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Mise En Page 1 GESUALDO - MAIONE TRIBULATIONEM MOTTETTI, MADRIGALI E CAPRICCI CONCERTO SOAVE MARA GALASSI JEAN-MARC AYMES S E R I O T I R R E T G A Z - G I Z GESUALDO - MAIONE ZZT TRIBULATIONEM 319 MOTTETTI, MADRIGALI E CAPRICCI CONCERTO SOAVE MARA GALASSI JEAN-MARC AYMES Certains compositeurs ont marqué la postérité tant Some composers are remembered by posterity as par leurs œuvres que par leur vie. C’est le cas de for much for their lives as for their works. One such Carlo Gesualdo, Prince de Venosa, pas sionné de is Carlo Gesualdo, Prince of Venosa, whose passion musique jusqu’à la plus profonde mélancolie, et ja - for music drove him to the dee pest melancholy, loux jusqu’au meurtre. while his jealousy drove him to murder. Exprimant le dérèglement des sens par le dérè - Expressing mental disturbance through distur bance glement du discours, mais aussi son extrême élabo - of the discourse, but also its extreme ela boration, ration, la musique du Prince nous parle tout à la fois the Prince’s music speaks to us at once of love and d’amour, de désir et de mort. Jean-Marc Aymes et desire and of death. Jean-Marc Aymes and his en - son ensemble nous donnent également à entendre semble also give us a chance to hear a contempo - un contemporain de Gesualdo, Asca nio Maione, rary of Gesualdo, Ascanio Maione, who wrote qui a écrit pour le clavecin, l’orgue et la harpe une astonishing and admirable music for harpsichord, musique étonnante et ad mirable. organ, and harp. ZZT MOTTETTI & CAPRICCI ZZT 319 DISC 1 : 1 TRIBULATIONEM ET DOLOREM* (CARLO GESUALDO) 2 RECERCAR SOPRA IL CANTO FERMO DI COSTANZO FESTA (ASCANIO MAYONE) 3 O VOS OMNES* (CARLO GESUALDO) 4 TOCCATA TERZA (ASCANIO MAYONE) 5 ECCE VIDIMUS EUM*** A SEI VOCI - FERIA V, RESP. III (CARLO GESUALDO) 6 RECERCAR DEL DECIMO TONO (ASCANIO MAYONE) 7 AVE DULCISSIMA MARIA* (CARLO GESUALDO) 8 CANZONA FRANCESA TERZA (ASCANIO MAYONE) 9 VENIT LUMEN TUUM* (CARLO GESUALDO) 10 RECERCAR SOPRA IL CANTO FERMO DI COSTANZO FESTA PER L’ARPA (ASCANIO MAYONE) 11 PECCANTEM ME QUOTIDIE* (CARLO GESUALDO) 12 TOCCATA SECONDA (ASCANIO MAYONE) 13 DA PACEM DOMINE** (A SEI VOCI, COMPLETED BY I. STRAVINSKY) (CARLO GESUALDO) 14 TOCCATA QUARTE PER IL CEMBALO CROMATICO (ASCANIO MAYONE) CARLO GESUALDO ( c.1566-1613) * SACRARUM CANTIONUM QUINQUE VOCIBUS LIBER PRIMUS (NAPOLI, COSTANTINO VITALE, 1603) ** SACRARUM CANTIONUM LIBER PRIMUS ...SEX VOCIBUS (NAPOLI, 1603) *** RESPONSORIA ET ALIA AD OFFICIUM HEBDOMADAE SANCTAE SPECTANTIA SEX VOCIBUS (GESUALDO, GIO JACOMO CARLINO, 1611) ASCANIO MAIONE ( c.1565-1627) SECONDO LIBRO DI DIVERSI CAPRICCI PER SONARE (NAPOLI, 1609) CONCERTO SOAVE MADRIGALI & CAPRICCI ZZT 319 DISC 2 : 1 TOCCATA QUINTA PER IL CIMBALO CROMATICO (ASCANIO MAYONE) 2 MORO, LASSO, AL MIO DUOLO (CARLO GESUALDO) 3 MILLE VOLTE IL DI (CARLO GESUALDO) 4 IO MI SON GIOVINETTA, DIMINUITO DA STELLA, MONTELLA E MAYONE (ASCANIO MAYONE) 5 TOCCATA PRIMA (ASCANIO MAYONE) 6 IO PUR RESPIRO (CARLO GESUALDO) 7 CANZONA FRANCESA SECONDA (ASCANIO MAYONE) 8 ALMA D’AMOR RUBELLE (CARLO GESUALDO) 9 CANZONA FRANCESA PRIMA (ASCANIO MAYONE) 10 ARDITA ZANZARETTA (CARLO GESUALDO) 11 CANZONA FRANCESA QUARTA (ASCANIO MAYONE) 12 TU PIANGI, O FILLI (CARLO GESUALDO) 13 PARTITE SOPRA IL TENORE ANTICO, O