Abstract
Inspired by statements by Robert Craft, Claudio Abbado and Glenn Watkins, this article explores the presence of tonal order within the apparently disordered context of Gesualdo’s music, using as a case study the Tenebrae Responsories of 1611. Pitch-based devices of ‘order’ include uses of cadence tones, harmonic patterns, underlying stepwise lines, and the musical association of similar concepts between responsories, though these tend to be small in scope. A comparison of Responsories 1 and 3 for Maundy Thursday shows how order and disorder contribute to their theological interpretation and performance. The description of devices and the analyses show that disorder is potentially present everywhere, but that order coalesces at certain crucial moments.
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