1. Rore: Missa Doulce Memoire - 1. Kyrie
2. Rore: Missa Doulce Memoire - 2. Gloria
3. Rore: Missa Doulce Memoire - 3. Credo
4. Rore: Missa Doulce Memoire - 4. Sanctus & Benedictus
5. Rore: Missa Doulce Memoire - 5. Agnus Dei
6. Rore: O Altitudo Divitiarum
7. Rore: Fratres, Scitote
8. Rore: Illuxit Nunc Sacra Dies
9. Rore: Missa A Note Negre - 1. Kyrie
10. Rore: Missa A Note Negre - 2. Gloria
11. Rore: Missa A Note Negre - 3. Credo
12. Rore: Missa A Note Negre - 4. Sanctus & Benedictus
13. Rore: Missa A Note Negre - 5. Agnus Dei 

The Brabant Ensemble
Stephen Rice - conductor

The Brabant Ensemble continues their investigation into unknown jewels of the Low Countries Renaissance, researched by their director Stephen Rice and recorded with equal amounts of passion and erudition by the young singers of the group. Cipriano de Rore was and is principally known as a madrigal composer. This recording presents some of the least well-known works in de Rore's output. It contains two Mass settings based on French chansons, Missa a note negre on a composition by Rore himself, and Missa Doulce memoire, which takes one of the sixteenth century's greatest hits as its inspiration. Also included are three motets. Fratres: Scitote is apparently a unique instance of composition to its text: St Paul here tells the story of the Last Supper, in which Jesus takes bread, blesses and distributes it, and thereby institutes the ritual of Holy Communion. ---Editorial Reviews, amazon.com

Cipriano de Rore is best known today as one of the finest exponents of the madrigal but his sacred output deserves to be better known: apart from three fine recordings of the impressive Missa Praeter rerum seriem, little of it has reached the discography, so the Brabant Ensemble’s campaign in favour of neglected composers finds another worthy candidate. Both of the Masses on this recording are based on chansons, one the famous Doulce mémoire by Pierre Sandrin, the other by Rore himself. His contrapuntal writing, though considerably intricate at times, has a lucidity that the Brabant Ensemble’s light sound emphasises. Of the two works, the first is perhaps the more immediately approachable and memorable.

The lightness just mentioned is now something of a trademark of this ensemble, a feature accentuated by the slightly recessed sound recording. The drawback is that the grain of the individual voices is ironed out, as also may be the finer nuances of interpretation; and the danger, that the impression of distance isn’t just a spatial one. The range of Rore’s invention gives more than enough purchase for the singers to sink their teeth into, and while the livelier situations yield the livelier results (try the ‘Hosanna’ of Missa Doulce mémoire), a more reflective atmosphere need not preclude the dynamic shaping of events (as in the motet O altitudo divitiarum). The Brabants have established for themselves a recognisable sound; an equally worthy goal would be a more determined characterisation of individual composers and works. ---Fabrice Fitch, gramophone.co.uk

Cipriano de Rore to jeden z mistrzów polifonii franko-flamandzkiej, działający głównie we Włoszech, gdzie w latach 1540-45 był m. in. kapelmistrzem bazyliki ś. Marka w Wenecji. Płyta z muzyką sakralną Cipriano de Rore, nagrana przez The Brabant Ensemble pod dyrekcją Stephena Rice'a to kolejna płyta w serii renesansowych dzieł sakralnych wydawanych przez brytyjski Hyperion. Tak jak poprzednie płyty tego zespołu, licznie ponagradzane przez krytykę muzyczną, i ten album to wykonawczy rarytas, zasługujący na szczególną uwagę. Rekomendacja miesiąca! ---empik.com

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1.    Passio Domini
2.    Intermedium I: Ad te levavi oculos
3.    Adducunt ergo Jesum
4.    Intermedium II: Instrumental
5.    Susceperunt autem Jesum
6.    Intermedium III: Agnus Dei
7.    Judaei ergo quoniam parasceve erat

Katelijne van Laethem (cantus), 
Gilles Ragon (altus), 
John Dudley (tenor), 
Josep Cabre (bariton), 
Lieven Deroo (bassus), 
Wim Becu (baßposaune), 
Harry Ries (basßposaune), 
Willem Bremer (zink, blockflöte), 
Bart Coen (blockflöte), 
Renée Stock (Renaissance viola da gamba), 
René van Laeken (fiedel)

Huelgas Ensemble
Paul van Nevel – conductor

Cipriano de Rore was an almost purely vocal composer, one of the 'avant gard' madrigalists at the Este Court in Ferrara. This liturgical composition, written sometime around 1555, is an anomaly in Cipriano's oeuvre and in the whole development of the Passion as a musical genre. In it, Cipriano determinedly avoids all the ornamentation and chromaticism that was coming into fashion in Italy with his generation. The Passio Secundum Johannes (Passion according to John) is a gigantic 'trope' on the Gregorian passion plainchant in the Lydian mode, and thus both a brazenly old-fashioned and boldly timeless piece of music. It combines mensural and non-mensural passages, revives the early Renaissance 'falso bordone' bass, and proceeds chiefly homophically, with highly stylized polyphonic cadences. There's a numerical pattern to the 'roles' in the Passion; the words Christ are set in three parts, the Evangelist's text is set in four, the 'turbid' crowd in six, and Pontius Pilate in bicinium. Three polyphonic "intermedia" are inserted between sections of the Passion, a practice fully justified historically.

The whole seems profoundly devotional, both the least flamboyant and most 'spiritual' setting of the Passion text in the whole history of music. That's one reason why I've listened to it rarely; it's too grand a concept to be heard 'lightly'. I can only imagine listening to it when I want and need to sit attentively through the whole performance. The other reason why I seldom listen to this CD is the instrumentation. The use of a panoply of instruments, some of which would not have been permitted in a liturgical setting, is distracting and ineffective. I say so despite the fact that I'm a wind-instrument player myself, and love to play 16th C polyphony in 'closed' (same instrument) consorts. But it is a good performance, despite the wrong-headed instrumentation. The Huelgas Ensemble is like that, consistently inconsistent and often frustrating. If you are passionate, as I am, about the 16th C repertoire, Cipriano de Rore is a composer you will want to hear, and this is a sui generis masterwork. --- Giordano Bruno (Wherever I am, I am.), amazon.com

Cipriano de Rore (1515 or 1516 – 1565) was a Franco-Flemish composer of the Renaissance, active in Italy. Not only was he central representative of the generation of Franco-Flemish composers after Josquin des Prez who went to live and work in Italy, but he 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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