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5无损音乐格式古典音乐冷门 - ECM杰苏阿尔多(1566-1613) 牧歌第五卷
Carlo Gesualdo: Quinto Libro di Madrigali 卡洛·杰苏阿尔多 牧歌第五卷
The Hilliard Ensemble
Composers: Carlo Gesualdo (1566-1613) 卡洛·杰苏阿尔多
Artists: The Hilliard Ensemble,
Monika Mauch Soprano
David James Countertenor
David Gould Countertenor
Rogers Covey-Crump Tenor
Steven Harrold Tenor
Gordon Jones Baritone
Genre: Italian Renaissance
date: 30.03.2012
For their latest album for ECM, and over 20 years after their first recorded foray into Gesualdo with his Tenebrae Responsories (8438672), The Hilliard Ensemble turn again to the music of the Italian nobleman, this time to sing the entire Fifth Book of Madrigals.
An aristocrat who forged an idiosyncratic style of musical expression, Don Carlo Gesualdo, Prince of Venosa, was one of those composers in music history who can truly be described as being ahead of his time: the creator of a harmonic language bold almost to the point of anarchy, whose every unpredictable interval was viewed with suspicion by the opponents of musical autonomy and guardians of liturgically based sacred music. A friend of Torquato Tasso and founder of his own academy, to which many leading madrigalists of the 16th and early 17th centuries belonged, Gesualdo was a highly expressive composer and a virtuoso performer on the bass lute.
Yet his chromatic progressions baffled his contemporaries and had to wait until the 19th-century era of High Romantic period to find artistic parallels. Among his most important compositions are six books of five-part madrigals dating from between 1594 and 1611. The last two books in particular – this recording by the Hilliard Ensemble brings new performances of Book 5 – display his dissonant musical language with its extreme harmonic disruptions, striking tempo contrasts and a distinctly modern feel for drama.
The Hilliard Ensemble’s expressive singing, here also featuring soprano Monika Mauch and countertenor David Gould, conjures up that sound described by the great music historian Hans Redlich as growing out of “the antithesis between extravagant/debauched eroticism and self-castigating longing for death”.
Background
An aristocrat who forged an idiosyncratic style of musical expression, Don Carlo Gesualdo, Prince of Venosa was the creator of a bold, new harmonic language, and a composer truly ahead of his time. A founder of his own academy, to which many leading madrigalists of the 16th and early 17th centuries belonged, Gesualdo (1566 – 1613) was a highly expressive composer, as well as a virtuoso performer on the bass lute. Yet his chromatic progressions baffled his contemporaries and had to wait until the 19th-century High Romantic period to find artistic parallels. Among his most important compositions are six books of five-part madrigals dating from between 1594 and 1611. The last two books in particular – this recording by the Hilliard Ensemble brings new performances of Book 5 – display his dissonant musical language with its extreme harmonic disruptions, striking tempo contrasts and a distinctly modern feel for drama.
Gesualdo’s music has been part of The Hilliard Ensemble’s performing life for more than two decades. The British vocal group’s 1990 recording of the Tenebrae Responsories, which won awards including the Deutsche Schallplattenpreis, is now widely regarded a reference recording of the work. Through the years, the Hilliards have kept the Responsories in their concert repertoire. As baritone singer Gordon Jones notes, “With such highly-charged, mannered music you wonder sometimes how much repetition it can bear but, for us, Gesualdo has stood the test of time. Audiences never seem to tire of these dramatic musical tableaux and for the performers the technical and musical challenges seem constantly fresh. This continuing relationship with Gesualdo’s music led us, a few years ago, to look in detail at what other of his works we might perform… Eventually a desire for completeness overtook us and we decided to see if we could tackle the entire Fifth Book of Madrigals. The whole collection constitutes a gallery of dramatically lit portraits of human emotions with a heavy emphasis on the extremes of joy and despair.”
