Cipriano de Rore

from Wikipedia, the free encyclopedia
Miniature by Cipriano de Rore, by Hans Mielich around 1559

Cipriano de Rore (* 1515 or 1516 in Ronse (French: Renaix); † between September 11 and 20, 1565 in Parma ) was a Franco-Flemish composer , singer and conductor of the Renaissance .

Live and act

After a long disagreement about de Rore's place of birth, it was proven in 1983 that he came from Ronse, a Flemish city west of Brussels ; the name Rore has been known there since 1400. In the coat of arms of the wealthy family he comes from, two crossed scythes can be seen in front of an oval; The composer used this coat of arms to seal his letters and it is also on his memorial stone in the Cathedral of Parma. His first name refers to St. Cyprianus, who was venerated in Ronse in the chapter church of St. Hermes. Little information is available about de Rore's early years. The tribute madrigal "Alma real, se come fida stella", probably composed in 1561 for Margaret of Parma , suggests that a previous employment relationship with the governor of the Netherlands is possible. Margareta stayed in Italy from 1533; if de Rore was one of their entourage, his stay in Italy would be plausible from this year or later. However, there is no evidence of this. The assertion made by musicologists in the 19th century that de Rore worked as a chapel singer in the music band of San Marco in Venice in the late 1530s and early 1540s could not be confirmed by any evidence. Some sources refer to the composer as a student of Adrian Willaert , but this need not necessarily have been a close teacher-student relationship. Cipriano de Rore certainly had good contact with the inner circle around Willaert, as can be seen from poems by Girolamo Fenaruolo , which were published in 1546.

The research on the correspondence of the Strozzi family has shown that Ruberto Strozzi (around 1512-1566) and Neri Capponi (1504-1594), two nobles who had been banished from Florence and one in Venice during the creation of the Musica Nova by Adrian Willaert played an important role who were the first patrons of de Rore. He composed madrigals, motets and canzoni for them . The letters also testify that de Rore very likely stayed in Brescia from 1542 to 1545 and, on occasional trips to Venice, perhaps supervised the printing of his madrigals and motets there. At the same time, several compositions of homage to ecclesiastical and secular prominent persons were written, from whom the composer may have expected a job. The fact that Cipriano de Rore was held in high esteem from an early age is evident from his relationships with aristocratic circles in northern and central Italy, such as Cristoforo Madruzzo (1512–1578), Cardinal of Trent , for whom he composed “Quis tuos presul”, or to Guidobaldo II della Rovere (1514–1574), Duke of Urbino , for whom the works "Itala quae cecidit" and "Cantiamo lieti" were written.

In 1546, Duke Ercole II. D'Este (1508–1559) brought him to his court in Ferrara as Kapellmeister , where he worked almost without interruption for almost twelve years after Ferrara had previously been recognized as an outstanding center of the arts, especially music, was known. During this time, de Rore wrote at least 107 works there for the d'Este family and for members of the clerical and secular upper classes in Europe. Two masses and a secular motet were written for his employer Ercole , and for his brother, Cardinal Ippolito II (1509–1572), the composition “O qui populos suscipis” based on a text by the Ferrarese court poet Giovanni Battista Pigna , by whom de Rore wrote further poems set to music. He also maintained good relationships with other court poets, such as Giambattista Giraldi (called Cinzio ) and Girolamo Faletti, and set their poems to music . In 1557 he composed the madrigal “Un 'altra volta in Germania stride” for Emperor Charles V. Because of the death of his brother Celestinus, Cipriano de Rore set out on a trip to Flanders with the Duke's permission in March 1558 and interrupted the trip in Munich , where he supervised the production of the magnificent manuscript of his four- to eight-part motets at the court of Duke Albrecht V could. This collection also contains a portrait of the composer by the court painter Hans Mielich , who also contributed numerous other miniatures. Together with two composition cycles by Orlando di Lasso , the contents of this magnificent volume are counted as part of the Musica reservata cultivated at the Munich court . Duke Albrecht received a New Year's present from de Rore in January 1559 in the form of an undisclosed composition.

