Composer

:

Salvatore Sciarrino

Genre

:

Chamber

Style

:

Chamber Music

Average_duration

:

3:49

"Le voci sottovetro: Tu m'uccidi, o crudele after Carlo, Gesualdo" is a contemporary composition by Salvatore Sciarrino. It was composed in 1981 and premiered in Venice in the same year. The piece is a part of Sciarrino's larger work, "Le voci sottovetro," which is a collection of pieces inspired by the music of Carlo Gesualdo, a 16th-century composer known for his complex harmonies and chromaticism. "Le voci sottovetro: Tu m'uccidi, o crudele after Carlo, Gesualdo" is a solo vocal piece that is characterized by its use of extended vocal techniques and unconventional notation. The piece is divided into three movements, each of which explores a different aspect of Gesualdo's music. The first movement, "Tu m'uccidi, o crudele," is based on a madrigal by Gesualdo. The vocal line is fragmented and distorted, with the singer using a variety of techniques such as whispering, hissing, and glottal stops to create a sense of fragmentation and disintegration. The accompaniment is sparse, consisting of a few scattered notes on the piano. The second movement, "after Carlo," is a more abstract exploration of Gesualdo's music. The vocal line is more fluid and melodic, with the singer using a range of extended techniques such as microtonal inflections and breathy whispers to create a sense of instability and uncertainty. The accompaniment is similarly abstract, with the piano playing a series of disjointed chords and clusters. The final movement, "Gesualdo," is a more traditional setting of one of Gesualdo's madrigals. The vocal line is more lyrical and expressive, with the singer using a more conventional singing style. The accompaniment is similarly more traditional, with the piano playing a more harmonically rich and supportive role. Overall, "Le voci sottovetro: Tu m'uccidi, o crudele after Carlo, Gesualdo" is a challenging and complex piece that requires a high level of technical skill and musical sensitivity from both the singer and the pianist. It is a testament to Sciarrino's innovative approach to composition and his ability to draw inspiration from the music of the past while creating something entirely new and original.

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