For this recording, realized at Propstei St. Gerold in November 2009, the Hilliard quartet of David James, Rogers Covey-Crump, Steven Harrold and Gordon Jones was augmented by soprano Monika Mauch and second countertenor David Gould, both of whom have a history with the group. Gould appears on the groups albums of Bach Motets and Guillaume de Machaut Motets. Mauch, meanwhile, sang with the Hilliards on the highly successful Bach ‘reconstruction’ album “Morimur”, based on the research of Helga Thoene.
The Hilliard Ensemble’s standing as an early music ensemble dates from the 1980s with its series of successful recordings for EMI. The 1988 recording of Arvo P?rt’s Passio began a fruitful relationship with both P?rt and ECM, and was followed by their recording of P?rt’s Litany. The group has recently commissioned other composers from the Baltic States, including Veljo Tormis and Erkki-Sven Tüür, adding to a rich repertoire of new music from Gavin Bryars, Heinz Holliger, John Casken, James MacMillan, Elena Firsova and many others.
In addition to many a cappella discs, collaborations for ECM include most notably Officium, Mnemosyne and Oficium Novum with Norwegian saxophonist Jan Garbarek, a partnership which continues to develop and renew itself, and Morimur with the German Baroque violinist Christoph Poppen and soprano Monika Mauch.
The group continues in its quest to forge relationships with living composers, often in an orchestral context. In 1999, they premiered Miroirs des Temps by Unsuk Chin with the London Philharmonic Orchestra and Kent Nagano. In the same year, James MacMillan’s Quickening, commissioned jointly by the BBC and the Philadelphia Orchestra, was premiered at the BBC Proms. With Lorin Maazel and the New York Philharmonic, they performed the world premiere of Stephen Hartke’s 3rd Symphony which was subsequently premiered in Europe by the Deutsche Radio Philharmonie Saarbrücken – Kaiserslautern and Christoph Poppen. They have also collaborated with the Munich Chamber Orchestra with a new work by Erkki-Sven Tüür. In 2007 they joined forces with the Dresden Philharmonic Orchestra to premiere Nunc Dimittis by the Russian composer Alexander Raskatov. In 2009 they worked with the Arditti Quartet performing a new work, Et Lux by Wolfgang Rihm.
A new development for the group began in August 2008 with the premiere at the Edinburgh International Festival of a music theatre project written by Heiner Goebbels in a production by the Théatre Vidy, Lausanne: I went to the house but did not enter. This has subsequently been presented throughout Europe and the US.
In 2011, ECM New Series released Boris Yoffe’s “Song of Songs”, a unique collaboration between the the Rosamunde Quartet and Hilliard Ensemble.
作曲家介绍：
Carlo Gesualdo di Venosa (30 March 1566 – 8 September 1613), Prince of Venosa and Count of Conza, was an Italian Renaissance composer.
Gesualdo is known for his books of sacred and secular vocal music, particularly his madrigals, some of which explore extreme chromatic progressions and unprepared changes of harmony which were unprecedented at the time, and stretched the boundaries of accepted tonality to a point rarely seen again until the second half of the 19th century. For this reason, Gesualdo has gained posthumous fame and acclaim, particularly from 20th century composers such as Igor Stravinsky.
Gesualdo is also known for his behavior characteristic of possible mental illness, including lewdness, violence, and sadism, culminating in the brutal murder of his wife and her lover. Gesualdo is also believed to have engaged in masochistic practices and possibly to have ordered his own death. This has led to various rumors and legends about him over the centuries, with some locals believing he was a victim of demonic possession.
