Cipriano de Rore

Cipriano de Rore (* 1515/16 in Ronse, † 11 to 20 September 1565 in Parma) was a Flemish composer of the Renaissance, is best known for his madrigals and motets.

Life

Cipriano de Rore grew up in Ronse, a Flemish city west of Brussels, on in a wealthy family. The birthplace has long been unclear, also is not much known about the early days of Rore as a composer, not even when he came to Italy. Whether he was, for example, in 1540 the chapel choir in Venice, could not be confirmed by research. In 1542 he published his first book of madrigals. Between 1542 and 1545 he held probably in Brescia and traveled occasionally to Venice, where he had frequent contact with Adrian Willaert and its environment. Ruberto Strozzi and Neri Caponi, who belonged to this environment, his first patrons. Various homage works that emerged during this period, document his good relations and his high reputation among northern Italian secular and ecclesiastical dignitaries.

1546 brought him Duke Ercole II d' Este as Kapellmeister to his court in Ferrara, who was already in the early 16th century as a center for the arts and especially music. Until 1558 there Rore wrote at least 107 works - not only for the Este family, but also as before for the spiritual and secular upper classes of Europe. This resulted, for example, for the Emperor Charles V. Madrigal Un ' altra volta in stride Germania ( 1557).

When his older brother Celestinus died in March 1558 Rore traveled to Flanders and made the move grip in Munich. Presumably, under his supervision was there at the court of Duke Albrecht V a splendid with numerous miniatures appointed court painter Hans Mielich handwriting of some of its four -to eight -part motets.

After the death of Ercole II d' Este Rore lost his job as Kapellmeister. Since he happened to find himself a second time in Flanders, where his parents had lost their livelihoods in the wake of the Revolutionary War, Rore in 1560 mediated by the regent resided in Brussels, the Netherlands, Margaret of Parma to the court of her husband Ottavio Farnese in Parma, where he in February 1561 took up his ministry.

When in December 1562 his colleague Adrian Willaert, died Rore composed in his honor, a motet and then joined in 1563 Willaert's successor as director of music at San Marco in Venice. But a year later, he was indeed the prestigious, but apparently poorly organized position again and returned to his old job to Parma. For the wedding of the son of Ottavio Farnese, Alessandro Maria of Portugal ( born December 8, 1538 † July 8, 1577, daughter of Prince Edward of Portugal) composed Rore madrigals Vieni, dolce Himeneo, that was probably his last work. About a year later, Cipriano de Rore died from unexplained causes.

Creation

Cipriano de Rore wrote over 100 madrigals, which appeared for the most part in 7 Madrigal books. Of these 7 Madrigal books include two four-part and five-part madrigals 5, which although not exclusively from Rore. Even with the publication of his first madrigal book he stood firmly by his contemporaries as a composer of great talent. A small part of his madrigals was published in edited publications.

The first madrigals Rore were still heavily influenced by Adrian Willaert, but the likely answer many allegations, never officially was his teacher. However Rore can be counted by Willaert to the inner circle, as he entertained close contact with him and his disciples. He differed from Willaert mainly in his choice of texts. So Rore chose mostly dark subjects, which he also composed the music with correspondingly dramatic musical means.

In his madrigals shows a large Venetian influence. Rore took the imitative polyphony previously used only for motets for his madrigals. The word -tone relationship played a big role for him - Cipriano de Rore is considered a forerunner of the later founded by Claudio Monteverdi seconda pratica. 1550 Rore set to music preferred texts of Francesco Petrarca, one of the most important Italian poets of the 14th century.

During a break from 1550 to 1557, in Rore not published, the compositional style of his madrigals was substantially changed. Especially his harmonic and melodic language was transformed: Previous polyphonic vocal lead changed more often now with homophonic phases, the contrast between linear and chordal was emphasized. In the interest of a living text expression, and good understanding of the text entered an increasingly harmonious differentiated, often daring and always transparent musical language in the place of a dense polyphonic vocal tissue. The voices followed the speech rhythm and the rhythmic possibilities of Tongewebes were shorter note values ​​differentiated ( note nere called, hence the name Madrigali Chromatici "colored Madrigals ").

Rore retained the serious texts. He often ignored line layout, line pitch and rhyme of the text to consciously follow the poetic intention of the author. The natural block structure prevailed, not rigid rhythm and rhyme of the poetic presentation. The poetic text determines the music that makes but a whole new way this with their means. A good example is the madrigal O sonno dar. Moreover, obtained from Rore about 50 motets and some fairs.

Works

Important publications before 1550:

• I madrigali ( 1542) and Il primo libro de madregali cromatici, 5vv ( 1544)
• Il secondo libro de madregali, 5vv ( 1544)
• Il Terzo libro di madrigali, 5vv ( 1548)
• Musica ... sopra le stanza del Terzo libro ... Petrarch, 5vv ( 1549)
• Motectorum liber primus, 5vv ( 1544)
• Motetta, 5vv ( 1545 )
• Il Terzo libro di Motetti, 5vv ( 1549)

Important publications from 1550:

• Anchor che co'l partir ( 1550)
• 4 more Madrigal books (4 and 5 - part)