Composer: Carlo Gesualdo
Performer: Hannah Ely, Barbora Kabátková, Mélodie Ruvio, Benedict Hymas, Tore Tom Denys, Jonas Nordberg, Collegium Vocale Gent
Conductor: Philippe Herreweghe
Format: FLAC (tracks)
Label: PHI
Catalogue: LPH043
Release: 2024
Size: 755 MB
Recovery: +3%
Scan: yes
Madrigali a cinque voci, Libro quarto
01. No. 1, Luci serene e chiare
02. No. 2, Tall’ or sano desio
03. No. 3, Io tacerò, ma nel silenzio mio: Prima parte
04. No. 3, Io tacerò, ma nel silenzio mio: Seconda parte
05. No. 4, Che fai meco, mio cor?
06. No. 5, Questa crudele e pia
07. No. 6, Or che in gioia: Prima parte
08. No. 6, Or che in gioia: Seconda parte
09. No. 7, Cor mio, deh, non piangete: Prima parte
10. No. 7, Cor mio, deh, non piangete: Seconda parte
11. No. 8, Sparge la morte al mio Signor nel viso
12. No. 9, Moro, e mentre sospiro: Prima parte
13. No. 9, Moro, e mentre sospiro: Seconda parte
14. No. 10, Mentre gira costei
15. No. 11, A voi, mentre il mio core
16. No. 12, Ecco, morirò dunque!: Prima parte
17. No. 12, Ecco, morirò dunque!: Seconda parte
18. No. 13, Arde ’l mio cor, ed è sì dolce il foco
19. No. 14, Se chiudete nel core
20. No. 15, Il sol, qual or più splende: Prima parte
21. No. 15, Il sol, qual or più splende: Seconda parte
Collegium Vocale Gent and its founder Philippe Herreweghe continue their recordings of the works of Carlo Gesualdo with ‘Silenzio Mio’, which contains the Fourth Book of Madrigals, published in 1596. Regarded as one of the most eccentric composers of the late sixteenth and early seventeenth centuries, but also one of the most creative, he experiments here with new melodic and harmonic effects that enthralled listeners of the time. These innovations are applied to poems by Alessandro Guarini and several anonymous writers, all of which focus on the expression of personal feelings, particularly a ‘pathos’ new on the literary scene. A veritable historical testimony to the artistic turning point that occurred at the court of Ferrara in the early seventeenth century, this fourth book takes its place in the long-term recording project of Collegium Vocale, hailed by critics for its ‘homogeneity, contrapuntal transparency and luminosity, strikingly evident even in the most tormented pieces’.