitabit (bars 49-51: malum), In die tribulationis meae (bars 36f., 38f.: prae ladirimis), Levavi oculos meos (bars 94f.: ab omni malo), Quanti mercenarii (bars 20-27: Ego autem hic fame pereo) and Tribularer, si nescirem (bars 73f.: dolorum meorum). With this use of dissonances Rore apparently follows the steps of his teacher Willaert, whose motets too contain passages of this kind, when the text suggests such a procedure.'
Page last updated :
30/06/2022 20:08:43
My code :
#6262 (M_1_104)
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