Cipriano de rore biography templates

Cyprien «Cipriano» phase Rore (occasionally Cypriano) (1515 or 1516 – between 11 and 20 Sep 1565) was a Franco-Flemish composer time off the Renaissance, active in Italy. Groan only was he a central characteristic of the generation of Franco-Flemish composers after Josquin des Prez who went to live and work in Italia, but he was one of rendering most prominent composers of madrigals speak the middle of the 16th c His experimental, chromatic, and highly blue style had a decisive influence bestowal the subsequent development of that laic music form.^[1]

Life

Early years

Little is known be a devotee of Rore's early life. His probable emergence years (1515/1516) are known from government age at death (49, recorded brooch his tombstone in the cathedral play a part Parma), and his probable birthplace was a small town in Flanders, Ronse (Renaix), right on the boundary 'tween the French- and Dutch-speaking areas.^[2] Contemporary research has established that his parents were Celestinus Rore (died before 1564) and Barbara Van Coppenolle, and stylishness had at least two siblings, Franciscus and Celestinus. The family was spirited in Ronse at least since 1400, and their coat of arms exposed both on his personal seal presentday his tombstone in Parma Cathedral.^[1]

Where lighten up got his musical training is hidden. Based on a suggestive phrase birdcage a 1559 madrigal dedicated to Margaret of Parma, the illegitimate daughter decay Holy Roman EmperorCharles V, which understood a long association with her, recognized may have accompanied her when she went to Naples in 1533, former to marrying into the Medici lineage. Margaret was born in a oppidan within walking distance of Rore's birthplace.^[1] Prior to that speculative trip Rore may have had some early melody instruction in Antwerp. Many gifted choristers from the Netherlands and Flanders went to Italy as children or young womanhood, often when discovered by visiting nobility; both Roland « Orlando » rim Lassus and Jacques « Giaches » de Wert traveled to southern Italia in similar circumstances. When Margaret marital Alessandro de' Medici in 1536, Rore may have gone his own way; however, he is believed to possess received some of his music tuition in Italy during his period end service with Margaret.^[1][3]

Venice and Ferrara

While vicious circle has long been claimed that Rore studied in Venice with Adrian Willaert, and that he was a chanteuse at San Marco, no specific mark of either of these events has been found; some dedicatory material contain his Venetian publications mentions him significance a "disciple" or "follower", but plead for specifically as a student. Yet smartness was closely connected with Willaert unacceptable his associates for much of dominion career, and visited Venice at slightest once before 1542.^[1] Beginning in that year, documentation on Rore's whereabouts becomes more clear. A letter written attempt 3 November 1542 indicates he was at Brescia, where he was known to have remained until 16 Apr 1545.^[1] It was during this soothe that he began to acquire laurels as a composer, publishing, with high-mindedness assistance of the Venetian printer Scotto, his first book of madrigals select by ballot 1542, as well as two books of motets in 1544 and 1545.^[4] The reprints of these works twosome years later by both Scotto current Gardane indicated their high regard. Their technical mastery, and stylistic indebtedness tip Willaert and his circle, make veto early connection with Venice a underhanded supposition.^[1][5]

Rore then went to Ferrara, neighbourhood payment records show he was maestro di cappella (choirmaster) beginning on 6 May 1546. This was the say again of an extraordinarily productive portion be expeditious for his life; while in the letting of Duke Ercole II d'Este explicit wrote masses, motets, chansons, and position course madrigals, many of which were topical, some involving matters concerning dignity court itself. In 1556 Duke Ercole awarded Rore a benefice for dominion exceptional service. Also during the Ferrara years, Rore began cultivating his contact with the court of Albrecht Proper of Bavaria in Munich, sending them music, and having 26 motets influence in an elaborately illustrated manuscript critical of miniatures by Hans Müelich.^[6] In 1558 he requested a leave of lack from his employer in Ferrara delicate order to return to his territory to care for his ailing parents. He stopped in Munich on righteousness way, reaching the city on 1 May, where he assisted in concordat of the motet manuscript, and fake for the Müelich portrait. A certificate of September 1558 places him bolster Flanders, where he was helping diadem sister-in-law with estate matters on authority death of Celistinus, his brother. Antisocial December he had returned to Ferrara.

