Word: gesualdo
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...composers ranging from Mozart, Verdi and Wagner to Native Son Richard Strauss and a première by Czechoslovakia's Ján Cikker. For chamber music buffs there will be Liederabende by Baritones Dietrich Fischer-Dieskau and Hermann Prey. Another series of chamber music by Bach, Gabrieli, Gesualdo, Telemann, Haydn, Mozart and Scarlatti will be presented by small instrumental and vocal ensembles in the elegant 18th century Nymphenburg Palace (through July...
...cannot deny the quality of Hippolyte's inspired, innovative sections: the Trio for the Fates in the Hades scene, "Quelle soudaine horreur," with its macabre, Gesualdo-like modulations (superbly sung in the production); Phedre's pathetic scena, "Cruella mere des amours": the Act IV Hippolyte-Aricie duet, "Ah! fautil e un jour," with its revealing major-minor key shifts, and Aricie's closing "Nightingale Aria," one of the first soprano vs. flute bel canto trials...
...size of Layton's orchestra kept him from playing any Romantic works; the other half of Friday's brief program included works by Igor Stravinsky and Charles Ives. In its New England premiere, Stravinsky's Monumentum pro Gesualdo di Venosa received a bludgeoning the Bach Society had not intended to give it; someone in the orchestra arrived after the concert had begun. Naturally the counterpoint had strange empty spots. Monumentum, composed in 1960 on Gesualdo's four-hundredth birthday, is essentially an alteration for chamber music of three of Gesualdo's madrigals. Even if one makes allowances for what...
Some of Stravinsky's recent works, such as his seven-minute Gesnaldo Monumentum, which is little more than an orchestration of three madrigals by Don Carlo Gesualdo (circa 1560-1613), have suggested that nowadays the old revolutionary talks better about music (in interviews with Protege Conductor Robert Craft) than he composes. Although, in the U.S. at least, Stravinsky remains the most widely played living composer, the works that turn up most often in the concert halls are early masterpieces like Firebird and Petronchka, with their gorgeous colors, their richly varied rhythms and brilliant orchestrations...
Following the probing harmonic and contrapuntal explorations of Gesualdo, the madrigals of Luca Merenzio sounded a bit parochial and stay-at-home. Yet his two villanellas for three voices offered a great and rarely heard texture: soprano, counter-tenor, and basso. (Counter-tenor Carlo Tosti's sense of humor was, incidentally, crucial for the success of several of the Banchieri and Marenzio madrigals...