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"Harmonicos magis ac suaves nemo edidit unquam cantus": Cipriano de Rores Motette Concordes adhibete animos

Katelijne Schiltz
Archiv für Musikwissenschaft
62. Jahrg., H. 2. (2005), pp. 111-136
Published by: Franz Steiner Verlag
Stable URL: http://www.jstor.org/stable/25162328
Page Count: 26
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"Harmonicos magis ac suaves nemo edidit unquam cantus": Cipriano de Rores Motette Concordes adhibete animos
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Abstract

Although Rore's posthumously published motet Concordes adhibete animos carries the heading "in mortem Adriani Willaert," nowhere in its text is grief for the loss of the deceased composer mentioned. The spirited exclamation "Vive Adriane decus Musarum, vive Adriane" that stretches the length of the composition as a soggetto ostinato seems equally at odds with the stated occasion in the composition's heading. This led Bernhard Meier to the conclusion that a secunda pars, in which the death of Willaert is lamented, has since been lost; the arguments he puts forth to strengthen this hypothesis relate to the modality of the piece. This article by contrast draws on musical and intertextual considerations that speak for the completeness of the work and interpret its text as a posthumous panegyric. The style of Rore's motet also suggests that he wished to uphold the memory of Willaert's achievements and to guarantee the survival of Willaert's music. In his homage to il divino Adriano, Rore made Willaert's style-through the use of the ostinato, the special treatment of word-sounds, and the texture of the entire musical construction-indeed his own.

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