The Tenebrae Responsories were written for a specific Holy Week liturgy, a 'passion recitation' that took place at dusk and involved extinguishing candles until near darkness.
Composer Biography
Carlo Gesualdo, unlike other composers of his time, was a fabulously wealthy nobleman who was extremely proud of his compositions and musical achievements.
Composition History
Towards the end of his life, Gesualdo converted a room in his castle into a printing shop to publish his final madrigal books and the Tenebrae Responsories.
Interpretation
This recording includes a loud, disturbing 'strepitus' noise at the end, made by wooden clubs, to evoke the earthquake at Christ's death and the tearing of the temple veil, a theatrical moment now lost.
Compositional Technique
Gesualdo's Tenebrae Responsories are remarkably expressive and extremely difficult, leading to the contention that they are sacred madrigals meant for specialist singers, not choral music.
Compositional Technique
Gesualdo's a cappella polyphony in these Responsories is both visionary and conservative, featuring frequent and expressive chromaticisms within rigorous contrapuntal structures.
Composer's Artistic Vision
Gesualdo published his works for posterity, hoping they would be considered favorably compared to his contemporaries, rather than for status, employment, or money.
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