After spending several months in his homeland, de Rore returned to Ferrara in December 1558, but had to travel to Flanders again in July 1559 because the town of Ronse burned down on July 19, 1559 as a result of the War of Independence and his parents had lost their belongings . In the meantime, his employer, Duke Ercole, had died on October 3, 1559, and after his return Cipriano de Rore tried to extend his position as conductor with the successor Alfonso II. D'Este . However, the position was given to Francesco dalla Viola , who had helped the Duke with the publication of Willaert's Musica Nova . The regent of the Netherlands, Margaret of Parma, initially called de Rore to Brussels and in 1560 referred him to the court of her husband Ottavio Farnese in Parma, whereupon the composer left Brussels on September 19, 1560, traveled to Parma and there on February 18, 1561 got his first salary. When Adrian Willaert died in Venice in December 1562, Cipriano de Rore wrote the motet “Concordes adhibete animos” in honor of the deceased master and in 1563 he succeeded him at the Basilica of San Marco. But the following year he gave up this prestigious position again after the organizational deficiencies caused by the division of the local band had taken full effect. A letter dated July 12, 1564 speaks of gravezza del servitio and disordine .

De Rore still had correspondence with the Duke of Parma during his Venetian days and then returned to his previous position. For the wedding of Duke Ottavio's son, Alessandro Farnese , with Maria of Portugal (1538–1577), de Rore composed the madrigal “Vieni, dolce Himeo” and perhaps also “Ne l'aria in questi dì”. In the last years of his life he maintained contacts with various ecclesiastical and secular dignitaries in Italy and Tyrol and dedicated compositions to them. The composer died in September 1565 at the age of about 50, although details of the circumstances have not been passed down.

meaning

Anchor che col Partire , 1550

Cipriano de Rore wrote over 100 madrigals, most of which appeared in seven madrigal books. Of these seven, only the two first published, those of 1542 and 1550, contain exclusively works by the composer, the other five books are collective prints. With his first book, Madrigali a cinque voci , which two years later (1544) saw an expanded new edition under the name Il primo libro de madregali cromatici, he made a name for himself among his contemporaries as a mature composer with great talent. A strong Venetian influence can be seen in his madrigals, which is evident in a compact, imitative polyphony , which was previously only common for motets, and in his preference for the sonnet , especially for the canzoniere by Francesco Petrarca . De Rore preferred dark themes, which he set to music with the appropriate cosmopolitan and dramatic means. In his first publication he also considerably expanded the range of rhythmic values ​​by using the notation a note nere . Not all madrigals are somber in character; the best counterexample is the four-part “Anchor che col partire”, which rose to extraordinary popularity. It was often vocal and instrumental and served as a template for parody masses by Philippe de Monte and Balduin Hoyoul and for a parody magnificat by Orlando di Lasso . In his third book of madrigals (1548), his musical style gradually changes to homophonic passages, abrupt changes in tempo and texture, and flexible speech rhythms.

After a break from 1550 to 1557, during which the composer did not publish anything, de Rore showed a significantly changed compositional style with a changed harmonic and melodic language. For the setting of some stanzas of the Orlando furioso by Ludovico Ariosto (1474–1533), he takes up the tradition of improvvisatori from Ferrara and sometimes combines it with a canonical spelling. His increased use of transparent voices, homophonic declamation , a rich harmonic palette and lively text expression mark Cipriano de Rore as a clear forerunner of the future seconda pratica , as it was later represented by Claudio Monteverdi . The composer's secular Latin pieces developed in the same way. In the eight-part “Donec gratus eram tibi” based on an ode by Horace, the dialogical text of the poem is presented homophonically by two four-part choirs.

There is only one print, the second from 1545, which contains motets by de Rore only, with the pieces arranged in a modal manner ; the others are collections of various composers (anthologies), namely Liber primus (1544) and Terzo libro (1549). The collection from 1563 contains only four-part motets “a voci pari”; there is also suspected the existence of another collection, which is now lost. Many of the composer's motets have survived in important manuscripts. First and foremost is the richly decorated manuscript with 26 secular and religious Latin four- to eight-part pieces, created with the support of Duke Albrecht V. Two other manuscripts from around 1560 from the court of Ferrara are in the library of the d'Este family in Modena . Similar to the madrigals, the motets show a progressive tendency towards greater transparency through syllabic text declamation and intensified text expression. The aforementioned Munich manuscript with its examples of canon technique, counterpoint and soggetto ostinato offers a good cross-section of de Rore's motets .

