LAM 09 Gesualdo - "O Vos Omnes"
This page was last edited on 16/01/06
Topics To Research
- Late Renaissance Motet
- False Relation
- Suspension
Some of the main points about LAM 09
- 16th/early 17th century composers wanted to reflect the significance of the text in their music.
- Madrigal composers did this a lot!
- To achieve their aim, composers started to forget about the conventions of the old polyphonic style.
- Text of LAM 9 is divided into 4 phrases and sets each differently.
- At first the rhythm is dictated by the Latin text and word painting (Christ calling from the cross; in long notes). Later, the rhythms become more complicated and include syncopations. Note the ictus (') over some accented syllables.
- Note the angularity of some lines, and the chromaticism of others.
- See how Gesualdo uses (unrelated) root positions chords with roots a 3rd apart.
- False relations are used for their dissonant effect; they do not arise from conventional voice-leading.
- Examine Gesualdo's use of suspensions. Do they all resolve???
- Note the use of 5 and 6 voice homophony; dramatic silences; some imitation.
Questions
1. Identify one example of each of the following:-
- False Relation
- Suspension
- Unorthodox use of a second inversion chord
- Melodic Chromaticism
- Melisma
2. What means does Gesualdo employ to underline the meaning of the text?
3. Why does Gesualdo use false relations so extensively?
4. What features in this piece make it advanced for its time?
5. [1992] Choose 2 passages which you consider to be particularly effective and show
how Gesualdo expresses the grief of Christ's words in them.
Translation of text:
| All you that walk this road | |
| Pay heed, look well! | |
| Was ever grief such grief as mine? |