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  Исполнитель(и) :
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  Наименование CD :
   Lecons De Tenebres



Год издания : 1987/1970

Компания звукозаписи : Harmonia mundi

Время звучания : 53:03

Код CD : HMA 190220

  Комментарий (рецензия) :

CD, стоящие на полке рядом : Sacred Music (Master Works)      

Lecons De Tenebres (Feria Quinta)

Recorded 1970

========= from the cover ==========

With the exception of several posthumous editions, all of Gesualdo's works were printed between 1594 and 1613. It was a time when a veritable musical revolution took place in Italy, when polyphony gave way to monody over a basso continuo, that "seconda prattica" with which Peri, Caccini and above all Monteverdi put music on the path toward opera. But our Prince was a complex man who needed to express himself in a dense language, rich in harmonic possibilities, to whom the spare austerity of the stile recitativo was ill suited. Unlike Monteverdi, he was no revolutionary ; he was an aristocrat who had no need to win the admiration of a patron and who perhaps wrote only for himself He did not participate at all in the new movement, but clung to the old polyphonic formas of the sixteenth century, the madrigal and the motet for five or six voices a cappella.

His secular oeuvre consisted of 125 madrigals for five voices, divided among six books, of which the first four were printed by Baldini at Ferrara in 1594,1595 and 1596, the two remaining in 1611 at Gesualdo on the Prince's personal presses. A posthumous seventh book of madrigals for six voices should be added, published by Magnetta at Naples.

The composer paid little attention to the quality of his texts, which were often poor. For him they represented nothing more than raw material, the indispensable support for his musical inspiration. And that inspiration is stimulated by several intellectual forces expressed by several key words, always the same: cruel woman, ardent love, miserable life, unhappy fate, death most often in opposition to life. To be true, the world of nature is absent in Gesualdo'srepertoire. Only the world of men interested him, their conflicts, their anguish.

Though less celebrated than his madrigals, the religious works of Gesualdo, many of which are still at present unknown, are also remarkable. It was a little after his return from Ferrara and his permanent settlement in the South that the composer, it seems, began also to consecrate his art to the Church. Only one example of the Responsories for Holy Week has survived preserved at the Oratorio of the Filippini in Naples. Their superb dramatic subject, different episodes from the passion of Christ, inspired in Gesualdo a theatrical style which admirably served the contrasting effects which characterize his manner. Obsessed by his own death, he could not help but identify intensely with Christ's which spoke to him in particularly sincere accents.

Much ink has been spilled regarding Gesualdo's chromaticism which has provoked surprise, indignation or admiration according to the generation or the individual. Unfortunately, it is difficult to know what his contemporaries thought of him. Certainly, they were not sparing in their praises, which were often dithyrambic, but who then would dare criticize a Prince? Fontanelli, in a letter to the Duke of Ferrara written at the time of his first encounter with Gesualdo is somewhat reticent concerning the music he had heard. After having affirmed that "his art is endless ", he prudently concludes that "every thing is a matter of taste" and that he prefers to suspend his judgment "until more refined ears have given theirs."

The Prince of Venosa, since his death, has been one of the most debated musicians. Late nineteenth century musicologists were of such widely opposed opinions concerning his chromaticism that one can speak of a "Gesualdo controversy". It was necessary to await the present time for total admiration to be given to Gesualdo's famous chromaticism and for his incomparable genius to be appreciated for its true value. One must thank the masters of music of our time who, by leading us into incursions outside the tonal system and violations of the sacrosanct laws of classical harmony, have helped to expand our sonorous world and free us from preconceived notions.


  Соисполнители :

Christina Clarke (Soprano Voice)
Honor Sheppard (Soprano Voice)
John Buttrey (Tenor Voice)
Mark Deller (Countertenor Voice)
Maurice Bevan (Baritone Voice)
Neil Jenkins (Tenor Voice)
Norman Platt (Baritone Voice)


№ п/п

Наименование трека

Текст

Длительность

Комментарий
   1 In Monte Oliveti         0:04:57 Carlo Gesualdo Responsories (9) For Maundy Thursday, For 6 Voices, Feria 5
   2 Tristis Est Anima Mea         0:05:05 -"-
   3 Ecce Vidimus         0:09:04 -"-
   4 Amicus Meus         0:04:28 -"-
   5 Judas Mercator Pessimus         0:02:38 -"-
   6 Unus Ex Discipulis Meis         0:05:46 -"-
   7 Eram Quasi Agnus Innocens         0:08:01 -"-
   8 Una Hora         0:04:36 -"-
   9 Seniores Populi         0:08:27 -"-

      Обозначения:

 T   'щелкнуть' - переход к тексту композиции.

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Последние изменения в документе сделаны 20/10/2016 22:08:44

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