41054417

Softening the Edges: Cadential Attenuation in Gesualdo's Six Books of Madrigals Author(s): John Turci-Escobar Source: Theory and
Practice, Vol. 32 (2007), pp. 101-135 Published by: Music Theory Society of New York State Stable URL: http://www.jstor.org/stable/41054417 . Accessed: 16/06/2013 10:28
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Attenuation theEdges:Cadential Softening in Gesualdo'sSix Books ofMadrigals

Turci-Escobar John
Introduction ofGesualdo'smadrigals havefocused almost exclusiveForcenturies, discussions In of last on the uses chromaticism.1 the three decades, composer's idiosyncratic ly in severalscholars have called attention to thestriking discontinuities however, Gesualdo's madrigals.2 To a significant musical discontinuities were degree, Italianmadrigal.3 The Humanist endemic to thelatesixteenth-century imperative tofollow thewords, themost basicnorm ofthegenre, almost a discurguaranteed siveandhighly sectionalized musicalstructure.4 It is true that several aspectsof Gesualdo'scompositional poeticsexacerbatethemadrigal's inherent toward formal In ofthe tendency fragmentation. pursuit Gesualdo further than most of his the word, goes contemporaries, frequently carving line down to halfverse the even the individual word. To the words and poetic bring tolife, he useshighly musical licenses. Forhismusical Gesualdo disruptive settings favors concisetexts, with intense and texts conantitheses, ostensibly packed topoi ceivedtoprovoke and textural discontinuities.5 melodic, harmonic, striking Because contrasts and discontinuities are such a defining feature of Gesualdo'smadrigals, scholars havegenerally overlooked features that encourage theperception ofmusicalcontinuity. A central aimofthisarticle is to showhowa closerexamination of the seams betweenadjacentphrasesrevealsa variety of musicalthreads that musicalspaces. guidethelistener through highly contrasting This article focuseson one suchthread: it examines variousforms of cadential attenuation in Gesualdo'ssix booksof five-voice madrigals.6 Cadential ortheweakening ofcadential is one ofthe attenuation,7 closure, most effective ways in which sixteenth-century composersin general,and Gesualdoin particular, created from one phrase to thenext(hereafter, continuity Morethan musicalconvention, cadencessig"interphrase continuity").8 anyother nalendings andbeginnings andthus influence ourperception offormal boundaries. theclosing effect ofa cadence, cadential attenuation the By weakening encourages 101
102
Theory and Practice
musical units as larger, listener toperceive successive overarching gestures. inGesualdo'smadrigals discussion ofcadential attenuation Thefollowing is organizedinto threesections.Section 1 begins with a review of perfect of sixteenth-century vocal polyphothenormative cadential structures cadences, la of "fuggir then turns to the The discussion sixteenth-century principle ny. I in that have I define in relation to thebroader which cadenza," concept adopted Section2 focuseson fourtypesof thisarticle, cadentialattenuation. namely, inGesualdo'smadrigals: that feature cadential attenuation (a) evapoprominently ratedcadences,(b) interrupted cadences,(c) distorted cadences,and (d) synec- ranging close analysesof shortmusicalpassages dochic cadences.Through within thecomposer's to theextreme and contextualized from theconventional uses of cadential I how Gesualdo's will show entire ingenious output madrigal formal attenuation fulfill musicalfunctions, continuity by weakening creating uses also serve I that of these will articulations. Furthermore, many suggest in texts. Section 3 conthe to life the expressed poetic bringing images expression, fortheso-called"Gesualdoconsection theimplications of thepreceding siders JamesHaar and, to a lesser degree, For two prominent scholars, troversy."9 substanin Gesualdo'smadrigals thediscontinuities LorenzoBianconi, represent to attribute thesediscontinuities Bothscholars tialflawsin musicalconstruction. As to musical Haar also attributes them excess. incompetence.10 I expressionistic rolein devices in this demonstrate article, playan important cadence-attenuating that chardiscontinuities and textural themelodic, harmonic, rhythmic, tempering devices uses these to how Gesualdo acterizeGesualdo's style.Close attention skillandingenuity ofcompositional a considerable reveals and,thus, may degree thewaywe hearhismadrigals. ultimately change 1 theorists and sixteenth-century of fifteenthThe writings suggestthat are based on a two-voicecontrapuntal cadences in polyphonic compositions sucha frameconstitute thetwovoices that In simplecounterpoint framework.11 harmonofthree a succession articulate the"structural work voices"12) (hereafter, Theprogresandterminal I refer which toas thefirst, ic intervals, second, dyads.13 fora contrapuntal whether thesecondto theterminal sionfrom dyaddetermines cadenceis The terminal a perfect cadence.14 mation constitutes dyadof a perfect The seconddyad or an octave(or their equivalents).15 compound alwaysa unison that third a minor either cadenceis alwaysan imperfect of a perfect consonance, to that in Examplel(a), or a majorsixth as shown contracts to a unison, expands resoluthecadential an octave,as shownin Examplel(b). In a perfect cadence, to a perfect consonance an imperfect from of a progression tionalwaysconsists one bytoneand and contrary bothvoicesmovein conjunct one in which motion, resolution 1refer tothenotethat semitone.16 theother bysemiimplies bydiatonic leadanddescending between 1also distinguish tone.17 toneas a leading ascending a descending andthelatter resolution an ascending theformer implying ingtones: the cadential I refer to thevoice thatcontains resolution.18 leadingtoneas the voice. one as the"counterpointing" voice,"andtheaccompanying "leading-tone
Softening the Edges

(a) (b)
103
ffi
3
o
1
- ^
3 1
^
6 ^
o
8 i* =
^
6
tt
8 O =
ô
Ho
"
^11
11
"
31
in perfect cadences. resolutions Exampe i. Cadential cadencesare defined proby the imperfect-to-perfect perfect Although as harmonic events. Because of be construed exclusively theycannot gression, cadencesalso have a melodicdimentheir sixteenth-century contrapuntal origin, to as melodicpatterns, whichI refer voices present sion: theindividual typical combinations. "cadential formulas."19 Example2 showstwoparadigmatic
(a) * (8-7-8) Sopranoformula
(b) Tenorformula (3-2-1)
(fo
Et
o = o
Tenorformula ( 1-2- 1)
Sopranoformula (8-7-8)
cadential formulas. Example 2. Typical
Karol Bergerclassifiesthe different with typesof cadentialformulas Arabicnumerals, whichrepresent modaldegreesin relation to a cadential goal as "8" (or "1"). The parenthesized in Example 2 follow numerals designated 's classification.20 Bernhard Meierclassifies cadential formulas Berger differently: he namesthem after thevoicesin which occur. to the Thus,he refers they usually second of a cadential and the 8-7-8 formula that resolution, ascending typically contains sincebothusuit,as a clausulacantizans (hereafter, "soprano formula") Meierrefers to thedescendvoice,as in Example2(a).21 allyoccurin thesoprano second of a cadential and the various three-note that formulas resolution, ing may contain as a clausula tenorizans "tenor since both usuit,22 (hereafter, formula"), he construes as thelowervoiceofa two-voice voice,which allyoccurinthetenor cadential In musical structure.23 thevoicesfrequently however, practice, exchange As a the tenor formula often abovethesoprano result, positions. formula, appears as illustrated in Example2(b).
104
Theory and Practice
Ik r r IF r r |
8 7-68 12 -3 l
if1
j -i
|j j
^^
formulas. 3. Ornamented soprano CExarnpCe
In diminished ornaments thesopracounterpoint, syncopation frequently that harmono formula, a dissonant resolves into the second suspension creating in theorists a dissonant as shown 3.24 Most ny, sixteenth-century require Example in diminished cadences.25 Modernscholars like FransWiering have suspension a as a bona fide cadence echoedthisrequirement, onlyif it interpreting passage a a dissonant formula embellished syncopation.26 soprano by presents complete As Fromsonpointsout, This requirement, however, may be too restrictive. and occasionally even phrasescomposedin diminished homorhythmic phrases, of can close with fulfill thecontrapuntal requirements counterpoint, passagesthat that thussuggests dissonance. Fromson cadencesbutlackthesyncopated perfect should be determined as cadential criterion theroleofthepre-cadential suspension ofthisartiForthepurposes inlight ofa givencomposer.27 ofthepersonal idioms ifthe cadential status does notnegate cle,theabsenceofa dissonant syncopation fulfills othercadential requirements. convincingly passage underconsideration in formal formula of theornamented Giventhepervasiveness cadences, soprano criteria evenwhenother cadential itspresence is a significant marker, however, weak.28 arerelatively with whichare associated In addition and tenor to thesoprano formulas, the formulas: cadential twoother thestructural cadential voices,Meierdiscusses and theclausulabasizans(hereafter, "altoformula") clausulaaltizans(hereafter, forthree or more structures to cadential "bass formula"). Bothformulas pertain a in Example4, closeswith shown The typical form ofthealtoformula, voices.29 formula.30 in thetenor a 2-1 motion 4-5 motion against
|<yJ
J J
fa ['
4. Altoformula (4-5). 'Example
r I
Softening the Edges
105
I refer twoforms ofthebass formula, which to as the Meierdistinguishes "archaic" and "modern" bass formulas.31 The archaic bass formula closeswithan a fifth belowthepenultimate noteofthetenor formula octaveleap,from ascending to a fifth The modern bass formuaboveitsfinal one,as Example5(a) illustrates.32 inExample a descending fifth oran ascending fourth. la,illustrated 5(b),closeswith a fifth Like thearchaic thefirst noteoftheclosing enters below the formula, leap note of the tenor formula. The second note of the sounds however, penultimate leap, an octave orinunison thefinal noteofthetenor formula.33 below, with,
(a) (b)
^^
'zr~'> r
fc):, t
J J
p
.. ^^f
IIJ
= f r
J J
P(-"î'.[
rl_ p ====
||
5. Bass formulas. (Exampie In thefirst halfofthesixteenth-century, theorists an additionintroduced al contrapuntal for cadences:iftheterminal contains requirement perfect harmony a third abovethecadential third must be major. Whena major third does goal,that notoccurnaturally, thesetheorists recommended theuse ofaccidentals to makeit As moremusicians thispractice, in theterminal theraisedthird major.34 adopted becameassociated withcadential articulations and couldthus harmony gradually function as a closingsign. independently thecontrapuntal andharmonic discussed Although requirements up tothis areessential features ofperfect additional criteria often cadences, point playa significant role in determining whether a passage maybe interpreted as a cadence. Suchcriteria include thefollowing: ofrests after theterminal har(1) thepresence oftheterminal cadential which must mony;35 (2) themetrical placement harmony, fallat thebeginning ofa larger mensuration oftheindividunit;36 (3) theduration ual cadential the terminal and textural harmonies, one;37 especially (4) emphasis.38 One ofthemostimportant criteria for andinterpreting cadendetermining tial formations involvesan extramusical element:the relationship betweena cadential articulation andtheform andcontent ofthepoetictext. Manysixteenththeorists view musicaland verbalpunctuation as analogous, often drawcentury between cadencesof varying and the ingexplicit correspondences strengths specific marks ofverbal suchas thecolon,comma, andperiod. Mostthepunctuation, orists advisecomposers to followthepoetictextso that thecadencescorrespond to thesyntactical unitsof theverbalstructure, suchas theclause,sentence, and Yetas Fromson "therelationship between cadential andtexobserves, paragraph.39 tualclosure remains a fluid andsubtle one for mostofthesixteenth Not century."40 cadencecorresponds to a syntactic articulation in thepoetictext. every perfect not everyarticulation in the poetictextis articulated Conversely, by a formal
106
Theory and Practice
is an musicaland verbalsyntax between thecorrelation cadence.41 Nevertheless, when this in the of cadential element processes, especially interpretation important more often correlation does notoccur.Musicalpunctuation closely corresponds units. As Meierobserves than withformal with units ofpoeticmeaning syntactic often use "thecadenceintheservice inthemusicofOrlando di Lasso, composers articulation."42 its function of of ofexpression, syntactic independent or weaken means to strengthen had several composers Sixteenth-century its cadencewithout of a perfect thepunctuating effect compromising structural ofthecadential the duration or could shorten harmonies, lengthen integrity: they mensuration of or smaller at the fall havetheterminal beginning larger harmony or lowerrank.43 ofhigher and/or cadenceon modaldegrees Yet,as Zarlino units, than that created articulation a lighter seemtorequire certain contexts recognizes, musiIn suchcases,he observes, form. evenin itsweakest cadence, by a perfect la cadenza). thecadence"(fuggir to "evading resort ciansoften thestructurthecadenceas a processin which Zarlino describes evading cadencebutfailto realizeit.Morespecificala perfect al cadential voicesimply butone orboth andseconddyads, thefirst normally during ly,eachvoicebehaves - on the terminal - or one voice dropsout voices resolveto unexpected steps of a perfeature themostessential thwarts thecadence, therefore, dyad.Evading octaveorunison.44 to a perfect itsresolution fect Example6 cadence, specifically, forms ofevadedcadences.45 common presents
(a) (b) (c)
fy
rJ
5
kr r -r V r T Irr - I
io 5 7- 6 3 5
7- 6
rJ =:
J^ J
= t
J t
7- 6
::
thecadence. 6. Evading iExarnpCe
of"O ofan evadedcadenceoccursin Gesualdo'ssetting A clearinstance introIn m. 5, thequinto inExample7.46 from Book II, given martire" come gran the in F3 with a 7-6 that creates formula ducesa syncopated syncopation soprano veersawayfrom itsgoal,thetenor reaches formula Whileonlythesoprano tenor. thewithheld to C3.47 downa fourth theimplied perfect Interestingly, E3, leaping "A celarsuo desire" ofthetext, cadenceevokesthemeaning (to hidehisdesires). totheperfect thecadenceinrelation defines LikeZarlino, evading Berger thisprocess Thus structure. a two-voice as he construes which defined, cadence, as Fromson voices.48 cadential the structural to But, points exclusively pertains whose cadences "excludes the cadence of definition a narrow such out, evading voice."49 of a noncadential closureis undermined activity by the contrapuntal ormitin role an often the reinforcing Indeed, supplementary play important parts
the Edges Softening

