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La Compagnia Del Madrigale G I O R G I O p h o t o : La Compagnia del Madrigale G i o r g i o V Rossana Bertini, soprano [rb] e r g n Francesca Cassinari, soprano [fc] a n o Elena Carzaniga, alto [ec] Giuseppe Maletto, tenor [gm] Raffaele Giordani, tenor [rg] Daniele Carnovich, bass [dc] Laura Fabris, soprano [lf] Annalisa Mazzoni, alto [am] 959 Recorded in the Chiesa della BV Maria del Monte Carmelo al Colletto, Roletto (Italy), on 29-30 September, 1-4 October, and 6 November 2015 Engineered and edited by Giuseppe Maletto | Produced by La Compagnia del Madrigale Executive producer & editorial director: Carlos Céster | Editorial assistant: María Díaz Design: Rosa Tendero Translations: Mark Wiggins (essay, eng ), Avril Bardoni (poetry, eng ), Pierre Élie Mamou ( fra ), Susanne Lowien ( deu ) Desidero ringraziare tutti i colleghi della Compagnia, la cui disponibilità a modificare il piano d’incisione e a sopportarne il conseguente carico di lavoro extra, mi ha permesso di raggiungere Padova per l’ultimo saluto © 2016 note 1 music gmbh al caro Maurizio, inaspettatamente venuto a mancare proprio nei giorni della registrazione. La sua mancanza mi pesa, tantissimo, ogni giorno della mia vita. Un ringraziamento a Anthony Newcomb e a Davide Ficco. Daniele Carnovich Un grazie particolare a D. Lorenzo Rivoiro per il sostegno e l’ospitalità. Carlo Gesualdo (1566-1613) 14 Se piange, ohimè, la donna [no. 12 ] lf, ec, gm, rg, dc 3:23 Terzo Libro di Madrigali 15 Veggio, sí, dal mio sole [no. 8] fc, am, ec, gm, dc 2:42 16 Non t’amo, o voce ingrata [no. 9] rb, ec, gm, rg, dc 2:52 01 Ancidetemi pur, grievi martiri [no. 13 ] fc, ec, gm, rg, dc 3:40 17 Donna, se m’ancidete (a sei voci) [no. 17 ] rb, fc, lf, ec, rg, dc 2:45 02 Sospirava il mio core – O mal nati messaggi (seconda parte) [no. 7] rb, ec, gm, rg, dc 4:34 03 Del bel de’ bei vostri occhi [no. 4] fc, ec, gm, rg, dc 2:49 bonus tracks 04 Ahi, dispietata e cruda [no. 5] rb, ec, gm, rg, dc 3:32 18 Scipione Stella (c.1558-1622) 05 Deh, se già fu crudele [no. 15 ] lf, ec, gm, rg, dc 2:16 Sento dentr’al cor mio fc, ec, rg, dc 2:39 (in: Di Rocco Rodio il secondo libro di madrigali a 4 voci , 1587) 06 Ahi, disperata vita [no. 2] fc, ec, am, gm, dc 1:57 19 Luzzasco Luzzaschi (1545-1607) 07 Dolcissimo sospiro [no. 16 ] rb, ec, gm, rg, dc 3:08 Dolorosi martir fc, ec, gm, rg, dc 4:22 (in: Il quarto libro de madrigali , 1594) 08 Meraviglia d’Amore – Ed ardo e vivo (seconda parte) [no. 10 ] fc, ec, gm, rg, dc 3:15 20 Alfonso Fontanelli (1557-1622) 09 Voi volete ch’io mora – Moro o non moro (seconda parte) [no. 1] rb, ec, am, rg, dc 3:47 Colei che già si bella rb, fc, ec, gm, dc 3:13 (in: Il secondo libro de madrigali senza nome , 1604) 10 Se vi miro pietosa [no. 14 ] rb, lf, ec, rg, dc 2:30 11 Crudelissima doglia [no. 11 ] rb, ec, gm, rg, dc 3:09 12 Dolce spirto d’Amore [no. 6] fc, ec, gm, rg, dc 2:45 13 Languisco e moro, ahi, cruda [no. 3] rb, ec, gm, rg, dc 4:01 4 5 resented in particular in the eighth book of the Politics ), were printed, again by Baldini in Ferrara, in the course over October 16-17, 1590 would still have been very music was useful for the education of young members of the two following years, 1595 and 1596. In this case vivid: the prince of Venosa, who was not yet 24 years Carlo Gesualdo of the nobility, but on the condition of it not becoming also, the impetus behind the printing was taken officially of age, had taken his dagger out and stabbed his beau - an actual profession, since any activity involved would by a single individual person, Ettore Gesualdo, a “vir - tiful wife, Maria d’Avalos, who had been caught in the Third Book of madrigals have necessarily implied a direct relationship with lis - tuous knight” and musician connected with the prince’s act of adultery with Duke Fabrizio Carafa. Neither of teners of low status. Gesualdo thus found himself at entourage. Lastly, accompanied by the dedications of the two lovers survived: the woman murdered by her the centre of two opposing impulses. On the one hand, Don Giovanni Pietro Cappuccio, the two final volumes, husband, the man slain by the composer’s followers. The oeuvre of Carlo Gesualdo, Prince of Venosa, can this involved these Aristotelian precepts, perhaps over - the Fifth and the Sixth , well-separated in both time and As this involved an “honour killing”, Gesualdo did not be divided – like that of Beethoven – into three distinct lapping with the Epicurean principles of the “living place from the preceding volumes, would not appear need, according to the law of the time, to undergo any phases. As the entirety of the composer-prince’s madri - hidden