Jezualdo Carlo Biography

He went down in the history of music as the author of the Madrigals of a unique chromatic style. Prince of Venoses. He did not receive a systematic musical education played on the lute, harpsichord, guitar. He took the lessons of composition from Pomponio Nenna Read more Carlo Jezualdo da Venose 8. He took the composition lessons from Pomponio Nenna served at the court in Naples.

At –96 he lived in Ferrara - at that time A. Villart, N. Vicentino, was familiar with Torkvato Tasso in the early Madrigalas in the music of 10 of his poetic works in different years. Jezualdo was influenced by the Ferrara court composer Lutzsko Lutzska dedicated his 4th book Madrigalov, in Ferrara, Lutzska showed a jezualo, designed by Vicentino, an arcichesi musical instrument, adapted for the accompaniment of singing in chromatic and enardic interval birth Saved.

With a lived in the family castle in Jezualdo, where he created a home chapel to perform his own music. The last years of his life spent alone, according to some eyewitnesses, due to the disorder of the psyche, aggravated by the death of his son, he published 6 collections of “books” of 5-headed Madrigalov. One book of his 6-headed Madrigalov, published posthumously by Naples, is now lost.

In the year, all 6 books of 5-headed Madrigals were published in Genoa, in the form of a score with clockwork. This edition of Madrigalov made by S. Mollynaro today is the most famous. The last five and sixth books of Madrigalov occupy a special place in the history of academic music. Madrigal poems are written in the first person in original publications; Perhaps the composer acted here as a poet.

The great meaning of the so -called "madrigalisms" of sound painting and musical rhetoric. The words “wind”, “fire”, “running” are highlighted in smaller rhythmic durations and imitation, which creates the impression of a swift movement, as opposed to the words “pain” and “flour”, which are sung at a slow pace, creating the impression of numbness and painful concentration. Words Morte Death, Duolo Sorrow, Tormenti flour, piangeere cry, uccidere to kill, etc.

The most striking feature of the Jezualdo style is unique, including for Italy, the 2nd half of the XVI and the beginning of the 17th centuries, which are characterized in the history of music, are characterized as a time of active artistic experiments. Saturation of chromatism. The basis of colorful comparison of chromatic chords and concords with constant list, dissonances are more often not tonal-functional, but the liner logic in the expression of I.

Stravinsky, this harmony is “directed by vocaling as a trellis”, tonal-stable phrases are replaced by phrases in which tonics and periphery are poorly pronounced. The sound structure of the harmony of music by Jezualdo has not received a satisfactory theoretical explanation to the present day.

The form of Madrigalov to the smallest details is determined by the text, forming clearly distinguishable sections, often not commensurate in size and architectonic "weight". A lightning-fast change of affects is accompanied by a sharp change in the warehouse inside one play-imitation, polyphonic and homophone often reminiscent of Villangella, Chanconette and other song genres. In the works of Jezualdo, like no other Italian composer, the mannerism of the late Renaissance with characteristic features was reflected: exaggeration of feelings, mixing within a small play of various compositional techniques, the delight of rhythm, texture and form.

For all the novelty of the musical language, Jezualdo remained indifferent to the emerging "fashionable" trends: he did not write instrumental dances, arias, operas; In the manner of writing, he did not change the “first practice” to the second, unlike his other great contemporary, Claudio Monteverdi, in a word, did not reflect the victorious procession of new homophone music.

In addition to the Madrigals, he owns 2 collections of Latin motors published under the name “Spiritual chants”, Sacrae Cantiones, the first collection with motors for 5 votes was preserved entirely. The second collection with motes for 6 votes was partially preserved. All motes are written in traditional stanza form, with the extensive use of simulation polyphony. In addition, Jezualdo owns the collection “Responsory and other [works] to the offense of a passionate week” Responsoria et alia ad office hebdomadae Sanctae Spectantia, the composer's spiritual works penetrate the musical rhetoric rhetoric rhetoric in the response of “Tristis.

EST Anima Mea ”and the chromatic style especially noticeable in the homothymal texture of the psalm“ Miserera ”and the biblical song“ BeneDictus ”, which are part of the collection of response. Jezualdo is also attributed several chancers, however, the Naples published in the posthumous collection, Jezualdo had no followers, only in the 20th century his music was first appreciated.The American musicologist Edward Lovinsky saw in the style of Jezualdo a certain parallel of atonality, he called the harmony of Jezualdo Triadic atonality - "sober atonality." Alfred Shnitka wrote the opera Jezualdo 1st post.

Vienna, the events of the life of Jezualdo, embellished by the artistic fiction, formed the basis of literary works and films: the novels of A. France, the film by V. Herzog “Death by five votes”, the fantasies of B. Dina “Carlo”, the books of V. Cortasar “Klon”.