5
107
Q j Ji 'LJ
A (ffi JJ
lar suo re, suo de - si -
l"$r r
re, suo
de - si
J-i iJr pr f r r ir
re, Quan - do con pu - ra f de -
m^^
JN J-jij j J j
- re, Quan - do con pu - ra
'i
de
II
de - si -
I
re,
UJ-J'JJJJ
Quan - do con pu - ra f -
Ij
de
T j i B |yj
i
suo
lar
de - si
j j
J- jJ r r r ij - ra fe re, Quan - do con

pu
Quan - do con pu - ra fe
*r de =
de
re,
i> J. JO r r r -ir
-
from Secondolibroa cinque (ExamvCe /. Gesualdo,"O come granmartire," mm. 5-7 voci, (Ferrara, 1594). thepunctuating cadence.50 powerof a perfect Example8 showsa passage igating in whichsupplementary a in "Mentre, mia stella, weaken cadence perfect parts miri" from that sets"i bei celesti Book I. Attheclose ofthephrase giri"(thebeauin all five the Butwhile tiful celestial voicesparticipate cadential orbits) process. harthecanto, andtenor their cadential formulas on theterminal quinto, complete theremaining voicesdropout.The silencing ofthealtoand bass weakens mony, the cadential the internal caesura of the verse punctuation, lightly articulating without thedisjuncture. overly emphasizing 11 *
* f* J .frp jJ'irT"-> r r iJr pr r rm

i bei ce - le - sti gi ri II ciel es - ser vor - re i Per
c tpp ppr
bei ce-le-sti gi
r ipPpPT r ) r ir r- pfr ri ce-le-sti II ciel es servor- re - i

ri, gi
* vy . [JJ J g __^
10
&
* J | J J J J "
II ciel es - ser vor - re -
P
i
gi------ri
|r
Bpf
ri,
J r r ir r r r Jir r Jir r r i
i bei ce le - sti gi -
ri,
pppppir
i bei ce - le - sti gi
r - ^ r ir J-J'Jr r
ri II ciel es - ser vor - re i
ri
II
ciel es - ser vor - re
8. Gesualdo,"Mentre, mia stella, from Primolibroa cinque miri," ExampCe mm. 11-13 voci, (Ferrara, 1594).
108
Theory and Practice
thebehavior ofthesenon-structural voicesweakens thecadential articAlthough thisformation an evaded cadenceaccording does not constitute to the ulation, strict definition andBerger: thesoprano andtenor in formulas putforth byZarlino thequinto andtenor theformal a fulfill of cadence. requirements perfect that weakenstheconclusive Meier,in contrast, interprets anytechnique effect ofa cadenceas a wayto "fuggir la cadenza," that oftheposition regardless thearticulation-diminishing inthecadential voicesoccupy and the hierarchy presence or absenceof a well-formed cadence.For Meier, thepastherefore, perfect a "cadenzafuggita."51 sage in Example8 represents a Meier's broad definition of "fuggir la cadenza"encompasses Although of relevant to the of cadences, variety techniques interpretationsixteenth-century itobscures a crucial their cadential structures: concepaspectofsixteenth-century tual and practical framework of the perfect basis in the two-part contrapuntal "itwas,in fact, thecadential cadence. As Perkins has keenly observed, autonomy that toutilize theremaining voiceorvoicofthetwo-part formula madeitpossible that es to modify itspowerof articulation."52 or diminish Hence,anytechnique cadential on the cadence the foundation of two-voice very impinges perfect - is qualitatively different from than thosethat do not. structures I refer effect of that diminishes or distorts theconclusive toanytechnique I the a cadence as a "cadentialattenuation." FollowingZarlino, reserve term on the two-voice "evadingthe cadence" forthoseuses thatimpingedirectly framework oftheperfect cadence. in Gesualdo's of cadential attenuation This article focuseson four types and (4) synecdochic (3) distorted, (1) evaporated, (2) interrupted, madrigals: the cadences. theseidiomsare notexclusiveto Gesualdo'smadrigals, Although in which extreme versions they appearare.53
2
- eventhosethat meetthe cadences In Gesualdo'smadrigals, attenuated units to syntactic stricter of cadenze correspond fuggite generally requirements coincidewithopen-ended in theverbaltext.54 These cadencesoften punctuation evokethe choicesthat suchas colonsand question marks, marks, compositional in thefolas I suggest of verbal connotations Moreover, punctuation. expressive and theverbaltext attenuation cadential therelation between lowingdiscussion, of structure thesyntactic with mereformal often extends correspondence beyond themostpervasive whatis perhaps thecase with thepoem.Thisis mostcertainly theevaporatin Gesualdo'smadrigals, attenuation andeffective form ofcadential ed cadence. Cadences Evaporated a musicalexampleto Zarlinoprovides thecadence, In his discussion of evading three he includes illustrate variousforms of thistechnique. Amongtheseforms itscadential uses in whichone of thecadential voices dropsoutbefore reaching la of "fuggir Meier includesthistechnique as one of fourbasic forms goal.55 "whenone orsevitto include is weakened cadenza," expanding anycadencethat
Softening the Edges
109
eralvoicesbegintheir butinstead of sounding thelastnote,rest."56 In clausulas, thisarticleI adoptAnthony Newcomb'stermforthistechnique, "evaporated cadence."57 As we shallsee,many cadenceshavea paradoxical nature: evaporated create formal articulation on the one but hand, facilthey continuity byweakening in itate discontinuities texture and on the other. striking harmony in Gesualdo'smadrigals, cadencesarepervasive in Evaporated especially themiddle andlatecollections. As thecomposer's develcompositional technique cadencesbecameincreasingly To tracethese oped,his use of evaporated daring. I distinguish four ofevaporated basedon thecadencadences, changes categories tialfunction in theprocess. ofthevoicesparticipating The first involves category cadencesthat do notaffect theresolution ofthestructural voices,that evaporated thecadential from an imperfect to a perfect interval remains is,where progression intact.58 The cadential attenuation shownin Example8 belongsto thiscategory. In mysecondcategory of cadential theleading-tone voice evaporations, resolves butthecounterpoising voicedoes not.59 theopening Example9 provides of "S gioioso mi fannoi dolormiei" (Indeedmypains makeme joyful)from Book I. The phrase that setsthetitular versereaches thesecondcadential harmoled by a syncopated in thealto.On theterminal formula force, nyin filli soprano all voicesevaporate butone;thenotethat thesoprahowever, harmony, completes no formula andresolves theleading tonesounds alone.60 theevaporation Although weakensthecadential it foregrounds thetextural and registrai conpunctuation, trasts introduced in some musical by the new phrase,thuscreating continuity domains and discontinuity in others.61
10
c (mrrf
rjp
-
-
fannoi do
^ ffi fan
lor-mie
[i9
-
.-^
-
rf
rn *
J
-
i, - i,
.. "
Don -
^ 1W
noi
noi do
I|JI o
lor
mie -
ff
~ -
" 1
i,
na, per
ffl
Don
J =
na, na,
h-
T JJf |
fan -no i do
fan
do - lor
lor mie -
Jj jJj
lor
J j ij j J- nJijj u g
mie = = Don i,
Tlf r i- o
- i,
j^
b y:f"
fan
fr noi do
J i
mie -
i ..
Don
Don
na, per
na,
pi
i dolormiei,"from Primolibroa g, Gesualdo,"S gioiosomi fanno CExampCe cinquevoci,mm.10-12.
110
Theory and Practice
andtexandevenenablemelodic cadencesoften complement Evaporated in an evaporated occurs cadencethat tural representations. Example10 reproduces "se vere solo?" from Book IV. Gesualdodepicts "Che faimeco,mio cormisero drawsto a a slow descending As thephrase raimeno"(ifyoufaint) with subject. a 2-3 synthat creates an ornamented formula introduces close,thetenor soprano in the the tone the Only leading-tone quinto. leading copation against descending to thesoprano Gesualdoeventually voiceresolves.62 formula, resolving completes and after interofthenext A3 inthesamevoice,butonlyat thebeginning phrase of the second and theresolution of thisformula veningrests.The completion across theinterand harmonic both melodic cadential continuity harmony provide concreates this cadential the Like evaporation example, preceding phrase gap.63 also in But this others. in domains and discontinuities some evaporation tinuity of contour it the has extramusical First, preserves representational implications. a itself is expressive, theevaporation in all entries. Moresignificantly, thesubject reduction. textural of through representationfainting . 19
Q ^r
A
c f<^"
rir
- I J J J J ^ do gliail mo-rir,
do - gliail morir
- i*r f J lJJj j p pr '^^ J JJ -J'J- j j '* r ^ J'r J^ j

