Carlo Gesualdo

Resumo: O Maneirismo artístico se destaca como uma revisão estética do Renascimento em suas décadas finais. O ideal de equilíbrio e simetria do período foi substituído por uma visão deturpada e dramática da realidade. De forma específica a música, temos os madrigais compostos pelo italiano Carlo Gesualdo (1566-1613) com sensíveis aproximações com esta estética. Baseado nesta premissa, o presente artigo identifica e analisa três características do Maneirismo no madrigal Io Parto do compositor com o intuito de melhor entender esta aproximação estilística. Abstract: The artistic mannerism stands out as an aesthetic revision of the Renaissance in its final decades. The ideal of balance and symmetry of the period was replaced by a distorted and dramatic view of reality. Specifically in the music, we have the madrigals composed by the Italian Carlo Gesualdo (1566-1613) with sensitive approximations with this aesthetic.Based on this premise, this paper identifies and analyzes three characteristics of Mannerism in the madrigal Io Parto of the composer in order to better understand this stylistic approach.

Definizione tecnico-stilistica ma al contempo fenomenologica del concetto di “tipo di cromatismo”. Classificazione: tipo 0-D, cromatismo intrinseco al sistema diatonico; tipo 0-m, cromatismo intrinseco al modo minore; tipo 1, cromatismo come alterazione; tipo 0-D/1, alterazione libera; tipo 2, cromatismo come ‘estraneità’. Origine modale dei tipi di cromatismo 1 e 2 e loro persistenza, mutatis mutandis, in diversi regimi atonali e postonali. Paradigmaticità (o emblematicità) di Carlo Gesualdo per entrambi i tipi: alterazione ascendente o discendente del modo diatonico e ‘sensibilizzazione’ dei vari gradi della scala, oppure occupazione e ‘neutralizzazione’ dei gradi estranei intermedi (possibile sintesi teorica semplice attraverso la transformational theory di David Lewin). Esempi di derivazioni dal tardo Ottocento al Duemila: Richard Wagner, Claude Debussy, Arnold Schönberg, Giacinto Scelsi, Gilberto Cappelli, Fausto Romitelli. Proseguimento della classificazione: tipo 3-N, cromatismo come neutralizzazione; tipo 0-nD, cromatismo intrinseco a sistemi non diatonici (ottatonico, orientali, ma legame con scala minore armonica;  esempi: sistemi indiani e neopersiani, klezmer); tipo 4S, cromatismo come ‘sporcatura’; tipo 5C, cromatismo del cluster. Estremizzazione e liquidazione del cromatismo: tipo U-mt, microtonalismo; tipo U-c, continuismo. Tradizionalismo dell'opzione cromatica di tipo 1 e 2. Continuità – rispetto all'uso del cromatismo – tra sistemi modali, tonali e postonali, e tra sistemi europei ed extraeuropei.

Visita a Carini, i suoi ricchi monumenti e le sue leggende, dall'antichità classica alla più famosa: l'Amaro Caso della Baronessa di Carini.
Itinerario 10 da "Il primo fu Odisseo - Vagabondaggi in Sicilia " di Massimo Crispi. ed. Fuori Thema, Bologna 2000

O estudo da música, não somente do presente como também do passado, como um método de compreensão do pensamento e processo composicional. A análise musical pode ser praticada com essa finalidade, não buscando uma verdade absoluta, mas uma projeção do individuo na obra que estuda. Diversas questões, problemas, perguntas referentes à música de hoje e mesmo questões e preocupações individuais dos compositores contemporâneos podem ter respostas e soluções encontradas durante o estudo de músicas do passado. Portanto, os processos criativos possuem aspectos que podem transcender tempo, estilo, gênero e suporte.

Referências a Theodor Adorno (Teoria da estética) e Edgar Morin (Complexidade).

Ledoux destacou os seguintes aspectos da composição musical:
• Material (escalas, temas, motivos etc);
• Técnica;
• Projeto musical.

