Album info



Label: Glossa

Genre: Classical

Subgenre: Vocal

Album including Album cover


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  • Carlo Gesualdo (1566-1613): Tenebrae Responsories for Maundy Thursday:
  • 1Responsory - 1st Nocturne: In monte Oliveti04:47
  • 2Responsory - 1st Nocturne: Tristis est anima mea05:47
  • 3Responsory - 1st Nocturne: Ecce vidimus eum07:31
  • Giovanni de Macque (1548-1614):
  • 4I' vo piangendo I miei passati tempi05:00
  • Carlo Gesualdo: Tenebrae Responsories for Maundy Thursday:
  • 5Responsory - 2nd Nocturne: Amicus meus osculi04:22
  • 6Responsory - 2nd Nocturne: Judas mercator pessimus02:35
  • 7Responsory - 2nd Nocturne: Unus ex discipulis meis05:29
  • Luzzasco Luzzaschi (1545-1607):
  • 8S'omai d'ogni su' errore03:37
  • Carlo Gesualdo: Tenebrae Responsories for Maundy Thursday:
  • 9Responsory - 3rd Nocturne: Eram quasi agnus innocens06:03
  • 10Responsory - 3rd Nocturne: Una hora non potuistis03:49
  • 11Responsory - 3rd Nocturne: Seniores populi consilium05:30
  • In te, Domine, speravi:
  • 12In te, Domine, speravi03:51
  • Tenebrae Responsories for Good Friday:
  • 13Responsory - 1st Nocturne: Omnes amici mei04:37
  • 14Responsory - 1st Nocturne: Velum templi scissum est04:43
  • 15Responsory - 1st Nocturne: Vinea mea electa, ego te plantavi05:22
  • Luzzasco Luzzaschi:
  • 16Quivi sospiri, pianti e alti guai03:05
  • Carlo Gesualdo: Tenebrae Responsories for Good Friday:
  • 17Responsory - 2nd Nocturne: Tanquam ad latronem03:28
  • 18Responsory - 2nd Nocturne: Tenebrae factae sunt05:17
  • 19Responsory - 2nd Nocturne: Animam meam dilectam08:19
  • Luca Marenzio (1553-1599):
  • 20E questo il legno che del sacro sangue07:01
  • Carlo Gesualdo: Tenebrae Responsories for Good Friday:
  • 21Responsory - 3rd Nocturne: Tradiderunt me03:17
  • 22Responsory - 3rd Nocturne: Iesum tradidit impius04:26
  • 23Responsory - 3rd Nocturne: Caligaverunt oculi mei07:43
  • Benedictus Dominus Deus Israel:
  • 24Benedictus Dominus Deus Israel06:56
  • Tenebrae Responsories for Holy Saturday:
  • 25Responsory - 1st Nocturne: Sicut ovis03:48
  • 26Responsory - 1st Nocturne: Jerusalem, surge03:50
  • 27Responsory - 1st Nocturne: Plange quasi virgo06:19
  • Sparge la morte al mio Signor nel viso:
  • 28Sparge la morte al mio Signor nel viso05:23
  • Tenebrae Responsories for Holy Saturday:
  • 29Responsory - 2nd Nocturne: Recessit pastor noster03:44
  • 30Responsory - 2nd Nocturne: O vos omnes03:41
  • 31Responsory - 2nd Nocturne: Ecce quomodo moritur iustus05:56
  • Pietro Vinci (1535-1584):
  • 32Le braccia aprendo in croce04:22
  • Carlo Gesualdo: Tenebrae Responsories for Holy Saturday:
  • 33Responsory - 3rd Nocturne: Astiterunt reges terrae02:30
  • 34Responsory - 3rd Nocturne: Aestimatus sum04:23
  • 35Responsory - 3rd Nocturne: Sepulto Domino06:06
  • Miserere mei, Deus:
  • 36Miserere mei, Deus10:38
  • Ne reminiscaris, Domine:
  • 37Ne reminiscaris, Domine02:30
  • Total Runtime03:05:45

Info for Gesualdo: Responsoria

The Responsoria by Carlo Gesualdo, published in 1611, represent a remarkable emotional outpouring in sacred repertory from a composer who was living out his final years amidst melancholy thoughts and an increasingly precarious state of health. It was also significant that these Holy Week pieces should appear in the same year as the complex works in the Sixth Book of Madrigals: an association which La Compagnia del Madrigale are keen to make with their new recording of the Responsoria in a striking new release from Glossa. Having already responded to the stylistic subjectiveness of the madrigals the highly-skilled a cappella vocal ensemble (which includes singers of the calibre and experience of Giuseppe Maletto, Daniele Carnovich or Rossana Bertini) turns its attention to subject matter covering torment, suffering, blood and death.