ROMANESCA (ASCANIO MAYONE) 14 GIÀ PIANSI NEL DOLORE (CARLO GESUALDO) 15 DEH, COME INVAN SOSPIRO (CARLO GESUALDO) 16 RECERCAR DEL QUARTO TONO (ASCANIO MAYONE) CARLO GESUALDO ( c.1566-1613) SESTO LIBRO DI MADRIGALI – GESUALDO, 1611 ASCANIO MAIONE ( c.1565-1627) SECONDO LIBRO DI DIVERSI CAPRICCI PER SONARE (NAPOLI -1609) CONCERTO SOAVE ZZT 319 t e u o r B e v E - e i r a M © Jean-Marc Aymes CONCERTO SOAVE ZZT María Cristina Kiehr , soprano 319 Rosa Dominguez , soprano Pascal Bertin , countertenor Lluis Vilamajo , tenor (motets) Raffaele Giordani , tenor Daniel Carnovich , bass Mara Galassi , harp Jean-Marc Aymes , organ , harpsichord & direction Jean-Marc Aymes plays: Two-manual harpsichord by Philippe Humeau (Barbaste) Italian-type harpsichord (1679), copy by Andrea Di Maio (Rome, 1995) Positive organ with Principal by Étienne Debaisieux (Longueville) Mara Galassi plays: Harp in 392 Hz Triple harp – copy of the Arpa Barberini (Rome, 1632) by Dario Pontiggia (Milan, 2011) Toccata II, Toccata IV per il Cimbalo Cromatico Toccata V per il Cimbalo Cromatico, Canzone Francesa II Ricercar del X Tuono Harp in 440 Hz Triple harp based on painting by Nuovolone ( c.1639) by Claus Henry Hüttel (Düren-Echtz, 2010): Io mi son giovinetta Canzon Francese Quarta Partite sopra il Tenore antico, o Romanesca Recercar sopra il Canto Fermo di Costantio Festa & per sonar all'Arpa and all Gesualdo pieces with singers www.concerto-soave.com LE CONCEPT ET L’INTERPRÉTATION ZZT La musique de Gesualdo est une musique de distorsions, bien plus que de disso - 319 nances. Osons une hypothèse : l’étrangeté du langage du Prince ne viendrait-elle pas du conflit entre une écriture - la polyphonie et son strict respect des règles du contrepoint - pensée à la Renaissance comme reflet idéalisé d’un monde de per - fection, et une nouvelle appréhension de la vie humaine, perçue comme un songe, un rêve chaotique et absurde, sans but si ce n’est une vague promesse de félicité post-mortem, appréhension dont l’œuvre musicale veut aussi être l’expression ? Le plaisir est indissociable de la douleur, la mort s’installe au cœur de la vie. L’église catholique et son exacerbation ornementale des cultes mortifères devient elle aussi l’expression de cette nouvelle perception. Dans le langage musical, la dissonance, produite par la conduite tourmentée des voix du contrepoint, exalte la douleur en ne se résolvant pas, ou en se résolvant faussement par le glissement chromatique qui semble dérober le sol sous nos pieds. Un madrigal est à ce titre exemplaire. Alme d’amor rubelle commence comme une sorte de ricercar où chaque mot-clé du texte apporte un nouveau sujet. Le langage est clair et diatonique, l’écriture est ludique et euphorisante dans sa conduite im - perturbable du contrepoint, qui superpose de manière jubilatoire les différents élé - ments du texte poétique. Le madrigal arrive naturellement à son climax sur les accords de « beato chi v’ascolta e chi vi mira », où les voix se retrouvent enfin pour chanter ensemble. Soudain, ce ne sont plus les âmes rebelles à l’amour - donc à l’abri des tourments de la vie - qui chantent. Ce sont ceux qui les désirent sans es - poir. Le discours s’étire et se charge de dissonances morbides, les douloureuses langueurs ne laissant place qu’aux chuchotements