Bem como a simbologia presente de diversas maneiras nas obras musicais, variando conforme épocas, estilos mas também de um compositor a outro.

Foram estudadas representações musicais nos períodos barroco, clássico e romântico através de obras de :

• Bach: Fuga nº 1 a 4 vozes, Cravo bem temperado, vol. 1 ‐ BWV 846
• Haydn : Sinfonia nº 98 (Sib Maior) – 1º movimento; Quarteto Op. 76 – nº 2 (ré menor)),
• Mozart : Cosi fan tutte 3 (ópera) ; Sinfonia Praga4; Sonata K. 330 – 2º movimento
• Beethoven: Quarteto nº 13 – Op. 130 – 1º movimento

Translation of Carl Dahlhaus, "Zur chromatischen Technik Carlo Gesualdos", Analecta musicologica, 4 (1967), 77-96; also published in Italian translation as "Il cromatismo di Gesualdo", in Il madrigale tra cinque e seicento, ed. Paolo Fabbri (Bologna: Mulino, 1988), pp. 207-228

With the establishment of the court of Cesare d’Este in Modena in 1598, the medieval church annexed to the monastery of the Dominicans ‒ among the most prestigious of the city ‒ takes on the role of a Palatine temple, also by virtue of its nearness to the d’Este Castle. There were numerous and meaningful works undertaken by the Duke himself, by his sister Eleonora Gesualdo di Venosa and by the court for the requalification of the church of St Domenic, given that the ‘castle church’ was deemed insufficient for the courtly rituals, along with the Nativity chapel near the Duke’s apartments, for the decoration of which Caravaggio and Annibale Carracci had been called upon without hesitation. In 1604, the temple housed the chapel “of the Ferrarese nation”, titled after St George, the patron saint of Ferrara. Around 1615, following the designs of Pasio Pasi, the new shrine of the Virgin Mary of the Rosary was erected, linked to the d’Este Castle in 1620, via a corridor-bridge designed by Antonio Vacchi; between 1623 and 1625, the sumptuous chapel of St Barbara was built by the Reggio-born Pacchioni, who would also construct the Sacra Famiglia e sante commissioned by Princess Eleonora from the Ferrarese Carlo Bononi, and which was to become the site of various d’Este burials. The study, with unprecedented archive findings, links the princely religious commissions once more to the customs of Ferrarese origin and the devotional models of other courts – that of the Gonzaga, the Farnese and the Medici – and in particular of the Spanish court, around which the d’Este court orbited.

Con l’insediarsi della corte di Cesare d’Este a Modena, a partire dal 1598, la medievale chiesa annessa al convento dei domenicani ‒ fra le più prestigiose della città ‒ assume il ruolo di tempio palatino, anche per la sua prossimità al Castello estense. Numerose e significative le opere intraprese dallo stesso duca, dalla sorella di lui Eleonora Gesualdo di Venosa e dalla corte a qualificazione di San Domenico, risultando insufficienti per i rituali cortigiani la “chiesa in Castello” e la cappella della Natività presso l’appartamento del duca, per il cui arredo pittorico erano stati interpellati, senza esiti, Caravaggio e Annibale Carracci. Nel 1604 il tempio accoglie la cappella “della nazione ferrarese”, intitolata a san Giorgio, patrono di Ferrara; attorno al 1615, su disegno di Pasio Pasi vi si erige il nuovo sacello della Madonna del Rosario, collegato al Castello estense dal 1620, mediante un corridoio- cavalcavia progettato da Antonio Vacchi; fra il 1623 e il 1625 vi sorge la sontuosa cappella di Santa Barbara, realizzata dai reggiani Pacchioni, che innalzerà la Sacra Famiglia e sante commissionata dalla principessa Eleonora al ferrarese Carlo Bononi, e che diverrà
luogo di varie sepolture estensi. Lo studio, con inediti ritrovamenti archivistici,
riconnette le committenze principesche in materia religiosa alle consuetudini di origine ferrarese e ai modelli devozionali di altre corti, dei Gonzaga, dei Farnese, dei Medici e, in particolare, della corte spagnola nella cui orbita quella estense gravitava.

