Discover the gruesome story of the Gesualdo murders


It is 16 October 1590 and as the sun sets over Naples, the composer Carlo Gesualdo sets in motion a gruesome plan. By the time the sun rises the next day, two people would be dead. But what happened that night? We investigate in the new episode of Case Notes

Subscribe and listen to Case Notes on iTunesAndroid or right here, on the player at the bottom of the page. And find out more about the first-ever true crime podcast about classical music here.

The truth is that Geusaldo’s music probably wouldn’t be known today were it not for the violent events of the 16 October, 1590.

Four years earlier, Gesualdo was a small-time count who needed to marry well – both for money and to make sure the family name survived.

Gesualdo’s castle was in the town of Gesualdo in Campania – and it’s still there today:

His family found a suitable wife: Donna Maria d’Avalos. She was Gesualdo’s cousin, aged 25 and Gesualdo would be her third husband.

She was an experienced woman and Gesualdo, by all accounts, was a bookish, awkward 20 year-old with no interest in anything outside music.

The marriage was a disaster from the start and Maria falls in love with a local nobleman, Don Fabrizio. The pair start an affair.

On the night of 16 October, Carlo Gesualdo plots to catch the pair together – and kill them in bed.

We’ve pieced together exactly what happened that night according to contemporary records. The accounts from the time are so detailed forensic psychiatrist Dr Ruth McAllister has been able to work out exactly which wounds were inflicted on Donna Maria and Don Fabrizio.

Here’s a diagram of the wounds:

Illustration created from sketches and research by Dr Ruth McAllister

Don Fabrizio and Donna Maria d'Avalos' wounds

Gesualdo fled the scene – to avoid reprisals from Donna Maria’s powerful family. And from there the story only gets stranger.

In the second episode of Case Notes we explore contemporary evidence to piece together what happened on that fateful night and the aftermath of this brutal murder.

There is some evidence that Geusaldo began to fear for his soul later in life. This picture hangs in his personal chapel. The figure in the bottom left is the composer, praying to the Virgin to intervene and beg for mercy on his soul.

Perdona di Carlo Gesualdo

Subscribe on iTunesAndroid or listen right here, in the player below.

Guests include forensic psychiatrist Dr Ruth McAllister, conductor Robert Hollingworth, soprano Clare Norburn and historian Professor Trevor Dean.

The recordings feature in this episode were:

Gesualdo: Sesto Libro di Madrigali 1611
La Compagnia del Madrigale, Glossa

Gesualdo: Tenebrae Responsories for Maundy Thursday
The King’s Singers, Signum Records

Gesualdo: Sacrae Cantiones for five voices
The Marian Consort, Delphian Records


A guide to JS Bach’s incredible Passion music


The St John Passion and St Matthew Passion are two of Bach’s most famous pieces of sacred music, telling the Biblical story of Jesus’ crucifixion. But where do you start with these two mammoth works? Here’s an introduction to the best moments of these masterpieces of religious music.

What’s the story?

Jesus rises from the dead on Easter Sunday morning, but before this, there’s the gruelling tale of his Passion and death on the cross. Bach sets Chapters 26-27 of Mathew’s account, and 18-19 of John’s. If it’s possible to distill both accounts down, Jesus is taken to the Place of a Skull, and crucified with two thieves on the charge of claiming to be the King of the Jews. Soldiers divide his clothes into lots before he dies. In Matthew’s account, after being mocked by a jeering crowd, Jesus dies with the desolate cry of “My God, My God, why have you forsaken me?”, but John’s account tells of Jesus’ resolute fulfilment of an Old Testament prophecy: “It is finished.”