se ver rai me - no, Poi - ch non se ver rai me - no,
ch'a-spi-
Poi - ch non ch'a - spi-
I* J J) J'J. J)J I
Poi - ch non ch'a-spiPoi - ch non ch'a-spi-
^r
rir
- >r ^
se
ver
rai
f i J i>i f h. j^
me - no,
B|.V:k
H r p p Jr J==l
Poi - ch non ch'a - spi-
e solo?,"from "Che faimeco,mio cormisero io. Gesualdo, Quarto Lxampie libroa cinquevoci,mm.19-21 (Ferrara, 1596).
involvescadences where of cadentialevaporation My thirdcategory sonno"from In "Felicissimo oftheleading-tone.64 theresolution Gesualdothwarts of the subjectthatsets "e noi di luce privi"(and Book V, the last two entries a cadento a leading a 7-6 syncopation form us of light) tone, implying deprives the on G. This is shownin Example11. Whilethetenor tialresolution resolves, theleadingtone.Like thepreceding cantofadesaway,neverresolving example, It thiscadential therepresentational contour ofthesubject. evaporation preserves
Softening the Edges
111
also createsa gradualtextural reduction, evokinghow the eyes (luci) of the thus theloverof light and belovedclose in blissful (luce). But the deprive sleep of the absenceof the much weaker because this cadence is effect of punctuating the resolution. deepens the Paradoxically, evaporation leading-tone signature tone chasmbetweenadjacentphrases:the unresolved exposes a direct leading a ofharmonof the new with thefirst crossrelation adding layer phrase, harmony thatmarkthe exclamation contrasts and rhythmic to the textural ic harshness - their texto emphasize cadences Thisfeature ofevaporated ability "Deh."(ah!)65 freGesualdo and harmonic discontinuities tural, may explainwhy registrai, an exclamation. before introduces them just quently
c
Q
[|4br
lu
ce
J J-|JnJ ipri vi,
Deh,
i
- ^
con
^jl
ce
J J J I
1-
' T V f
B |V:^
4v
pri - vi,
i
-
Deh,
i-
Deh,
j j
lu -
I'J | ce
pri
J
vi,
I|-
"
un
Deh,
J pi
con
Deh,
il. Gesualdo,"Felicissimo from libroa cinquevoci, sonno," Quinto iExampfe mm.19-21 (Gesualdo,1611).
In the fourth and mostextreme form of cadential neither evaporation, member oftheperfect interval a cadence ever materializes. implied by Example12 citesa passage in "Che fai meco,mio cor miseroe solo?" from Book IV. The that sets"misero e solo" (wretched and alone) floats phrase up to thehighregister. The biting on the first of "solo" resolve to a dissonant syncopations syllable 3 anachronistic a diminished The alto and a terms, (in harmony triad). quinto imply resolution to a unisonon BW. Gesualdodeniesthisnotein bothvoices.OnlyD5 theupper noteofthediminished fifth formed appears, resolving by thecantoand alto.The evaporation to a single notecreates a literal of"solo."That representation D5 appears bereft ofa Bt that wouldgiveitharmonic its meaning onlyemphasizes
112
Theory and Practice
cadencecreates The evaporated "solitude." continuity by weakening interphrase in anyform, andthus, theBl> It also does so bywithholding thearticulation. piques that the one onethat a satisfactory for ourdesire resolution, continuation, provides the new that exclamation "Deh," finally yields.66 phrase, opens disruptive 1
Q ^ Che a fa
Che
c|^
"
Che
fai me
r r irr'r co, mio cor
" if r l" ir r r'

mi se-roe
J iJJr 'JHr J.. r se-roe fai me - co, mio cor mi fai me co, mio cor mi se-roe
so
j j lj j j iij J IJ|iJ~ so -
so
lo?
r '" " hj J' van-ne o Deh, j ' J m

Deh, o van-ne
lo? Deh,
van-ne o
lo?
Che
b pi
"
fai me
'l'I
'
co, mio cor?
'
Che
fai me
r r irf J
-
Deh,
o van-ne
co, mio cor?
i- '7 p
Deh,
vannneo
e solo?,"from "Che faimeco,mio cormisero 12. Gesualdo, Quarto (Exampie libroa cinquevoci,mm.'^' (Ferrara, 1596).
Cadences Interrupted of cadences,Bergerdiscussesa typeof treatment informed In his historically to evadedcadences butnotidentical, that he viewsas similar, formation cadential an calls he which This construed. cadence,"has formation, "interrupted strictly and second thefirst articulate formulas features: two defining (1) thecadential fallson butnottheterminal harmonies cadential one,and(2) thesecondharmony a metrically strong position.67 based on an cadencesis partly of interrupted 's definition Berger Though a paswhether to determine difficult itis often ofmusical examination practice,68 Fromson As cadence. an articulates observes, interrupted interrupted sage and at times cadencescan "elicitmultiple Thus,ancillary analyses."69 conflicting Such criteria formations. cadential these in a role often criteria identifying play metrical include(1) the presenceof a syncopated (2) strong sopranoformula, rests second the of duration second of the (4) harmony, (3) harmony, placement and (6) corresponin texture, after thesecondharmony, changes (5) concomitant text. in theverbal articulations dencewith The all thesecriteria. Book I meets A cadencein "Baci soavie cari"from sets that imitative the As 13. in is relevant phrase Example passage reproduced a syn"cibide la mia vita"(foodofmylife)drawsto a close,thealtointroduces however. theterminal Thevoicesdo notreach formula. harmony, soprano copated
Softening the Edges
113
lastsa semiof a mensuration fallson thebeginning The secondharmony unit, in this rests all Above thecanto, breve,and is also followed parts. harmony, by in a sets motion duet with the alto. silentat theclose of thepreceding phrase, in to the comma the cadential the interruption corresponds poetictext. Finally, halt the most basic cadential interruptions processes:the By definition, to theterminal forconmelodicand harmonic resolutions harmony. Implications The of the next usualare therefore, especially tinuation, strong. beginning phrase In the under for the realizes these consideration, example, passage ly implications. in the alto after a brief to tone unresolved rest, resolves, (F5) eventually leading An can theheadnoteof a new subject create contitherefore, entry. interruption, notonlyby weakening cadential butalso by realizing melodic articulation, nuity at denied the close of the andharmonic implications preceding phrase.
4 ^_ . * . - la Cor m'in^vo I-, . I I
Q f r Jj JiJ- if J i la mia vi - ta, ta, ci - bi de

_^ bi de la mia vi 4-3 ta,
te,or mi ren-deêilco - re,
i-
j
Cor
a <Wrf~rn *r i ^ p pfT ir *ppp?^ - it r i i r r r fjrJr'r

Cor m'in^vo-la te, or mi ren-de^teil ci -be de la mia
B[h JJr |J lr
bi de la mia
vi - ta,
vi - ta,
- ^m
Cor
Primolibroa cinquevoci, 13. Gesualdo,"Baci soavi e cari,"from Êxample mm.4-7 (Ferrara, 1594).
cadencesplay an important role in Gesualdo's madrigals.70 Interrupted Like hisuse ofevaporated Gesualdo'scadential cadences, interruptions appearin varied and imaginativeforms.A significant increasingly developmentin Gesualdo'suse ofcadential in occurs Book III: he cadences interruption interrupts on less stableharmonies, thusincreasing theimplications forcontinuation in the next Consider thecadencein"Sospirava il miocore"from Book III, given phrase. as Example14. The duetthat sets"L'animaspiro!"(I exhalethesoul!) closeswith a 7-6 syncopation overa descending a cadential resotone, C4, implying leading lution to an octaveon B. The phraseneverattains thisimplied octave,butfades thecadenceon a sixth, awayintosilence;likethesoul,itexpires. By interrupting
114
Theory and Practice
the rather thana morestablefifth, Gesualdotiltstheend of one phrasetoward a and tenor's introduction of This harmonic the of the next. instability beginning in the textural and disconB the new counterbalances rhythmic resolving harmony that tinuities thesephrases. separate
7.
Q jj
A
c|r
spir
* PPt' r pirr J" r irr r fP^

> J'rr che di-cea: che di-cea: "L'a che di-cea: "L'a - ni - ma spi - ro!"
i-
Quan
"MJ J J1 $ J * }' * 1 1spir
spir
"
-
Quan
J ii i J j J|i J'i
do la Don -na -mia pi do la - Don-na mia pi
do la
Don-na mia pi
J IjJJ
Quan Quan -
T L p j m np
=jf=r
spir spir
ni-ma
che di-cea:
i'
spi
ro!"
J J _j. JP
(g-|rrp ' ' r 'r r r JJr'J^l

do la Don-na mia pi pi
b [y p j p [j j
i-
che di-cea:
r ir r r r p i-M Don-na mia do la

Qan
libroa cinquevoci, Terzo il mio core,"from 14. Gesualdo, "Sospirava CExamyCe mm.7-9 (Ferrara, 1595).
a can foreground ofa mi-cadence An interruption on thesecondharmony with a movecharged to thesharp sideofthetonalspectrum, shift text-expressive un dolce 'oim!' occursin "Qual fora, Such an interruption donna, implications. theimitative inExample15 shows, from BookV.As theexcerpt d'Amore" phrase il core?" (sets myheartafire?)closes withan incomplete thatsets "m'incende withthedescending a 7-6 suspension in thealto,whichforms formula soprano itmarks the second features in Several tone the bass. harmony: emphasize leading voicall five it involves metrical and theendofa dramatic deceleration, rhythmic 9-8 syncois theharsh Also emphatic es, anditoccupiesa wideregistrai space.71 of thiscadential effect The open-ended the7-6 syncopation. pationthatescorts into Resolution this verse. that the befits punctuates sign interrogation interruption that discontinuities and rhythmic theregistrai, thenew phrasetempers textural, to thesharp shift abouta marked also brings Resolution this transition. mark side, "Misero"(wretched).72 thenewaffect, movethat a resonant depicts vividly This a cadenceon a dissonant Gesualdooccasionally harmony. interrupts it also but a cadential of theconnective notonlyincreases interruption, potential a on an 16 shows it with interruption Example potential. text-expressive charges Book III. The entries in"Se piange, dissonance oim,la Donnadelmiocore"from oim"(ifshecries, that sets"se piange, oftheponderous alas) clashonbitsubject As thetexture the end of to the that continues a harshness dissonances, phrase. ing
Softening the Edges
115
i(^
J
-
J
de
u J il co -
rj
re?
ipjMi
j j
se - ro,
Q Y JA
re,
mi-
y~i
-cen m'in
J' J^ JJ'J= -
de il co - re?
Jj
-
I J- J J j Mi
se ro, mi
I
|
^^TjlJJJJJJlJ
-cen co - s m'in -_ m'in cen -
J
de il co -
J
re?
|j
Mi -
il
se - ro,
j
mimi-
T Lt>
^ P V r r r IJ J o
de il co -
J
re?
IJ
Mi -
J J kf 1
se - ro,
cen
de il
co -
- re?
mi-
un dolce 'oim!' d'Amore," from donna, Example15. Gesualdo,"Qual fora, libroa cinquevoci,mm.17-19 (Gesualdo,1611). Quinto off tothehighvoices,thecantus introduces an embellished formutapers soprano la overthelowest voice.Theterminal never howmaterializes, sounding harmony anachronistic a ever,and thephrasepauses on a dissonant terms, (in harmony ' infirst diminished triad the last of oim. This most unstainversion), coloring gasp ble foothold soon yieldsand thedissonant configuration collapsesintothefirst of the new which resolves inthesameregthe tone harmony phrase, (Gtt4) leading ister butin a different voice. By interrupting thephraseon a dissonant harmony andresolving itinto thenext Gesualdofuses andbeginning, phrase, ending easing thetransition to thenewhighly contrasting phrase.73
c y "
re ,
se
"
pian -
Q ^r A
me, se
ge,
ji ,' " y "

