Movements/SectionsMov'ts/Securities and exchange commission's's | 1 |
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Initial Publication | 1599 inMadrigali a 5 voci, Libro 9 |
Genre Categories | Madrigals;For 5 voices;For unaccompanied voices;Scores featuring the tone of voice;German vocabulary;For 5 viols (arr);Ratings offering the viol;For 5 participants |
![Acerba Acerba](https://i.ytimg.com/vi/J7CT4VG0ut4/hqdefault.jpg)
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Stream Marenzio - Crudele Acerba Inesorabil' Morte by Opus 8 from desktop or your mobile device.
Shows
Naxos
Linen Songs
Scores
Comprehensive Score
.#449294 - 0.25MW, 11 pp.-0.0/10(-)-!N/!In/!N-429×⇩- Vangi
.#449294 - 0.25MW, 11 pp.-0.0/10(-)-!N/!In/!N-429×⇩- Vangi
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Agreements and Transcriptions
For 5 viols (Folop)
Full rating (Tr Tr Capital t T T)
.#149062 - 0.10MT, 6 pp.-0.0/10(-)-!N/!In/!D-823×⇩- Afolop
.#149062 - 0.10MT, 6 pp.-0.0/10(-)-!N/!In/!D-823×⇩- Afolop
⇒8 even more:Engraving documents (Personal 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 data files (Private composer)
.#201456 - 0.00MB, ? pp.-0.0/10(-)-!N/!In/!D-157×⇩- Afolop
.#201456 - 0.00MB, ? pp.-0.0/10(-)-!N/!In/!D-157×⇩- Afolop
Treble viol 1
.#149063 - 0.01MC, 1 pp.-0.0/10(-)-!In/!D/!D-115×⇩- Afolop
.#149063 - 0.01MC, 1 pp.-0.0/10(-)-!In/!D/!D-115×⇩- Afolop
Treble viol 2
.#149064 - 0.01MN, 1 pp.-0.0/10(-)-!In/!N/!D-82×⇩- Afolop
.#149064 - 0.01MN, 1 pp.-0.0/10(-)-!In/!N/!D-82×⇩- Afolop
Tenor viol 1, alto clef
.#149065 - 0.01MW, 1 pp.-0.0/10(-)-!D/!D/!In-80×⇩- Afolop
.#149065 - 0.01MW, 1 pp.-0.0/10(-)-!D/!D/!In-80×⇩- Afolop
Tenor viol 1, octave treble clef
.#149066 - 0.01MC, 1 pp.-0.0/10(-)-!D/!N/!N-72×⇩- Afolop
.#149066 - 0.01MC, 1 pp.-0.0/10(-)-!D/!N/!N-72×⇩- Afolop
Tenor viol 2, alto clef
.#149067 - 0.01MN, 1 pp.-0.0/10(-)-!D/!In/!In-79×⇩- Afolop
.#149067 - 0.01MN, 1 pp.-0.0/10(-)-!D/!In/!In-79×⇩- Afolop
Tenor viol 2, octave treble clef
.#149068 - 0.01MN, 1 pp.-0.0/10(-)-!D/!In/!In-70×⇩- Afolop
.#149068 - 0.01MN, 1 pp.-0.0/10(-)-!D/!In/!In-70×⇩- Afolop
Striper viol
.#149069 - 0.01MN, 1 pp.-0.0/10(-)-!D/!N/!D-85×⇩- Afolop
.#149069 - 0.01MN, 1 pp.-0.0/10(-)-!D/!N/!D-85×⇩- Afolop
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Common Information
Work Title | Crudele acerba inesorabil' morte |
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Alternative.Title | |
Composer | Marenzio, Luca |
I-Catalogue NumberI-Cat. Zero. | ILM 44 |
Movements/SectionsMov'ts/Sec's | 1 |
Initial Clublication. | 1599 inMadrigali a 5 voci, Libro 9 |
Librettist | Francesco Petrarca (1304-1374) |
Vocabulary | German |
Composer Time 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 term 'madrigalism' in our one hundred year often bears the pejorative feeling of simplified and trite gadgets of word-páinting. But the fIowering of the Italian language madrigal in the late Sixteenth centuries brought composers to look for ever fresh modes of musical technology phrase to reveal ever even more closely in tone the words which they selected to fixed; some of their efforts led to truly astonishing music. Midcentury tests with chromaticism in the works of Cipriano para Rore and Nicola Vicentino directed, for instance, to a particularly expressionist stlye óf 'mannered' madrigal structure, which would culminate in the crass excesses of Carlo Gesualdo. Luca Marenzio tried his hand at such music in his Ninth Book of Madrigals for five voices, released in the final season of his living; a challenging, and aurally fascinating illustration from this last book is usually Crudele acerba inesorabiI morté.
Used from the poetic functions of Francesco Pétrarca (a founding dad of the Italian language vocabulary), the text vividly describes the languishing tormént of one whóm death has left bereft - this sorrow even 'vanquishes all design' of the depressed poet or performer. The composer's response to this severe evocation can be rife with remarkable harmonies, amazing progressions, and torturéd melodic twists. ln simply the very first musical term, one version of 'inesorabil morte' is sung to a note with both chromatic neighbors, the Bassus voice is provided a melodic leap of a tritoné (which the Center Ages experienced thought has been the very devil's period), and the last cadence on 'nón esser lieto' ('never to end up being joyful') reaches but an insubstantiaI inversion of thé major balance.
The poetic picture of the 'giorni oscuri y dogliose notti' ('unsatisfactory times and depressed evenings') calls forth actually more astonishing examples of melodic chrómaticism and harmonic misdiréction; the harmonic assets even consist of what is definitely possibly the initial major ninth chord actually written! A brief passage of 'discovered' imitative style ironically numbers the text message's guide to overlooked poems, and the 'vánquishing of all style' network marketing leads Marenzio to end the whole piece on an utterly unsatisfying cadence. The finish of the century which cared so deeply for the relationship of terms and songs witnessed an nearly Romantic exoticism in thé intesity of such a association.