Usually despatched in 2 - 3 working days. (Available now to download.)
Gesualdo’s Second Book of Madrigals, performed on this recording by male voices only, is an even more radical study of the themes explored in Volume 1 (8570548), a continuation as it were of the same work.
Like Book 1, it was published in 1594 in Ferrara during the preparations for Gesualdo’s second wedding, and demonstrates his ability to treat the poetic word as a source of musical ideas.
The last two tracks present Gesualdo’s only two instrumental compositions.
Carlo Gesualdo: Caro amoroso neo
Caro amoroso neo
Ma se tale ha costei
Carlo Gesualdo: Hai rotto e sciolto e spento
Hai rotto e sciolto e spento
Carlo Gesualdo: Se per lieve ferita
Se per lieve ferita
Che sentir deve il petto
Carlo Gesualdo: In piu leggiadro velo
In piu leggiadro velo
Carlo Gesualdo: Se cosi dolce e il duolo
Se cosi dolce e il duolo
Ma se avverra ch'io moia
Carlo Gesualdo: Se taccio, il duol s'avanza
Se taccio, il duol s'avanza
Carlo Gesualdo: O com'e gran martire
O com'e gran martire
O mio soave ardore
Carlo Gesualdo: Sento che nel partire
Sento che nel partire
Carlo Gesualdo: Non e questa la mano
Non e questa la mano
Ne tien face o saetta
Carlo Gesualdo: Candida man qual neve
Candida man qual neve
Carlo Gesualdo: Dalle odorate spoglie
Dalle odorate spoglie
E quell'arpa felice
Carlo Gesualdo: Non mai non cangero
Non mai non cangero
Carlo Gesualdo: All'apparir di quelle luci ardenti
All'apparir di quelle luci ardenti
Carlo Gesualdo: Non mi toglia il ben mio
Non mi toglia il ben mio
Carlo Gesualdo: Canzon francese
Canzon francese
Carlo Gesualdo: Gagliarda
Gagliarda
February 2011
“I've found myself warming to the overall approach, which is relaxed and unhurried. This, combined with the ensemble's sound, securely underpinned by Walter Testolin's bass, allows points of detail to tell (for example, final or sectional cadences) that might otherwise be skated over.”
20th January 2011
****
“for the most part the 20 settings in book two...mostly inhabit the musical world of Gesualdo's older contemporaries such as De Rore and De Wert. But even if they broke no new ground, these are still pieces of great beauty and lyrical force, as the performances by the six male voices of Delitiae Musicae show.”
Click here for alternative recordings of this work.