furtifs des soupirs. La perfection d’un monde vierge, pur, « inhumain », a basculé dans le chaos de l’humanité du plaisir et de la douleur. Mais il semble que l’œuvre est aussi construite comme une ardente montée du plaisir qui, après son aboutissement en forme de noema , ne ZZT laisse place qu’à une sorte de dépression post-coïtale. Et cette construction en arche n’est d’ailleurs pas sans évoquer, dans son équilibre, les proportions du fameux 319 Nombre d’Or dont tant de créateurs (ne citons que Bach et Bartók) s’inspireront. Gesualdo nous déstabilise. Il nous offre une musique qui est plus que la simple ex - pression de son psychisme obscur. Son œuvre est le reflet d’un monde qui voit toutes ses certitudes basculer, un monde écartelé, qui cherche quels peuvent être les freins à la satisfaction des plaisirs sensuels et des fantasmes les plus obscurs de l’être humain qui s’affranchit de la société. Mais c’est une œuvre encore pro - fondément maniériste. Comme la peinture des maniéristes, la musique de Gesualdo, sans faute de contrepoint, sans erreur d’écriture, pousse simplement dans ses plus extrêmes limites une manière, créant un objet aussi fascinant et presque repous - sant que les tableaux d’un Bronzino ou d’un Pontormo. Ces fleurs de la « distor - sion » seront pourtant sans fruit. Abandonnant le concetto et la maniera , ce seront les monodistes, mais surtout Monteverdi qui redonneront chair à la musique des hommes, comme Caravaggio extraira la beauté de la fange et renouvellera la pein - ture. Sublime émanation du concept, la musique de Gesualdo est justement de celles qui ne peuvent s’affranchir des contraintes d’une restitution musicale exigeante et musicologiquement avertie. Outre le fait d’employer le clavecin ou la harpe, instru - ments rois dans la Naples de la fin du cinquecento , pour soutenir la polyphonie, comme l’attestent plusieurs sources, évoquons surtout le strict emploi du tempéra - ment mésotonique au quart de comma, seul propre à exprimer pleinement le vertige des chromatismes des madrigaux. Pour rendre toute la variété de cet accord, où il n’y a aucune ambigüité entre une note et son enharmonique (par exemple entre un do dièse et un ré bémol, entre un mi bémol et un ré dièse, etc.), les Ferrarais mais aussi les Napolitains utilisaient le cembalo cromatico , clavecin chromatique. ZZT Cet instrument, pour lequel sont écrites deux toccate de Maione enregistrées ici, permet, grâce à des touches divisées, d‘avoir le maximum de possibilités. Aucun 319 clavecin de ce genre réellement satisfaisant n’existant aujourd’hui, nous avons pré - féré utiliser un instrument à deux claviers en accordant un clavier en dièses et l’au - tre en bémols, quitte à se soumettre à un jeu qui tient parfois de l’ «équilibrisme». Les chanteurs peuvent ainsi avoir l’assurance de placer correctement des si dièses qui ne soient pas des do, ou bien des do bémols qui ne soient pas des si... L’expérience de la musique du Prince de Venosa, qu’on la joue ou l’écoute, est unique. Elle peut parfois être pénible. Aérer ses motets et madrigaux par les œuvres instrumentales d’Ascanio Maione, dont le maître Jean de Macque était au service du père de Gesualdo, nous a paru opportun, et pour tout dire nécessaire.
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