Carlo Gesualdo conservatore o innovatore? Manierista o nunzio dell’incipiente barocco? Genio anticipatore o artista spurio e decadente della polifonia cinquecentesca al tramonto? Quale il rapporto fra la produzione musicale – dal madrigale al mottetto alle canzoni -, la grande storia e la vita di un artista che ha segnato una svolta nella musica europea? Sono tutte domande alle quali la sola storia della musica non poteva e non può rispondere. Lo storico Cogliano raccoglie una cospicua quantità di materiali inediti per ricostruire la vita del “Principe dei musici” inserendola nell’epoca, nella cultura e nei suoni ai quali appartenne.

Resumo: A música do período do Renascimento encontrou no gênero madrigal seu principal meio de desenvolvimento. Através desse gênero de composição as ideias humanistas e a produção poética feita a partir dela influenciaram a escrita musical. Neste contexto, encontramos a obra do compositor italiano Carlo Gesualdo, que teve grande proximidade com poetas e suas obras. No decorrer do desenvolvimento de sua carreira como compositor e por conta do amadurecimento de sua escrita a relação música/texto se estreitou a tal ponto que Gesualdo passou a escrever ele próprio os textos que iriam servir a seus madrigais mais tardios. A proposta deste artigo é entender o processo do desenvolvimento dessa relação entre seus primeiros madrigais até os últimos exemplos. Abstract: The music of the Renaissance period had in the madrigal genre its primary means of development. Through this composition form, humanistic ideas and poetic production influenced musical writing. Within this context we find the work of Italian composer Carlo Gesualdo. He had great proximity to poets and their works. During the development of his career as a composer and the maturing of his writing Gesualdo went on to write his own texts. The purpose of this article is to understand the progress of this relationship between music and text.

Il saggio presenta la scoperta dell’autografo di Torquato Tasso conservato alla Biblioteca Reale di Madrid, ms. II/3281. Il testimone riveste un’importanza fondamentale nella tradizione delle Rime tassiane poiché si tratta dell’originale dei madrigali composti da Tasso per Carlo Gesualdo. Nella prima parte l’articolo analizza il codice nella sua materialità; la seconda parte è dedicata alla contestualizzazione storica del manufatto e le vicende che ne hanno preceduto e seguito la composizione; infine un breve accenno al valore filologico della scoperta.

A new Tasso’s Autograph (Madrid, Real Biblioteca, ms. II/3281).
The essay presents the discovery of Torquato Tasso’s autograph kept at Madrid, Royal Library, ms. II/3281. The witness constitutes a fundamental finding within the textual tradition of Tasso’s Rime, since it is the original version of Tasso’s madrigals commissioned by Carlo Gesualdo. The first part of the article provides a physical description of the manuscript; the second part focuses on the historical context and more specifically on the events that preceded and followed the composition of the manuscript; finally, the third part focuses on the role of the codex in the constitutio textus.

During his last decade Carlo Gesualdo published two similar settings of O vos omnes: a motet in the Sacrae Cantiones a5 (1603) and a more elaborate responsory in the Tenebrae Responsoria (1611). The revisions he made when reusing materials from the motet for the responsory have significant implications for understanding the music of his last decade and late Renaissance chromaticism in general. To date, a consensus has not been reached over how the pre-tonal chromaticism epitomized in Gesualdo’s late works was conceived or should be analysed. Taking a cue from the oft-overlooked modal ordering of Gesualdo’s late publications, however, I argue for the relevance of modal theory in analysing his chromatic works—especially the theory of Gioseffo Zarlino, with which Gesualdo showed particular familiarity in the modal ordering of his publications. A close reading of Zarlino’s Le Istitutioni harmoniche (1558/1573) reveals an understanding of chromaticism from the perspective of the modes: pitch inflections alter the modal quality of a passage on a local level, which may in turn affect the modal character of the entire composition. My analysis of the two O vos omnes settings shows that while Gesualdo retained most of the chromaticism of the 1603 motet, he presented a much more consistent modal framework in the 1611 responsory. It shows the possible compositional and theoretical links between mode and chromaticism in Renaissance polyphony and suggests that during his final decade—albeit now marred with myths of madness and sadomasochism—Gesualdo increasingly engaged with modal theory and adopted a model of rational modal coherence in his chromatic music.

