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Carlo Gesualdo Sesto Libro Di Madrigali Carlo Gesualdo Sesto Libro di Madrigali Il Complesso Barocco Alan Curtis Il Complesso Barocco Alan Curtis Elena Cecchi Fedi, Roberta Invernizzi soprano Roberto Balconi countertenor Daniela Del Monaco alto Gian Paolo Fagotto, Giuseppe Zambon tenor Giovanni Dagnino bass Pablo Valetti, Carla Marotta violin Andrea Albertani viola Gaetano Nasillo violoncello piccolo Andrea Fossà violoncello Mara Galassi triple harp Pier Luigi Ciapparelli theorbo Alan Curtis spinet Recording: September 1994, Eremo di Ronzano, Bologna (Italy) Recording producer: Sigrid Lee & Roberto Meo Booklet editor & layout: Joachim Berenbold Translations: Michel van Goethem (français), Herbert Greiner (deutsch) π 1995 © 2021 note 1 music gmbh Carlo Gesualdo (1566-1613) Sesto Libro di Madrigali (1611) 1 Se la mia morte brami 3:26 13 Ardita zanzaretta 3:21 2 Beltà poi che t’assenti 3:12 14 Ardo per te mio bene 3:27 3 Tu piangi ò Fille mia 3:18 15 Ancide sol la morte (instr.) 2:17 4 Resta di darmi noia 3:28 16 Quel nò crudel (instr.) 2:15 5 Chiaro risplender suole 4:05 17 Moro, lasso, al mio duolo 3:40 6 Io parto e non più dissi 3:07 18 Volan quasi farfalle (instr.) 2:43 7 Mille volte il dì moro 3:23 19 Al mio gioir il ciel si fa sereno 2:41 8 O dolce mio tesoro (instr.) 3:07 20 Tu segui ò bella Clori 2:32 9 Deh come in van sospiro 3:07 21 Ancor che per amarti 3:15 10 Io pur respiro 2:58 22 Già piansi nel dolore 2:32 11 Alme d’amor rubelle (instr.) 2:20 23 Quando ridente e bella 2:31 12 Candido e verde fiore (instr.) 2:11 Total Time 70:50 English English Borromeo (the S. Carlo of the Naples and Lisbon sic and declares himself an authority on both were to beat him violently three times a day, opera houses), the niece of Pope Pius IV. The of them. Of hunting he did not enlarge very during which operation he was wont to smile Carlo Gesualdo bodies of the wretched lovers remained exposed much since he did not find much reaction from joyfully. And in this state did he die miserably at all the following morning in the middle of the me, but about music he spoke at such length Gesualdo, but not until he had lived to witness ... Inventive Innovator stairs, and the entire city ran thither to view such that I have not heard so much in a whole year. the death of his only son Don Emmanuele, who a spectacle. The Princess’s wounds were all in her He makes open profession of it and shows his hated his father and had longed for his death.” belly and especially in those parts which most works in score to everybody in order to induce Two weeks after Gesualdo’s death in 1613, the ought to be kept honest”. them to marvel at his art. He has with him two Modenese chronicler Giovan Battista Spaccini Early one morning in October, 1590, Don Shortly afterwards, the illustrious house of sets of music books in five parts, all his own wrote that “he could never sleep unless some- Fabrizio Carafa, to whom Pomponio Nenna had d’Este, threatened with the loss of Ferrara to works, but he says that he only has four people one stayed with him, embracing him in order dedicated his first book of five-part madrigals in the Papal States, and aware of the influence who can sing, for which reason he will be forced to keep his back warm. And for this purpose he 1582, “perhaps the most handsome and grace- of Gesualdo’s uncle, the Dean of the College to take the fifth part himself ... He says that he had a certain Castelvietro of Modena, who was ful cavaliere in the city [of Naples]”, was found of Cardinals, proposed a marriage between has abandoned his first style and has set him- very dear to him, who continuously slept with dead, “his only clothing a woman’s night dress Leonora d’Este and the musician-prince re- self to the imitation of Luzzasco [Luzzaschi, him when the Princess was away”. with fringes at the bottom, with ruffs of black cently made available as a prospective husband Frescobaldi’s teacher], a man whom he greatly Several Gesualdo biographies contain various silk, and one sleeve all red with blood ... A bit through the death of his first wife. Gesualdo set admires and praises ... It is obvious that art is apologies for the impetuous acts of a jealous of his brain had oozed out and he had many out for Ferrara with some of his favourite mu- infinite, but he is full of attitudes, and moves in husband; few straightforwardly condemn his wounds on his head, face, neck, chest, stom- sicians, including the harpsichordist Scipione an extraordinary way”. crime, and none contain any criticism of the