se
ô
pian
" J I IH o>
Ise pian
pian - ge,oi -
i F r n r - i - - ini (j r r pr f i
- me, la Don-na del mio
A ffck-i
g,oi - me,
h*l ' J
ill
la Don - na del mio
^ i Pf
'
J"
oi me,
J J> ^ J 11
T cv~"
- J r~ ~f '[*
se pian -
se
pian
g,oi - me,
il7h i r
j i
pian
g,oi-m,
i" ? r JJ'Tr i
la Don-na del mio
la Don-na del mio
m,
se
ge,oi - m
^ <t
* i r pr r i la Don- na del mio
Terzo oim,la Donna del mio core,"from lixampei6. Gesualdo,"Se piange, libroa cinquevoci,mm.6-8 (Ferrara, 1595).
116
Theory and Practice
solution cadencesare an effective Like evaporated cadences, interrupted At themostbasic level interrupted of extreme sectionalization. to theproblem articulation. formal cadencescreatemusicalcontinuity Theyalso by weakening ofa terminal linkbetween The expectation a moresubtle create adjacent phrases. a listener's thwarted cadence,sustains by an interrupted harmony, provisionally often than not theharthe next More the of attention phrase. through beginning the next at the of that was denied the appears beginning by interruption mony between creates a into the next Resolution adjacent pull phrase magnetic phrase. on a toneresolves ifthehanging Interruption directly. leading phrases, especially with cadences It imbues this also dissonant interrupted harmony tightens pull. resonance. text-expressive Distorted Cadences weakensa cadenceby havingone or moreof thenon-structural Gesualdooften The terminal in theterminal elements voicesintroduce harmony. closure-denying the contain third above lack a dissonances, bass, destabilizing may major harmony cadences." I refer to suchuses as "distorted or appearmetrically displaced. withtheterminal association of themajorthird Giventheconventional ourpercepinterval affects of this or absence a the of harmony cadence, presence in "O dolcemio manner occurs in this weakened A cadential tionofclosure. goal that sets the 17 Book I. As martire" from "Questo poter Example shows, phrase E. The sopraon a cadence with closes d'amore" perfect (thisis thepoweroflove) the in the terminal third a minor introduces weakening no, however, harmony, effect ofthecadence.74 punctuating
11
c r<f J j j
a JJ- j j - j
li ce vi
li - ce vi - vo.
- i> j i pr r i prj J ij' j Ji J i j- jijJ Ji J J-JJ j jij-jjij che rub-ban Che re d'a sto do-mi, Que po-ter
mo^^" -_^ p - ter d'a mo re Que -sto po-terd'a - mo re - do-mi, che Che rub-ban
t <J 'J ir "rir r r r~pr fi Jr JJ J-pir Q 4 r r r "r *l!r ! r p^ r r ^ i f Jj-^

li - ce vi - vo. Que-sto - do-mi, che Che rub-ban
vo.
Bh:rj r j
li - ce vi - vo.
li - ce vi - vo.
- i > r r pfr r ir - - Ji
Que-sto poêr d'a - mo re Che
Que - sto
po-ter d'a - mo
re
- do-mi, che Che rub-ban
Primolibroa cinquevoci, from "O dolcemiomartire," 17. Gesualdo, Exampe mm.11-13 (Ferrara, 1594).
Softening the Edges
117
a minorthird contains recur Cadences in whichthe terminal harmony collections.75 These minor thirds not onlyweakenthe the madrigal throughout butoften also havetext-expressive connotations. cadential Like articulation, they in thisarticle, attenuation discussed mostof theforms of cadential thisdeviceis In fact, with itis often an overlapping associated subusually phrase overlapping. minor that introduces the third.76 closure-attenuating ject introduces dissonant Gesualdofrequently and sixths above syncopations thebass of theterminal 18 the harmony. Example reproduces opening phraseof i dolormiei"(indeedmypainsmakemejoyful)from "S gioiosomi fanno Book I. The alto and tenor cadenceconvincingly on E. The punctuating effect of this is considerably weakenedby two syncopations in theupper cadence,however, in which create a the terminal The voices, harmony. 4-3 synco4Z3configuration creates momentum toward the next an interrupted pation phraseby projecting formula with a GI4. This tone resolves to tone, soprano competing leading leading thefirst of the next a in motion to D3 the tenor. harmony phrase, accompanied by these voicesform an imperfect-to-perfect resolution to a fifth. Theuse Combined, of syncopation in theterminal an is effective devicebecause it harmony linking does not interfere withthe underlying cadentialresolution. also Syncopation weakenstheclosingimplications of theterminal and projects an interharmony tonethat leads intothenextphrase. rupted leading
2
c f<iU; f ' I 'r r

V j io
Q
J J ^ J J IJ J / $ io J^Qj - so mi fan-no i do lor mie 0 io - so mi fan no i do -
Q J Jr r j J LJ j^
io - so mi fan-no i do -
- so mi fan
no i
r l'I ir
do
lor mie -
J-v. V
-
^%J3 -
'J .-i- "

i, Don i,
'J ='
na, na, per
lor mie -
j jjj j
- i,
lo
- tfjg
Don Don na, per
JP
lor mie -
B k):
- i,
Don
na,
18. Gesualdo,"S gioiosomi fanno i dolormiei,"from Primolibroa CExampie 2-4 mm. cinquevoci, (Ferrara, 1594).
Gesualdo continued to add dissoPerhapsbecause of its effectiveness, nancesto theterminal cadential in themiddleand late collections. A harmony handful ofdeformations that occurinhislatecollections areespecially interesting. In thepoignant imitative phrasethatsets"del mio granduolo" in "Itene,0 miei
118
Theory and Practice
from Book V, givenas Example19,thesoprano andbass cadenceon D. sospiri" As in thepreceding Gesualdointroduces a fourth in theterand a sixth example, minalharmony. Unlikethepreceding example,Gesualdo does not resolvethe fourth andthesixth; thephrase closes on a dissonant' harmony.77 After in rests all fiveparts, thefirst of thenew phraseresolvesboththefourth and harmony inthesamevoices.Theseresolutions sixth areforegrounded by (1) theresolution ofthefourth toa raised the weak metrical oftheresolving harthird, (2) placement and the in the voices. the resolution mony, (3) repetition accompanying Deferring oftheclosing ' harmony creates a visceral bondbetween thesehighly contrastMore the unresolved dissonant recreates the ingphrases. significantly, harmony a it so knows no unless the beloved solace, poet's "granduolo," pain great, to hispassionate responds pleas.78 21
c w - r" r r" i r i* r r r pp i ''r Q fy- y r r i [-y J oJ i*nj J r M'l

