Don Carlo Gesualdo (1566 - 1613)
Carlo Gesualdo, known as Gesualdo da Venosa (March 8, 1566 ? September 8, 1613), Prince of Venosa and Count of Conza, was an Italian music composer, lutenist and nobleman of the late Renaissance. He is famous for his intensely expressive madrigals, which use a chromatic language not heard again until the 19th century; and also for committing what are amongst the most notorious murders in musical history.
The evidence that Gesualdo was tortured by guilt for the remainder of his life is considerable, and he may have given expression to it in his music. One of the most obvious characteristics of his music is the extravagant text setting of words representing extremes of emotion: 'love', 'pain', 'death', 'ecstasy', 'agony' and other similar words occur frequently in his madrigal texts, most of which he probably wrote himself. While this type of word-painting is common among madrigalists of the late 16th century, it reached an extreme development in Gesualdo's music.
While he was famous for his murders, he also remains famous for his music, which is among the most experimental and expressive of the Renaissance, and without question is the most wildly chromatic; progressions such as those written by Gesualdo did not appear again in music until the 19th century, and then in a context of tonality that prevents them from being directly comparable[citation needed].
Gesualdo's published music falls into three categories: sacred vocal music, secular vocal music, and instrumental music. His most famous compositions are his six published books of madrigals (between 1594 and 1611), as well as his Tenebrae Responsoria, which are very much like madrigals, except that they use texts from the Passion, a form (Tenebrae) used by many other composers. In addition to the works which he published, he left a large quantity of music in manuscript; this contains some of his richest experiments in chromaticism, as well as compositions in such contemporary avant-garde forms as monody. Some of these were products of the years he spent in Ferrara, and some were specifically written for the virtuoso singers there, the three women of the concerto di donne.
The first books of madrigals that Gesualdo published are close in style to the work of other contemporary madrigalists. Experiments with harmonic progression, cross-relation and violent rhythmic contrast increase in the later books, with Books Five and Six containing the most famous and extreme examples (for instance, the madrigals 'Moro, lasso, al mio duolo' and 'Beltà, poi che t'assenti', both of which are in Book Six, published in 1611). There is evidence that Gesualdo had these works in score form, in order to better display his contrapuntal inventions to other musicians, and also that Gesualdo intended his works to be sung by equal voices, as opposed to the concerted madrigal style popular in the period, which involved doubling and replacing voices with instruments.[1]
Characteristic of the Gesualdo style is a sectional format in which relatively slow-tempo passages of wild, occasionally shocking chromaticism alternate with quick-tempo diatonic passages. The text is closely wedded to the music, with individual words being given maximum attention. Some of the chromatic passages include all twelve notes of the chromatic scale within a single phrase, although scattered throughout different voices. Gesualdo was particularly fond of chromatic third relations, for instance juxtaposing the chords of A major and F major, or even C-sharp major and A minor (as he does at the beginning of 'Moro, lasso' [1]).
His most famous sacred composition is the set of Tenebrae Responsoria, published in 1611, which are stylistically madrigali spirituali ? madrigals on sacred texts. As in the later books of madrigals, he uses particularly sharp dissonance and shocking chromatic juxtapositions, especially in the parts highlighting text passages having to do with Christ's suffering, or the guilt of St. Peter in having betrayed Jesus.
Gesualdo had little influence at the time, although a few composers such as Sigismondo d'India and Antonio Cifra wrote a handful of works in imitation of his madrigalian style; it was only in the 20th century that he was rediscovered. The life of Gesualdo provided inspiration for numerous works of fiction and music drama, including a novel by Anatole France, a short story by Julio Cortázar, and an opera by Franz Hummel. In addition, 20th century composers responded to his music with tributes of their own; Alfred Schnittke wrote an opera in 1995 based on his life, Igor Stravinsky arranged Gesualdo's madrigal 'Beltà, poi che t'assenti' as part of his Monumentum pro Gesualdo (1960), and contemporary composer Salvatore Sciarrino has also arranged several of his madrigals for an instrumental ensemble. In 1997, the Australian composer Brett Dean paid homage to Gesualdo in 'Carlo' - an intense and affecting work for string orchestra, tape and sampler. In The Doors of Perception, Aldous Huxley writes of Gesualdo's madrigals:
Mozart's C-Minor Piano Concerto was interrupted after the first movement, and a recording of some madrigals by Gesualdo took its place.
'These voices' I said appreciatively, 'these voices ? they're a kind of bridge back to the human world.'
And a bridge they remained even while singing the most startlingly chromatic of the mad prince's compositions. Through the uneven phrases of the madrigals, the music pursued its course, never sticking to the same key for two bars together. In Gesualdo, that fantastic character out of a Webster melodrama, psychological disintegration had exaggerated, had pushed to the extreme limit, a tendency inherent in modal as opposed to fully tonal music. The resulting works sounded as though they might have been written by the later Schoenberg.
'And yet,' I felt myself constrained to say, as I listened to these strange products of a Counter-reformation psychosis working upon a late medieval art form, 'and yet it does not matter that he's all in bits. The whole is disorganized. But each individual fragment is in order, is a representative of a Higher Order. The Highest Order prevails even in the disintegration. The totality is present even in the broken pieces. More clearly present, perhaps, than in a completely coherent work. At least you aren't lulled into a sense of false security by some merely human, merely fabricated order. You have to rely on your immediate perception of the ultimate order. So in a certain sense disintegration may have its advantages. But of course it's dangerous, horribly dangerous. Suppose you couldn't get back, out of the chaos...'