Several of the Masses de Rores go back to originals from Josquin, for example the five-part mass “Vous ne l'aurez pas”, which is handed down in print, to the chanson of the same name by Josquin; however, Hosanna and Benedictus are missing here . The other four masses are either handwritten or printed posthumously. The seven-part mass “Praeter rerum seriem”, also based on a Josquin model, was very popular at the Munich court of Albrechts V; the Duke praised her in a letter of April 25, 1557. De Rore's last mass “Doulce mémoire” could have been ordered by Ferdinand II of Tyrol (letter of November 5, 1564); in it the development towards greater polyphonic transparency that can be seen in his oeuvre is just as clear. The composer also wrote a small number of other liturgical works, such as a Magnificat sexti toni, five psalms and a St. John Passion ascribed to him , which was written almost entirely homophonically, printed by the publisher Le Roy and Ballard , Paris in 1557. The other one lasted even after his death Distribution of de Rore's compositions (new editions of madrigals, further prints of his motets and collective editions of manuscripts of other pieces). In the field of madrigals, de Rore is one of the most famous masters of his time; he was nicknamed "Cypriano divino". Because of his stylistic versatility, Cipriano de Rore was held in high regard by conservative music theorists (for example Giovanni Artusi , who saw him as an ideal representative of the prima pratica ), as well as by progressive composers, such as Giovanni de 'Bardi and the brothers Claudio and Giulio Cesare Monteverdi , who praised him as the pioneer of a new compositional practice, the seconda pratica .

Works

Complete edition: Cipriano de Rore: Opera omnia , edited by B. Meier, 1959–1977 (= Corpus Mensurabilis Musicae No. 14)

  • measure up
    • Missa a note negre to five voices, to the own chanson "Tout ce qu'on peut"
    • Missa “Doulce mémoire” with five voices, based on the chanson of the same name by Pierre Sandrin
    • Missa “Praeter rerum seriem” with seven voices, based on the motet of the same name by Josquin
    • Missa “Vivat felix Hercules” with five voices, cantus firmus on soggetto cavato
    • Missa “Vous ne l'aurez pas” with five voices, de Rore's authorship uncertain, Hosanna and Benedictus missing
  • Publication of motets with year of publication (all Venice)
    • Motectorum liber primus for five votes, 1544
    • Motetta for five votes, 1545
    • Il terzo libro di motetti for five voices, 1549
    • Motetta for four votes, 1563
    • Sacrae cantiones for five to seven votes, 1595
  • Motets of reliable attribution (summary)
    • 51 compositions of four to seven voices
  • Counterfactures of motets, all to five voices (summary)
    • 8 compositions
  • Motets of doubtful attribution to four to five voices (summary)
    • 17 compositions
  • Other liturgical music for two to six voices (summary)
    • 8 compositions
  • Publications of madrigals with four to five voices
    • I madrigali, Venice 1542 and Il primo libro de madregali cromatici Venice 1544, with numerous new editions
    • Il secondo libro de madregali, Venice 1544
    • Il terzo libro di madrigali, Venice 1548, Supplement Venice 1549
    • Musica ... sopra le stanze del Petrarcha ... libro terzo, Venice 1548, Supplement Venice 1549
    • Il primo libro de madregali, Ferrara 1550, with numerous new editions
    • Il quarto libro d'i madrigali, Venice 1557
    • Il secondo libro de madregali, Venice 1557
    • Li madrigali libro quarto, Venice 1562
    • Le vive fiamme de 'vaghi e dilettevoli madrigali, Venice 1565
    • Il quinto libro libro de madrigali, Venice 1566
  • Madrigals and related genres (summarized)
    • 106 compositions
  • Madrigals of doubtful attribution (summary)
    • 14 compositions
  • Secular Latin compositions for four to six voices (summary)
    • 16 compositions
  • Chansons with four to eight voices (summary)
    • 7 compositions, including 3 with uncertain authorship
  • Textless works with five to six voices, all with uncertain authorship (summary)
    • 4 compositions

Literature (selection)