del mio gran duo lo; C'or-maiel - la mi si -
^ " w' A fib
del
mio
gran duo - lo, gran duo -
- lo;
C'or-mai
el - la mi si -
I Jduo -
jj
lo;
li
i i I
-h-M J
del
mio gran
C'or-maiel - la mi si -
B {Vi,- t||J"
del
|"
mio gran
duo -
"
duo -
- lo;
lo;
del mio
gran
|> |> JJ P ^^
libroa cinquevoci, from o mieisospiri," "Itene, 19. Gesualdo, Quinto ÊxampCe mm.21-23 (Gesualdo,1611).
take an unexin a terminal cadential Dissonancesintroduced harmony noia" (cease to in theremarkable of "Restadi darmi phrase opening pectedturn thescore.Gesualdo from Book VI. Example20 reproduces giveme annoyance) that he then versewitha chromatic setsthefirst looselytransrepeats, segment a syncopated the cantusintroduces In the second statement, posed up a fifth. with thebass,to an octaveon E (m. 6). Once again, that formula resolves, soprano thecadential contradicts intheterminal a fourth anda sixth punctuation. harmony A4 As the syncopated of this4 harmony. But things go awryin theresolution Thisharmonthebass drops outandthetenor resolves to Gtt4, skipsdownto Ctt4. a sinceit now forms ic upheavaldeniesGtt4 its expected function, leading-tone thesoprano fifth theGtt4, withthelowestsounding voice.As thetenor grounds that control oftheharmonic a newleading tone, Ett5, direction, regains introducing
Softening the Edges
119
resolves to Fl5,a member ofthefirst ofthenext Thus,attheend harmony phrase. oftheturbulent into contrapuntal passageon "noia,"a clearpathleadsthelistener In thelasttwoexamples, thenext musicallicenses- unconventional disphrase.79 - not in the first, sonancetreatment direct melodicchromaticism in the second theharsh content of thetext, butalso solve a musicalproblem, introonlymark a thread ofmusicalcontinuity between ducing adjacent phrases.
i
c f/ y
"
Re -
J j
sta
i |
tro
di
dar
? |-
P i? r
mi
ttrj ? y - r
no ia,
flf T 3I
ia,
A ?
jP
"
Re
sta
Re
sta
'"
i
di
dar - mi
no -
di
J b-J -j
dar - mi
I no -
V
-
ii
* lB
ia,
Re -
J ista
j
di
dar
o_
-
jj
f
j
mi no -
no
r^F^
ia,
_*y
4
o
Re -
sta
r
I
i-
'
r"
'
Iyj*
dar
de
mi
i ti i '
(g
ia,
- -
i -1
- o c gk
Vr-re
sta
- " jp |
di di
pT
AA J' j J '
re sta
Q 4" * J
J I- J J i|J In
dar - mi no di
I
dar
&rj i Up ,1 i r ffr r r i* r **" r>j i*^ n mi
""
6ia, -
no - ia,
Pen - sier
^'
cru -
(8)
I- '' ii^Ll
Pen - sier Pen - sier
re
f-
sta
re
sta
r i- J _ i..' -i i- it i- "r
| I I ,j .._ ,.
dar - mi
no -
,-J '
- ia,
' -
'
i
,
di
dar
mi
b |v:-
re -
no - ia,
sta
[' i- r r"
di dar
mi
r |rt
no
ia,
['
- i^r
Pen - sier
Pen - sier
20. Gesualdo,"Restadi darmi Sestolibroa cinquevoci, noia,"from xampCe mm.1-7 (Gesualdo,1611).
120
Theory and Practice
and metrical Cadentialdistortion also occurswhenrhythmic displacecadential destabilize theunderlying harmonies ments of thesecondand terminal framework. Considerthe cadence shown in Example 21, which occurs in that sets"Ahi,nonfia Book VI. The intense "Dolcissimamia vita"from phrase voictheupper a melodic license:thebass,breaking mai"begins with awayfrom a moment of hesitation, fifth from B^3 to E3. After es, leaps downa diminished fifth from to G5 to CI5. CI5 a diminished thebass,dropping thesoprano imitates a perfect octave with the bass to behaveslikea cadential tone, resolving leading the oftheterminal on D. Gesualdoalso raisesthethird harmony. Although imperof theharmonic third fulfill andtheraised fect toperfect requirements progression features. melodic and its conventional lacks a cadence, this rhythmic configuration a enters thesecondharmony formula. More significantly, Absent is thesoprano harto the terminal notebefore minim a quarter lateandbarely sustains resolving ora quarter notetoolate.Either notetooearly either a quarter which enters mony, This a weak beat.80 falls on the cadential telos pithyphrase,therefore, way, butremains achievesclosurein thecontrapuntal dimension, open endedin the The that follows. to the the transition one,smoothing phrase contrasting rhythmic avoidanceof musicalclosurethusechoesthepoet'splea, "nonfiamai" (mayit never be).81
Q 4b r
cir^r
guar
do?
r r -
Ahi,
r ir
J
r r ij
non fia non
i1-
guar
do?
Ahi,
fia
J j
mai
^^
che bra -
mai
i> ~m J f A flk
J
non
riJ
fia
UJ
mai
-T -1 1 - F=
t i* f
do?
Bp-'>~f j
guar
do?
r r
Ahi,
ii ['
non
J iJ
mai
> j 3
che
Ahi,
non
fia
do?
Ahi,
fia
r [r
mai
"
libroa cinquevoci, "Dolcissimamia vita,"from 21. Gesualdo, Quinto CExampfe mm.25-27 (Gesualdo,1611).
the Edges Softening
121
Cadences Synecdochic that close without a formal in The frequency ofmusical cadenceincreases phrases each of Gesualdo'ssuccessive Most of these "non-cadencollections.82 madrigal tialcloses,"however, feature one or morecharacteristic cadential Like gestures. therhetorical these structures substitute the for figure synecdoche, closing part the "All handson deck").Hence,I refer whole(forexample, to suchuses as "synecdochic cadences."83 Because synecdochic cadences do not articulate the basic cadential their effect is weaker than that of a framework, punctuating regular, percadence. In the mercurial environment of Gesualdo's late fect,or attenuated cadencesact as an important therefore, madrigals, synecdochic safeguard against formal fragmentation. A Synecdochiccadences usually featurea single cadentialmarker. of in cadential occurs "no" crudel che "Quel straightforward example synecdoche la mia spemeancise" from Book VI. As theexcerpt in Example22 shows,the that sets"che la mia spemeancise"(that killedmyhope) closes without a phrase a resolution to consonance. In the third is not raised addition, leading-tone perfect in theterminal The ascending fourth feaharmony. leap in thebass,thedefining ture ofthemodern bass formula, is thesole cadential gesture.84
c f'r' r r r i"
Q ^ f r [ j spe - me an - ci - se
spe mean-ci se
Ec -
- co che
r r if rl>ig r i
i J J ..
pur tra - fit to tra - fit
i-
Ir
t i" r f f f f ^ spe - mean-ci - se
spe - me an - ci
J ii'JJ i" J j j l
se Ec
Ec
j j i.
- co che pur - co che pur
J i
to
'J J
tra - fit
P^
to
i
Ec Ec -
Bpf
spe - me an - ci
r j
se
[- i- ..
- co che pur
rrr
-
ir J w
tra - fit pur tra - fit -
J ^
to to
- co che
r r ir r r
22. Gesualdo,"Quel "no" crudel che la mia spemeancise,"from Sesto xampCe libroa cinquevoci,mm.4-6 (Gesualdo,1611).
An evenmoresubtle reference to a bass formula occursin "Mercgrido from Book VI. As Example23 illustrates, Gesualdostates"ma chi piangendo" m'ascolta?"(but who listensto me?) twice.A slightbut significant variation inthesecondstatement: occurs itcloseswith a descending octaveinthebass.This adds moreweight to theclose of the second gesture, alongwiththerepetition,
122
Theory and Practice
in theensuing the The subtlepunctuation resonates statement. silence,evoking answered.85 toneofa plea that is never
Q ^ - r f
c|-'
r
Ma chi Ma chi
m'a - scol - ta,
fir r jij j
t
ma ma
IT
chi
j- .1 r
Ma chi
m'a - scol - ta,
" r r I r --1
ma
m'a-scol- ta?
rr r I
Ahi las
I
I
IT
chi chi
Ir r T JL- J f r f ~| f f - J r imi r ^ m'a-scol ma chi Ma chi m'a-scol ta,
m'a - scol - ta,
.i i,- j j j i
m'a-scol- ta? ta?
m'a-scol- ta?
r r J I J ..
Ahi las -
pir
! f f~^ ' '
" b i-r i r chi Ma
r 11 i - f li ma chi m'a - scol - ta,
m'a-scol- ta?
r i j i- i
Ahi las
libroa cinque from "Mercgrido 23. Gesualdo, Quinto piangendo," Êxampfe voci,mm.4-7 (Gesualdo,1611). in a closingharmony The presence of a raisedthird mayalso invokea as thesole cadenfunctions a raised third An where instance articulation. cadential V. from Book sonno" occursin "Felicissimo tialmarker Example24 reproduces closes witha descendvi resti" that sets therelevant "piet passage.The subject three the in all entries of thisgesture The retention uppervoices ing gesture. task ofclosing The cadence. a formal descend to theclosing harmony preempts the that fallsto theraisedthird thisphrase, entry.86 therefore, punctuates soprano
Q ft^ jJ
c|i<KJ r ~'r J 'nJ'J ":" r r i'r ^m