 JS Bach

(Johann Sebastian Bach, painted by Elias Gottlob Haussmann in the mid-1740s)

Joining in the chorus

Despite both Bach’s settings of the Passion lasting more than two hours, they were written to be used as part of a Lutheran church service – he wrote the St John Passion, for the Good Friday Vespers service of 1724, and the St Matthew Passion three years later. Rather than expecting the audience – or, rather, congregation – to sit back and take in the music, Bach included a number of hymn-like chorales within the solo sections, so everyone could participate in the worship. Listen to the simple ‘Erkenne mich, mein hüter’ from the St Matthew Passion: this tune is repeated throughout the oratorio, sometimes in a lower key to reflect a sadder mood.

Bach even uses the same hymn tunes in both Passion settings. Listen to ‘O grosse Lieb, o Liebe ohn’ alle Masse’ from the St John Passion, or, in fact, ‘Herzliebster Jesu, was hast du verbrochen’ from the St Matthew – it’s the same tune, only with different words, making it easier for the congregation to sing.

Musical character

When the congregation weren’t singing, Bach made sure the overarching mood of the story was represented in the music – and he had a remarkable number of tricks up his sleeve, using different instruments and key signatures to highlight the different characters and emotions. In the St Matthew Passion, the strings play a long high chord whenever Jesus sings, setting his singing apart from the other singing like a musical ‘halo’. In the St John Passion, after Jesus dies, the soprano sings ‘Zerfliesse, mein Herz’, which Bach sets in the unusual key of B flat minor to highlight the singer’s grief. And listen out for the cello’s close relative, a viola da gamba, at the start of ‘Es ist Vollbracht’: Bach used this instrument to symbolise comfort for those who mourn.

All-important lyrics

It’s not just about the music, though. Worship, which used to be in Latin, was now in German – a language understood by the entire congregation. Now the Biblical text could be understood, Bach made sure it was brought to life by his music: in both settings, on words like ‘wept bitterly’, Bach emphasises the text by making the music sound like uncontrollable weeping – musically, of course. Other important words like ‘tears’, ‘death’, and ‘crucified’ are also highlighted so they stand out from the text. As the St Matthewrabble call for Barabbas to be freed condemning Jesus to death, listen out for the spine-tingling cluster chord – it sounds scary regardless, but those in the know might have recognised it as a specific musical device, known as the ‘devil in music’.

While the words speak for themselves, telling the all-important Easter story, Bach’s multiple layers of musical meaning in both the St John and St Matthew Passions mean it’s possible to enjoy the music on a number of levels. The text tells the story on its own, but it’s Bach’s (often hidden) techniques that bring the music to life.


Work of the week – Bernd Alois Zimmermann’s Trumpet Concerto “Nobody knows de trouble I see”



On 20th March we celebrated the 100th anniversary of Bernd Alois Zimmermann’s birth. For this reason, many concerts featuring his compositions will be performed worldwide, including one of his most famous works, the Konzert “Nobody knows de trouble I see” für Trompete in C und Orchester. This week, the Helsinki Philharmonic Orchestra under the direction of Fabien Gabel and with Håkan Hardenberger as soloist, will play it on 23 March, and on the following day it will be performed by Paul Hübner together with the WDR Sinfonieorchester, conducted by Brad Lubman in the Funkhaus in Cologne.

Originally, the NDR commissioned Zimmermann to compose a piano concerto. However, by referencing the existence of countless piano concertos, Zimmermann was able to convince the NDR to promote the trumpet, which was somewhat neglected as a solo instrument, thereby making repeat performances of the work more probable. He had already made drafts of a trumpet concerto years earlier and completed them after he was commissioned. It was premiered on 11 October 1955 in the Studio X in Hamburg with the Sinfonieorchester des Norddeutschen Rundfunks and the trumpeter Adolf Scherbaum under the direction of Ernest Bour. At the time of the world premiere, the work was titled “Darkey’s darkness”. After a few years, however, Zimmerman learned that the word “Darkey” was used to describe a person of color in a contemptuous way, so he changed the title of his work to “Nobody knows de trouble I see” in reference to the spiritual that is used in the composition as cantus firmus.