Este trabajo propone un recorrido por algunos aspectos de Madrigale a Gesualdo (1988, rev. 1990) de Jorge Horst para, en primer lugar, profundizar en ciertas particularidades de los procedimientos transtextuales utilizados, los cuales unen la obra con el madrigal “Moro, lasso, al mio duolo” (1611) de Carlo Gesualdo. En esta línea, la textura se destaca como una variable de peso y, a su vez, da lugar a un cierto grado de ambigüedad en la cual confluyen la homología y la divergencia. Es decir, por un lado, se puede observar una clara intención de adherencia a la textura del madrigal y, por el otro, se presentan secciones en las cuales las texturas resultantes devienen sonoridades estado, en términos lachenmannianos. Además, en esta exploración nos acercamos a la propuesta no formalizada de “acciones texturales” desarrollada por Horst -y a uno de sus principales afluentes, los trabajos teóricos de Francisco Kröpfl- para dar cuenta de dicha ambigüedad. En definitiva, el texto se centra en un análisis textural de Madrigale a Gesualdo con el objeto de evidenciar la relevancia que esta variable comporta en la producción temprana de Horst, tanto compositiva como teórica, y, por ende, en el devenir de su poética.

The Italian composer Carlo Gesualdo dedicated a considerable part of his work to the genre of the Italian madrigal. In his six books, which contain 125 madrigals altogether, we have the primary source of significant information on the intrinsic relation between the conception of music and the meaning of the texts. Though this feature is common for the period, the relationship has unique elements in the work of Gesualdo, such as his growing use of textual manipulation. Throughout his work, Gesualdo begins to increasingly change the texts to the point of assuming the writing of the poems himself in the later books. Comparing the alterations he made in the first books with the final texts attributed to him, it was possible to establish a set of characteristics that indicate his predilections, here called his poetic ideal. The madrigal Luci serene e chiare is at the center of Gesualdo’s maturation process. Its unique characteristics are an important parameter to distinguish this ideal. Based on these assumptions, this paper describes the four main features of Carlo Gesualdo’s poetic ideal and proves the existence of these predilections, as well as his relevant approach to the madrigal poem Luci serene and chiare.

The Mannerism is the aesthetic reclassification of the artistic production of the final decades of the
sixteenth century. When the european society underwent profound transformations that echoed in artistic
language. In the musical repertoire of the period we find a select group of madrigalists whose works are
close to the characteristics of Mannerism. This approach offers relevant tools to deepen their understanding. This paper reflected on the aesthetics of Mannerism and its application in the musical repertoire,
reinforcing the proof of its existence and its relevance in the history of music

Resumo: Os madrigais italianos compostos por Carlo Gesualdo entre 1594 e 1611 apresentam um conjunto de predileções textuais do compositor que foi intitulado de ideal poético. Estas características também podem ter influenciado a elaboração de sua obra sacra, em especial no texto do O Vos Omnes, que resultou em dois motetos escritos pelo compositor. Este artigo relacionou três das principais características identificadas no ideal poético neste texto sacro, comprovando sua aproximação estética com as predileções do compositor. Abstract: The Italian madrigals composed by Carlo Gesualdo between 1594 and 1611 present a set of textual predilections of the composer called the poetic ideal. These characteristics may also have influenced the elaboration of his sacred work, especially in the text of O Vos Omnes, which resulted in two motets written by the composer. This paper was relate three of the main characteristics identified in the poetic ideal in this sacred text, proving his aesthetic approximation with the composer 's predilections.