杰苏阿尔多是位传奇式的人物。他生于那不勒斯的维诺萨家族，伯父是那不勒斯的大主教。杰苏阿尔多周围聚集了一批牧歌作曲家，他自己也是琉特琴演奏家和作曲家。他的牧歌以悲剧色彩而闻名，而他本人的一生也充满了悲剧色彩。尽管他是维诺萨的王子，但他的性格及其古怪，更可悲的是他因怀疑妻子的不忠，亲手杀害了他的妻子和妻子的情人。也许是受到这段经历的影响，他的歌曲充满了怪异的和声与阴暗的色彩。他在选择歌词时，大都选择表现死亡、痛苦的内容的歌词。如牧歌《在这般的痛苦之中》（Io pur respiro in cosi gran dolore）里，他运用了许多半音阶。对他来说，运用半音不是为了使音乐复杂化，而是通过半音的悲剧色彩，达到他理想的悲剧音乐效果。这种具有个性的音响与19世纪末浪漫主义作曲家瓦格纳的一些音乐类似，尽管他们在世时间相隔几百年，但用音乐表现对生命无奈的感叹以及疯狂的想象，两人有些相似。
（摘自侯锡瑾着《西方早期合唱艺术》）
意大利牧歌（madrigal）是16世纪欧洲最有影响的世俗音乐形式。无论是宗教的还是世俗的作曲家，无论是佛兰芒、意大利还是法国的作曲家几乎都要涉猎这一体裁。16世纪的意大利牧歌与14世纪牧歌没有直接的联系。它的歌词多是感伤或爱情内容的田园诗，室内复调音乐的风格。
意大利牧歌早期发展受意大利民间抒情歌弗罗托拉的影响，16世纪中叶以后，音乐与诗歌贴近，描绘性和情感表达有所发展，半音化的风格在杰苏阿尔多（Carlo Gesualdo，1561—1613）的牧歌中达到顶点。 16世纪后期蒙特威尔第（Claudio Monteverdi，1567—1643）的创作使牧歌从多声部模仿转为独唱、重唱加伴奏的形式，运用宣叙性的旋律，追求戏剧性的表现，为17世纪歌剧的发展开辟了道路。
牧歌的发展分为三个时期：早、中、晚，这是一个大约持续了一个世纪的发展时间。牧歌体裁的整个形成过程，可以说，表现为强烈地意大利化的尼德兰大师们的创作成果。1533年出版的第一本牧歌集包含了许多尼德兰作曲家创作的作品，他们保持意大利风格与尼德兰传统结合的写作方式，主要有韦尔德洛、阿卡德尔特和维拉尔特。
晚期牧歌作曲家中马伦齐奥、蒙特威尔第和杰苏阿尔多所做出的贡献可使牧歌在整个文艺复兴时期音乐发展中的地位进一步有所提高。
杰苏阿尔多的音乐创作中由“破坏”所导致的建设性似乎应属于20世纪的特征，而不是16世纪晚期。他与意大利大贵族家庭有密切的关联，这使得他在各方面都具有发展优势。由于受到人文主义者关于古代音乐的讨论和维森蒂诺理论的影响，他创作了一些三声部维拉内拉和大量使用对位风格的牧歌。之后尝试运用不协和音和半音体系（他不当之为一种手段，而是作为一个结果）创作牧歌，他在各个声部内部使用半音手法，使和声失去调性感，并非常喜欢保持音与快速跑句之间的对比。
意大利牧歌各种形式的音乐创作提供了丰富的技巧和表情资源，它漫射出无数的象征和格式，被同时代和后来的音乐家所使用，对器乐音乐、经文歌和法国复调尚松等宗教音乐和世俗音乐的发展都有直接的影响。
Track list:
Carlo Gesualdo (1566-1613): Quinto Libro di Madrigali (1611) 卡洛·杰苏阿尔多 牧歌第五卷
1. Gioite voi col canto 02:54
2. S'io non miro non moro 02:48
3. Itene, o miei sospiri 02:58
4. Dolcissima mia vita 02:29
5. O dolorosa gioia 03:07
6. Qual fora, donna 01:56
7. Felicissimo sonno 02:53
8. Se vi duol il mio duolo 02:58
9. Occhi del mio cor vita 02:10
10. Languisce al fin 03:17
11. Mercè grido piangendo 03:53
12. O voi, troppo felici 01:45
13. Correte, amanti, a prova 02:53
14. Asciugate i begli occhi 03:01
15. Tu m'uccidi, o crudele 03:18
16. Deh, coprite il bel seno 02:09
17. Poichè l'avida sete (Prima parte) 02:01
18. Ma tu, cagion (Seconda parte) 02:08
19. O tenebroso giorno 02:11
20. Se tu fuggi, io non resto 01:56
21. T'amo, mia vita 02:20
TT: 55'00
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