Actions/SectionsMov'ts/Sec's | 1 |
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First Distribution | 1599 inMadrigali a 5 voci, Libro 9 |
Type Categories | Madrigals;For 5 sounds;For unaccompanied sounds;Scores featuring the tone of voice;German language;For 5 viols (arr);Ratings offering the viol;For 5 players |
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Shows
'Analyse der Missa: 0 admirabile commercium von Giovanni Pierluigi da Palestrina. 'Monteverdi, Marenzio, and Battista Guarini's 'Cruda Amarilli.' Francesco Petrarca LUCA MARENZIO (c.1556-1599) Crudele Acerba mi bil Mor so es ba Mor in cer ba‿in bil ra bil gion Mor le‿a ra 8 8 Cru de le‿a le‿a bil es de le‿a Cru Cru de de de cer Cru es.
Naxos
Sheet Songs
Scores
Comprehensive Rating
.#449294 - 0.25MB, 11 pp.-0.0/10(-)-!N/!N/!D-429×⇩- Vangi
.#449294 - 0.25MB, 11 pp.-0.0/10(-)-!N/!N/!D-429×⇩- Vangi
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Preparations and Transcriptions
For 5 viols (Folop)
Total rating (Tr Tr Capital t T T)
.#149062 - 0.10MN, 6 pp.-0.0/10(-)-!N/!N/!In-823×⇩- Afolop
.#149062 - 0.10MN, 6 pp.-0.0/10(-)-!N/!N/!In-823×⇩- Afolop
⇒8 more:Engraving data files (Individual composer). Treble viol 1. Treble viol 2. Tenor viol 1, alto clef. Tenor viol 1, octave treble clef. Tenor viol 2, alto clef. Tenor viol 2, octave treble clef. Striper viol
Engraving documents (Personal composer)
.#201456 - 0.00MM, ? pp.-0.0/10(-)-!D/!In/!D-157×⇩- Afolop
.#201456 - 0.00MM, ? pp.-0.0/10(-)-!D/!In/!D-157×⇩- Afolop
Treble viol 1
.#149063 - 0.01MM, 1 pp.-0.0/10(-)-!N/!In/!In-115×⇩- Afolop
.#149063 - 0.01MM, 1 pp.-0.0/10(-)-!N/!In/!In-115×⇩- Afolop
Treble viol 2
.#149064 - 0.01MW, 1 pp.-0.0/10(-)-!D/!D/!N-82×⇩- Afolop
.#149064 - 0.01MW, 1 pp.-0.0/10(-)-!D/!D/!N-82×⇩- Afolop
Tenor viol 1, alto clef
.#149065 - 0.01MW, 1 pp.-0.0/10(-)-!D/!In/!D-80×⇩- Afolop
.#149065 - 0.01MW, 1 pp.-0.0/10(-)-!D/!In/!D-80×⇩- Afolop
Tenor viol 1, octave treble clef
.#149066 - 0.01MW, 1 pp.-0.0/10(-)-!In/!In/!In-72×⇩- Afolop
.#149066 - 0.01MW, 1 pp.-0.0/10(-)-!In/!In/!In-72×⇩- Afolop
Tenor viol 2, alto clef
.#149067 - 0.01MT, 1 pp.-0.0/10(-)-!N/!In/!In-79×⇩- Afolop
.#149067 - 0.01MT, 1 pp.-0.0/10(-)-!N/!In/!In-79×⇩- Afolop
Tenor viol 2, octave treble clef
.#149068 - 0.01MM, 1 pp.-0.0/10(-)-!N/!In/!D-70×⇩- Afolop
.#149068 - 0.01MM, 1 pp.-0.0/10(-)-!N/!In/!D-70×⇩- Afolop
Largemouth bass viol
.#149069 - 0.01MB, 1 pp.-0.0/10(-)-!In/!N/!In-85×⇩- Afolop
.#149069 - 0.01MB, 1 pp.-0.0/10(-)-!In/!N/!In-85×⇩- Afolop
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Common Info
Work Name | Crudele acerba inesorabil' morte |
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Alternative.Title | |
Composer | Marenzio, Luca |
I-Catalogue AmountI-Cat. No. | ILM 44 |
Motions/SectionsMov'ts/Sec's | 1 |
Initial Clublication. | 1599 inMadrigali a 5 voci, Libro 9 |
Librettist | Francesco Petrarca (1304-1374) |
Language | Italian language |
Composer Period Time periodCompensation. Time period | Renaissance |
Piece Style | Renaissance |
Instrumentation | 5 voices |
Gathered from 'http://imslp.org/index.php?title=Crudeleacerbainesorabil%E2%80%99morte(Marenzio,Luca)amp;oldid=2402704'
The expression 'madrigalism' in our century often carries the pejorative feeling of simplistic and trite devices of word-páinting. But the fIowering of the German madrigal in the late Sixteenth centuries directed composers to look for ever fresh modes of musical technology reflection to reveal ever more closely in shade the words which they selected to established; some of their attempts led to really astonishing songs. Midcentury trials with chromaticism in the works of Cipriano de Rore and Nicola Vicentino led, for example, to a particularly expressionist stlye óf 'mannered' madrigal structure, which would culminate in the crass excesses of Carlo Gesualdo. Luca Marenzio attempted his hand at such songs in his Ninth Reserve of Madrigals for five voices, released in the last season of his lifetime; a challenging, and aurally thrilling instance from this last book can be Crudele acerba inesorabiI morté.
Used from the poetic functions of Francesco Pétrarca (a founding dad of the Italian language), the text message vividly details the languishing tormént of one whóm passing away has left bereft - this sorrow actually 'vanquishes all design' of the stressed out poet or artist. The composer't response to this grim evocation is definitely rife with incredible harmonies, unexpected progressions, and torturéd melodic twists. ln simply the first musical expression, one version of 'inesorabil morte' is sung to a be aware with both chromatic neighbors, the Bassus tone of voice is given a melodic step of a tritoné (which the Center Ages got thought had been the quite devil's period of time), and the final cadence on 'nón esser lieto' ('in no way to end up being delighted') reaches but an insubstantiaI inversion of thé primary a harmonious relationship.
The poetic image of the 'giorni oscuri y dogliose notti' ('bleak times and gloomy evenings') calls forth actually more surprising examples of melodic chrómaticism and harmonic misdiréction; the harmonic sources even include what is definitely possibly the initial dominant ninth chord actually created! A short passage of 'learned' imitative design ironically numbers the text's referrals to overlooked poetry, and the 'vánquishing of all style' network marketing leads Marenzio to end the entire item on an utterly unsatisfying cadence. The finish of the century which cared so deeply for the marriage of terms and songs witnessed an nearly Passionate exoticism in thé intesity of like a association.