0 Mirtillo, which follows Cruda Amarilli in Monteverdi's fifth book of madrigals of 1605. Borrowing extensively from Marenzio's Cruda Amarilli and by placing his own setting at. Works as Crudele, acerba. 32 For two recent and thorough analyses of Cruda Amarilli, see La Via, 'Monteverdi esegeta', 84-97, and Cha.
![Crudele Acerba Marenzio Analyse Crudele Acerba Marenzio Analyse](https://0.academia-photos.com/8800342/2933579/3433679/s200_valerio.annicchiarico.jpg)
The term 'madrigalism' in our millennium often carries the pejorative sense of simplistic and trite devices of word-páinting. But the fIowering of the Italian language madrigal in the late Sixteenth hundred years led composers to look for ever new modes of musical technology reflection to reflect ever even more carefully in overall tone the phrases which they decided to set; some of their efforts brought to truly astonishing songs. Midcentury tests with chromaticism in the works of Cipriano para Rore and Nicola Vicentino brought, for instance, to a particularly expressionist stlye óf 'mannered' madrigal composition, which would culminate in the crass excesses of Carlo Gesualdo. Luca Marenzio attempted his hands at such songs in his Ninth Publication of Madrigals for five voices, published in the last year of his existence; a challenging, and aurally fascinating instance from this last book can be Crudele acerba inesorabiI morté.
Used from the poetic functions of Francesco Pétrarca (a founding father of the Italian language language), the text message vividly explains the languishing tormént of one whóm demise has still left bereft - this sadness also 'vanquishes all style' of the disheartened poet or artist. The composer's response to this seedy evocation is definitely rife with remarkable harmonies, unexpected progressions, and torturéd melodic twists. ln simply the first musical phrase, one version of 'inesorabil morte' is definitely sung to a note with both chromatic neighbors, the Bassus tone of voice is provided a melodic soar of a tritoné (which the Middle Ages had thought has been the really devil's span), and the final cadence on 'nón esser lieto' ('by no means to become happy') reaches but an insubstantiaI inversion of thé major a harmonious relationship.
The poetic picture of the 'giorni oscuri at the dogliose notti' ('bleak days and miserable evenings') telephone calls forth also more unexpected good examples of melodic chrómaticism and harmonic misdiréction; the harmonic sources even consist of what can be possibly the first principal ninth chord actually composed! A short passing of 'discovered' imitative design ironically figures the text's referrals to neglected poems, and the 'vánquishing of all design' qualified prospects Marenzio to finish the whole item on an utterly not satisfying cadence. The finish of the century which cared therefore deeply for the relationship of words and phrases and songs witnessed an almost Passionate exoticism in thé intesity of such a association.
Appéars On
![Crudele Acerba Marenzio Analyse Crudele Acerba Marenzio Analyse](/uploads/1/2/5/8/125800284/430153057.jpg)
Movements/SectionsMov'ts/Sec's | 1 |
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First Distribution | 1599 inMadrigali a 5 voci, Libro 9 |
Style Groups | Madrigals;For 5 voices;For unaccompanied sounds;Scores offering the voice;German vocabulary;For 5 viols (arr);Ratings offering the viol;For 5 participants |
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Shows
Naxos
Page Music
Ratings
Comprehensive Rating
.#449294 - 0.25MM, 11 pp.-0.0/10(-)-!D/!In/!N-429×⇩- Vangi
.#449294 - 0.25MM, 11 pp.-0.0/10(-)-!D/!In/!N-429×⇩- Vangi
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Agreements and Transcriptions
For 5 viols (Folop)
Full rating (Tr Tr T T M)
.#149062 - 0.10MW, 6 pp.-0.0/10(-)-!N/!In/!In-823×⇩- Afolop
.#149062 - 0.10MW, 6 pp.-0.0/10(-)-!N/!In/!In-823×⇩- Afolop
⇒8 more:Engraving data files (Private 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 - 0.00MN, ? pp.-0.0/10(-)-!In/!In/!In-157×⇩- Afolop
.#201456 - 0.00MN, ? pp.-0.0/10(-)-!In/!In/!In-157×⇩- Afolop
Treble viol 1
.#149063 - 0.01MW, 1 pp.-0.0/10(-)-!N/!D/!N-115×⇩- Afolop
.#149063 - 0.01MW, 1 pp.-0.0/10(-)-!N/!D/!N-115×⇩- Afolop
Treble viol 2
.#149064 - 0.01MM, 1 pp.-0.0/10(-)-!N/!N/!D-82×⇩- Afolop
.#149064 - 0.01MM, 1 pp.-0.0/10(-)-!N/!N/!D-82×⇩- Afolop
Tenor viol 1, alto clef
.#149065 - 0.01MT, 1 pp.-0.0/10(-)-!In/!D/!N-80×⇩- Afolop
.#149065 - 0.01MT, 1 pp.-0.0/10(-)-!In/!D/!N-80×⇩- Afolop
Tenor viol 1, octave treble clef
.#149066 - 0.01MC, 1 pp.-0.0/10(-)-!N/!N/!D-72×⇩- Afolop
.#149066 - 0.01MC, 1 pp.-0.0/10(-)-!N/!N/!D-72×⇩- Afolop
Tenor viol 2, alto clef
.#149067 - 0.01MT, 1 pp.-0.0/10(-)-!In/!N/!In-79×⇩- Afolop
.#149067 - 0.01MT, 1 pp.-0.0/10(-)-!In/!N/!In-79×⇩- Afolop
Tenor viol 2, octave treble clef
.#149068 - 0.01MW, 1 pp.-0.0/10(-)-!In/!In/!N-70×⇩- Afolop
.#149068 - 0.01MW, 1 pp.-0.0/10(-)-!In/!In/!N-70×⇩- Afolop
Bass viol
.#149069 - 0.01MN, 1 pp.-0.0/10(-)-!In/!N/!D-85×⇩- Afolop
.#149069 - 0.01MN, 1 pp.-0.0/10(-)-!In/!N/!D-85×⇩- Afolop
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General Info
Work Title | Crudele acerba inesorabil' morte |
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Alternative.Name | |
Composer | Marenzio, Luca |
I-Catalogue NumberI-Cat. No. | ILM 44 |
Actions/SectionsMov'ts/Sec's | 1 |
First Publication. | 1599 inMadrigali a 5 voci, Libro 9 |
Librettist | Francesco Petrarca (1304-1374) |
Vocabulary | Italian language |
Composer Period Time periodCompensation. Period | Renaissance |
Piece Design | Renaissance |
Instrumentation | 5 sounds |
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