a
vi
re
sti
J
t
IJ
h J
11
re -
||: "
pie - to
1
sa,
|
J J I?
E pie - to -
J
sa,
a 4k t
sti
pie
I t f ir pie t -
vi
I
vi
sti
II'- J J LI
E
J^ '
b [h -re
|^
r |J
1
sti
re
/'
sti
";"
ii:
J J 1r J
pie - to sa,
pie - to
sa,
1 ^m
libroa cinquevoci, from "Felicissimo sonno," Quinto ^xamyfe24. Gesualdo, mm.46-50 (Gesualdo,1611).
Softening the Edges 123 - and non-cadential - are crucial cadences closes in general Synecdochic ofGesualdo'slatestyle. The composer's components increasingly doggedpursuit ofpoeticimagestranslated intoan extended ofbrief concatenation and heterogeunits. each ofthese neousformal units with a perfect cadencecreates Punctuating a stuttering musical discourse.Gesualdo's imaginative use of synecdochic was an effective cadences solution tothis cadencesenabled problem. Synecdochic thecomposer torevelintheconceits ofa mercurial text without theflow stanching ofhismusicalrhetoric.
3
At themostbasic level,thisarticle an accountof Gesualdo's provides moreidiosyncratic I proposed uses ofcadential attenuation. variouslevelsofcatmore reformulations of received theoretical/anaegorization, suggesting precise A more aim of this is article, however, to showhow a lytical concepts. general closerexamination of theborderlands between musicalphrasesrevealsdistinct threads ofmusical It is myassertion that cadential attenuation continuity. provides one suchthread. The ingenuity andeffectiveness ofthesecadencessuggest a considerable of If control. these assertions have true, degree compositional significant relevance to theenduring "Gesualdocontroversy." Much of the Gesualdo controversy has been framed as a problem of more of its limits. The that notion radical leads expression, specifically, expression to thelimits of whatwe are willingto conceiveas music,or morespecifically much Gesualdo criticism.87 To his champions, good music,resonates through Gesualdo'sexpressive brilliant works ofunparalleled boldness.88 impulse yielded To his detractors, the composer's unbridled tendencies, expressive dangerously mixedwith musicalineptitude, in compromised resulted andultimately defective musicalutterances. mostof itshistory thecontroversy revolved Throughout priaround thechromatic and harmonic of Gesualdo'smiddle marily extravagances and latemadrigals. Morerecent in thedebate, citetheramhowever, participants ofthesemadrigals as evidence ofexpressionistic excess. pantdiscontinuities The riskof expressive tendencies is flaring up as musicaldiscontinuities Renaissance that especially highinthelateItalian Humanists, madrigal. believing themusicof their to that of ancient contemporaries paled in comparison Greece, to create musicthat movedthepassionsand affections of challenged composers thesoul. To realizethisideal,theyarguedthat musicshouldfollowtheverse.89 Pietro Pondo enshrined thisdictum as themostbasic principle of themadrigal: "thecomposer must makeevery effort tofollow thewords."90 Composers responded to thisimperative musicalstructure to poeticform and conby subordinating In thedomainof musicalform, tent. thistranslated intoextended of successions short and heterogeneous musicalphrases. also turned to Composers increasingly musicallicensesto convey thewordsmorevividly. Subordination of musicalform to thepoetictextand widespread use of musicallicenses increased thefrequency and force ofmusicaldiscontidisruptive nuities. A composer thisgame,therefore, hadto find their playing waysto contain effect. Thisrequired a considerable ofcompositional control. disintegrative degree
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Theory and Practice
couldspellmusiexcessor incompetence, Lack ofcontrol, due to expressionistic to givevividandmoving musicalexpreseffort cal disaster; without it,an earnest intoa haphazard could easilydegenerate sionto rapidly poeticcontent shifting shards ofpoorcounterpoint. andnonsensical chainofdisconnected thethreat to musicalintegrity How did Gesualdodeal with posedby discurto James Notvery continuities? Haar,themostfervent, according effectively, ofthelatesixteenth-cenofGesualdo 's music.In hisdiscussion detractor rent-day of "Ecco morir thecomposer's Haar putsforth dunque" setting tury madrigal, whenmixed of virtuosity, from Book IV as "evidenceof thedangers especially the one has to be good to bring rhetoric: evenexhibitionistic withexpressionist, Haar not that Gesualdo could off."91 the whole thing off, bring things Among in melody, or texat continuity "little effort includes thecomposer's harmony, evidence in 's Gesualdo to the discontinuities ture."92 madrigals According Haar, excessand lackofmusicalskills. bothexpressionistic 's musical Gesualdo UnlikeHaar,LorenzoBianconidoes not disparage of the his assessment On the subjectof musicalcontinuity, abilities. however, more is even from Book VI t'assenti" che of composer'ssetting "Belt, poi the"heterogerunsthrough of musicalcontinuity nota singlethread Draconian: an The text, thismadrigal. that forms units" of isolated musical neoussuccession these that binds thread the extramusical element, together provides singlelogical view favorable hismore In theend,itis clearthat, ofpolyphony."93 despite "scraps disconmusical effect of the Bianconi'sconclusions ofthecomposer, concerning thepervasiveto his interpretation, as Haar's.According are as damning tinuities absenceof counterand a complete of thesediscontinuities, ness and brashness weakenthe structural their thatwould mitigate measures effect, disintegrative alone as music,and it cannot stand where the to of themadrigal point integrity the extramusical an be shored must medium, poetictext. thus, up by therole of Haar's views concerning and of Bianconi The combination thefolGesualdo in representative musicaldiscontinuities suggests by madrigals musical with are rife discontinuities; (1) Gesualdo'smadrigals argument: lowing counterbalto create of efforts is little or no evidence by thecomposer (2) there on these effect have a deleterious (1) and (2) (3) conjoined, ancingcontinuities; and lesser or as music;and (4) to a greater (3) result (1), (2), degree, madrigals it If this control. a lackofcompositional from stands, strongly supports argument use ofdiscontinuities sincetheundisciplined ofGesualdo'sdetractors, theposition andmusicalincompeofunbridled evidence as further expressionism maycount in thecomposvisible cracks most as the thusemerge tence.The discontinuities musicalstructures. er's ill-conceived extreme His poeticchoices, contrasts. thrived on striking Gesualdoclearly licenses musical for and taste of thepoeticline, disruptive highly segmentation are no that there the claim Yet fordiscontinuities. thepotential increased greatly is text the in the threads ofmusicalcontinuity exaggergreatly beyond madrigals attenusesofcadential andcreative I putforth thevaried ated. As partial evidence, uses these and inthisarticle. Bothconceptually audibly, discussed uation provide threads ofinterphrase continuity. tangible of a considerable attenuation Gesualdo'suse ofcadential degree suggests
Softening the Edges
125
in theway certain and control. This is evident forms of ingenuity compositional of musicaland extramusical cadential attenuation displayan elaborate interplay forexample, can simultaneously introduce concadences, meanings. Evaporated in in create discontinuities one and extramusical domain, others, tinuity convey Other uses display This is certainly thecase withsynecdochic subtlety. meaning. where a minimal hints at musicalpunctuation. cadences, gesture merely are those uses that distort and destabilize however, Especially ingenious, cadential of I closure the introduction dissonance. As asserted above,the through in suchcontexts introduction ofdissonance serves bothextramusical andmusical wordsin thepoetictextand creating functions, marking poignant continuity by the articulation. Both causesarealso served that Gesualdo, weakening bythefact in flagrant violation of therulesof dissonance leaves thedissonances treatment, their resolution until the of hanging, deferring beginning thenextphrase.That Gesualdofrequently rulesto express harsh has brokecontrapuntal poeticcontext beenwell documented. Thathe coulddo so in waysthat a solved simultaneously than rather the musical has not. fabric, compositional problem, mending rending Thecloseexamination oftheinterphrase borderlands that I advocate inthis article a more nuanced of how Gesualdonegotiates theaesprovides perspective thetic demands ofbringing to lifethepassions in a poetictext within the expressed conventions and codes of contemporary musical Thatis, thecomposer's practice. construed as an impulse toconvey emotiontendencies, expressive narrowly strong al content in moving translate intomusicalartifices that ways,do notnecessarily areintrinsically as evident in mostoftheuses discussed in Indeed, disintegrative. thisarticle, musical devicescan serveboth musicalandextramusical "expressive" musical andconnoting textual meanfunctions, simultaneously creating continuity suchas chromaticism andlicenses ing.Thisappliesnotonlyto theusualsuspects, in dissonant butalso to thestriking discontinuities themselves. treatment, In summary, thisarticle thevarious forms ofcadential attenuaputsforth tiondiscussedabove to support the following claims:Cadentialattenuations in Gesualdo 's madrigals are(1) an effective countermeasure extreme sectionagainst inbringing to lifethepoetictext, and(3) suggest alization, (2) actively participate a considerable ofcompositional skill. Thisarticle also seekstodemonstrate degree the advantages of close examination of theboundaries between thephrasesin Gesualdo 's madrigals. The friction between musicaland extramusical demands flares Cadential I believe, frequently up at theseboundaries. attenuations, playan rolein softening theedges. important
126
Theory and Practice NOTES
I wouldliketothank thetwoanonymous reviewers ofthisarticle for their insightI wouldalso liketothank fulandhelpful comments andsuggestions. KarolBerger whokindly andthoughtfully to myinquiries. responded
1. ofGesualdo'smusic, Fora comprehensive ofthecritical see Glenn reception survey Gesualdo: TheMan and His Music,2nd ed. (Oxford: Clarendon Press, Watkins, contributions include John Turci-Escobar, 1991),365-83 andpassim.Morerecent Devices in the "Gesualdo'sHarshand Bitter Music: Expressive and Constructive Yale Six BooksofFive-Voice diss., (Ph.D. 2004), 123-207, Madrigals" University, in the Italian and Susan McClary, Modal Subjectivities: Self-fashioning Madrigal of CaliforniaPress, 2004), 146-69. (Berkeleyand Los Angeles: University occurin Richard References to Gesualdo'schromaticism Cohn,"SmoothCycles, TriadicProgressions," HexatonicSystems, and the Analysisof Late-Romantic Tonal 1 Resemblances: and MusicAnalysis no. Cohn,"Uncanny 15, (1996): 9^0; American in Journal the Freudian 57, no. 2 of Musicology Age," Signification 285-323. (2004): David trans. Music in theSeventeenth See especially LorenzoBianconi, Century, James and Haar, Press, 1987), 4-7; University Cambridge Bryant (Cambridge: and 1350-1600(Berkeley and Music in theRenaissance, Essayson ItalianPoetry 144^5. See also of California Los Angeles:University Watkins, Press, 1986), of to the"alternations has calledattention Gesualdo,107. Morerecently, McClary and harmonic slow-motion between quicksilver changes speed exaggeratedly of interiority. elements as fundamental whichshe interprets motivic exchange," 149. Modal Subjectivities, McClary, see Haar,Essays,135. ofthiscompositional articulation Foran eloquent problem, of the definition in his well-known thisimperative Pietro Pontiostates explicitly Source vol. See Gary Tomlinson, ed.,TheRenaissance, 3, Readings genre. madrigal rev.ed. (New York:Norton, in MusicHistory Italian, 1998),200. For theoriginal SuzanneClercx,facsimile di Musica,trans. see Pietro ed., Pontio, Ragionamento 16 (Kassel: Documenta Musicologica 1. Reihe, Druckschriften-Faksimiles Brenreiter, 1959), 161. a ofthe1590s, New Style theFerrarese within Gesualdo situates Newcomb Anthony Alfonso and Luzzaschi Luzzasco thatalso included of composers triumvirate Newcombincludes shared Fontanelli. by thesecomposers, Amongthesimilarities musical and language.See Anthony poetic choices,approachto text setting, NJ: Princeton Newcomb, The Madrigal at Ferrara, 1579-1597 (Princeton, of Gesualdo's discussion poetic Press,1980), 113-153.For an insightful University e di CarloGesualdo:Fontiletterarie see Paolo Cecchi,"Le sceltepoetiche choices, Antonio ed. Domenico musicali,"in La Musica a Napoli duranteil Seicento, torre Ziino(Rome:Edizioni andAgostino D'Allesandro d'Orfeo, 1987),47-75.
2.
3. 4.
5.
the Edges Softening

