How Carlo Gesualdo stretches everything to the extreme Moro Lasso Analysis

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Carlo Gesualdo was one of the most illustrious composers in the late renaissance, and his composition 'Moro lasso al mio duolo' from his sixth book of madrigals (1611) is one of the most representative pieces for that style. Here is my analysis.
Recording is with Delitiae Musicae / Marco Longhini (Naxos 8.507013). • Moro, lasso, al mio duolo
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5 июл 2021

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Комментарии : 15

@Jajadore Год назад

Thank you so much for this analysis! And I like this slow tempo of the recording. Very dramatic.

@jonaswolfmusic1775 Год назад

Yes, the recording is unsurpassed in my opinion. :)

@geoycs 2 года назад

Thanks so much for doing this. Coolest thing ever!

@13strigoi69 2 года назад

Nice. The scream emojis cracked me up. Carlo could have used some levity.

@Likes_Trains 8 месяцев назад

Underrated channel

@jonaswolfmusic1775 8 месяцев назад

Underrated comment

@friedrichpfluger5779 3 года назад

Hätte Gesualdo doch beim Auflösen seiner ehelichen Dissonanzen das gleiche unglaubliche Feingefühl -- gewissermaßen scharf wie ein Dolchstich -- angewandt wie bei den geradezu kriminellen musikalischen. Für derartige "Harmonien" könnte man auch heute noch empfehlen, sich sicherheitshalber ins Exil zu verkrümeln. Großartig aufbereitete Analyse; Tragik zum Piepen. Schon drei Durchäufe und immer noch nicht alles entdeckt!

@jonaswolfmusic1775 3 года назад

Herrlich - hätte es nicht besser in Worte fassen können. *_*

@justinlepany 3 года назад

Hello Jonas and thank you very much for this video. You mention a Wolf Interval at 04:40, does it mean that Gesualdo would expect the singer to sing in meantone temperament and even push them as far as singing in the "unjust" area of the temperament for expressive purposes? I love the idea but can't see how singers could achieve that.

@jonaswolfmusic1775 3 года назад

Good idea... and really difficult question! We can't know for sure which kind of temperament Gesualdo would have expected his singers to do because he only provided the music, and the music theory of his time is not really apt for describing this extreme chromatic music. My best guess is that in his time, the pieces (when not accompanied by instruments) were sung in a mixture of different temperaments, but the distance between an eb and g# was definitely audible (like in the recording by Delitiae Musicae). But better ask Johannes Keller from Schola Cantorum in Basel, he's really an expert in questions for tuning in this period.