Podwójne słuchanie madrygału. Igora Strawińskiego i Salvatore Sciarrina aranżacje utworów Gesualda
Double Listening of the Madrigal. Igor Stravinsky’s and Salvatore Sciarrino’s Arrangements of Gesualdo’s Works

Summary/Abstract: At the turn of the 19th and 20th centuries, a seemingly dead genre – the Renaissance- -Baroque madrigal – unexpectedly returned to the world of music. Especially after 1950, there are more and more recordings, sheet music releases, as well as new compositions and arrangements of early music. Among the latter, we can find not only transcriptions done for practical purposes (i.e. school orchestras) but alsoarrangementsofcomposers who decided to include the works in their catalogues, toadd their surnames to those of composers of original pieces.The aim of the article is a comparative interpretation of two arrangementsof works by Carlo Gesualdo da Venosa: Monumentum pro Gesualdo ad CD annum by Igor Stravinsky and Le vocisottovetro by Salvatore Sciarrina. The main motivation for parallel close reading of both pieces is the concept of Peter Szendy, who claims that every arrangement is “composer’s listening wrote down”, and that the listener of their arrangements always “hears double”: the original piece and the listening of the arranger.

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