More than 400 years later, the music of Carlo Gesualdo still seems strikingly avant-garde. Composed for his own private use during his final years, and likely unheard during his lifetime, Gesualdo’s Tenebrae Responsories are of unmatched intensity. This is music at the end of an epoch; at once steeped in and a radically unsettling subversion of the traditions of the sixteenth century.

Translating literally to ‘darkness’, the plural form of ‘Tenebrae’ is fitting; it implies a multiplicity, all-encompassing shadows; a plunge into darknesses of both deeply personal grief and of universal sorrow.