Technically, Gesualdo is challenging. But his music is singable,
beautiful and exciting. In my new edition I have tried to help
singers and conductors with the correct placing of accents, always
so important in early music. Unless we know how to do this, the
text does not come through as clearly as it should. Once you begin
to feel the flexibility and power of the underlying pulse, the
madrigals will take on a life of their own. And the poetry, much
of it by unknown authors (or by Gesualdo himself or his friends)
is a prize in its own right.
I have not complicated the issue by transposing, and all 22 of
these works are in the original key. All vocal ranges are comfortable
to sing. Before each madrigal I have given brief indications regarding
the best way to interpret them, and my thoughts are based on many
years of experience in this kind of repertory. Unfortunately, the
only recording I made with my Ambrosian Singers is out of print,
although some of you may be able to trace it in record libraries—it’s
a Dover Record, HCR 7287 (Madrigals by Gesualdo
and Schütz).
In the Preface to the new Gaudia Music
and Arts volume I discuss
Gesualdo’s life, and I try to explain why he wrote the kind
of music he did. I also mention some of the influences that molded
his style, and how he came to know the music of his contemporaries,
especially Luzzaschi and Nenna. His is a fascinating story, with
enough sensation for a television drama if not a movie, and whatever
we think of his adventures and his life there is no denying the
outstanding quality of his music. But it requires concentration
and hard work, and these, in the long run, will bring their own
reward.
DENIS STEVENS
CARLO GESUALDO: Selected Madrigals
edited
by Denis Stevens
(1992) 7 x 10 in., softbound, 136 pp. GM3205 US$18.00
This item may be ordered from your local dealer,
or from
ECS Publishing
138 Ipswich Street
Boston, MA 02215
(617) 236-1935
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