Bernd Alois Zimmermann – Trumpet concerto: Crossover to reconciliation

The spiritual is at the center of the concerto and its structure is similar to that of a chorale prelude. Apart from this modern kind of a cantus firmus, Zimmermann also uses jazz elements and a twelve-tone-row as the basis for the composition. This special row appears frequently in Zimmermann’s work: It is also used in his Concerto for oboe, his film music for “Methamorphose”, and in his ballet Alagoana. By fusing these three formal principles, Zimmermann hoped to demonstrate a kind of fraternal connection in the music in response to the political realities of his time. As a soldier in the NS-regime and during the composition of the piece, Zimmermann’s awareness of the struggle of people of color in the USA to achieve equality and overcome endemic racial discrimination was heightened. He honors this struggle in the spelling of the title: Instead of “the”, Zimmermann uses a spelling based on the sound of the word as it was passed on through oral tradition, “de”.

“By the way I have recently finished a trumpet concerto with the title “Darkey’s darkness”. The negro spiritual “Nobody knows de trouble I see” underlies the work and the musical characteristics of the spiritual inform and imbue the work with the struggles of the coloured people.” –Bernd Alois Zimmermann, 1954

After this week’s concerts, the concerto can even be heard again. On 6 April, it will be performed by the ORF Radio-Symphonieorchester with Håkan Hardenberger as soloist under the conduction of John Storgårds. In addition, as part of a Zimmermann concert series, the SWR Sinfonieorchester conducted by Ingo Metzmacher will perform the trumpet concerto on 28 April with Håkan Hardenberger again as soloist.

The most recent edition of the Schott Journal is dedicated to Bernd Alois Zimmermann. Therein you can find all events about the anniversary and an insight into his most important works.

 



Classical Guitar Player and Composer – Laurent Meneret



Laurent meneret
Contact Laurent Meneret at Linkedin

Laurent Méneret, born in France, is a self-taught musician who began playing the guitar at the age of fifteen. Two years later he attended the École Nationale de Musique of La Rochelle where he received a gold medal .He finished his music studies with Michel Sadanowsky at the Université Musicale Internationale de Paris.

During his training he had the opportunity to work with famous guitarists such as Roberto Aussel, Arnaud Dumond, and Pierre Culaz for jazz music.

As a composer, he writes his own works through which he makes himself familiar with the music. Meanwhile he has created a remarkable repertoire of varied solo and ensemble pieces.
He has been a member of the SACEM.

Laurent Merenet
Listen to a sample of Suite Meridienne

 

In addition, he works as a teacher of classical guitar at music schools in the area of La Rochelle.

Laurent Meneret
See Laurent’s catalogue of compositions at Schott Music



 

FFM Azerbaijan Ambassador, Gulsen Ibadova – Traveler Sindibad – First Rock-Opera In Azerbaijan


Dear friends, our amazing project is coming soon. I’m very proud to play in this rock opera in the role of Sinbad’s beloved by the name of Zahra.

Dear friends, our amazing project is coming soon. I’m very proud to play in this rock opera in the role of Sinbad’s beloved by the name of Zahra. The music is composed by the talented composer Ridvan Sadirkhanov. The first time in the east will be presented to you a rock opera. Written on the motives of the fairy tale “The Traveler Sinbad” from the book “1001 Nights”

Music-Liberetto – Ridvan Sadirkhanov
Music Producer – Эмиль Миняшев
Painter – М. Кузнецова
Text reads -Adalet Shukurov
Sinbad – Mick Rafiyev
Zara – Gulshan MG Ibadova
Solo-Guitar – И. Якубов
Other roles – Azer Rzazade Javid Samadov Ilham Nazarov Ш. Керимов Н. Ализаде Ю. Моторина М. Рзаева Р. Садырханов Э. Миняшев
Тексты к ариям – Лейла Алиева Rafael Huseyn А. Гаджиев Р. Садырханов Видади(пер. К. Симонов) А. Милани Ш.М. Каджар Н. Гумилёв Й.В. Сладек С.Т. Кольридж

Sindibad
Get your tickets here

 

