That piece is so good. I just tried to read along with it (bass) and it’s crazy to think that it was written in the renaissance. Such great chord sequences. Definitely showing this to friends.
All I could remember from music history "Renaissance Prince Composer" (Gesualdo pops up). (Knew he had some music way ahead of his time) Then I looked up, "Carlo Gesualdo Whitacre" Got this. Was not disappointed.
It is so stunning, actually, that our crap remains where it is. That is why it is called holy. In the holy of holies, so to speak. All this thanks to Gesualdo.
Michel Leclerc Pity he was a cold-blooded murderer and uxoricide. His art is extraordinarily levigated and complex however. I find listening to him a bit intimidating...mostly for the contradiction he incorporates. Because he did not simply kill his wife and her lover...he cut them to pieces and put them on display. Urgh.
I understand, Mr?/Ms? Kapps. We may hypothesise that the display was, cold-blooded that is, but not the killing itself. Hence, there would not be such a strong contradiction. The intensity of emotions is a source of all great art, as you will agree. Gesualdo was certainly moved by an intellectual motive to transcend the established boundaries of harmony of his times but also, or maybe even more, by an emotional urge to make his contrapuntal voice lines as expressive, as individual and as characterised as possible - and while doing so by a readiness to plunge into the abyss of tragedy and sadness. (His joyous passages never reach the pinnacles of Monteverdi, but then for seriousness and despair about life and creation, he will not be equalled until late Beethoven, Wagner, 20th-century music.) As you know, the Responsoria are from his last period, and there, I think, “it comes home to him” and he reaches the tone of remorse. Solving your, and my, and his, contradiction, in a way. By subsuming it into the mysteries of Christ’s Passion. Then, retrospectively, we can look back upon the Madrigali, and understand them differently. (By the way, iIf you do not know them, do listen to Stravinski’s and Sciarrino’s orchestrations of the Madrigali.)
Michel Leclerc I suggest you delve a little better into his biography. He was a meticulous man. Even in crime. And quite shady in his dealings. I know him well. His works I mean, for I am both Italian and a classical musician/composer. I admire his dealings with dissonance, but I do not idealistically dovetail with the idea of reconciliation after having cut up his young wife. As to Monteverdi being a pinnacle in music, instrumental exploration and polyphony, by all means yes. And Palestrina did his part also. But this man...mmm. I don't know. I cannot condone his behaviour. And somehow, what he did unsettles me and tends to stain my appreciation of his creations. A good day to you.
Gaby Kappa, thanks for the interesting observations. I think the point I and perhaps others would make is that Gesualdo was obviously highly emotional and erratic, and the music reflects that. He may have been meticulous in planning the heinous murders, but his biography shows an overwrought, guilt-ridden man who suffered greatly. Of course no one in their right mind would condone what he did. He is a horror. His music is kind of horrifying too, in some ways.
He must have had quite a trained choir as well, because I can only speculate in which tuning this was sung, but it must have been strongly reminiscent of Vicentino.
+Karolina Csathy This isn't Oxford Camerata - this performance is The Cambridge Singers with John Rutter from "The Sacred Flame" album (on the Collegium label).
Dwight Cochrane Carlo Gesualdo was a composer from the late renaissance, if you want to hear something chromatic from the middle ages watch "fumeux fume par fumee" by solage
Modern technology! There are apparatuses that can catch the voices of people singing in the Middle Ages and carry them over to the present era, which, as you can hear, proves not to be so crazy as its reputation!
+Ace O' Hearts "All ye that pass by, behold and see if there be any sorrow like unto my sorrow" is the generally accepted translation. I think the generally sorrowful tone along with the repetition is very evocative of the text. Also the "Attendite" part is very pleading and desperate.
Astonishing colors. Gesualdo went on 400 years ahead. Clear genius.
Ahead of his time... but maybe the others were just backward.
meraviglia del contrappunto di Gesualdo, grazie
That piece is so good. I just tried to read along with it (bass) and it’s crazy to think that it was written in the renaissance. Such great chord sequences. Definitely showing this to friends.
EL ESCALOFRIANTE SONIDO DE LA MUERTE QUE LLEGARA ALGÚN DÍA POR CADA UNO DE NOSOTROS SIN FALTA .
Einfach wunderschön.
those chords modulations though! a nice suprise, everytime!
This!
BRO IMAGINE IF HE HAD A MAHLER SIZED ORCHESTRA TO WORK WITH AND WAS TRAINED IN ORCHESTRATION 348ubriuhiorugeoh34uohehufeh4ur
Lo apprezzo. Grazie mille.
All I could remember from music history "Renaissance Prince Composer" (Gesualdo pops up). (Knew he had some music way ahead of his time) Then I looked up,
"Carlo Gesualdo Whitacre" Got this. Was not disappointed.