6.
127
Gesualdoapproved thepublication of six booksof five-voice For both madrigals. and stylistic are generally discussedin reasons,thesecollections chronological I refer to them as Gesualdo 's early, andlatebooks.The middle, pairs.In thisarticle first andsecondbookswereprinted in 1594byVittorio ducalprinter ofthe Baldini, court of Ferrara. Thesebooksoriginally under thepseudonym appeared Gioseppe thethird and fourth in 1595 books,whichappeared Pilonij.Baldinialso published and 1596 respectively. The fifth and sixth booksdid notappearuntil1611,fifteen thepublication of Book IV; they werepublished 's palace yearsafter by Gesualdo Giovanni Jacomo Carlino.In 1613,theGenoeseprinter printer, GiuseppePavoni a collected edition ofthesix volumes in scoreformat. Fora detailed dispublished cussionof the individual see Watkins, collections, Gesualdo, 133-212. See also "Gesualdo'sHarshandBitter Turci-Escobar, Music,"16-37. I borrow theterm "cadential attenuation" from LeemanL. Perkins, Musicinthe Age the Renaissance York: W. W. 1055. Norton, of (New 1998), In his discussion of Luzzasco Luzzaschi,theleaderof theFerrarese New Styleof the1590s,Newcombsingles outthereplacement of normal cadenceswith weaker ones as a characteristic which the "avoids the technique by composer dangerof and extreme See The 120. choppiness sectionality." Newcomb, Madrigal, Alfred Einstein used thislocution to refer to theswinging of tastethat pendulum characterizes thecritical of Gesualdo's music.See Alfred The reception Einstein, ItalianMadrigal, trans. Alexander H. Krappe, andOliverStrunk RogerH. Sessions, NJ:Princeton sur(Princeton, Press,1949),2:706. Fora comprehensive University of the see Watkins, vey Gesualdo,365-83. controversy, See note2 above. The mostimportant discussion of cadencesby a sixteenth-century theorist can be found inthethird bookofGioseffo Zarlino's Le Istitutioni harmoniche, 53, chapters TheArtofCounterpoint, ed. Bea Friedland, trans. 54, and61. See Gioseffo Zarlino, GuyA. MarcoandClaudeV. Palisca(New Haven,CT: Yale University Press,1968; New York:Da Capo Press,1983), 141-53 and93-205. Forthorough reviews repr., and interpretations of the theoretical sourcesas pertains to cadences,see Karol Musica Ficta: Theories in VocalPolyphony Berger, ofAccidental Inflections from Marchetto da Padova to Gioseffo Zarlino (Cambridge:Cambridge University Press, 1987), 122-54; and BernhardMeier, The Modes of Classical Vocal Described to theSources, trans. Ellen S. Beebe (New York: Polyphony: According BroudeBrothers, and reviewof Berger's 1988),89-122. For a usefulcomparison and Meier's definitions of cadential see MicheleFromson, "Cadential formations, Structure in theMid-Sixteenth The Analytical of Bernhard Century: Approaches MeierandKarolBerger and Practice16 (1991): 179-213.For Compared," Theory a comprehensive and insightful of Zarlino'sviewson cadences,see interpretation Michele Fromson, "Imitationand Innovation in the North-Italian Motet, 1560-1605"(Ph.D. diss.,University ofPennsylvania, 1988),20-70.
7. 8.
9.
10. 11.
128
12. 13. 14. 15.
Theoryand Practice
in Michele MusicaFicta, 137. It also appears I adoptthisdesignation from Berger, 180. "Cadential Structure," Fromson, voicesI refer totheharmonies occurina context ofthree ormore When these dyads harmonies as thefirst, andterminal that second, respectively. they support itbe a consonance. for thefirst The onlyrequirement dyadis that between Zarlinodistinguishes cadences,whichconcludeon a unisonor perfect consoor other whichconcludeon a fifth, third, cadences, octave,and imperfect 141-53. TheArtofCounterpoint, nances.Zarlino, is a cadencein whichthesecondinterval a third Zarlinomentions typeof perfect the lower voice while diatonic semitone voice resolves third whose by upper major 147: TheArtofCounterpoint, or downa fifth. See Zarlino, leapsup a fourth = =
16.
(foo
"
"
who also conother thanZarlino, citesseveralsixteenth-century theorists, Berger cadence. of as a of strue thisform imperfect-to-perfect progression type perfect the that the rule two forms of therefore, governs imperfect-todistinguishes Berger, consonance thenotesof theimperfect In itsstrict form, proprogression. perfect the other one one in contrary ceed to theperfect motion, part byhalfstep. by step, thelowerone leapsup a voice movesup a halfstep, theupper In itsrelaxed form, form of the thestrict feature fifth. Cadencesthat fourth or downa perfect perfect "relaxed" form are relaxed the feature ruleare"strict" cadences;thosethat perfect Musica Ficta, 122-29.As I discussbelow,Meierintercadences.Berger, perfect fifth sucha descending differently. fourth) (or ascending prets 17. considerunder to therepertoire tone"is anachronistic theterm "leading Although in occurrence and discourse musical ingeneral itscommon frequent ation, currency such neutral to a more it musicmake preferable on early modern term, scholarship toneson A, D, and G, as of leading thecreation tone."Notealso that as "tendency theuse of accidentals. scale degrees, well as other requires to thesenotesas lowerand who refers KarolBerger, from I adoptthisdistinction Musica See Berger, tonesrespectively. Ficta, 144-45. upperleading strucin cadential and melodicdimensions of theharmonic The interpntration has As Meier the term. used authors in theway sixteenth-century tures is evident to that seems a double cadenza reflect "... clausula and strange meaning argued,
18. 19.
the Edges Softening
129
meantheentire cadenceas well as itsparts; thestereotypical us. Bothterms melodwithwhichtheindividual ic formulae voices of thecomposition cadenceare also calledclausulaeor cadenze."See Meier,TheModes,90. 20. 21. Musica Ficta, 133-34. Berger, a type Zarlinodiscusses ofcadencethat a modified features form ofthe8-7-8 formula:6-7-8, whichis counterpointed a 3-2-1 In formula. this by typeofcadence, thecadential voices converge to a unisonin conjunct, motion. contrary Although Zarlinocountenances theoccasionaluse of thesecadences,he refers to themas "cadencesimproperly See Zarlino,TheArtof Counterpoint, 145. As speaking." Fromson Zarlino have this of cadence out, because, points may downgraded type the8-7-8 formula, unlike the6-7-8 formula cannot accommodate a dissonant synto the preparingnote. See Fromson,"Imitationand copation that returns 39-40. Innovation," A partial listofsuchthree-note formulas includes 1-2-1, 3-2-1, 4-2-1 , 5-2-1, and 6-2-1. I adoptthe anglicizedforms of Meier's terms from FransWiering, The the Modes: Studies in the York: Languageof History ofPolyphonic (New Modality 2001), 15. Routledge, See Meier,TheModes,9 1. Zarlinoclassified cadencesas simpleor diminished: "A simplecadenceis entirely consonant and consists of equal notevalues;a diminished cadencecontains some dissonances anda variety ofnotevalues."See Zarlino, TheArt 142. ofCounterpoint, For a summary of theviews of Pietro Del Aaron,Stefano Vanneo,and Giovanni thenecessity of a dissonant to thesecondharmony, see Lago regarding suspension Musica Ficta, 143. For an insightful ofZarlino'swritings on Berger, interpretation thissubject, see Fromson, "Imitation and Innovation," 33^7. TheLanguageoftheModes, 13. Wiering, "Cadential 181-84. Fromson, Structure," claimsthat andmorecontinuous texThus,Fromson "[b]ythe1540s,whenthicker tures hadbecomethenorm andstrict imitation was largely thepre-cadeneschewed, tialsuspension to haveserved an essential articulative rather than appears function, a decorative and articulate their one,by helping composers segment counterpoint without itsseamless flow." See Fromson, "Cadential 208. disrupting Structure," thesoprano andtenor altoand Meier,TheModes,92-93. As occurswith formulas, bass formulas or exchanged. frequently appear inverted Thus, any voice may assumethecadential function of another.
22.
23. 24.
25.
26. 27. 28.
29.
130
30.
Theoryand Practice
which theolderform ofthealtoformula, The natural to theB'>represents signnext 4 and 5 are based on cadence. a so-called double leading-tone Examples yields The 93. ofthealtoandbass formulas. Meier'sillustrations Meier, Modes, Meier,TheModes,93. a 5-5 motion. In Berger 's terminology, thisformula closeswith Notethat themodcloseswith a 5-1 motion. In Berger's thisformula terminology, of Zarlino's third of with the lower voice is identical ernbass formula type perfect I discussin note16 above. which "relaxed cadenceandBerger's cadence," perfect "Ifyouwishto stopanyparts nearpausthisruleas follows: articulated Vicentino is in thelow parts, of themajorthird theconsonance es or endings, see to it that AncientMusic even if the composition requiressadness." Nicola Vicentino, Maria Rika Maniates Adaptedto ModernPractice,ed. Claude V Palisca, trans. ofthetheoretPress,1996),255. Foran account (New Haven,CT: Yale University Musica Ficta, 138-39. see Berger, behind thispractice, ical tradition defi"a following rest"as a possiblecadential criterion, adducing suggests Berger and Ornithoparchus Tinctoris nitions of cadencesby Johannes by (as translated MusicaFicta, 129 and 137. Dowland).See Berger, MusicaFicta, 132-33 and 137. See Berger, classifies Vicentino thecadence. thestronger theduration, In other thelonger words, kinds three values. He note of their the duration to cadences distinguishes according use thebreve, which andminimal of cadences:major, semibreve, cadences, minor, Ancient See Vicentino, and minim Music, 161-63. See also Berger, respectively. 184-85. "Cadential MusicaFicta, 133; andFromson, Structure," 185. "Cadential See Fromson, Structure," MusicaFicta, 129-30. See Berger, and Meierallow forsome lee181. BothBerger "Cadential Structure," Fromson, Musica See Berger, musical and of in coordination the punctuation. poetic way Ficta, 137; andMeier,TheModes,89. a cadence." of "formal ThomasMorleydiscussesthepossibility closingwithout to PracticalMusic,2nd ed. A Plain and Easy Introduction See ThomasMorley, musical cadence, 1973),147.In theabsenceofa formal (New York:W.W. Norton, of rests,as well as changesin oftenresultsfromthe introduction articulation orregister. texture, rhythm, Meier,TheModes,99.
3 1. 32. 33.
34.
35.
36. 37.
38. 39. 40.
41.
42.
the Edges Softening