SOMMARIO
VII Presentazioni, Fulvio Maffia, Bruno Tamburriello, Guido Salvetti
XI Premessa
XV Abbreviazioni
LA MUSICA DEL PRINCIPE
STUDI E PROSPETTIVE PER CARLO GESUALDO

5 Luigi Sisto
Mutio Effrem e la corte del Principe di Venosa a Gesualdo

21 Domenico Antonio D’Alessandro
Giovanni de Macque e i musici della Real Cappella napoletana.
Nuovi documenti, precisazioni biografiche e una fonte musicale ritrovata

157 Enrica Donisi
«Fù nei dauni confini, Presso à l’aspra Lucania alto, et immenso...»
La famiglia Gesualdo: mecenati, scrittori, artisti

171 Marta Columbro
Il Fondo Gesualdo della Biblioteca Provinciale di Avellino

187 Elio Durante – Anna Martellotti
Carlo Gesualdo e i poeti di Ferrara: fedeltà infedele al testo poetico

219 Anthony Newcomb
Gesualdo’s Luzzaschi – «D’ogni altro si burla»

231 Nicolò Maccavino
Le canzonette a cinque voci di Carlo Gesualdo

249 Giovanni Acciai
Le composizioni sacre di Carlo Gesualdo: un approccio analitico sul piano della retorica musicale. Ma non solo

277 Maria Manuela Toscano
Caos apparente e struttura dissimulata nei «Responsori di Settimana Santa» di Carlo Gesualdo

297 Peter Niedermüller
Toward the reception of Carlo Gesualdo’s music in the writings by Giovanni Battista Doni

309 Massimo Privitera
Madrigali esemplari: analitica gesualdiana prospettica

333 Marco Della Sciucca
Il «Monumentum pro Gesualdo» di Stravinsky come interpretazione critico-analitica

347 Luisa Curinga
Trascrizione o trasfigurazione? Elaborazioni di Salvatore Sciarrino da Carlo Gesualdo

365 Marco Giuliani
Una base di dati multimediale sui madrigali del Principe Carlo Gesualdo da Venosa

385 Indice dei nomi

Carlo Gesualdo’s “Madrigali a cinque voci, Libro Terzo” (Third book of five voices madrigals) it is the third book that Gesualdo issued in Ferrara by the ducal printer Antonio Baldini but, likely, it is the first he wrote after his arrival in Ferrara and his wedding with Eleonora d’Este.  Glenn Watkins, in one of the most important books about Gesualdo, writes: «The music of [this volume] marks the appearance of a new decidedly personal language». The Libro Terzo, indeed, is notable at least for two reasons: first, the more specific and careful choice of poems, all originated in the Ferrarese court (most of them are anonymous; the only poets identified are B. Guarini, R. Arlotti, A. Pocaterra); second, the search a personal language, founded on juxtaposition of contrasting musical solutions (imitation vs homophony, static sections vs dynamic sections, just for example), and even more daring use of dissonance and chromaticism with expressive function (as in the 9th madrigal, «Non t’amo, o voc’ingrata»).

This new critical edition, based on the edition princeps (Ferrara 1595, unfortunately now day incomplete) and the first Venetian edition (1603), offers a more authentic image of these madrigals, in particular in the use of accidentals, that Molinaro’s Partitura of 1613 had simplified and conventionalised.

As in the other volumes of this series, the book consists of a detailed introduction, the bibliographic description of the editio princeps, the separated edition of the poetic texts and of the music, the critical apparatus. All the texts are presented in Italian and in English language. In addition, a small selection of facsimiles of the original prints is given.

