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Bärenreiter Verlag CARLO GESUALDO PRINCIPE DI VENOSA NEW GESUALDO EDITION OFFERTA DI SOTTOSCRIZIONE SUBSCRIPTION OFFER EINLADUNG ZUR SUBSKRIPTION Bärenreiter L’EDIZIONE La personalità di Carlo Gesualdo (Venosa 1566 – Gesualdo 1613), uno dei più grandi aristocratici italiani del suo tempo, principe di Venosa ma anche ‘principe dei musici’, considerato con Monte - verdi il maggiore compositore a cavallo tra Cinque e Sei cento, ha da sempre attratto l’attenzione di intellettuali e artisti, per la sua tormentata esistenza ma anche per la eccezionale qualità artistica della sua produzione. Già nell’anno della sua morte uno stimato maestro di cappella genovese, Simone Molinaro, realizzò una partitura dei cinque libri di madrigali a 5 e 6 voci, elevandoli a modello per lo studio del contrappunto e della composizione. Nel secolo scorso, l’entusiasmo di Igor Stravinskij per l’audace scrittura cromatica di Gesualdo diede vita a una vera e propria ‘Gesualdo Renaissance’, e riportò con forza all’attenzione di studiosi e ascoltatori la densa polifonia vocale del Principe. Da allora molte iniziative di ricerca si sono succedute; ma le opere di Carlo Gesualdo da Venosa, rimaste fino a oggi affidate ad edizioni inadeguate sotto l’aspetto critico-testuale anche se storicamente importanti, necessitano ormai con urgenza di una vera edizione critica, condotta con metodi rigorosi e aggiornati, e funzionale sia alle moderne esigenze di studio sia a quelle della esecuzione storicamente informata. G. Balducci, Pala del Perdono (1609), Chiesa di Santa Maria delle Grazie (Gesualdo, AV) La musica di Gesualdo è stata tramandata da preziose stampe in libri-parte, prodotte da due famosi tipografi dell’epoca: Cover: Particolare / Detail / Ausschnitt – Unico ritratto certo Vittorio Baldini, stampatore privato del duca di Ferrara Ercole II di / Only authentic portrait of / Einziges gesichertes Portrait von Carlo Gesualdo THE EDITION Carlo Gesualdo (Venosa 1566 – Gesualdo 1613) was one of the In the last century, Igor Stravinsky’s enthusiasm for the daring most significant Italian aristocrats of his time; he was Prince of chromatic writing of Gesualdo gave rise to a true “Gesualdo Venosa and simultaneously “Prince of musicians”. Together with Renaissance”, greatly attracting the attention of scholars and Monteverdi he was considered the greatest composer at the turn listeners to the complex vocal polyphony of the Prince. Since then, of the 16th to 17th century, his personality attracting attention from a long series of research projects have been undertaken. intellectuals and artists both because of his tormented existence However, despite their historical significance, the editions of Carlo and the exceptional quality of his work. As early as the year of his Gesualdo di Venosa’s works published so far, have turned out to be death, an esteemed director of music from Genoa, Simone Molinaro, inadequate in terms of textual criticism. Hence the urgent need for produced a score of his five books of 5 and 6-voice madrigals, a truly critical edition carried out on the basis of concise modern designating them as models for the study of counterpoint and methods and suited to the needs of both scholarly research and composition. historically informed performance practice. DIE EDITION Die Persönlichkeit Carlo Gesualdos (Venosa 1566 – Gesualdo 1613), wahre „Gesualdo-Renaissance“ aus, die mit Nach druck die Auf- eines der bedeutendsten italienischen Aristokraten seiner Zeit, Fürst merksamkeit von Forschern und Hörern auf die dichte Poly­­phonie von Venosa und gleichzeitig „Fürst der Musiker“, zusammen mit des Fürsten lenkte. Seitdem gab es viele Forschungs-Ini tia­­tiven; Monteverdi als der größte Komponist an der Wende vom 16. zum jedoch blieben die bislang vorgelegten Editionen der Werke 17. Jahrhundert angesehen, hat von je her sowohl wegen seiner von Carlo Gesualdo da Venosa, trotz ihrer historischen Bedeutung, gequälten Existenz als auch der außergewöhnlichen künstlerischen unter textkritischem Aspekt bis heute unzu länglich. Hieraus Qualität seines Schaffens die Aufmerksamkeit von Intellektuellen ent­­stand notwendiger weise das Bedürfnis nach einer wirklich und Künstlern auf sich gezogen. Bereits in dessen Todesjahr erstellte kri ti schen Edition, die auf strengen und zeit gemäßen Methoden der geachtete genuesische Kapellmeister Simone Molinaro eine fußt, und dabei den heutigen Ansprüchen sowohl der Forschung Partitur der fünf Madrigalbücher zu 5 und 6 Stimmen und erhob als auch der historisch informierten Aufführungspraxis dient. sie zu Modellen für das Studium des Kontrapunkts und der Kom - position. Im letzten Jahrhundert löste Igor Strawinskys Enthusias- Gesualdos Musik ist in kostbaren Stimmbüchern überliefert, die mus für den gewagten chromatischen Satz