Cipriano de Rore began his career following the styles of Arcadelt, Verdelot, and Willaert. In the space of just over twenty years, he established a reputation of innovation such that Monteverdi's brother could later call him “the founder of the seconda pratica.”1 His late works were imitated by his most significant successors, so that the status of the madrigal as the most outstanding innovative genre of the late Renaissance stems principally from him. The five-hundredth anniversary of his birth (1515 or 1516) was the occasion of the monumental volume of fundamental studies under review, which cast new light on his work and its significance. This lavish publication includes sixty-three musical examples and...
Review: Cipriano de Rore: New Perspectives on His Life and Music, edited by Jessie Ann Owens and Katelijne Schiltz
WILLIAM PETER MAHRT is Associate Professor in the Department of Music at Stanford University, where he teaches medieval and Renaissance music. His scholarship principally concerns music and liturgy, and music and poetry. He directs a Renaissance concert choir and a liturgical choir that sings chant and polyphony. He is president of the Church Music Association of America and editor of its journal Sacred Music. His book The Musical Shape of the Liturgy (Church Music Association of America) appeared in 2012.
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William Peter Mahrt; Review: Cipriano de Rore: New Perspectives on His Life and Music, edited by Jessie Ann Owens and Katelijne Schiltz. Journal of the American Musicological Society 1 December 2019; 72 (3): 871–875. doi: https://doi.org/10.1525/jams.2019.72.3.871
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