110:, no specific documentation of either of these events has been found; some dedicatory material in his Venetian publications mentions him as a "disciple" or "follower", but not specifically as a student. Yet he was closely connected with Willaert and his associates for much of his career, and visited Venice at least once before 1542. Beginning in this year, documentation of Rore's whereabouts becomes clearer. A letter written on 3 November 1542 indicates he was at Brescia, where he was known to have remained until 16 April 1545. During this period he began to acquire fame as a composer, publishing, with the Venetian printer Scotto's assistance, his first book of madrigals in 1542, as well as two books of motets in 1544 and 1545. The reprints of these works two years later by both Scotto and Gardane indicated their high regard. Their technical mastery and stylistic indebtedness to Willaert and his circle make an early connection with Venice a reasonable supposition.
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pervasive imitation. These works are mostly for four or five voices, with one for six and another for eight. The tone of his writing tends toward the serious, especially as contrasted with the light character of the work of his predecessors
Arcadelt and Verdelot. Rore chose not to write madrigals of frivolous nature, preferring serious subject matter, including the works of Petrarch and tragedies presented at Ferrara. He carefully brought out the varying moods of the texts he set, developing musical devices for this purpose; additionally he often ignored the structure of the line, line division, and rhyme, deeming it unnecessary that the musical and poetic lines correspond.
125:. In 1558 he requested a leave of absence from his employer in Ferrara to return to his homeland to care for his ailing parents. He stopped in Munich on the way, reaching the city on 1 May, where he assisted in preparation of the motet manuscript, and posed for the Muelich portrait. A document of September 1558 places him in Flanders, where he was helping his sister-in-law with estate matters on the death of Celistinus, his brother. By December he had returned to Ferrara.
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117:(choirmaster) beginning on 6 May 1546. This was the beginning of an extraordinarily productive portion of his life; while in the service of Duke Ercole II d'Este he wrote masses, motets, chansons, and of course madrigals, many of which were topical, some involving matters of the court itself. In 1556 Duke Ercole awarded Rore a benefice for his exceptional service. Also during the Ferrara years, Rore began cultivating his relations with the court of
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82:, which implied a long association with her, he may have accompanied her when she went to Naples in 1533 before marrying into the Medici family. Margaret was born in a town within walking distance of Rore's birthplace. Before that speculative trip Rore may have had some early music instruction in Antwerp. Many gifted singers from the Netherlands went to Italy as children or adolescents, often when discovered by visiting nobility; both
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250:, a sacred variation on a popular secular form. Stylistically they are similar to his madrigals, and he published them throughout his career; occasionally they appeared in collections of madrigals, such as in his posthumous Fifth Book for five voices (1566), and he also included some in a collection of motets for five voices published in 1545.
72:-speaking areas. Research has established that his parents were Celestinus Rore (died before 1564) and Barbara Van Coppenolle, and he had at least two siblings, Franciscus and Celestinus. The family was active in Ronse at least since 1400, and its coat of arms appeared both on his personal seal and his tombstone in Parma Cathedral.
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While best known for his
Italian madrigals, Rore was also a prolific composer of sacred music, both masses and motets. Josquin was his point of departure, and he developed many of his techniques from the older composer's style. Rore's first three masses are a response to the challenge of his heritage
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It was as a composer of madrigals that Rore achieved enduring fame. With his madrigals published primarily between 1542 and 1565, he was one of the most influential madrigalists at mid-century. His early madrigals reflect
Willaert with the use of clear diction, thick and continuous counterpoint, and
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with the
Italian secular form, bringing a seriousness of tone that became one of the predominant trends in madrigal composition all the way into the 17th century. All the lines of development in the madrigal in the late century can be traced to ideas first seen in Rore; according to Alfred Einstein,
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Rore was one of the most influential composers of the mid-16th century, mainly through the dissemination of his madrigals. His 1542 book was an extraordinary event, and recognized as such at the time: it established five voices as the norm, rather than four, and married the
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who went to live and work in Italy, Rore was one of the most prominent composers of madrigals in the middle of the 16th century. His experimental, chromatic, and highly expressive style had a decisive influence on the subsequent development of that secular music form.
