Calendarul muzical al zilei - 8 martie 2016

[altmariusclassic]

 

1566 S-a născut compozitorul italian Carlo Gesualdo da Venosa (decedat 8.09.1613) 450 ani 1629 S-a născut compozitorul român Ioan Căianu (decedat 25.04.1687) 387 ani 1714 S-a născut compozitorul german Carl Philipp Em. Bach (decedat 14.12.1788) 302 ani 1857 S-a născut compozitorul italian Ruggero Leoncavallo (decedat 9.08.1919) 159 ani 1869 Comemorarea compozitorului francez Hector Berlioz 147 ani 1911 S-a născut dirijorul român Emanuel Elenescu (decedat 16.06.2003) 105 ani 1944 S-a născut chitaristul spaniol Pepe Romero 72 ani 1948 S-a născut violoncelista americană Christine Walevska 68 ani 1949 Aniversarea compozitorarei românce Marta Vlad 67 ani 1949 S-a născut flautistul belgian Barthold Kuijken 67 ani 1957 Comemorarea dirijorului şi compozitorului suedez Ottmar Schoeck 59 ani 1961 Comemorarea dirijorului englez Sir Thomas Beecham 55 ani 1974 Comemorarea compozitorului român Florin Eftimescu 42 ani 1983 Comemorarea compozitorului englez Sir William Walton 33 ani 1993 Comemorarea compozitorului român Wilhelm G. Berger 22 ani

Composer: Carlo Gesualdo {Gesualdo di/da Venosa} (8 March 1566 -- 8 September 1613)
- Performers: Ensemble "Métamorphoses"
- Conductor: Maurice Bourbon
- Year of recording: 1996

Madrigals for 5 voices, Book 6 {Il Sesto libro di Madrigali}, written in 1611.

00:00:00 - 01. Se la mia morte brami
00:03:34 - 02. Beltà, poi che t'assenti
00:06:55 - 03. Tu piangi, o Filli mia
00:10:04 - 04. Resta di darmi noia
00:13:12 - 05. Chiaro risplender suole
00:17:41 - 06. "Io parto" e non più dissi
00:20:47 - 07. Mille volte il dì moro
00;23:57 - 08. O dolce mio tesoro
00:26:43 - 09. Deh, come invan sospiro
00:29:25 - 10. Io pur respiro in così gran dolore
00:32:20 - 11. Alme d'amor rubelle
00:34:17 - 12. Càndido e verde fiore
00:36:32 - 13. Ardita Zanzaretta
00:39:46 - 14. Ardo per te, mio bene
00:43:08 - 15. Ancide sol la morte
00:45:33 - 16. Quel "no" crudel que la mia speme ancise
00:47:53 - 17. Moro, lasso, al mio duolo
00:51:28 - 18. Volan quasi farfalle
00:54:23 - 19. Al mio gioir il ciel si fa sereno
00:56:54 - 20. Tu segui, o bella Clori
00:59:15 - 21. Ancor che per amarti
01:02:34 - 22. Già piansi nel dolore
01:05:07 - 23. Quando ridente e bella

Gesualdo's 6th book of Madrigals reveal the composer's fully mature style, and was written in imitation and rivalry, a common practice among madrigal composers, of Nenna's works. Especially notable are Gesualdo's chromaticism, modal counterpoint, and rhythmic invention in these 23 madrigals.

Like early ethnomusicologists who superimposed Western notation and ideas on ethnic music before asking the "natives" how they conceived of their own music (thus making many erroneous assumptions), puzzled commentators on Gesualdo's music have often utilized standard harmonic analysis instead of approaching the music from the ideas of counterpoint and modality that were prevalent in his time. Basically, the unusual chromatic progressions in Gesualdo's work are the result of raising and lowering individual voices by half steps as a kind of expressive timbre modulation, a brightening (adding sharps) or darkening (adding flats), tied to the meaning of the words. For example, the (in-)famous madrigal No. 17 "Moro, lasso, al mio duolo" (I die, languishing, of grief) opens with the slowly descending, sighing chords C sharp major, A minor, B major, G major, and cadences normally E dominant seventh to A minor. The first two chords and the next set of two chords both suggest some Wagnerian progression centuries ahead of its time, but in fact the writing is purely modal with these chromatic modifications to add expression. Many of the madrigals open with unusual progressions by minor and major third roots in block harmonies and then proceed toward straight, unmodified modal counterpoint in faster subdivisions of the main tempo; for example, No. 15 "Death alone can kill"...A major to C sharp major to A major ), No. 21 "Even though, through love of you, I am consumed"...E major to G minor), No. 2 "Beauty, since you depart"...G minor to E major), No. 6 " 'I go', and no more, I said, for the pain"...starts in a harmonic minor and later offers E diminished to B major to C minor, etc.), etc.

By contrast, many other madrigals are in a straightforward modal style, and are sometimes played instrumentally for variety when a performance is given of the entire Book. For example, Nos. 8, 11, 12, 15, 16, and 18. Expressive cascading imitations can be found in Nos. 14 (on the words "ardo per te" -- I burn for you), 13 on "Fuggi poi," 21 on "rimirar suole," 3, 23, 19, and several others. Rare skips by a large interval into a dissonance can be found in Nos. 4 and 13 with its spectacularly modulated extended ending. Gesualdo is also especially fond of Spanish-type Lydian mode cadences, especially throughout No. 7, and provides a lovely Mixolydian mode beginning for No. 22. Gesualdo is also fond of subdividing lines and syllables and of the emphatic pause effect, especially in No. 10 "Io pur respiro in così gran dolore" (Even in agony, I still breathe) where "respiro" is divided up to suggest someone gasping for air.