Dear friends, I would like to present you my new Aria “The Miracle of Love which was written for my voice. Music and words of Aria belong to a Brilliant Italian composer and my Friend Maestro Pierpaolo Lucca
In the near future we will make a music video for this brilliant composition. I will wait for your likes,  comments and shares
Best wishes,

Gulsen

Gulsen Ibadova
Gulsen Ibadova



 

RETRO MUSIC MIX VIDEO – Look At Me Now – Song & Vocals By Adrian Novický


I am Adrian Novicky and I’m a new music producer with a focus on creating new musical styles. Some of You already know me and I hope you enjoy the music and join my fans.

More music from me that you can find on soundcloud. 

Adrian Novicky
Adrian Novicky



Introducing a prodigious young talent – Singer Songwriter, Kacey Hacquoil



By Roger Moisan

Many young girls dream of becoming singers and pop stars. They emulate their idols, singing along into the hairbrush handle with the mirror as an appreciative audience. I speak as a brother to two sisters and a father of two daughters!

Kacey Hacquoil
Kacey Hacquoil

However, very few young women have the courage and talent to go out, stand up and perform  in front of a real live audience. Kacey Hacquoil is one of those rare young women who not only writes her own songs but possess the confidence and personality, as a performer, to put it out there for the world to enjoy.

A little bit of Kelly Clarkson at the Horse and Hound this evening with Acoustic Jersey 😄

Posted by Kacey Hacquoil Music on Thursday, 1 February 2018

Equally at home on the big stage or an intimate pub gig, Kacey is a true performer who was born to be a musician.

Invited to perform an impromptu video shoot at the Opera House with Neil Collins of the Johnny Cash Roadshow. Thankyou ever so much.

Posted by Kacey Hacquoil Music on Thursday, 24 August 2017

It is in my humble opinion that Kacey Hacquoil is a future star and I know that my record label, FFM Records, would be more than happy to release a Kacey Hacquoil single whenever she is ready.

You can follow Kacey at

Kacey Hacquoil Music

Kacey Hacquoil Music
Kacey Hacquoil Music



Introducing Singer Songwriter – Anna



Anna Madara Pērkone (23) is a dreamy, electronic music producer and singer from Amsterdam. All of her songs are completely self produced and mixed in a little recording room located in the middle of the city. While growing up on a coast in Latvia, Madara started a classical piano education at the age of 7. In 2017, she and her band, MADARA, went on a tour to Colombia and performed all around the country. The band’s first EP will come out in April 2018. Madara has always made solo recordings and has recently decided to produce it all under the name ANNNA.

 

“Hehey guys, I’m a 23 year old musician from Amsterdam. I’m here to collaborate and share the feedback!

I’ve recorded all of my songs on my floating house studio, gone on a tour to Colombia and performed while standing on a boat with three other musicians. Now, finally my first EP is out and I’d appreciate any feedback and each listen.”

Anna



FFM’s Indonesian Ambassador, Dita Nurdian has released a new track – Soba Ni Itai Yo


Dita Nurdian
Dita Nurdian

Soba Ni Itai Yo (feat. Maniac Mac) – Single

Dita Nurdian
Click to hear on itunes
Also’ you can listen my music on Tidal, iHeartRadio, Google play Music and many more
And this is my social media link :

FFM Ambassador for Indonesia – Dita Nurdian



The Greatest Time in History to Be a Musician







The tools and resources we have at our fingertips today as musicians are better than they’ve ever been!!

There has never been a better time in history to be a musician, it just takes some perspective. In this video I’ll break out why I feel it’s the best time to be a musician or creative!!

I hope you found this little rant on the music business today interesting and helpful!!

Make sure you check back next week for another video!!

In the meantime, please sign up for my free program “30 Days to Better Doubles.”

Also check out my website and my YouTube channel for more lessons!!

Stephen Taylor – MU Educator

Register for Musicians Unite for FREE Today & Receive Your FREE LIFETIME MEMBERSHIP!!