Gesualdo reviews

This is the last and most famous of Gesualdo’s books of madrigals, notorious for its wayward dissonances and morbid reflections. Recordings of it are not in short supply and we have recently issued or re-issued versions by Marco Longhini and Delitiae Musicae on Naxos (spirited but untidy), Quintetto Vocale Italiano on Newton Classics (sensitive to the text but very poor tuning and sound quality), and La Compagnia del Madrigale on Glossa (superb tuning but slightly cautious speeds with some downward transpositions).

Gesualdo’s third book of madrigals for five voices was published in 1595, some five years after he famously murdered his adulterous wife and her lover. Even so, we do not yet find the extreme chromaticism that adds a certain exoticism to his late works, and the rather short texts here, with few words per line, create problems for those who wish to give fluid performances. These are works of localised rhetorical flourishes rather than sweeping lyricism.

The Danish musician Bo Holten has not only performed Gesualdo’s music on numerous occasions but he has also written an opera about the ‘prince and murderer’ whose compositions are a by-word in strange harmonies. This is a live recording of his 2013 concert in Bari in Southern Italy and, if the 60 minutes of music here seems short measure for a CD these days, you should be warned that, in addition (or rather, subtraction) the last four tracks are a repeat of the first four.

Gesualdo’s two volumes of ‘Sacred Songs’ published in 1603 are the least recorded of his works, though it was hardly necessary for Paolo da Col to ‘search out the sole original copy’ of the first volume to create his edition, since all the pieces here have been edited and available since 1993 when Jeremy Summerly and the Oxford Camerata’s recorded their excellent Naxos CD.

These 27 responsories from the services on Maundy Thursday, Good Friday and Holy Saturday reflect upon the most dramatic events of Christ’s life: his betrayal, trial and crucifixion. Few composers have equalled Gesualdo’s insight into the anguish of the events, nor the care with which his minute musical details make vivid their depiction.

This year is the 400th anniversary of Gesualdo’s death and, as expected, there has been a flurry of recordings.  This offering is the best so far, though something odd has happened to the Glossa Gesualdo madrigal series. It began with Books 4 and 5 recorded by La Venexiana, and has now switched to this new group, La Compagnia del Madrigale, half of which belonged to La Venexiana.

We have three printed collections of sacred works by Gesualdo, but unfortunately one of them – this second book of Sacrae Cantiones for six and seven voices – has long been unperformable because two of its part-books are lost. James Wood, following his meticulous and convincing reconstruction of those missing parts, has now given us access to a further 20 motets by the famous ‘Prince and Murderer’.

These pieces by Carlo Gesualdo – ‘Prince and murderer’ – were published in 1611. With their assured counterpoint and extreme harmonies they represent the pinnacle of his style. But they also pose enormous challenges for the performers: the chord changes require absolute security of tuning; the anguished words demand a sensitivity towards rhetorical and quasi-theatrical delivery; and the sometimes cluttered textures call for fine ensemble.

Gesualdo’s unnerving music produces some tuning problems and Christie’s insertion of instruments is odd. But his telling interpretations make this a welcome, compelling reissue. Anthony Pryer