Rather, Longhini and his five male singers have placed the totality of this music squarely in the tradition of Italian Renaissance music. The first set is often overlooked. As in all madrigals by Gesualdo here images from the text are translated into music. Score information: A4, 4 pages, 90 kB Copyright: Edition notes: A bar-less edition of the piece. Clear enunciation of each word is supported by intelligent articulation of the overall shape of each poem. One that contains the first three Books of Madrigals and can also be recommended is that on Cpo 777138 by the Gesualdo Consort under Harry Van der Kamp. After that incident, Gesualdo, Prince of Venosa and Count of Conza, remained unpunished and retreated into his castle to openly devote himself to music.
The singers deftly achieve a style which is in turns, sad, inquisitive, optimistic, timid and ardent — but without ever having to act: this very immediate and persuasive singing can only come with deep and prolonged familiarity with the music. . There are one or two odd choices of inclusion: only Part I of Mentre madonna by Tasso; it's such a compelling vignette that one longs to know what happened next. This as usual well-priced hour's worth on Naxos, though, makes an attractively stylish alternative: the recording takes Gesualdo's music on its own terms. This range of what for Gesualdo 1566-1613 were contemporary poets illuminates the challenges the composer faced, and how he solved them in ways to which we — 400 years later — can still respond with enthusiasm. It needs a freshness without idiosyncrasy, and an honesty without the fey — however mannered the poets' sentiments may seem to us now.
And only the second part of Quanto ha di dolce amore. Other information: - This recording is a production of the Festival Gesualdo Oggi - Tracce 2004 Potenza, Italy. At the same time Delitiæ Musicæ Alessandro Carmignani, Paolo Costa, Fabio Furnari, Paolo Fanciulacci, Marco Scavazza, Walter Testolin succeeds by the open and idiomatic ways in which they represent the conventions and tropes… the mistress' eyes, the kisses and the metaphorical juxtaposition of breast, armor and warrior, for example. But there's something to be said for not keeping us waiting. We should eagerly await further volumes in this series. Thus their own delivery is intimate with all the risks associated with being intimate.
Yet totally genuine, somehow knowingly transparent. It's also one of the hardest for 21 st century ears and minds to relate to. Gesualdo originally published his first Book of Madrigals under a pseudonym. So every nuance of every word needs to count in its performance. And with a conviction of its ability to communicate such emotions unselfconsciously. Score information: A4, 4 pages, 51 kB Copyright: Edition notes: General Information Title: Gelo ha madonna il seno Composer: Lyricist: Number of voices: 5vv Voicing: Genre: , Language: Instruments: Published: Description: External websites: Original text and translations Italian text. Interestingly, there's no surfeit of comparable recordings.
Especially the secular items have proved to be popular. The selection here is a strong one with poetry by Tasso, Guarini, Gatti, Cassola, Alberti and Celiano. Here the composer set tormented texts by contemporary poets like Gatti and Tasso. Score information: Letter, 4 pages, 85 kB Copyright: Edition notes: General Information Title: Gelo hà madonna il seno e fiamma il volto Composer: Lyricist: Torquato Tasso, Rime d'Amore 333 Number of voices: 6vv Voicing: Genre: , Language: Instruments: Published: Description: External websites: Original text and translations Italian text. The result here is a compelling, melodious and satisfying blend of words and music that can stand its own with other exponents of the genre. They see no need to play up the extraordinary nature of Gesualdo, or his harmonies etc.
The acoustic is close yet far from claustrophobic. At the time this attracted a great deal of publicity and kept giving rise to publications even in the twentieth century. It's to Delitiæ Musicæ's credit that we so easily and willingly identify ourselves with the thwarted, curious, confident, shy and passionate lovers. This probably has something to do with his murdering his wife and her lover. In this release there is certainly more than a little promise.
Eventually we shall have them all. All the texts are presented, in Italian with English translations. In common with most of those from the period, these madrigals each take a single and concentrated theme for their subject matter — usually sexual love and often not completely fulfilled. The madrigal was a condensed and intense form. .
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