ach, kidneys, etc. ... and under his body there Stella, and 300 pieces of luggage carried by 24 Gesualdo seems to have paid even less attention hypocritical, power-crazy, Catholic culture in were holes which seemed to have been made mules. Passing through Rome in December, to his second wife than to his first, and as the which he so unhappily lived. by swords which had passed through the body, 1593 he met the “father of oratorio” Emilio years passed he spent more time in his castle in penetrating deeply into the floor. de’ Cavalieri (1550-1602), who reported that the remote village of Gesualdo, and she more Nearby lay the body of Donna Maria d’Avalos, no Gesualdo, “who liked to do nothing but sing and with her half-brother Alessandro in Modena. less celebrated for her name than famous for her play music ... forced me to visit him and kept me Her refusal to divorce her husband has misled However much we may be repelled, fasci- beauty, married at the age of fifteen to a Carafa for seven hours. After this I believe I shall hear some biographers who, continuing to cherish the nated, or both by the vile deeds of this highly- (by whom she had a daughter who also married a no music for two months”. male myth that women love mistreatment, fail to cultured, well-born musician, we must not let Carafa), twice widowed by the age of twenty-five Outside Ferrara, in February 1594, he was met see her main motive as the devout wish to avoid preoccupations with his biography mislead us. when, in 1586, she married her first cousin — who by a fellow nobleman and avant-garde musician, scandal. To contemporaries and immediate successors, murdered her: the Prince Carlo Gesualdo, neph- Alfonso Fontanelli (1557-1622), who reported “In his later years, Gesualdo was afflicted by a such as Monteverdi, he was looked up to as a ew of Cardinal Alfonso (strong contender for that Gesualdo “talks a great deal and gives no vast horde of demons which gave him no peace hero of the avant-garde partly because he was the papacy) who became Archbishop of Naples, sign, except in his portrait, of being a melan- for many days on end unless ten or twelve young a famous Prince. In more recent times, he has and son of the sister of the famous St. Charles choly man. He discourses on hunting and mu- men, whom he kept specially for the purpose, been looked down on as an eccentric, incompe- 6 7 English English tent amateur, mainly because he was a famous regard the opening chord as V of V of V of V, and ate, much less endorse, the thirds of equal tem- there, begins by condemning the potential dis- Prince. the third chord as V of V, whereupon the second perament. sonances created by “concerti” in which voices In my opinion, Gesualdo was not only one of and fourth become “substitute” sixth chords In fact, for Gesualdo’s Ferrara wedding in 1594, are accompanied by all three of the different the most boldly original musical innovators of whose root is a major third below the preced- Luzzascho Luzzaschi (1545-1607) played an ar- “families” of instrumental tunings: the “stable” all time, he was also a hyper-sensitive and highly ing “dominant.” That these “substitutes” form, cicembalo with no less than 53 keys to the oc- keyboards and harps, the “stable but alterable” skilled contrapuntist. Imitations are often at un- respectively, the “tonic” and the “dominant of tave, and Stella, upon his return to Naples, built lutes and viols (which can improve their basically predictable, irregular intervals, and rhythms are the relative major”, can make us realize that and composed for a similar instrument, as did equal temperament by “touching their frets a lit- jagged, asymmetrical, avoiding the well-studied the passage is not only symmetrical but even Trabaci, Mayone, and other Neapolitans. tle higher or a little lower”), and the “completely cliches of earlier composers. Passages which logically tonal. The upper line (four descend- The reader/listener might well ask: “How then alterable” violins (which he calls “ribechini”), seem “awkward” compared with a more “natu- ing half steps, and an octave leap to emphasize can you justify accompanying these madrigals trombones, etc. He concludes, however, by prais- ral” (and greater) composer such as Monteverdi, the tritone on “duolo”) also has a certain logical with harp, theorbo and a spinet with far fewer ing the very same kind of “concerto” when per- seem so more from excess than from lack of inevitability. Yet the passage is so striking and than 53 keys to the octave?” Problems of into- formed well (i.
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