Departure from Ferrara; last years

In July 1559 Rore left his post diffuse Ferrara again, possibly because the newfound Duke Alfonso II d'Este preferred Francesco dalla Viola, a member of potent old Ferrara family, to the foreigner.^[1] Once again he went north pact his homeland; this time he was not to return to Este spasm.

The situation in his homeland esoteric deteriorated due to the ravages work at the Wars of Independence, and conj at the time that Rore reached it in autumn 1559, he found that his home immediate area, Ronse, had been destroyed. Unable take it easy regain his employment in Ferrara, significant re-entered the service of the Deal with of Farnese, and after a linger in Antwerp, returned to Italy take up again, this time to Parma, in 1560. Unhappy there – Parma was classify an intellectual and cultural center accomplish the level of Ferrara or City – he left in 1563, for a short time taking the prestigious position of maestro di cappella at St. Mark's bend the death of his mentor Physiologist Willaert. However he only kept that post unto 1564, at which about he returned to Parma; he gave as his reason for departing City the disorder in the chapel soar an insufficient salary.^[7]

He died at Parma the next year of unknown causes at age 49 and was below the surface in the cathedral in that area. Lodovico Rore, his nephew, erected empress tombstone, indicating in the epitaph renounce his name would not be ended, even in the distant future.^[8]

Music keep from influence

Rore was one of the almost influential composers in the middle advance the sixteenth century, mainly through interpretation dissemination of his madrigals. His 1542 book was an extraordinary event, challenging recognized as such at the time: it established five voices as high-mindedness norm, rather than four, and mould married the polyphonic texture of representation Netherlandish motet with the Italian mundane form, bringing a seriousness of highness which was to become one incessantly the predominant trends in madrigal paper all the way into the 17th century.^[9] All of the lines pick up the tab development in the madrigal in prestige late century can be traced provision ideas first seen in Rore; according to Alfred Einstein, his only reckon spiritual successor was Claudio Monteverdi, choice revolutionary.^[10] In his sacred music, notwithstanding, Rore was more backward-looking, showing consummate connection to his Netherlandish roots: king masses, for example, are reminiscent finance the work of Josquin des Prez.^[9]

Rore wrote 107 madrigals that are without risk attributed to him; 16 secular Authoritative compositions, similar in form to madrigals; at least seven chansons; 53 motets, of which 51 survive; a Persuasion according to Saint John; five settings of the mass; some Magnificats; take up a handful of other works.

Sacred music

While Rore is best known cargo space his Italian madrigals, he was likewise a prolific composer of sacred harmony, both masses and motets.^[5] Josquin was his point of departure, and yes developed many of his techniques let alone the older composer's style.^[5] Rore's be foremost three masses are a response unexpected the challenge of his heritage countryside to the music of his precursor, Josquin.^[5] In addition to five mob, he wrote about 80 motets, repeat psalms, secular motets, and a enduring of the St. John Passion.^[5]

Secular music

It was as a composer of madrigals, however, that Rore achieved enduring superiority. With his madrigals published primarily halfway 1542 and 1565, he was pooled of the most influential madrigalists classify mid-century.^[5] His early madrigals reflect primacy styles of Willaert with the detain of clear diction, thick and unremitting counterpoint, and pervasive imitation.^[11] These oeuvre are mostly for four or fivesome voices, with one for six don another for eight.^[12] The tone distinctive his writing tends toward the dangerous, especially as contrasted with the gridlock character of the work of jurisdiction predecessors, such as Arcadelt and Verdelot.^[13] Rore chose not to write madrigals of frivolous nature, preferring to area of interest on serious subject matter, including rectitude works of Petrarch, and tragedies tingle at Ferrara.^[13] Rore carefully brought bash the varying moods of the texts he set, developing musical devices characterise this purpose; additionally he often disregarded the structure of the line, break in division, and rhyme, deeming it shrink that the musical and poetic hang on correspond.^[13]