Holy crap. This is a stunning work of art.
It is so stunning, actually, that our crap remains where it is. That is why it is called holy. In the holy of holies, so to speak. All this thanks to Gesualdo.
Michel Leclerc Pity he was a cold-blooded murderer and uxoricide. His art is extraordinarily levigated and complex however. I find listening to him a bit intimidating...mostly for the contradiction he incorporates. Because he did not simply kill his wife and her lover...he cut them to pieces and put them on display. Urgh.
I understand, Mr?/Ms? Kapps. We may hypothesise that the display was, cold-blooded that is, but not the killing itself. Hence, there would not be such a strong contradiction. The intensity of emotions is a source of all great art, as you will agree. Gesualdo was certainly moved by an intellectual motive to transcend the established boundaries of harmony of his times but also, or maybe even more, by an emotional urge to make his contrapuntal voice lines as expressive, as individual and as characterised as possible - and while doing so by a readiness to plunge into the abyss of tragedy and sadness. (His joyous passages never reach the pinnacles of Monteverdi, but then for seriousness and despair about life and creation, he will not be equalled until late Beethoven, Wagner, 20th-century music.) As you know, the Responsoria are from his last period, and there, I think, “it comes home to him” and he reaches the tone of remorse. Solving your, and my, and his, contradiction, in a way. By subsuming it into the mysteries of Christ’s Passion. Then, retrospectively, we can look back upon the Madrigali, and understand them differently. (By the way, iIf you do not know them, do listen to Stravinski’s and Sciarrino’s orchestrations of the Madrigali.)
Michel Leclerc I suggest you delve a little better into his biography. He was a meticulous man. Even in crime. And quite shady in his dealings. I know him well. His works I mean, for I am both Italian and a classical musician/composer. I admire his dealings with dissonance, but I do not idealistically dovetail with the idea of reconciliation after having cut up his young wife. As to Monteverdi being a pinnacle in music, instrumental exploration and polyphony, by all means yes. And Palestrina did his part also. But this man...mmm. I don't know. I cannot condone his behaviour. And somehow, what he did unsettles me and tends to stain my appreciation of his creations. A good day to you.
Gaby Kappa, thanks for the interesting observations. I think the point I and perhaps others would make is that Gesualdo was obviously highly emotional and erratic, and the music reflects that. He may have been meticulous in planning the heinous murders, but his biography shows an overwrought, guilt-ridden man who suffered greatly. Of course no one in their right mind would condone what he did. He is a horror. His music is kind of horrifying too, in some ways.
He must have had quite a trained choir as well, because I can only speculate in which tuning this was sung, but it must have been strongly reminiscent of Vicentino.
Gesualdo. Yeah.
Love those false relations!
This!
It's hard to believe this music came from a murderer. But, then again listen to Charles Mason's work.
Any chance I could get the file of the pictures posted?
Thanks!
+Sarah Hardy
IMSLP
imslp.org/wiki/O_vos_omnes_%28Gesualdo,_Carlo%29
God is here
Vensamean No he isn't. Not through this man.
@@gabykappscomposermariagabr749 god is everywhere and with everyone. god is existence no less.
Hey, in measure 6 the alto sings F, while it's written G. Do you know something about this fact?
The G is a transition note to the F in measure 7
Paul Hindemith said if Mozart hadn’t appeared later, Gesualdo would have definitely changed the course of all the music that is followed.
I blame Mendelssohn.
@MeineLongeSchlonge Thanks! I thought it sounded good...
+Martin Sweaney bit rude...
Who performed this?
Oxford Camerata. It's a fine Naxos recording: www.naxos.com/catalogue/item.asp?item_code=8.550742
+Karolina Csathy This isn't Oxford Camerata - this performance is The Cambridge Singers with John Rutter from "The Sacred Flame" album (on the Collegium label).
Anyone has the score of this?
Here, imslp.org/wiki/O_vos_omnes_%28Gesualdo,_Carlo%29 there are a few versions.
🤺🤺🤺🤫🤖😘
This was composed back in the Middle-Ages. Pretty ingenious how it has re-emerged and sung in this crazy era.
Dwight Cochrane Carlo Gesualdo was a composer from the late renaissance, if you want to hear something chromatic from the middle ages watch "fumeux fume par fumee" by solage
wut
Modern technology! There are apparatuses that can catch the voices of people singing in the Middle Ages and carry them over to the present era, which, as you can hear, proves not to be so crazy as its reputation!
How would you say that the music relates to the text?
+Ace O' Hearts "All ye that pass by, behold and see if there be any sorrow like unto my sorrow" is the generally accepted translation. I think the generally sorrowful tone along with the repetition is very evocative of the text. Also the "Attendite" part is very pleading and desperate.
Too bad the man murdered his wife. It's beautiful music. I have a hard time reconciling the angelic voices.