From quotation to emulation: fortune of Anchor che col partire in the Low Countries’ madrigal

Between 1555 and 1620, more than eighty-five volumes containing Italian madrigals were printed in Anvers, consecrating the city as one of the largest european printing's centers, specially for this genre. If at the beginning madrigal find its place in collections mixing songs and motets, it is printed for itself from 1580 thanks to the publication of anthologies and also unpublished volumes of Italian madrigals devoted to the works of individual composers.
Inseperable phenomenom in music of the sixteenth century to which the madrigal does not escape, musical borrowings are a way to precise the diffusion and emulation strategies which participate in the madrigalesque manifestation in Low Countries. Local madrigalists such as Séverin Cornet, Jean de Castro or Jean Desquesnes participate to different degrees to the fortune of the madrigal Ancor che col partire by Cipriano de Rore using imitation, transformation and quotations of the original material in their own works.
Therefore, this paper proposes to review and analyse borrowings and transformations of de Rore's madrigal within this largely unexploited corpus (1568-1594). It will also be a question of seizing influences between composers and the legitimation that such process presupposes. Finally, from selected examples, this paper will draw up some thinkings on the appropriation of madrigalesque genre by composers from Low Countries who, for the majority, have never been to Italy.