Cappella Mediteranea

Cipriano de Rore, Ancor Che col partire

Cipriano de Rore, Ancor Che col partire Ricerar is celebrating its 35th anniversary in a highly original way with a tribute to the most brilliant Flemish Renaissance composers! The works of Cipriano de Rore (1515/16- 1565) continued to be performed long after his death. Dozens of embellished versions of his madrigals were performed up to the beginning of the 17th century. His success was truly exceptional. In honour of Ricercar’s anniversary, the label’s leading artists have put together this album, which offers a comprehensive overview of Cipriano de Rore’s religious and secular works. The madrigal Ancor che col partire, with its erotic undertones and numerous instrumental versions, is used as the guiding thread for this programme.

Two birthdays 450 years apart

In 1515, Franco-Flemish composer Cipriano de Rore was born. He was one of the very first madrigalists of his time. His music stood at the crossroads of Franco-Flemish and Italian influences. Four hundred and sixty-five years later, Ricercar label was born. To celebrate this double birthday, the label has brought together various recordings devoted to de Rore (as well as a handful of his contemporaries like Cabezo, Bovicelli, Gabrieli and Bassano) by its top artists, including Cappella Mediterranea and the Chœur de chambre de Namur, Clematis, L’Achéron, Vox Luminis and Doulce Mémoire, and Bernard Foccroulle. With all this talent, it is sure to be a birthday unlike any other!

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Released in 2015 by Ricercar. 67 minutes.

Valls, Missa Scala Aretina, Sentier, Cappella Mediterranea

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“This programme pays homage to the success of de Rore’s music in the decades after his death, but it also contains some very fine examples of the genre that most defined his work: the madrigal. In addition to the essential Ancor che col partire in its original version for four voices, there is also the delightful Io canterei d’amore, where the melody only allows for a single voice to be sung, while the others are entrusted to the instruments. The text is by Petrarch, a poet that Cipriano frequently turned to.”

Jérôme Lejeune

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