O World, I eem must leave thee (Canzona) - From Chorale-Improvisations Op. 65

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Between - Georg Forster published five collections of German songs mostly in four parts. About 50 songs are attributed to Othmayr, and many are included in Forster's collections. Among them are anonymous folk songs Othmayr gave to Forster which Forster attributed to Othmayr. They are set to folk or love poetry with syllabic and imitative textures. Many of the songs are strophic and in an AAB form.


The second video illustrates contemporary crumhorn instruments. We hear the same song in the third video in a setting for tenor and guitar. To conclude, three chorale arrangements played on the organ. Ebel, " Othmayr, Caspar. Othmayr saw the region convert to Protestantism. Various factors played a role: apart from religious reasons, local officials and monarchs saw a chance to increase secular power over the affairs of the church.

The locals preferred to put tithes to good use at home, and court rulers and the Holy Roman Emperor both used religion as a bargaining chip in their endless wars and disputes. According to Melanchton, " schools are for raising up people who are skilled to teach in the church and govern in the world. Published by: History of Education Society. Is there a personnage you would have liked to be during the Renaissance? Yes, Cipriano de Rore. He intrigues me with his melancholic side.


He wrote primarily vocal music, both secular and sacred. His Italian madrigals are best known, but we also have a few French chansons and a number of secular Latin motets. His sacred works consist of settings of the Mass, the Magnificat, Psalms and motets. According to recent scholarship, Cipriano de Rore was born between July 9, and September 1, 3 in the Flemish town of Ronse in a rather well-to-do family of textile tradesmen, bankers, owners of real estate, etc.

Ronse was traditionally a place of pilgrimage.

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It not only housed relics of Saint Hermes in its collegiate church, but of three other saints as well: Cornelius, Cyprianus and Celestinus. The de Rore family was closely involved with the church--they at various times occupied clerical positions, supplied candle wax, and provided financial support.

A number of its members had "Cypriaan" or "Celestinus" as their first name after the local saints.

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Music education was at a fairly high level and provided free education for the six choirboys. All this points to a musical climate that allowed the young Cipriano de Rore's nascent talents to blossom. In the madrigal Alma real, se come fida stella Royal Lady, like the faithful star in praise of Margaret of Parma , composed more than likely in January just before his return to Italy, de Rore mentions that he has followed Margaret ' like a sunflower follows the sun.

Nevertheless, gaping holes remain in de Rore's biography, and let the reader beware not to take anything for granted that can be found all over the internet. De Rore was now 30 years old, master of his craft, and ready to put his own stamp on the music of the Renaissance. We will explore de Rore's exquisite madrigals, motets, and other sacred works in the next few posts.

Let's start here with the seven French chansons that have come down to us. They are found in various sources, a. That it is painful to wait and languish.

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Rescue me, beautiful lady full of pity. The song is a striking example of text-setting: " Tear-stained cheeks ," for example, are portrayed by chromaticism in soprano and bass. Susann'un jour on the biblical subject of Susanna and the Elders , is the fifth French chanson in Meier's edition. It is performed here in the sine textu version on harp and theorbo. It is yours, my dear friend. It is your love, save it for me. De Rore's setting is one of a number of settings of this charming little verse. De Rore builds it into a timeless canon for eight voices, its at times painful chromaticism painting a moving plea for love.

Who could resist?

Chorale Improvisations, Op.65, No.38: Jesu meine Freude

Starting 65 years after the composer's death with a hastily put together encyclopedia by Franciscus Sweertius in Antwerp and for three and a half centuries thereafter, de Rore was thought to be born in Mechelen or Antwerp --both worthy musical centers--or even in Machelen on the Lys River where there was neither a musical center or anyone with the surname de Rore. Sweertius routinely mentioned his subjects' diocese as the place of birth. Cambier, Albert. Section 2.

First Name. The diocese for Ronse was Cambrai during de Rore's youth. Cultural and musical milieu. Margaret, however, was almost immediately removed to the home of the Emperor's cellar master in Brussels. Her education was closely supervised by her great-aunt Margaret of Austria and her aunt Mary of Hungary , successive Governors of Flanders with courts at Mechelen and Brussels.

One would like to believe that de Rore was employed for a while at these splendid palaces or was at least once in a while invited to perform there "pour le plaisir de Madame for the Lady's pleasure. In Margaret moved to Naples in a grand trip accompanied by her illustrious father and with festivities in many towns in preparation of her marriage to Alessandro di Medici three years later. How the origin of Cypriaan De Rore was discovered.

Steen," Margaret of Parma: A Life.

Bernardus Meier put together a comprehensive de Rore edition. The fitting " Enigma " epithet was used by Martha Feldman in Chapter 8.

Much more than documents.

Martha Feldman, Ib. Chapter 2.

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Florentines in Venice and the Madrigal at Home. That the two knew each other and that Willaert may have given advice on de Rore's madrigals in progress can be guessed from the correspondence. Antwerp was a cosmopolitan city which at the time counted many Italian merchants, traders and bankers among its residents.

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It is now preserved at Cambrai. He remained loyal to his family in Flanders, returning to his hometown twice in a row, the first time in when his brother died to help the widow settle affairs, the second time in when the city of Ronse burned and his relatives lost their possessions. An incorrect reading of de Rore's tombstone lead to a misunderstanding that it had been erected by his "brother" Ludovicus and his child with the resulting assumption that de Rore possibly had an illegitimate child.

Since the composer was never addressed with a clerical title, it is unlikely that he ever took religious vows. Ronse, in short, is going all out for its native son. De Rore composed a good number of secular motets and madrigals honoring and complementing current and prospective employers. Often these were important political leaders and supporters of the arts. During the Renaissance, conflict and war abounded, parties switched sides as needed, and legitimate and illegitimate children alike were part of marriage deals, forging political alliances and enlarging empires.

It was said that the sun never set in his empire. Although he compromised with the Protestants in Germany, he repressed the movement in the Netherlands.