CARLO GESUALDO Terzo Libro di Madrigali (1595)
La Compagnia del Madrigale
Rossana Bertini, soprano Francesca Cassinari, soprano Elena Carzaniga, alto Giuseppe Maletto, tenor Raffaele Giordani, tenorDaniele Carnovich, bass
with: Laura Fabris, soprano Annalisa Mazzoni, alto
Total playing time: 63:31 Recorded in Roletto (Chiesa al Colletto), Italy, in September, October and November 2015 Engineered by Giuseppe Maletto Produced by La Compagnia del Madrigale Executive producer: Carlos Céster Booklet text: Marco BizzariniEnglish - Français - Italiano - Deutsch
Links & downloads
Commercial release sheet (PDF)
Buy this product
CARLO GESUALDOTerzo Libro di Madrigali (1595)
01 Ancidetemi pur, grievi martiri 02 Sospirava il mio core 03 Del bel de’ bei vostri occhi 04 Ahi, dispietata e cruda 05 Deh, se già fu crudele 06 Ahi, disperata vita 07 Dolcissimo sospiro 08 Meraviglia d’Amore 09 Voi volete ch’io mora 10 Se vi miro pietosa 11 Crudelissima doglia 12 Dolce spirto d’amore 13 Languisco e moro, ahi, cruda 14 Se piange, ohimè, la donna 15 Veggio, sì, dal mio sole 16 Non t’amo, o voce ingrata17 Donna, se m’ancidete
bonus tracks: 18 Scipione Stella: Sento dentr’al cor mio 19 Luzzasco Luzzaschi: Dolorosi martir 20 Alfonso Fontanelli: Colei che già si bella
About this CD
With Carlo Gesualdo’s Third Book of madrigals, La Compagnia del Madrigale continue their dynamic new view of late Renaissance Italian repertory, which has seen the vocal ensemble garlanded with critical praises and prizes since the time of its initial Glossa release – Gesualdo’s Sixth Book – three years ago. Although Gesualdo’s Third Book came out but one year after his first two books, it manifests a transitional style that led into the “late style” of the Fifth and Sixth Books. In his essay Marco Bizzarini develops this idea and points to the darkening of Gesualdo’s psychological profile at the time, which is mirrored in the melancholic nature of the madrigals in the Third Book.
In the texts, joy and grief are frequently intermingled - yet each time freshly considered - and although there are named writers such as Battista Guarini present, many of the texts are anonymous; the inference being that Gesualdo himself might have been their author. Musically, the development is signalled especially by a greater use of violent dissonance than before, and demonstrating that Gesualdo could creatively reflect highly-charged emotions in music through counterpoint: no need for monody for him.
In these exposed and unaccompanied madrigals, La Compagnia del Madrigale blends its trademark expertise and vocal freshness to take the listener on a fascinating sound journey.