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.
Carlo Gesualdo principe di Venosa. Madrigali a cinque voci. Libro terzo (Ferrara 1595)
SAGGIO FRANCESCO
2021-01-01
Abstract
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.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
