Grove's dictionary of music and musicians

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EOPAETZ EOSA 139
entitle him to rank among the makers of living
national music. His son, Fkedekiok Woodman
Root, bom at Boston, June 13, 1846,
has done useful work as a teacher of singing,
both individually and in large classes. F. K.
EOPARTZ, J. Guy, born at Quingamp
(C&tes du Nord), June 15, 1864, was a pupil
of Dubois and Massenet in the Paris Conservatoire,
and afterwards studied with C^sar
Franok. Though his life has been chiefly
devoted to composition he has, since 1894,
dii'ected the Conservatoire of Nancy with great
success, and has given a strong impulse to the
symphony concerts in that town. His dramatic
works include two pieces in one sict, 'Le Diable
couturier ' and ' Marguerite d'Ecosse ' ;
he has
vn-itten incidental music for 'PScheur d'Islande
(Loti and Tiercelin), played in Paris, 1893 ;
'
Paysages de Bretagne ' (written for a theatre
'
d'ombres chinoises '),
' Les Landes,'
' Marie
endormie, ' and five short pieces, a Marche de
'
fete,' three 'Airs de ballet,' a suite in four
movements called 'Dimanohe breton, ' a symphony
on a Breton chorale, a 'Serenade,' etc., and
among his smaller published works which have
been brought to a hearing are a string quartet
and a ' fantaisie ' for strings, some church music
(Psalm xxxvi. for choir, organ, and orchestra),
songs, and pieces for organ and for piano. G. F.
ROKE, CiPKiANODE, composerof the Venetian
school, born at Mechlin (or possibly Antwerp)
about 1516. Hestudied under Willaert, ' chapelmaster
of St. Mark's, Venice, and was probably
in early life a singer in that cathedral. In 1542
he brought out his first book of madrigals a 5,
and in 1550 his first book a 4 appeared, a work
long held in favour, ^ and for the next seven or
eight years published continually.' About 1550''
he appears to have left Venice for the court of
Hercules II., Duke of Ferrara, and for some
years we hear nothing of him.* [In 1558 he
was given leave of absence to visit his parents
' '
Bee title-page Fanteaie e Recei-chari. etc., compoati da to Eccell.
A. Vulgliart e Cipriano suo Diacepolo, etc. , Venetiia, 1549 '
(Brit. Mus.
A. 287).
2 The Fdtis library at Brussels contaiiia imperfect copies of three
editions, 1552. 1569. and 1582. The edition in the British Museum is
1575.
3 The followiug list of books of motets and madrigalsis taken from
F^tis's Biographie, Eitner's Bibliographie, the quellen-Lesikim, and
tlie catalogues of the British Museum and Fdtis libraries. Some
contain work by other composera, but in all oases they bear
Cipriano's name, and he is the chief contributor. The date given is
that of the supposed first edition :
MateU. Bk.i.a5,Venice, 1544 (Brit. Mus.): bk.ii.a4and5, Venice,
1547 (F^tls, BioffT.) : bk. iii. a 5, Venice, 1549 (Eitner).
JfadrigtUi. Bk. i. a 5, Venice, 1542 ; bk. ii. a 5, Venice.l 544 (Brit.
Mus., the QueUeji-Lexikon gives 1552 as the first edition); bk. iii. a 5,
Venice, 1544. The 1562 edition in Brit Mus. ; bks. iv. and v. (1557
and 1566). (The fifth book contains an ode to the Duke of Parma,
and from the events of the composer's life we may assume this
volume to be one of ills latest publications.) For the first book of
madrigals a 4, see above ; the second was printed in 1557. and in
1565cameoutaseleotioQof the four, and five-part madrigala, as Le
'
Vive flamme.' etc. A large number of the four-part madrigals were
brought out in score in 1577. ,,^ ...
Chromatic madrigala. Bk. i. a 5, 1644 (Brit. Mus.; the word n-
stampato
'
on title-page shows that this is not the first edition). The
first book was reprinted as late as 1593 (Fdtis library). Bumey has
inserted one number in his ffittory.
* In this yeara reprint of his first book of madrigals was brought
out at Ferrara. ^ . ,„_., ,,, ..
3 Except the publication of two Passions (Pans 1557J with the
following curious titles: Pasaio D. K. J. Christi in qua solus
Johannes canens introducitnr cum quatuor vocibus ' and Paaaio
'
. . . inqualntroduuuntur Jeans etJudaelcanentes. cum duabuset
sex vocibus.'
at Antwerp, and soon afterwards visited the
court of Margaret of Austria, Governess of the
Netherlands, whose husband, Duke Ottavio
Tarnese, engaged him as his maestro di cappella
at Parma.] On the death of Willaert he was
appointed his successor, Oct. 18, 1563. He
resigned this position almost immediately, and
returned to the court of Parma in July 1564,
where he died, in the autumn of 1565, at the
age of forty-nine. He was buried in the cathedral
of that city, and the following epitaph gives an
authentic sketch of his life :
Cypriano RorOj FlaDdro
Artis Musicae
Tiro omnium peritissimo,
Cujus uotnen famaque
Nee vetustate obrui
Nee oblivione deleri poterit,
Hercules Ferrariens. Duels II.
Delude Venetorum,
Postremo
Octavi Farnesl Farmae et Flacentiae
Duels II Chori Praefecto.
Ludovlcus frater, flL et haeredes
Moestissimi posuerunt.
Oblit anuo mdlxv. aetatls vero suae XLix.
The position to which Rore attained at St.
Mark's, and flie rank as a musician which contemporary
writers assigned him, point to his
having been something of an innovator, and a,
really original composer. His sacred and secular
compositions were frequently reprinted, and
were included in many collections of the time.^
(See the Quellen-Leaikcm for these and for MS.
copies.) We know that they were held in high
esteem in the court chapel at Munich, and were
constantly performed there under Lassus's direction.^
Duke Albert of Bavaria caused a superb
copy of Rore's motets to be made for his library,
where it remains to this day, with a portrait of
the composer on the last page, by the court
painter Mielich. j. K. s.-B.
ROSA (ROSE), Cakl August Nicolas, born
at Hamburg, March 22, 1842, was educated
as a violin-player and made such progress as to
be sent to the Leipzig Conservatorium, which he
entered in 1859. [He afterwards studied at the
Paris Conservatoire, and obtained the post of
concertmeister at Hamburg in 1863.] In 1866
he came to England and appeared as a solo
player at the Crystal Palace on March 10.
After a short stay in London he joined Mr.
Bateman in a concert-tour in the United States,
and there met Madame Parepa, whom he married
at New York, in Feb. 1867. His wife's success
on the stage led to the formation of a company
under the management and conductorship of
Mr. Rose, which, during its early campaigns
could boast such names as Parepa, Wachtel,
Santley, Ronconi, and Formes among its artists.
Early in 1871 Mr. Rose—who by this time
had changed his name to Rosa to avoid mistakes
8 Fetis mentions a book of Cipriano's masses, a 4, 5, 6 (Venice,
1566) on the authority of Draudius'a Bibliotheca Classica. Tbia is
probably ' Li ber Misaarum ' a 4. 5, 6 (Venice, 1566) to which Cipriano
only contributes the first mass Doulce memoyre.'
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7 Discorai delli triomphl, etc. nelle nozze dell' llluatr. duca Ougl.
etc. da Massimo Trojano (Monaco, Berg. 1508).