away”, as well as with the Renaissance ideal of until 1611, from the presses of Giovan Giacomo Carlino punishment, although the turmoil produced in his gal output extends to six books – each for five voices “art consisting in concealing art” (as recommended by, in the Irpinian village of Gesualdo. mind by the disaster can easily be imagined. – an orderly division into three pairs can easily be among others, Baldassare Castiglione in Il Cortegiano ). A remarkable circumstance in which private imagined, a situation fully confirmed by the basic pub - On the other hand, there was the growing modern ten - 959 tragedy and political opportunity interacted comes up lishing details. The styles described by these pairs can dency of appearing and becoming visible. A compromise with the arranged marriage of Carlo Gesualdo and be considered as introductory, an early maturity and solution was reached at the time: the name of the com - If the most familiar style of Gesualdo to us today is Eleonora d’Este. It suited the musician, nephew of the that of final works. It is also possible to say that the poser was not present on the title pages of Gesualdo’s the outrageous and mannered approach found in the influential cardinal Alfonso Gesualdo, to be moving Third Book of Madrigals for five voices (Ferrara, 1595) books of madrigals, but the family coat of arms was final printed collections, the foundations for such a on from his previous marital experience (and its fatal marks the conclusive move to the unmistakeable clearly visible. Moreover, even if compositional respon - personal language were nevertheless largely laid in the conclusion) in order to deal with a new life. The noble specific nature of Gesualdo’s music with its expressive sibility was concealed it could be deduced unambigu - turning point that is the Third Book . As to the texts, house of Este was in danger of losing control of the anxiety and its enigmatic beauty. ously from the dedicatory texts. Certainly, there were the abrupt disappearance of poems by Torquato Tasso, town of Ferrara and conceding it to the Holy See (as The first two volumes were published in 1694 by two other noblemen – both also with great enthusiasm well-represented up to the previous volume, is com - would later on take place in 1598, following the death the Ferrara printer and engraver Vittorio Baldini, both for music – from the same period who proved to be pensated for by the presence of the latest offerings by of the childless Duke Alfonso II). It was therefore with a dedicatory text from the musician and composer better “hidden” than Gesualdo: Count Alfonso more recent poets from Ferrara (Battista Guarini, useful to establish a nuptial link with the nephew of Scipione Stella addressed to Gesualdo. It is known that Fontanelli, the “concealed” composer of two Libri de’ Ridolfo Arlotti, Annibale Pocaterra), alongside an a high prelate who, at least in theory, should be able as the composer belonged to a very high ranking aris - madrigali senza nome , published in Ferrara (1595) and increasing number of anonymous verses; and some of to support the weak claims of Cesare d’Este, brother tocratic family he preferred to distance himself on a in Venice (1604), who will be mentioned later on, and these – and it is not improbable – might be attributed of Eleonora and cousin of the reigning duke, to be the formal level from any publishing enterprise in which the Duke of Mantua, Guglielmo Gonzaga. To him is to Gesualdo himself. lord of the historic capital of the duchy. he might be involved. Indeed, whilst certainly being attributed, among other works, an anonymous collection The Third Book can also be considered as one out - As a consequence, Gesualdo willingly faced up to proud of his own compositions, he could not behave of madrigals dating from 1583. come of the time Gesualdo spent in Ferrara between the journey to Ferrara, accompanied by an impressive like any other wage-earning musician, for reasons of A new pairing of books from Gesualdo – the 1594 and 1595. At the time, the grim recollection of suite of three hundred persons and 24 mules as well. protocol. According to the Aristotelian tradition (rep - Third (the object of this recording) and the Fourth – the bloody incident which had taken place in Napes In order to provide an appropriate welcome to this 6 | english english | 7 great prince, Duke Alfonso II entrusted Count Alfonso It is not easy at all to sense the nature of relationship erotic pleasures (such as in the celebrated Tirsi morir type of poetry was especially appealing to Gesualdo on Fontanelli with going to meet him along his route.
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