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He died at Parma the next year of unknown causes at age 49 and was buried in the cathedral in that city. Lodovico Rore, his nephew, erected his tombstone, indicating in the epitaph that his name would not be forgotten, even in the distant future.
152:, and after a stay in Antwerp, returned to Italy again, this time to Parma, in 1560. Unhappy thereâParma was not an intellectual and cultural center on the level of Ferrara or Veniceâhe left in 1563, briefly taking the prestigious position of
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Rore also composed secular Latin motets, a relatively unusual "crossover" form in the mid-16th century. These motets, a secular variation of a normally sacred form, paralleled the sacred madrigal, the
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186:, another revolutionary. But in his sacred music, Rore was more backward-looking, showing his connection to his Netherlandish roots: his masses, for example, are reminiscent of the work of
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upon
Willaert's death. But he kept this post only into 1564, when he returned to Parma; he gave as his reason for departing Venice the disorder in the chapel and an insufficient salary.
234:. He used all the resources of polyphony as they had developed by the mid-16th century, including imitation and canonic techniques, all in the service of careful text setting.
148:, and when Rore reached it in autumn 1559, he found that his home town, Ronse, had been destroyed. Unable to regain his employment in Ferrara, he reentered the service of the
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241:(1949), Rore's true spiritual successor was Monteverdi. Einstein also said, "Rore holds the key to the whole development of the Italian madrigal after 1550."
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in 1536, Rore may have gone his own way, but he is believed to have received some of his music education in Italy during his period of service with
Margaret.
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Little is known of Rore's early life. His probable birth years (1515/1516) are known from his age at death (49, recorded on his tombstone in the cathedral in
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Where Rore got his musical training is unknown. Based on a suggestive phrase in a 1559 madrigal dedicated to
Margaret of Parma, the illegitimate daughter of
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and to the music of
Josquin. In addition to five masses, he wrote about 80 motets, many psalms, secular motets, and a setting of the St. John Passion.
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Rore was the model many of the great madrigalists of the late 16th century followed, including
Monteverdi. According to Alfred Einstein, writing in
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Rore wrote 107 madrigals that are securely attributed to him; 16 secular Latin compositions, similar in form to madrigals; at least seven
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in Munich, sending them music, and having 26 motets produced in an elaborately illustrated manuscript with miniatures by
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In addition, Rore experimented with chromaticism, following some of the ideas of his contemporary
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Digital Image
Archive of Medieval Music (DIAMM), with links to images of the manuscript
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In July 1559 Rore left his post in Ferrara again, possibly because the new Duke
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Detail of a miniature of Cipriano de Rore by Hans MĂźelich, probably 1558 or 1559
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traveled to southern Italy in similar circumstances. When Margaret married
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Three volumes. Princeton, New Jersey, Princeton University Press, 1949.
