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Modality and Chromaticism in the Madrigals of Don Carlo Gesualdo

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Modality and Chromaticism in the Madrigals of Don Carlo Gesualdo Modality and Chromaticism in the Madrigals of Don Carlo Gesualdo Volume I of II Joseph Ian Knowles PhD Music University of York February 2014 2 Abstract Don Carlo Gesualdo, Prince of Venosa, (1566–1613) is celebrated for his idiosyncratic use of chromaticism. Yet, the harmony of Gesualdo's madrigals evades modal rules and his chromatic style has perplexed analysts. This thesis reappraises the modal and chromatic features in his madrigals and expands on their significance by employing pitch-class set theory analysis to enhance a more traditional modal approach. Whilst analysis of the music through modal features and pitch-class set theory may appear to use contradictory analytical methods, the two can complement each other through the recognition of certain interval patterns regarded as significant by cinquecento music theorists. Ultimately, this analytical technique provides a language with which to articulate the modal and chromatic processes occurring in his music. In order to consolidate the results of the analyses, elements of compositional process are delineated and explored in the dissection of the madrigal '"Io parto" e non più dissi.' 3 4 Table of Contents Volume I Abstract ................................................................................................................... 3 List of Musical Examples in Volume I .................................................................... 10 List of Tables in Volume I ...................................................................................... 13 List of Accompanying Material ............................................................................... 14 Acknowledgements ............................................................................................... 15 Author's Declaration .............................................................................................. 16 Introduction ........................................................................................................... 17 Chapter 1 Analysing Gesualdo ............................................................................. 23 Scores ................................................................................................................... 24 Early Studies ......................................................................................................... 26 Analyses................................................................................................................ 29 Mannerism ......................................................................................................... 32 Broader Analyses .............................................................................................. 37 Nicola Vicentino ................................................................................................. 39 Modern Analytical Methods ................................................................................... 41 Modality and Chromaticism ................................................................................... 47 Chapter 2 Theoretical Background ........................................................................ 48 Hexachords ........................................................................................................... 48 Mode ..................................................................................................................... 50 Origins of the Modes .......................................................................................... 50 Humanism ......................................................................................................... 52 Application of Modes to Polyphony .................................................................... 55 Cadences .......................................................................................................... 59 Gesualdo's Use of the Modes ............................................................................ 62 Pitch-Class Set Theory Analysis ............................................................................ 64 Aesthetic Ideals of Set Theory ........................................................................... 70 5 Chapter 3 Modality .................................................................................................. 71 The Motet 'Ne reminiscaris Domine delicta nostra' ............................................. 71 Modal Theory in Practice ....................................................................................... 72 Large-Scale Pitch Organisation.......................................................................... 72 Modal Ethos ....................................................................................................... 76 Pitch-Class Set Theory and Modal Theory ............................................................ 76 Hexachords........................................................................................................ 81 'Amor, pace non chero' .......................................................................................... 81 Chapter 4 Chromaticism ........................................................................................ 87 The Greek Genera ............................................................................................. 89 'Hierusalem, Hierusalem, convertere ad dominum deum tuum' .......................... 93 Hercole Bottrigari's Chromatic Scales ................................................................ 95 Constructing Gesualdo's Chromaticism ................................................................. 97 Chromatic Cadences ......................................................................................... 99 Chromaticism in Gesualdo's Madrigals ............................................................ 101 Development of the 4-4 Set as a Compositional Structure ................................... 101 Harmonic, Melodic and Compositional Use of the Chromatic Tetrachord in the Final Cadence of 'Mercè grido piangendo' ................................................................ 110 Chromatic Tetrachord vs. 4-4 Set .................................................................... 112 Chapter 5 Case Studies ........................................................................................ 114 Case Study 1: 'Mercè grido piangendo' ............................................................... 115 Modal Qualities ................................................................................................ 115 Chromatic Inflections ....................................................................................... 119 Chromaticism ................................................................................................... 120 Case Study 2: 'Se la mia morte brami' ................................................................. 121 Modal Qualities ................................................................................................ 122 Chromaticism ................................................................................................... 123 Case Study 3: 'Moro lasso al mio duolo' .............................................................. 126 Modal Qualities ................................................................................................ 128 6 Chromaticism ................................................................................................... 130 Case Study 4: 'Tribulationem et dolorem inveni' .................................................. 136 Modal Qualities ................................................................................................ 137 Hexachordal Qualities ...................................................................................... 139 Chromatic Qualities .......................................................................................... 140 Summary ............................................................................................................. 141 Chapter 6 Compositional Procedure ................................................................... 143 Temperament ...................................................................................................... 143 Temperament and Pitch-Class Set Theory ...................................................... 145 Vicentino's Archicembalo ................................................................................. 146 '"Io parto" e non più dissi' .................................................................................... 149 Mode................................................................................................................ 150 Segmentation ................................................................................................... 152 Vertical Sets..................................................................................................... 153 Modes and Pitch-Class Set Theory .................................................................. 153 The Chromatic Tetrachord as a Melodic Unit ................................................... 155 Chromaticism through the Substitution of Modal Pitches.................................. 157 Chromatic Tetrachord Displacing Modal Structures ......................................... 157 Chromaticism through Hexachord Mutations .................................................... 161 The Chromatic Tetrachord ............................................................................... 163 Temperament
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