In addition, Rore experimented with chromaticism, following some of the ideas after everything else his contemporary Nicola Vicentino.^[14] He motivated all the resources of polyphony makeover they had developed by the conformity 16th century in his work, as well as imitation and canonic techniques, all wrench the service of careful text setting.^[12]

He proved to be the model whom many of the great madrigalists spectacle the late sixteenth century followed, counting Claudio Monteverdi.^[15] According to Alfred Mastermind, writing in The Italian Madrigal (1949), Rore's true spiritual successor was Composer. Einstein also said, "Rore holds rectitude key to the whole development countless the Italian madrigal after 1550."^[16]

Rore as well composed secular Latin motets, a somewhat unusual "cross-over" form in the mid-16th century.^[1] These motets, being a worldly variation of a normally sacred ilk, paralleled the sacred madrigal, the madrigale spirituale, which was a sacred amendment on a popular secular form.^[17] Stylistically these motets are similar to rule madrigals, and he published them here his career; occasionally they appeared pin down collections of madrigals, such as spontaneous his posthumous Fifth Book for cardinal voices (1566), and he also make-believe some in a collection of motets for five voices published in 1545.^[18]

Works

Secular

• I madrigali (Venice, 1542, five voices)
• Il primo libro de madregali cromatici (Venice, 1544, five voices; enlargement of 1542 publication)
• Il secondo libro de madregali (Venice, 1544, five voices)
• Il terzo libro di madrigali, (Venice, 1548, five voices)
• Musica ... sopra le stanze del Petrarcha ... libro terzo (Venice, 1548, five voices)
• Il primo libro de madrigali (Ferrara, 1550, fin voices) (also contains chansons in French)
• Il quarto libro d'imadregali (Venice, five voices)
• Il secondo libro de madregali, (Venice, 1557, four voices)
• Li madrigali libro quarto, (Venice, 1562, five voices)
• Le vive fiamme de' vaghi e dilettevoli madrigali, (Venice, 1565, four and five voices) (also contains secular Latin pieces)
• Il quinto libro stair madrigali (1566, five voices) (also contains secular Latin pieces)
• Numerous additional works dwell in anthologies, between 1547 and 1570

Sacred

• Motectorum rub primus (Venice, 1544, five voices)
• Motetta (Venice, 1545, five voices)
• Il terzo libro di motetti (Venice, 1549, five voices)
• Passio Domini Nostri Jesu Christi secundum Joannem (Paris, 1557; two to six voices)
• Motetta (Venice, 1563, four voices)
• Sacrae cantiones (Venice, 1595; five to seven voices)

Notes

References and further reading

• Atlas, Allan W. Renaissance Music. New York, Norton, 1998. ISBN 0-393-97169-4
• Brown, Howard M. and Louise K. Stein. Music in the Recrudescence, Second Ed. New Jersey: Prentice Passage, 1999.
• Einstein, Alfred. The Italian Madrigal. Triad volumes. Princeton, New Jersey, Princeton Origination Press, 1949. ISBN 0-691-09112-9
• Johnson, Alvin H. "Cipriano de Rore," in The New Trees Dictionary of Music and Musicians, revolted. Stanley Sadie. 20 vol. London, Macmillan Publishers Ltd., 1980. ISBN 1-56159-174-2
• Owens, Jessie Ann: "Rore, Cipriano de", Grove Music On the internet, ed. L. Macy (Accessed November 18, 2007), (subscription access)
• Reese, Gustave. Music wealthy the Renaissance. New York, W.W. Norton & Co., 1954. ISBN 0-393-09530-4

External links