Vocal chamber music is an important constituent of the surviving music of Diogenio Bigaglia (1678–1745), who was one of Venice’s leading amateur composers of music contemporary with Vivaldi. By profession, he was a Benedictine monk living and working from his adolescent years to the end of his life at the abbey of San Giorgio Maggiore on the Venetian island of the same name. He was born on the island of Murano a week after Vivaldi and came from a successful family of glassmakers (his father, Bernardino, was a specialist in mirrors).
Most of his vocal chamber works are cantatas for solo voice, generally with plain continuo accompaniment, although a few have accompaniment for strings in addition. There are, however, thirteen chamber duets for various combinations of voices (SS, SA, AA, AB). One has a full string accompaniment and resembles an operatic duet (this ‘singleton’ is published in a supplement to this article). The other twelve, with plain continuo accompaniment, form a carefully planned set probably composed between 1710 and the mid-1720s. They are highly unusual for being settings of verse used by Gesualdo in five out of his six books of madrigals (which were published together in a kind of ‘omnibus’ edition in 1613), although they are not recognizably any kind of hommage to the composer Gesualdo.
It seems that Bigaglia chose these old-fashioned poems – courtly rather than Arcadian in nature, monostrophic and not originally written with musical setting in mind – in order to have the freedom to sectionalize and treat the poetry as he saw fit. No other chamber duets known to me are structured so obviously as ‘texted’ trio sonatas, typically in three movements (although two-movement and four-movement examples are included). In these works, as demonstrated by numerous music examples with related commentary, he demonstrates his gift for melody, contrapuntal acumen, harmonic finesse, command of structure, unusually wide tonal palette and ability to word-paint in ways both conventional and highly inventive. They are simply masterly and deserve to be widely known.
The complete set, divided into four volumes according to vocal scoring, is scheduled for publication between late 2021 and the end of 2022 by Edition HH (Launton, Oxfordshire).

In this article author considers three pieces by Andrzej Kwieciński in context of their Mannerist inspiration. At the beginning composer’s earliest output and inspirations are briefly presented. Then there are analysis of two pieces considered as the most important in Kwieciński’s ‘Mannerist turn’: "Sinfonia: Luci nella notte" (2012) and "Canzon de’baci" (2013), and the analysis of the newest composition: "un momento indugiò" (2016). In this paper Mannerism is considered in a wide sense (as in writings of Ernst Curtius and Gustav Hocke) – not as a trend closed in a few decades between Renaissance and Baroque, but as universal mode of expression present in every epoch. Main points of analyses and interpretations are: revealing the inspirations, showing the way composer quotes early music and emphasising the role of those quotations (Dietrich Buxtehude and Carlo Gesualdo da Venosa in "Sinfonia: Luci nella notte", Francesco Cavalli in "Canzon de’baci", Gesualdo and Claudio Monteverdi "in un momento indugiò"). The author focuses not only on external signs of Mannerist and Baroque inspirations such as Italian titles, Italian lyrics (in "Canzon de’baci") and quotations but looks for Mannerist features in music itself (préciosité, deformita, ability to cause a stupore). In conclusion all three compositions by Kwieciński are shown not only as pieces inspired by historical Mannerism but as examples of contemporary Mannerism as well.

Despite the fact that Battista Guarini’s fame is mainly due to the success of his Pastor Fido, his production of verse proved one of the most popular poetic resources for composers of the second half of the sixteenth century. My research focuses on a single poem, ‘Tirsi morir volea’, whose strong sexual metaphor attracted the attention of a number of musicians. The text was set to music twenty-seven times between 1580 and 1633, including by very important composers of the time, such as Marenzio, Wert, Malvezzi, Monte, Luzzaschi, Andrea Gabrieli and Gesualdo. Guarini’s poem, originally intended for the exclusive use of Alfonso II’s Musica Segreta, spread quickly to other composers, thanks to the successful madrigal by Marenzio. Many of these composers are related to the Este family. The madrigal of the Prince of Venosa, dated to 1594, is one of the later, if not the last, setting of Tirsi related to the court of Ferrara and it is also the most different from all its predecessors. If Tirsi’s success is due to its clear sensuality, the madrigal by Gesualdo, which portrays a violently interrupted eroticism, seems to be a deep transmutation of sense: the last chapter of the text’s history.