des Kom ponisten eine von zwei berühmten Druckern des 16. Jahrhunderts produziert d’Este, e Giovanni Giacomo Carlino, rinomato tipografo napoletano che il Principe fece trasferire nel suo castello di Gesualdo per stampare i suoi tre ultimi libri. Purtroppo non tutte le prime edizioni ci sono pervenute com plete, pertanto è necessario ricorrere alle riedizioni immedia tamente successive per ricostruire integralmente i testi musicali. Queste ristampe sono comunque molto importanti anche perché testimoniano la diffusione che la musica di Gesualdo, e in particolare i suoi madrigali, ebbe fin da subito. Oltre ai sei libri di madrigali a cinque voci giunti fino a noi (un libro postumo a 6 voci è purtroppo incompleto) sopravvivono di Carlo Gesualdo tre libri di musica sacra, composti nel Castello di Gesualdo, che rive- lano un livello artistico altrettanto elevato anche se meno apertamente sperimentale, e alcune composizioni vocali e Castello di Venosa strumentali sparse in antologie o manoscritti. La nuova Edizione critica parte dall’esame di tutti i testi- moni esistenti, sia a stampa che manoscritti, criticamente esaminati nel loro contesto, procedendo per la prima volta ad una reale valutazione della loro origine ed autorevolezza. Testimoni privilegiati sono le prime edizioni, che sono uscite tutte sotto il controllo diretto di Gesualdo. Viene presa in considerazione anche la Partitura realizzata da Molinaro per la sua indiscutibile importanza storica, in Arms of Gesualdo (black lion with quanto testimone d’eccellenza per la ricezione di Gesualdo five lilies), from the tomb plate of in epoca moderna. Carlo Gesualdo (Naples, Church of Gesù Nuovo) The music of Gesualdo is handed down in precious part-book prints incomplete), three books by Gesualdo with sacred music of the same produced by two famous 16th-century printers: Vittorio Baldini, artistic level but not so experimental, composed at the Castle of private printer of Ercole II d’Este, Duke of Ferrara, as well as Gesualdo, as well as some of his vocal and instrumental compositions Giovanni Giacomo Carlino, a well-known Neapolitan printer, whom found in anthologies or manuscripts have survived. Gesualdo asked to move to his village to print his last three part- books. Unfortunately, not all the first editions have survived in their The new critical edition starts with a review of all existing printed entirety, hence the need to examine the surviving editions which and manuscript sources, and proceeds to evaluate their degree of immediately followed in order to reconstruct the complete musical authoritativeness for the very first time. The very first editions texts. These reprints are also significant because they document are the preferred sources, since they were all issued under the direct the wide circu lation that the music of Gesualdo, in particular his supervision of Gesualdo. Molinaro’s Partitura is also taken into madrigals, enjoyed from the beginning. Aside from the six books account for its unquestionable historical significance and as evidence of five-part madrigals (a posthumous six-part book is unfortunately of Gesualdo’s reception in modern times. worden sind: Vittorio Baldini, Privatdrucker des Herzogs von Ferrara, überliefert, die sich auf demselben artistischen Niveau bewegen, Ercole II d’Este, sowie Giovanni Giacomo Carlino, ein renommierter ihren experimentellen Anteil aber weniger offen zeigen, ferner einige neapolitanischer Drucker, den Gesualdo eigens an seinen Wohn- vokale und instrumentale Kompositionen, die sich in Anthologien sitz kommen ließ, um seine drei letzten Bücher zu drucken. oder Manuskripten finden. Leider sind die Erstauflagen nicht alle vollständig überliefert, so dass es nötig ist, zur Erschließung der musikalischen Texte auch Die neue kritische Edition geht von der Sichtung aller existierenden die unmittelbar nachfolgenden Editionen heranzuziehen. Diese Quellen aus, seien dies Drucke oder Manuskripte, und bewertet Nachdrucke sind auch deshalb von großer Bedeutung, weil sie sie erstmals wirklich hinsichtlich ihres Ursprungs und ihrer Maß - die Verbreitung bezeugen, die Gesualdos Musik, insbesondere seine geblichkeit. Bevorzugte Quellen sind die Ersteditionen, die sämt- Madrigale, von Anfang an erfuhr. Neben den sechs Büchern mit lich unter der direkten Überwachung Gesualdos herauskamen. Madrigalen zu fünf Stimmen (ein nachgelassenes sechsstimmiges Auch die von Molinaro geschaffene Partitura wird wegen ihrer un- Buch ist leider unvollständig) sind von Carlo Gesualdo drei im bestreitbaren historischen Bedeutung und als mustergültiges Zeug- Schloss von Gesualdo komponierte Bücher mit geistlicher Musik nis für die Rezeption Gesualdos in neuerer Zeit berücksichtigt. NORME EDITORIALI La ‘New Gesualdo Edition’ si pone un duplice obiettivo:
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