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The situation in his homeland had deteriorated due to the ravages of the
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While it has long been claimed that Rore studied in Venice with
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Numerous additional works in anthologies, between 1547 and 1570
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Rore then went to Ferrara, where payment records show he was
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Musica ... sopra le stanze del Petrarcha ... libro terzo
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361:(Paris, 1557; two to six voices)
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1593:List of Renaissance composers
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309:, (Venice, 1557, four voices)
307:Il secondo libro de madregali
285:, (Venice, 1548, five voices)
277:Il secondo libro de madregali
177:texture of the Netherlandish
712:Choral Public Domain Library
325:Il quinto libro de madrigali
301:Il quarto libro d'imadregali
106:and that he was a singer at
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295:Il primo libro de madrigali
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283:Il terzo libro di madrigali
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2015:Composition schools
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867:Girolamo Dalla Casa
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2235:
2233:Tielman Susato
2230:
2225:
2220:
2215:
2210:
2208:Valerio Dorico
2205:
2200:
2195:
2190:
2185:
2179:
2177:
2171:
2170:
2168:
2167:
2162:
2157:
2152:
2147:
2142:
2137:
2132:
2127:
2122:
2116:
2114:
2110:
2109:
2107:
2106:
2101:
2096:
2091:
2086:
2081:
2076:
2070:
2068:
2064:
2063:
2061:
2060:
2055:
2050:
2048:Franco-Flemish
2045:
2040:
2035:
2030:
2025:
2019:
2017:
2011:
2010:
2008:
2007:
2002:
1997:
1992:
1987:
1982:
1977:
1972:
1967:
1962:
1957:
1952:
1947:
1942:
1940:Carlo Gesualdo
1937:
1932:
1927:
1922:
1917:
1912:
1910:Thomas Campion
1907:
1901:
1899:
1886:
1885:
1883:
1882:
1877:
1872:
1867:
1862:
1857:
1855:Costanzo Porta
1852:
1847:
1845:Hans Neusidler
1842:
1837:
1832:
1827:
1822:
1817:
1812:
1807:
1802:
1797:
1792:
1787:
1781:
1779:
1773:
1772:
1770:
1769:
1764:
1759:
1754:
1749:
1744:
1739:
1734:
1729:
1724:
1719:
1717:Costanzo Festa
1714:
1709:
1704:
1702:Antoine Brumel
1699:
1693:
1691:
1685:
1684:
1682:
1681:
1676:
1671:
1666:
1661:
1656:
1651:
1646:
1644:Heinrich Isaac
1641:
1636:
1634:John Dunstaple
1631:
1626:
1624:Loyset Compère
1621:
1616:
1611:
1605:
1603:
1597:
1596:
1591:
1588:
1587:
1580:
1579:
1572:
1565:
1557:
1548:
1547:
1545:
1544:
1536:
1528:
1520:
1512:
1504:
1496:
1488:
1480:
1472:
1464:
1459:Lorenzo Perosi
1456:
1448:
1440:
1432:
1424:
1416:
1408:
1400:
1392:
1384:
1376:
1368:
1360:
1352:
1344:
1336:
1328:
1320:
1312:
1307:Giovanni Croce
1304:
1296:
1288:
1280:
1272:
1264:
1255:
1252:
1251:
1240:
1239:
1232:
1225:
1217:
1208:
1207:
1205:
1204:
1199:
1194:
1189:
1184:
1179:
1174:
1169:
1163:
1161:
1160:5th generation
1157:
1156:
1154:
1153:
1148:
1143:
1138:
1133:
1128:
1123:
1117:
1115:
1114:4th generation
1111:
1110:
1108:
1107:
1102:
1100:Jean Richafort
1097:
1092:
1087:
1082:
1077:
1075:Heinrich Isaac
1072:
1067:
1062:
1060:Antoine Brumel
1056:
1054:
1053:3rd generation
1050:
1049:
1047:
1046:
1041:
1039:Johannes Regis
1036:
1031:
1026:
1021:
1016:
1014:Firminus Caron
1011:
1009:Loyset Compère
1006:
1000:
998:
997:2nd generation
994:
993:
991:
990:
985:
980:
975:
969:
967:
965:1st generation
961:
960:
953:
952:
945:
938:
930:
921:
920:
918:
917:
912:
906:
904:
900:
899:
897:
896:
890:
884:
881:Giovanni Croce
878:
870:
864:
858:
852:
849:Gioseffo Guami
846:
843:Claudio Merulo
840:
837:Costanzo Porta
834:
828:
822:
814:
808:
802:
794:
788:
779:
777:
773:
772:
765:
764:
757:
750:
742:
736:
735:
725:
715:
703:
702:External links
700:
699:
698:
684:
668:
654:
640:
633:
617:
614:
612:
611:
602:
593:
581:
572:
563:
549:
537:
528:
519:
507:
498:
489:
464:
455:
453:Johnson, p 186
435:
426:
424:Johnson, p 185
417:
408:
381:
379:
376:
375:
374:
368:
362:
356:
350:
344:
336:
333:
332:
331:
328:
322:
316:
310:
304:
298:
292:
286:
280:
274:
268:
260:
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255:
252:
223:
220:
214:
211:
169:
166:
130:
127:
99:
96:
57:
54:
52:
49:
36:Franco-Flemish
30:(occasionally
15:
9:
6:
4:
3:
2:
2403:
2392:
2389:
2387:
2384:
2382:
2379:
2377:
2374:
2372:
2369:
2367:
2364:
2362:
2359:
2357:
2354:
2352:
2349:
2348:
2346:
2331:
2327:
2323:
2321:
2313:
2312:
2309:
2308:
2307:Baroque music
2302:
2301:
2293:
2285:
2282:
2280:
2277:
2275:
2272:
2270:
2267:
2265:
2262:
2261:
2260:
2257:
2255:
2252:
2251:
2249:
2245:
2239:
2236:
2234:
2231:
2229:
2226:
2224:
2221:
2219:
2216:
2214:
2211:
2209:
2206:
2204:
2201:
2199:
2196:
2194:
2191:
2189:
2188:Andrea Antico
2186:
2184:
2181:
2180:
2178:
2176:
2172:
2166:
2163:
2161:
2158:
2156:
2153:
2151:
2148:
2146:
2143:
2141:
2138:
2136:
2133:
2131:
2128:
2126:
2123:
2121:
2118:
2117:
2115:
2111:
2105:
2102:
2100:
2097:
2095:
2092:
2090:
2087:
2085:
2082:
2080:
2077:
2075:
2072:
2071:
2069:
2067:Musical forms
2065:
2059:
2056:
2054:
2051:
2049:
2046:
2044:
2041:
2039:
2036:
2034:
2031:
2029:
2026:
2024:
2021:
2020:
2018:
2016:
2012:
2006:
2003:
2001:
1998:
1996:
1993:
1991:
1988:
1986:
1983:
1981:
1980:Thomas Morley
1978:
1976:
1973:
1971:
1970:Luca Marenzio
1968:
1966:
1963:
1961:
1958:
1956:
1953:
1951:
1948:
1946:
1943:
1941:
1938:
1936:
1933:
1931:
1928:
1926:
1923:
1921:
1918:
1916:
1913:
1911:
1908:
1906:
1903:
1902:
1900:
1896:
1891:
1887:
1881:
1878:
1876:
1873:
1871:
1868:
1866:
1865:Thomas Tallis
1863:
1861:
1858:
1856:
1853:
1851:
1848:
1846:
1843:
1841:
1838:
1836:
1833:
1831:
1828:
1826:
1823:
1821:
1818:
1816:
1813:
1811:
1808:
1806:
1803:
1801:
1798:
1796:
1793:
1791:
1788:
1786:
1783:
1782:
1780:
1778:
1774:
1768:
1765:
1763:
1760:
1758:
1757:John Taverner
1755:
1753:
1750:
1748:
1745:
1743:
1742:Jacob Obrecht
1740:
1738:
1735:
1733:
1730:
1728:
1725:
1723:
1720:
1718:
1715:
1713:
1710:
1708:
1705:
1703:
1700:
1698:
1695:
1694:
1692:
1690:
1686:
1680:
1677:
1675:
1672:
1670:
1667:
1665:
1662:
1660:
1657:
1655:
1652:
1650:
1647:
1645:
1642:
1640:
1637:
1635:
1632:
1630:
1627:
1625:
1622:
1620:
1617:
1615:
1612:
1610:
1607:
1606:
1604:
1602:
1598:
1594:
1589:
1585:
1578:
1573:
1571:
1566:
1564:
1559:
1558:
1555:
1540:
1539:Marco Gemmani
1537:
1532:
1529:
1524:
1523:Alfredo Bravi
1521:
1516:
1513:
1508:
1505:
1500:
1497:
1492:
1489:
1484:
1481:
1476:
1473:
1468:
1465:
1460:
1457:
1452:
1451:Nicolò Coccon
1449:
1444:
1441:
1436:
1433:
1428:
1425:
1420:
1417:
1412:
1409:
1404:
1401:
1396:
1393:
1388:
1387:Antonio Lotti
1385:
1380:
1379:Antonio Biffi
1377:
1372:
1369:
1364:
1361:
1356:
1353:
1348:
1345:
1340:
1337:
1332:
1329:
1324:
1321:
1316:
1313:
1308:
1305:
1300:
1297:
1292:
1289:
1284:
1281:
1276:
1273:
1268:
1265:
1260:
1257:
1256:
1253:
1249:
1245:
1238:
1233:
1231:
1226:
1224:
1219:
1218:
1215:
1203:
1200:
1198:
1195:
1193:
1190:
1188:
1187:Jacob Regnart
1185:
1183:
1180:
1178:
1175:
1173:
1170:
1168:
1165:
1164:
1162:
1158:
1152:
1149:
1147:
1144:
1142:
1139:
1137:
1134:
1132:
1129:
1127:
1124:
1122:
1119:
1118:
1116:
1112:
1106:
1103:
1101:
1098:
1096:
1093:
1091:
1088:
1086:
1085:Jacob Obrecht
1083:
1081:
1078:
1076:
1073:
1071:
1068:
1066:
1063:
1061:
1058:
1057:
1055:
1051:
1045:
1042:
1040:
1037:
1035:
1032:
1030:
1027:
1025:
1022:
1020:
1017:
1015:
1012:
1010:
1007:
1005:
1002:
1001:
999:
995:
989:
986:
984:
981:
979:
976:
974:
971:
970:
968:
966:
962:
958:
951:
946:
944:
939:
937:
932:
931:
928:
916:
913:
911:
908:
907:
905:
901:
895:(c.1561â1613)
894:
891:
889:(c.1558â1617)
888:
885:
883:(c.1557â1609)
882:
879:
877:(c.1555â1612)
876:
875:
871:
868:
865:
862:
859:
856:
853:
851:(c.1540â1611)
850:
847:
844:
841:
839:(c.1529â1601)
838:
835:
832:
829:
826:
823:
820:
819:
815:
813:(c.1515â1565)
812:
809:
807:(1511âc.1576)
806:
803:
801:(c.1532â1585)
800:
799:
795:
793:(c.1500â1565)
792:
789:
787:(c.1490â1562)
786:
785:
781:
780:
778:
774:
770:
763:
758:
756:
751:
749:
744:
743:
740:
733:
729:
726:
723:
719:
716:
713:
709:
706:
705:
697:
696:0-393-09530-4
693:
689:
685:
683:
679:
676:
672:
669:
667:
666:1-56159-174-2
663:
659:
655:
653:
652:0-691-09112-9
649:
645:
641:
638:
634:
632:
631:0-393-97169-4
628:
624:
620:
619:
606:
597:
591:
585:
576:
567:
558:
556:
554:
544:
542:
532:
523:
514:
512:
502:
493:
478:
474:
473:"Munich MS B"
468:
459:
450:
448:
446:
444:
442:
440:
430:
421:
412:
403:
401:
399:
397:
395:
393:
391:
389:
387:
382:
372:
369:
366:
363:
360:
357:
354:
351:
348:
345:
342:
339:
338:
329:
326:
323:
320:
317:
314:
311:
308:
305:
302:
299:
296:
293:
290:
287:
284:
281:
278:
275:
272:
269:
266:
263:
262:
251:
249:
248:
242:
240:
235:
233:
228:
222:Secular music
219:
210:
208:
204:
200:
196:
191:
189:
185:
180:
176:
165:
161:
159:
155:
151:
147:
142:
140:
136:
126:
124:
120:
116:
111:
109:
105:
95:
93:
89:
85:
81:
78:
73:
71:
67:
63:
48:
45:
41:
37:
33:
29:
21:
2351:1510s births
2305:
2298:
2269:Architecture
2203:Jacob Bathen
1920:John Dowland
1859:
1790:William Byrd
1664:Leonel Power
1467:Pietro Magri
1282:
1197:Jacobus Vaet
1145:
872:
816:
810:
796:
791:Jacques Buus
782:
714:(ChoralWiki)
687:
657:
643:
636:
622:
605:
600:Atlas, p 598
596:
589:
584:
575:
570:Reese, p 329
566:
561:Reese, p 330
535:Brown, p 202
531:
522:
501:
492:
480:. Retrieved
476:
467:
458:
429:
420:
411:
370:
364:
358:
352:
346:
340:
324:
318:
312:
306:
300:
294:
288:
282:
276:
270:
264:
245:
243:
238:
236:
229:
225:
216:
213:Sacred music
192:
171:
162:
153:
143:
132:
123:Hans Muelich
114:
112:
101:
74:
59:
31:
27:
26:
2356:1565 deaths
2259:Renaissance
2254:Early music
2150:Netherlands
2130:Elizabethan
1985:Jacopo Peri
1955:Alonso Lobo
1915:John Cooper
1777:Late (1530)
1737:Jean Mouton
1649:Jean Japart
1639:Walter Frye
1499:Matteo Tosi
1080:Jean Mouton
845:(1533â1604)
833:(1527â1575)
827:(1525â1603)
821:(1517â1590)
579:Brown p 205
547:Johnson 187
265:I madrigali
207:Magnificats
56:Early years
40:Renaissance
2345:Categories
2284:Philosophy
2279:Literature
2247:Background
2113:Traditions
2089:Magnificat
2079:Intermedio
2023:Burgundian
1475:Giulio Bas
588:Einstein,
175:polyphonic
158:St. Mark's
137:preferred
2099:Offertory
2028:Colorists
1890:Mannerism
1515:Luigi Vio
776:Composers
108:San Marco
80:Charles V
2320:Category
2297: â
2160:Portugal
2084:Madrigal
2058:Venetian
903:See also
869:(d.1601)
857:(d.1587)
678:Archived
195:chansons
32:Cypriano
2310:â
2140:Germany
2120:British
724:(IMSLP)
720:at the
710:in the
482:29 July
365:Motetta
347:Motetta
259:Secular
205:; some
2330:Portal
2155:Poland
2135:France
2125:Cyprus
2104:Pavane
1898:c.1600
1542:(2000)
1534:(1981)
1526:(1954)
1518:(1939)
1510:(1937)
1502:(1926)
1494:(1921)
1486:(1900)
1478:(1899)
1470:(1898)
1462:(1894)
1454:(1871)
1446:(1855)
1438:(1811)
1430:(1808)
1422:(1785)
1414:(1762)
1406:(1747)
1398:(1740)
1390:(1736)
1382:(1702)
1374:(1692)
1366:(1690)
1358:(1685)
1350:(1676)
1342:(1668)
1334:(1644)
1326:(1613)
1318:(1609)
1310:(1605)
1302:(1590)
1294:(1565)
1286:(1563)
1278:(1527)
1270:(1491)
1262:(1463)
694:
664:
650:
629:
335:Sacred
199:motets
2274:Dance
2165:Spain
2145:Italy
2074:Carol
2053:Roman
730:from
378:Notes
254:Works
197:; 53
179:motet
70:Dutch
66:Ronse
62:Parma
2094:Mass
1892:and
692:ISBN
662:ISBN
648:ISBN
627:ISBN
484:2024
203:mass
86:and
51:Life
2264:Art
1246:at
156:at
2347::
552:^
540:^
510:^
475:.
438:^
385:^
190:.
1576:e
1569:t
1562:v
1236:e
1229:t
1222:v
949:e
942:t
935:v
761:e
754:t
747:v
486:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