43. 44. see Meier,TheModes, 101-22. of cadences, themodalrank Concerning
13 1
The la cadenza."See Zarlino, of"fuggir account themostdetailed Zarlino provides 's treatment ofZarlino 151-53.Foran insightful ArtofCounterpoint, interpretation to 47-54. For references and Innovation," "Imitation see Fromson, of thissubject, as well as a characteristicalofevadedcadences, treatments other sixteenth-century Musica Ficta, 134-37. ofZarlino'sviews,see Berger, ly lucidinterpretation is adaptinthevoices.Thisexample to evasiveactions call attention Dotted arrows 152-53. TheArtofCounterpoint, ed from Zarlino, to those in Don Carlo Gesualdo, in this articlecorrespond Measure numbers ed. WilhelmWeismannand Glenn E. Watkins,10 vols. Smtliche Werke, 1957-66). Verlag, (Hamburg: Ugrino - inwhich one ofthestrucevasion thisform ofcadential In Gesualdo'smadrigals, - almost within thephrase occurs note tural voicesmovesto an unexpected always Similar evarolein creating and does notplaya significant continuity. interphrase sionsoccurin Book I: nos. I (m. 21) and III (m. 1); and Book IV: no. Ill (m. 13). occursin Book IV: no. IV (m. 23). An interesting variant inboth case theformulas "A cadence toBerger: maybe 'evaded,'inwhich According harmonies but the and second for first voices behave structural go (injust normally See Berger, for thefinal tounexpected one ofthevoices,orinboth) harmony." steps construe melodic that both Zarlino andBerger MusicaFicta,137.Note, however, patof the structural fifth as one a descending (or ascending terns that closewith fourth) cadential framework. See note16 above. voiceswithin a two-part 191. "Cadential Structure," Fromson, of sixteenth-century cadences thisarticle, Here,and throughout myunderstanding treatment ofthesubject. See has beeninfluenced excellent byLeemanL. Perkins's 1051-56. Music in the Perkins, Age oftheRenaissance, Meier,TheModes,99. Music in theAge oftheRenaissance, 1055. Perkins, I am indebted to one ofthereviewers ofthisarticle for thisobservation. Zarlino does notrequire sucha close correspondence between evadedcadencesand verbalpunctuation. He suggests theopposite: "[thesecadences]areuseful exactly whena composer in themidst of a beautiful passage feelstheneed fora cadence butcannot write one becausetheperiodofthetext does notcoincide, and itwould notbe honest to insert one." Zarlino,TheArtof Counterpoint, 151. Zarlino'spreIn on musicalpractice reflect thestyle ofhis teacher, Willaert. scriptions generally
45. 46.
47.
48.
49. 50.
5 1. 52. 53. 54.
132
Theoryand Practice
and thetaskof articulating Willaert's denseand continuous textures, contrapuntal falls of thetext, structure thesyntactic thusfollowing a composition, segmenting itgenerala strong on cadences.Sincethistaskrequires effect, punctuating largely cadences. perfect ly involves
55. 56. 57.
152-53. TheArtofCounterpoint, Theseoccurin mm.19,26, and 31. See Zarlino, Meier,TheModes,99. interto Meier'sbroader cadencesconforms of evaporated Newcomb'sdefinition a cadential for cadence' "I the term use of the ges'evaporated technique: pretation tonal the out before in a in whichsomeof thevoicestaking ture drop phrase part TheMadrigal,120. Newcomb, goal ofthecadenceis reached." is notan evadedcadencein thestrict Thistypeof cadential therefore, attenuation, are. sense.The three remaining types tothiscategory, ofevadedcadencesconform TwoofZarlino's specificalexamples 152. Art The 26. See and m. in m. 19 those Zarlino, ofCounterpoint, ly, uses occurinBook III: nos.Il (m. 4), X (m. 8), andXIV (14); andBook III: Similar VI nos. (m. 18) andXV (m. 13). the cadencesevidences Newcombhas arguedthatGesualdo'suse of evaporated The See this device. uses who of Luzzaschi, influence Newcomb, frequently revealsthatthis however, Madrigal, 129-30. The passage underconsideration, in Book I, which formed devicealready palette partof Gesualdo'scompositional most is Luzzaschi of theinfluence where thecollections evident, antedates specifiBooks III andIV. callyBook II and,especially, in Book III: no. cadenceto set"languisco" similar Gesualdouses a very (languish) XIV (m. 17). See also Book IV: no. XV (m. 29). - how theeventual of cadences of evaporated feature This characteristic sounding between harmonic and melodic creates notes thesilenced phrasadjacent continuity lastnoteoften theexpected es- is mentioned appearsafter by Meier:"Of course, of a newphraseof textand melody." butnow,itbecomesthebeginning thisrest, Meier,TheModes,99. tothis ofevadedcadences illustration specifOne use inZarlino's category, belongs 153. Art The in m. 31. See Zarlino, that ofCounterpoint, ically, voice butleave theleading resolvethecounterpoising cadencesthat Evaporated nos. IV (m. 2), IV (mm. III: Book III. See in aremostfrequent Book tonedangling in It 13 and VIII 16). is muchless frequent (mm. 19-20),VI (mm.26 and 35), and in Book occurs this for A Book IV. See Book IV: no. IV (m. 10). precedent usage
58. 59. 60. 61.
62. 63.
64. 65.
the Edges Softening
133
uses occurin Book V: nos. Il (m. 5), V (m. 20), andVII II: no. XVI (m. 3). Similar (m. 29); and Book VI: nos. III (m. 10), VII (m. 9), VIII (mm.7 and 20), XIII (m. 8), andXVIII (m. 22). 66. 67. 68. See also Book III: no. IX (mm.3-4); Book IV: no. XII (m. 2); andBook V: no. IX (mm.11-12). Musica Ficta, 137 '. Berger, of interrupted bases his notion cadenceson twosixteenth-century sources, Berger Maria and Giovanni Lanfranco. See Musica Ficta, Loys Bourgeois Berger, 136-37. 202. "Cadential Fromson, Structure," In hisdiscussion oftheNew Ferrarese ofthe1590s,Newcomb mentions interStyle with cadences weak and cadences as a rupted together very evaporated typeof cadence thatoftentakes the place of a normalcadence. See Newcomb,The Madrigal,120. In fact, F2 appears and is itslowest onlyonce in thismadrigal pitch. Eric Chafehas examined theroleof suchtonalshifts in themusicof Monteverdi. See Eric T. Chafe,Monteverdi's TonalLanguage (New York: Schirmer Books, 1992),passim. Similar usagesoccurinBook III: nos.XV (m. 8); Book IV: nos.IX (m. 8), VIII (m. 6), and XV (mm.26-27); Book V: no. II (m. 3); and Book VI: nos. I (mm.25 and 28), andVIII (m. 22). It is difficult to determine whether theabsenceof an accidental hereis an editorial mistake. It is possiblethat thismadrigal raisedthethird. singers performing Such cadencesoccurin Book I: nos. Il (m. 10), XI (m. 13), XII (m. 17); Book II: no. Ill (m. 43); Book III: nos.IV (mm.23-24), VII (mm.2 and6), VII (m. 23), and XIX (m. 28); Book IV: nos. I (mm.6-7), III (mm.3-4), IV (mm.4-5), VI (m. 26), XIII (m. 12),XV (m. 10),XV (m. 29), XXI (mm.5-6), XXI (m. 14), andXXI (m. 19); Book V: nos. VI (mm.21-22), VI (mm.26-27), VIII (mm.30-31), VIII (m. 49), andX (mm.30-32); andBook VI: nos.VIII (mm.9-10), XI (mm.3-5), XVII (m. 3), XVII (m. 35), XX (mm.21-22), and XXIII (m. 29). See also Book I: no. XIX (mm.18-19). See Turci-Escobar, "Gesualdo'sHarshand Bitter the Music,"260-61. Interestingly, minor third on "amore" citedin Example17 suggests an ironic ofthepower reading oflove.I wouldliketothank theeditor ofthis for this journal insightful interpretation.
69. 70.
71. 72.
73.
74. 75.
76.
134
77. 78.
Theoryand Practice
to theunstable Therepetitions ofbothfourth andfifth on thelastbeatcall attention nature ofthisclose. ofthismadrigal follows The text (mytranslation):
o mieisospiri, Itene, '1volo Precipitate
Takeleave,oh mysighs, Hasten flight your
torments. A lei chem' cagion martiri. To her whois thecauseofmybitter d'aspri for delmiogran sake,ofmygreat duolo; Tellher, Ditele, pity's pain; perpeit, tome Thatshemaythen be as kind C'ormai ellamisia As sheis beautiful, Comebellaancor pia, Thatmybitter miopianto Che l'amaro crying inamoroso canto. lieto, Canger, I may tobeautiful song. change joyfully
79. 80. 81. 82. 83.
occursin Book III: no. VI cadential A similar of theterminal harmony disruption (m. 11). in Gesualdo'smadrigal collections. to be sui generis Thisusage appears for thisinsightful ofthisarticle I wouldliketo thank one ofthereviewers interpretation. "no cadencewith a normal Luzzaschifrequently to Newcomb, replaces According 120. The cadenceat all." Newcomb, Madrigal, standard use boththe thistypeof close as follows: describes Perkins "By dintof repeated and fifths fourths motion melodic and the ofthesuperius melodic formula typiby a good made have scholars some of which cal of thelowestvoice occasionally - also acquired and overtimecadential deal morethanis warranted significance, basic the when even articulation to be invoked couldthen thisconnotation suggest Music in theAge of was otherwise framework Perkins, incomplete." contrapuntal 1054. theRenaissance, voiceis theonlysign or fifth a fourth uses where Other sounding leap inthelowest IV: nos. IX (m. 12), Book XIX III: no. in Book closure occur of cadential (m. 20); XVI VI I V: nos. andXVII (m. 16); Book (m. 17),XVIII (m.20), XIX (m. 7), (m.4), XVI VI: nos. and Book (mm.4-5), andXXI (m. 30). (m. 11),andXXI (m. 3); See Book V: andonlyappearsin thelatecollections. Thisusageis very infrequent XVI VI: no. XI and Book no. (mm.6-7); (mm.6-7).
84.
85.
Softening the Edges

86.
135
as a closing functions above theterminal Closes in whicha raisedthird harmony VII (mm.48), signoccurinBook V: nos.I (mm.29-30), IV (m. 17),VII (mm.37), XII (mm.4-5), XIII (m. 29), XV (m. 30), XV (mm.34), XVII (mm.30-31); and Book VI: nos. II (mm.4-5), III (mm.5 and 18), III (mm.30-31), VI (m. 17), VI (mm.25-26), VII (m. 11),VII (m. 32), XIII (mm.18-19),XVI (mm.18-19),XVII (m. 12),XVII (mm.17-18),XVIII (m. 12),XXI (m. 8), XXI (m. 24), XXI (m. 30), XXII (m. 24), andXXII (m. 29). TheItalianMadrigal,708-10; andHaar,Essayson Italian See especially Einstein, 145. Poetry, See, forexample,GustaveReese, Music in theRenaissance(New York:W. W. Modal Subjectivities, 148-49. Norton, 1954),430-32, andMcClary, For a comprehensive discussionof Musical Humanism, see Claude V. Palisca, Humanismin Italian Renaissance Musical Thought(New Haven, CT: Yale Press,1985),passim. University See note4 above. 145. Haar,Essayson ItalianPoetry, 144.Foran alternative ofthis see Haar,EssaysonItalianPoetry, analysis madrigal, "Gesualdo's Harsh and Bitter 281-307. turci-Escobar, Music," Musicin theSeventeenth 6-7. Elsewhere, BianconidistinguishBianconi, Century, es between "musicalunity the mode thus guaranteed by (and by a conventional of and an distribution of voices, and formal sequence cadences) by unchanging obtained which binds verbal-musical [...] unity solelyby poeticconceit, together See Lorenzo Prince of Bianconi,"Gesualdo,Carlo, Venosa,Countof images." Conza," Grove Music Online ed. L. Macy (Accessed 20 May 2005), In light of thisdistinction, thepresent article con<http://www.grovemusic.com>. cernsformal unity.
87. 88. 89.
90. 91. 92. 93.

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Softening the Edges: Cadential Attenuation in Gesualdo's Six Books of Madrigals Author(s): John Turci-Escobar Source: Theory and

Attenuation theEdges:Cadential Softening in Gesualdo'sSix Books ofMadrigals

Theory and Practice

Softening the Edges

(a) * (8-7-8) Sopranoformula

(b) Tenorformula (3-2-1)

cadential formulas. Example 2. Typical

Theory and Practice

formulas. 3. Ornamented soprano CExarnpCe

4. Altoformula (4-5). 'Example

Softening the Edges

Theory and Practice

thecadence. 6. Evading iExarnpCe

the Edges Softening

J- jJ r r r ij - ra fe re, Quan - do con

* f* J .frp jJ'irT"-> r r iJr pr r rm

r ipPpPT r ) r ir r- pfr ri ce-le-sti II ciel es servor- re - i

ciel es - ser vor - re

Theory and Practice

Softening the Edges

i dolormiei,"from Primolibroa g, Gesualdo,"S gioiosomi fanno CExampCe cinquevoci,mm.10-12.

Theory and Practice

do - gliail mo- rir

- i*r f J lJJj j p pr '^^ J JJ -J'J- j j '* r ^ J'r J^ j

Poi - ch non ch'a - spi-

Softening the Edges

J J-|JnJ ipri vi,

Theory and Practice

r r irr'r co, mio cor

" if r l" ir r r'

r '" " hj J' van-ne o Deh, j ' J m

co, mio cor?

Softening the Edges

Q f r Jj JiJ- if J i la mia vi - ta, ta, ci - bi de

te,or mi ren-de^eilco - re,

a <Wrf~rn *r i ^ p pfT ir *ppp?^ - it r i i r r r fjrJr'r

Theory and Practice

* PPt' r pirr J" r irr r fP^

"MJ J J1 $ J * }' * 1 1spir

(g-|rrp ' ' r 'r r r JJr'J^l

r ir r r r p i-M Don-na mia do la

Softening the Edges

ji ,' " y "

la Don - na del mio

la Don-na del mio

* i r pr r i la Don- na del mio

Theory and Practice

t <J 'J ir "rir r r r~pr fi Jr JJ J-pir Q 4 r r r "r *l!r ! r p^ r r ^ i f Jj-^

- do-mi, che Che rub-ban

Softening the Edges

c f<iU; f ' I 'r r

J J ^ J J IJ J / $ io J^Qj - so mi fan-no i do lor mie 0 io - so mi fan no i do -

'J .-i- "

Theory and Practice

c w - r" r r" i r i* r r r pp i ''r Q fy- y r r i [-y J oJ i*nj J r M'l

^ " w' A fib

gran duo - lo, gran duo -

Softening the Edges

&rj i Up ,1 i r ffr r r i* r **" r>j i*^ n mi

20. Gesualdo,"Restadi darmi Sestolibroa cinquevoci, noia,"from xampCe mm.1-7 (Gesualdo,1611).

Theory and Practice

the Edges Softening

t i" r f f f f ^ spe - mean-ci - se

Theory and Practice

- ir f J lJJj j p pr '^^ J JJ -J'J- j j ' r ^ J'r J^ j

a <Wrf~rn r i ^ p pfT ir ppp?^ - it r i i r r r fjrJr'r