Gesualdo: 4e Livre de Madrigaux Ensemble Tarentule

• Carlo Gesualdo (1566 - 1613): Se Chiudete nel core:
• 1Gesualdo: Se Chiudete nel core: Se chiudete nel core02:18
• Io Tacerò Parties 1 & 2:
• 2Gesualdo: Io Tacerò Parties 1 & 203:26
• Hor, che in gioia Parties 1 & 2:
• 3Gesualdo: Hor, che in gioia Parties 1 & 203:32
• Questa crudel e pia:
• 4Gesualdo: Questa crudel e pia03:37
• Mentre Gira Costei:
• 5Gesualdo: Mentre Gira Costei: Mentre gira costei02:16
• A voi, mentre il mio core:
• 6Gesualdo: A voi, mentre il mio core02:39
• Che fai meco, mio cor misero e solo:
• 7Gesualdo: Che fai meco, mio cor misero e solo02:18
• Sparge la morte al mio Signor nel viso:
• 8Gesualdo: Sparge la morte al mio Signor nel viso: Sparge la morte al mio signor nel viso04:47
• Arde il mio cor:
• 9Gesualdo: Arde il mio cor02:26
• Tal'hor sano desio:
• 10Gesualdo: Tal'hor sano desio02:51
• Cor mio Parties 1 & 2:
• 11Gesualdo: Cor mio Parties 1 & 204:03
• Ecco, morirò dunque:
• 12Gesualdo: Ecco, morirò dunque03:42
• Luci serene e chiare:
• 13Gesualdo: Luci serene e chiare03:38
• Moro, e mentre sospiro:
• 14Gesualdo: Moro, e mentre sospiro03:05
• Total Runtime44:38

Info for Gesualdo: 4e Livre de Madrigaux

The madrigals from Carlo Gesualdo's fourth book are generally regarded today as one of his most mature and independent artistic achievements in the field of this genre. The ensemble Tarentule, founded in 2012, presents here a remarkable recording of these extraordinary masterpieces, which interpret the emotionality of the poems set to music with sovereignty and sometimes bold chromaticism.

Founded in 2012 by Cecil Gallois and Xavier de Lignerolles, the Ensemble Tarentule carries out research and dissemination work on the interpretation of polyphonic a cappella music. This exploration, seen through the prism of the madrigal at the end of the 16th century, is extended and enriched by the creation of a contemporary repertoire, in connection with the composers of today. The musicality of the Ensemble is due to the colour of the voices which complement each other and have become accustomed to working together since its creation to find a perfect harmony and a specific sound - like the members of a string quartet. It therefore achieves great consistency and fluidity with finesse and contrast.Gesualdo's Fourth Book of Madrigals is rightly considered the collection of the author's artistic and aesthetic maturity. After two books of a classic invoice, where the strict counterpoint rubs shoulders with a sober and little chromatic modality, he begins from his Third book a stylistic evolution in the movement of the works of Luca Marenzio and Luzzasco Luzzaschi, both supporters of a style on - expressive, exacerbating chromaticisms, affective figuralisms and a counterpoint to the limit of rupture. In his Fourth Book, Gesualdo fully masters his material and allows himself to be daring. Relying on very short poems, he can chisel each sentence, each word, giving them various colours, searching all the nuances of the affections of the soul.

Ensemble Tarentule

Ensemble Tarentule
Founded in 2012 by Cecil Gallois and Xavier de Lignerolles, the Tarentule Ensemble is composed of twelve singers. The Tarentule Ensemble researches and aims at popularizing the performance of a cappella polyphonic music. An exploration of the late 16th century madrigal extends to and is enriched by the creation of a contemporary repertoire, working hand in hand with composers of today.

The Ensemble's musicality stems from voices whose timbres complement one another and singers who have been working together since the very creation of the Ensemble in order to reach perfect harmony and a unique sound – like a string quartet would. Thus, it has achieved perfect coherence and fluidity, finesse and balance.

Since 2014, the ensemble has reached the semi-finals at the International Van Wassenaer Competition in Utrecht, has been in residence at the Cité de la Voix in Vézelay, the Namur Music Festival (Belgium), and the festival ‘‘Les Musicales’’ at the Sainte-Croix-en-Jarez Charterhouse (Loire, France).

In 2016, it performed Barca di Venetia per Padova, a madrigalesque comedy by Adriano Banchieri, at the Grand Théâtre in Calais as well as in Buis-les-Baronnies (Drôme, France), with Alexandra Lacroix as stage director. And two years later at the Théâtre du Garde-Chasse – Les Lilas (Paris).

The Tarentule Ensemble recorded the musical score, composed by Stéphane Orlando, of “Silence and Eternity: the Trappistines of Chimay”, a documentary about the Trappist nuns of the Notre-Dame de la Paix Abbey in Chimay (Belgium). This draws the attention of several contemporary composers who have since written a cappella works specifically for the Ensemble.

In october 2018, the Ensemble recorded “Absence”, a piece by Bruno Letort, as part of a record (“Cartography of Senses”) of chamber music by the composer (Musicube Label).

Projects since 2018 and for the next season are numerous. Concerts in Lyon: in the Musée des Confluences, at the Ainay Abbey (for the world premiere of “S’un casto Amor” by Gérard Zinsstag – a work commissioned by the French government, RICORDI editions), in the Musée des Beaux-Arts..., in the National Museum of the Renaissance at Ecouen; Festivals : Jean de la Fontaine, Musiques à la Baule, Déodat de Séverac, Musiques en Albret, Automne Musical de Taverny, Les Musicales de Sainte-Croix-en-Jarez, EmbarOquement immédiat, les Nuits Musicales en Armagnac, Opéra des Landes, les Voûtes Célestes en Vendée.... and a two years-long residence at the Labeaume en Musiques Festival with two wonderful pieces: “Lagrime di San Pietro” by Roland de Lassus and “Tenebrae Responsories for Holy Saturday” by Carlo Gesualdo.

This album contains no booklet.