Résumé

On lit souvent que la poésie et la musique ont divergé après la mort de Machaut en 1377. Cependant, une approche historique des pratiques en Espagne, en Italie, en France et en Angleterre montre qu’à la Renaissance la poésie était toujours chantée avec un instrument à cordes souvent appelé lyre. En outre, les catégories employées pour évaluer poésie et musique étaient souvent les mêmes, notamment la douceur et l’aspérité qui renvoient respectivement à la glykytès et à la trachytès définies par Hermogène de Tarse. On peut ainsi identifier dans la poésie de la Renaissance des consonances et des dissonances, qui étaient employées de la même manière par les poètes que par les musiciens. Dans les madrigaux de Gesualdo, le placement des dissonances harmoniques est clairement déterminé par les dissonances métriques des poèmes. Poésie et musique étaient donc pratiquées ensemble et pensées selon les mêmes critères ; le vocabulaire pour les nommer était le même, les procédés stylistiques qu’elles employaient étaient strictement analogues.
Abstract

Poetry and music are often said to have diverged after the death of Machaut in 1377. However, a historical approach to practices in Spain, Italy, France and England shows that in the Early Modern period poetry was always sung, usually with a stringed instrument that was often called a lyre. Moreover, the categories used to evaluate poetry and music were often the same, specifically sweetness and harshness, which hark back to the notions of glykytes and trachytes, defined by Hermogenes of Tarsus. It is thus possible to identify consonances and dissonances in Renaissance poetry, which were used by poets in the same way as by musicians. In Gesualdo’s madrigals, the placement of harmonic dissonances is clearly determined by the metrical dissonances in the poems he chose as lyrics. Poetry and music were practiced together and theorized according to the same criteria ; they use the same vocabulary and strictly equivalent expressive devices.

A escrita musical do compositor Carlo Gesualdo transforma-se ao longo de seus seis livros de madrigais. Enquanto nos aspectos que integram os dois primeiros livros encontramos principalmente características da tradição polifônica do Renascimento, nos madrigais dos terceiro e quarto livros predomina o experimentalismo harmônico, ao passo que nos dois últimos há maior ocorrência dos procedimentos tipicamente associados ao compositor maduro – a escrita cromática e dissonante. O principal elemento que faz a ligação desta escrita ao longo das três fases é a relação entre a música e o texto. Observando o tratamento que o compositor fez em relação a dois termos recorrentes nos madrigais – as palavras amor e morte –, em obras de diferentes fases, foi possível constatar o estreitamento desta relação textual da música, bem como suas implicações no resultado sonoro final. Na primeira fase, Gesualdo utilizava os procedimentos mais comuns na escrita musical para ressaltar estes termos, como a escrita contrapontística, contrastando com a escrita homofônica. Nas fases seguintes, ele passou a procurar elementos musicais mais sofisticados que permitissem explorar diferentes sonoridades. Por meio deste processo, o compositor destacou, de forma mais contundente, palavras e narrações dos poemas, recorrendo principalmente a resultantes

Kurset afholdes i forårssemestret 2016 som musikvidenskabeligt emne med analyse, 14 fredage kl. 8-12.

Med udgangspunkt i fire forskellige historiske punktnedslag vil vi undersøge to genrer i europæisk vokalmusik fra den voldsomt bevægede periode ca. 1600 til 1650. De to genrer er madrigal og motet, som på henholdsvis verdsligt og kirkeligt grundlag i særlig grad eksponerer det kunstneriske samspil mellem musik og tekst.

Dette samspil diskuteres bl.a. ud fra to af barokmusikkens centrale begreber, seconda prattica og musica poetica. Med omvendt kronologisk progression er de fire nedslag musik af to tyske og to italienske komponister, nemlig Heinrich Schütz, Johann Hermann Schein, Claudio Monteverdi og Carlo Gesualdo.

Kurset forløber i forelæsninger med tilhørende analyseøvelser samt seminarer med studenteroplæg. Desuden søges inddraget aktiviteter med eksterne bidrag i form af koncertudflugt, workshop med gæster o.lign.

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