Though Gesualdo's influence was exceptionally limited during his lifetime, his work has been rediscovered and appreciated as a precursor to later, equally expressive and technically difficult styles of music.
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Source : Wikipedia
The evidence that Gesualdo was tortured by guilt for the remainder of his life is considerable, and he may have given expression to it in his music. One of the most obvious characteristics of his music is the extravagant text setting of words representing extremes of emotion: 'love', 'pain', 'death', 'ecstasy', 'agony' and other similar words occur frequently in his madrigal texts, most of which he probably wrote himself. While this type of word-painting is common among madrigalists of the late 16th century, it reached an extreme development in Gesualdo's music.
While he was famous for his murders, he also remains famous for his music, which is among the most experimental and expressive of the Renaissance, and without question is the most wildly chromatic; progressions such as those written by Gesualdo did not appear again in music until the 19th century, and then in a context of tonality that prevents them from being directly comparable[citation needed].
Gesualdo's published music falls into three categories: sacred vocal music, secular vocal music, and instrumental music. His most famous compositions are his six published books of madrigals (between 1594 and 1611), as well as his Tenebrae Responsoria, which are very much like madrigals, except that they use texts from the Passion, a form (Tenebrae) used by many other composers. In addition to the works which he published, he left a large quantity of music in manuscript; this contains some of his richest experiments in chromaticism, as well as compositions in such contemporary avant-garde forms as monody. Some of these were products of the years he spent in Ferrara, and some were specifically written for the virtuoso singers there, the three women of the concerto di donne.
The first books of madrigals that Gesualdo published are close in style to the work of other contemporary madrigalists. Experiments with harmonic progression, cross-relation and violent rhythmic contrast increase in the later books, with Books Five and Six containing the most famous and extreme examples (for instance, the madrigals 'Moro, lasso, al mio duolo' and 'Beltà, poi che t'assenti', both of which are in Book Six, published in 1611). There is evidence that Gesualdo had these works in score form, in order to better display his contrapuntal inventions to other musicians, and also that Gesualdo intended his works to be sung by equal voices, as opposed to the concerted madrigal style popular in the period, which involved doubling and replacing voices with instruments.[1]
Characteristic of the Gesualdo style is a sectional format in which relatively slow-tempo passages of wild, occasionally shocking chromaticism alternate with quick-tempo diatonic passages. The text is closely wedded to the music, with individual words being given maximum attention. Some of the chromatic passages include all twelve notes of the chromatic scale within a single phrase, although scattered throughout different voices. Gesualdo was particularly fond of chromatic third relations, for instance juxtaposing the chords of A major and F major, or even C-sharp major and A minor (as he does at the beginning of 'Moro, lasso' [1]).
His most famous sacred composition is the set of Tenebrae Responsoria, published in 1611, which are stylistically madrigali spirituali ? madrigals on sacred texts. As in the later books of madrigals, he uses particularly sharp dissonance and shocking chromatic juxtapositions, especially in the parts highlighting text passages having to do with Christ's suffering, or the guilt of St. Peter in having betrayed Jesus.
Gesualdo had little influence at the time, although a few composers such as Sigismondo d'India and Antonio Cifra wrote a handful of works in imitation of his madrigalian style; it was only in the 20th century that he was rediscovered. The life of Gesualdo provided inspiration for numerous works of fiction and music drama, including a novel by Anatole France, a short story by Julio Cortázar, and an opera by Franz Hummel. In addition, 20th century composers responded to his music with tributes of their own; Alfred Schnittke wrote an opera in 1995 based on his life, Igor Stravinsky arranged Gesualdo's madrigal 'Beltà, poi che t'assenti' as part of his Monumentum pro Gesualdo (1960), and contemporary composer Salvatore Sciarrino has also arranged several of his madrigals for an instrumental ensemble. In 1997, the Australian composer Brett Dean paid homage to Gesualdo in 'Carlo' - an intense and affecting work for string orchestra, tape and sampler. In The Doors of Perception, Aldous Huxley writes of Gesualdo's madrigals:
Mozart's C-Minor Piano Concerto was interrupted after the first movement, and a recording of some madrigals by Gesualdo took its place.
'These voices' I said appreciatively, 'these voices ? they're a kind of bridge back to the human world.'
And a bridge they remained even while singing the most startlingly chromatic of the mad prince's compositions. Through the uneven phrases of the madrigals, the music pursued its course, never sticking to the same key for two bars together. In Gesualdo, that fantastic character out of a Webster melodrama, psychological disintegration had exaggerated, had pushed to the extreme limit, a tendency inherent in modal as opposed to fully tonal music. The resulting works sounded as though they might have been written by the later Schoenberg.
'And yet,' I felt myself constrained to say, as I listened to these strange products of a Counter-reformation psychosis working upon a late medieval art form, 'and yet it does not matter that he's all in bits. The whole is disorganized. But each individual fragment is in order, is a representative of a Higher Order. The Highest Order prevails even in the disintegration. The totality is present even in the broken pieces. More clearly present, perhaps, than in a completely coherent work. At least you aren't lulled into a sense of false security by some merely human, merely fabricated order. You have to rely on your immediate perception of the ultimate order. So in a certain sense disintegration may have its advantages. But of course it's dangerous, horribly dangerous. Suppose you couldn't get back, out of the chaos...'
Though Gesualdo's influence was exceptionally limited during his lifetime, his work has been rediscovered and appreciated as a precursor to later, equally expressive and technically difficult styles of music.
(Hide extended text) ... (Read all)
Source : Wikipedia
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