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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.

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. 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 for example at the beginning of "Moro, lasso, al mio duolo".

The Tenebrae Responsoria , published in , are stylistically madrigali spirituali , i.

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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 him. The fascination for Gesualdo's music has been fuelled by the sensational aspects of his biography. If Gesualdo had not committed such shocking acts, we might not pay such close attention to his music.

If you desire my death

But if he had not written such shocking music we would not care so much about his deeds. In his own lifetime, the salacious details of Gesualdo's killing of his first wife and her lover were widely publicized, including in verse by poets such as Tasso and an entire flock of Neapolitan poets, eager to capitalize on the sensation.

After the Renaissance Gesualdo's life story and his music were largely forgotten until the 20th century: In Alfred Schnittke wrote an opera based on Gesualdo's life. Another Gesualdo opera was written by Franz Hummel in as a commission from the city of Kaiserslautern.

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Mozart's C-Minor Piano Concerto was interrupted after the first movement, and a recording of some madrigals by Gesualdo took its place. 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. 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 In , Werner Herzog directed the film Gesualdo: Gesualdo was an Italian composer who, because of mental illness, murdered his wife and her lover, and wrote music in the 16th century that was so progressive and extreme that no one attempted to recreate his style until the 20th century It wasn't until centuries later that he was rediscovered, and his work is a huge inspiration to me.

From Wikipedia, the free encyclopedia. This article is about the composer. For the Italian town, see Gesualdo, Campania. Moro lasso al mio duolo 2: List of compositions by Carlo Gesualdo. This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. October Learn how and when to remove this template message. Retrieved July 17, Monteverdi, Frescobaldi, Cavalli, Corelli, A.

Retrieved from " https: Wikipedia articles with NDL identifiers births deaths People from Venosa Renaissance composers Italian classical composers Italian male classical composers Italian murderers Madrigal composers 16th-century Italian musicians 17th-century Italian musicians. Views Read Edit View history.

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Problems playing this file? Submitted by Bertram Kottmann Authorship by Torquato Tasso - [ author's text not yet checked against a primary source ]. Available translations, adaptations, and transliterations if applicable: Text added to the website: Gentle Reminder This website began in as a personal project, and I have been working on it full-time without a salary since Our research has never had any government or institutional funding, so if you found the information here useful, please consider making a donation.

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Se la mia morte brami (Gesualdo, Carlo)

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