A Dictionary of Music and Musicians/Venosa, Carlo

VENOSA, Carlo Gesualdo, Prince of, nephew of Alfonso Gesualdo, archbishop of Naples, was born about the middle of the 16th century. He became the pupil of Pomponio Nenna of Bari, and excelled both as a composer and performer on the organ, clavichord, and lute: on the last he is said to have had no equal in his day. Of his history nothing is recorded; we only know that he was living in 1613. His compositions are contained in a single volume of madrigals published at Genoa in parts, 1585, and in score, 1613. The latter bears the following title: 'Partitura delli sei libri de' madrigali a cinque voci dell' illustrissimo et eccellentissimo principe di Venosa, D. Carlo Gesualdo.'

The prince of Venosa is mentioned by ^[1]Pietro della Valle in company with Peri and Monteverde, as one of those who followed a new path in musical composition and as perhaps that one to whom mainly the world was indebted for the art of effective singing, 'del cantare affectuoso.' This judgment is sustained by modern examination of the prince's works. Burney indeed found them almost repulsive in their irregularity of form and rhythm, and their want of conformity with the strict canons of part-writing. But it is this very irregularity which attracts more recent critics. By swift transitions of keys and bold modulation, Gesualdo produced a singularly rich effect, full of surprises and highly individual. His style is peculiarly distinguished by its pathetic vein. But it is the change of method in his productions that calls for special notice. Gesualdo, in fact, as a skilful instrumental player, was able to use his voices in a freer manner than had commonly been allowed; and, though a brilliant contrapuntist when he chose, he preferred to work consciously on lines which brought him near to the discovery of a genuine harmonic treatment.^[2]

[ R. L. P. ]

1. Ambros, 'Geschichte der Musik,' iv. 248 note.
2. See especially Ambros, iv. 236–248.