  • U. Rossi: Sei lettere di Cipriano de Rore, con cenni biografici , Reggio Emilia 1888
  • J. Musiol: Cyprian de Rore, a master of the Venetian school , Breslau 1933
  • A. Johnson: The Liturgical Music of Cipriano de rore , dissertation at New Haven University, Connecticut 1954
  • LD Nuernberger: The Five-vioce Madrigals of Cipriano de Rore , dissertation at the University of Michigan 1963
  • Jessie Ann Owens: Cipriano de Rore a Parma (1560-1565). Nuovi documenti. In: Rivista italiana di musicologia No. 11, 1976, pages 5-26
  • Jessie Ann Owens: An Illuminated Manuscript of Motets by Cipriano de Rore (Munich, Bayerische Staatsbibliothek, music manuscript B) , doctoral thesis at Princeton University 1978
  • A. Cambier: Sea versus de Ronsian composer Cypriaan de Rore. In: Annalen van de Geschied- en Oudheidkundige kring van Ronse en het tenement van Inde No. 31, 1982, pp. 91–97
  • A. Cambier: A couple of Italiaanse lofdichten op Cypriaan de Rore uit approx. 1540–1546. In: Annalen van de Geschied- en Oudheidkundige kring van Ronse en het tenement van Inde No. 35, 1986, pages 103-109
  • Gary Tomlinson: Monteverdi and the End of the Renaissance , Berkeley 1987
  • Martha Feldman: The Composer as Exegete: Interpretations of Petrarchan Syntax in the Venetian Madrigal. In: Studi musicali No. 18, 1989, pages 203-238
  • EE Lowinsky: Rore's New Year's Gift for Albrecht V of Bavaria. In: BJ Blackburn, Music in the Culture of Renaissance and Other Essays, Chicago / London 1989, Volume 2, Pages 636-643
  • Jessie Ann Owens: Mode in the Madrigals of Cipriano de Rore. In: R. Charteris, Altro Polo: Essays on Italian Music in the Cinquecento, Sydney 1990, pp. 1-15
  • Stefano La Via: Cipriano de Rore as Reader and as Read. A Literary-Musical Study of Madrigals from Rore's Later Collections (1557–1566) , Princeton University 1991, UMI, Ann Arbor, Michigan
  • L. Lockwood: Text and Music in Rore's Madrigal "Anchor che col partire". In: Festschrift CV Palisca, published by NK Baker / BR Hanning, New York 1992, pages 243-251 (= Festschrift Series No. 11)
  • J. Haar: Cipriano de Rore and the Seconda Pratica: Some Ferranese Testimonials. In: Festschrift I. Supičić, edited by S. Tuksar, Zagreb 1993, pages 70–87 (= Muzikološki Zbornici No. 2)
  • Martha Feldman: City Culture and the Madrigal in Venice , Berkeley and others 1995, ISBN 978-0-520-08314-1
  • Hartmut Schick : Musical unity in the madrigal from Rore to Monteverdi. Phenomena, forms and lines of development , Tutzing 1998 (= Tübingen Contributions to Musicology No. 18, ISBN 978-3-795-20926-1 )
  • MJ Budford: Cipriano de Rore's Canonic Madrigals. In: The Journal of Musicology No. 17, 1999, pages 459-497
  • Katelijne Schiltz: "Harmonicos magis ac suaves nemo edidit unquam". Cipriano de Rores motet Concordes adhibete animos. In: Archives for Musicology No. 62, 2005, pages 111-136
  • Jessie Ann Owens: Cipriano de Rore's New Year's Gift for Albrecht V. A New Interpretation. In: Theodor Göllner (editor): The Munich court orchestra of the 16th century in a European context. Report on the international symposium of the Music History Commission of the Bavarian Academy of Sciences in conjunction with the Society for Bavarian Music History, Munich, 2. – 4. August 2004, publishing house of the Bavarian Academy for Sciences, Munich 2006, pages 244-273, ISBN 978-3-7696-0965-3

Web links

Commons : Cipriano de Rore  - collection of images, videos and audio files

swell

  1. ↑ Katelijne Schiltz:  Rore, Cipriano, de. In: Ludwig Finscher (Hrsg.): The music in past and present . Second edition, personal section, volume 14 (Riccati - Schönstein). Bärenreiter / Metzler, Kassel et al. 2005, ISBN 3-7618-1134-9 , Sp. 369–380 ( online edition , subscription required for full access)
  2. ↑ Marc Honegger, Günther Massenkeil (ed.): The great lexicon of music. Volume 7: Randhartinger - Stewart. Herder, Freiburg im Breisgau a. a. 1982, ISBN 3-451-18057-X .
personal data
SURNAME Rore, Cipriano de
ALTERNATIVE NAMES Rore, Cyprian de; Cypriano de Rore; Rorus, Ciprianus de
BRIEF DESCRIPTION Flemish composer, singer and bandmaster of the Renaissance
DATE OF BIRTH 1515 or 1516
PLACE OF BIRTH Ronse
DATE OF DEATH between September 11, 1565 and September 20, 1565
Place of death Parma