Over three CDs Gesualdo’s creative musical response to the Passion of Christ is interspersed with spiritual madrigals from some of his best-known contemporaries (Luzzaschi, Marenzio, de Macque and Vinci), whose religious texts further underline the madrigalesque nature of the Responsoria. Also included are two comparative rarities from Gesualdo’s sacred output, In te Domine speravi and Ne reminiscaris, Domine.

Once again, Marco Bizzarini supplies a fascinating booklet essay which places Gesualdo’s music in a realistic rather than “hysterical” context, buttressing the singers’ complete control of the emotional charge of this late masterpiece from the Prince of Venosa.

“the group's meticulous attention to every verbal nuance and to all the chromatic inflections and dissonant clashes in Gesualdo's often tortured harmonies makes its point. It's wonderfully accomplished singing, very unlike any other performance of these strangely compelling pieces that I've heard, and thought-provoking at the same time.” (The Guardian)

“This is devotional music of mesmerising beauty, the state-of-the-art performances interspersed with spiritual madrigals by Luzzaschi, Marenzio and Vinci...This intense, boldly chromatic music of lamentation is rarely heard Eastertide material, especially programmed as comprehensively as here by the six elite singers.” (Sunday Times)

“This new recording...surpasses all others. The singers not only reveal the depths of Gesualdo's emotional understanding, but also his formal, harmonic and textural control...La Compagnia del Madrigale are sensitive to every word of the text as well as to every note of the music. All in all, a superb recital.” (BBC Music Magazine)

La Compagnia del Madrigale
Giuseppe Maletto, direction

La Compagnia del Madrigale
is the most accredited madrigal ensemble of today’s international early music scene.

The group was founded in 2008 on the initiative of Rossana Bertini, Giuseppe Maletto and Daniele Carnovich: after singing madrigals and sacred polyphony together for over 20 years, they decide to self-manage their own activity without a musical director and integrate into the group Francesca Cassinari, Elena Carzaniga, Raffaele Giordani and Marco Scavazza.

The founding members of the group, Rossana Bertini, Giuseppe Maletto, and Daniele Carnovich, while cultivating prestigious individual careers, have worked side by side for over 20 years, and their collective experience as madrigalists has played a fundamental role in bringing an undisputed high level of artistry to La Compagnia del Madrigale.

Their voices can be heard on dozens of award-winning recordings (Diapason d’or de l’année, Grammophone Award, Premio Cini etc.) and have been critically and publicly acclaimed for innumerable performances in the most prestigious international music festivals of Italy, Europe, United States, Canada, Israel, Russia, Japan, and Latin America.

La Compagnia del Madrigale undertook an important collaboration with the RSI Radio-TV of Italian Switzerland, under the direction of Diego Fasolis, and with the prestigious instrumental group I Barocchisti. The first phase of this collaboration was a production of a video dedicated to the “Amfiparnaso” by Orazio Vecchi. This was followed by a recording of the Secondo Libro dei madrigali a 4 voci of Palestrina, part of a larger recording project dedicated to the complete works of this composer, with the musicological consultation of Francesco Luisi.

The record production of La Compagnia del Madrigale started in 2011, when the label Arcana published a CD of madrigals based upon the text of “Orlando Furioso” by Ludovico Ariosto, which was enthusiastically acclaimed by both public and critic. The label Glossa released the Sesto Libro dei Madrigali a 5 voci followed by the Responsoria by Carlo Gesualdo - both CDs have been highly acclaimed by the press and awarded several prizes. Recently, Glossa has published the Primo Libro dei Madrigali a 5 voci and the Quinto Libro dei Madrigali a 6 voci by Luca Marenzio, which have also been very successful: Diapason d’Or, Gramophone Editor’s Choice, Preis der deutschen Schallplattenkritik! A new recording entitled “Pianto della Madonna” is dedicated to Monteverdi’s Sacred Works and has just been released and awarded a Diapason d’Or!

In addition to the hundreds of madrigals which have always represented the heart of their artistic production, the artists of the ensemble are today particularly involved in programs devoted to Petrarca’s “Canzoniere”, “Gerusalemme Liberata” of Tasso, Monteverdi’s “Selva Morale” and the Vespro della Beata Vergine, which they have recently performed.

Recently, La Compagnia del Madrigale debuted in Cologne (Philharmonie), Paris (Musée d’Orsay), Geneva (Victoria Hall), Zurich, Venice, Torino, Rome and at the festivals in Schwetzingen and Rhein Vokal. Upcoming concerts will take place in Essen, Cologne, Regensburg, and London (Wigmore Hall).

This album contains no booklet.

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