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dc.contributor.authorKirnbauer, Martin
dc.contributor.editorGranese, Alberto
dc.date.accessioned2020-02-18T08:04:41Z
dc.date.available2020-02-18T08:04:41Z
dc.date.issued2019
dc.identifier.urihttps://irf.fhnw.ch/handle/11654/30463
dc.identifier.urihttp://dx.doi.org/10.26041/fhnw-1996
dc.description.abstractThe title of the article contains two elements: a citation (referring, of course, to Carlo Gesualdo, the then and today praised madrigal composer) and a statement worth discussing, namely that Gesualdo's music was not only known and studied in the 17th century, but that his music was also still performed (at least at a certain time and place). Roman documents from the middle of the 17th century illustrate interesting aspects of performance practice of Gesualdo's madrigals, especially concerning his notorious use of many accidentals, which I call 'vieltönig' (using verbatim 'many pitches') and which is more fully investigated in a recent publication (Martin Kirnbauer, Vieltönige Musik – Spielarten chromatischer und enharmonischer Musik in Rom in der ersten Hälfte des 17. Jahrhunderts, Basel 2013). Based on this I would like to argue that especially Gesualdo's madrigals formed the core of a distinguished repertory, which lead to later so-called 'madrigali al tavolino'.en_US
dc.language.isoenen_US
dc.publisherTerebinto Edizionien_US
dc.relation.ispartofGesualdo e il suo tempo. Atti del Convegno Internazionale di Studi Gesualdo-Salerno, 16-17-18 dicembre 2013en_US
dc.relation.ispartofseriesIstituto Italiano di Studi Gesualdo;1
dc.accessRightsAnonymous*
dc.title‘compiacimento di purgattissimo conoscimento’ – Performing Gesualdo in Mid-Seventeenth Century Romeen_US
dc.type04 - Beitrag Sammelband oder Konferenzschrift*
dc.spatialAvellinoen_US
dc.audienceScienceen_US
fhnw.publicationStatePublisheden_US
fhnw.ReviewTypeNo peer reviewen_US
fhnw.InventedHereYesen_US
fhnw.PublishedSwitzerlandNoen_US
fhnw.pagination169-80en_US
fhnw.IsStudentsWorknoen_US


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