ALDOUS HUXLEY presents MADRIGALS of GESUALDO Robert Craft RARE 1956

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57

ALDOUS HUXLEY presents

MADRIGALS of GESUALDO

ROBERT CRAFT conducts 

the singers of FERRARA

1956 SUNSET LP 600

VINYL: VG+ 

SLEEVE/JACKET: VG+ wear at the bottom opening side tip

I copied Huxley writing about this music in the Doors of Perception below.

In The Doors of Perception, Aldous Huxley writes of Gesualdo's madrigals below:

Mozart's C-Minor Piano Concerto was interrupted after the first movement, and a recording of

 some madrigals by Gesualdo took its place.

'These voices' I said appreciatively, 'these voices – they're a kind of bridge back to the human world.'

And a bridge they remained even while singing the most startlingly chromatic of the mad prince's compositions. 

Through the uneven phrases of the madrigals, the music pursued its course, never sticking to the same key for two 

bars together. In Gesualdo, that fantastic character out of a Webster melodrama, psychological disintegration had

 exaggerated, had pushed to the extreme limit, a tendency inherent in modal as opposed to fully tonal music. 

The resulting works sounded as though they might have been written by the later Schoenberg.

'And yet,' I felt myself constrained to say, as I listened to these strange products of a Counter-reformationpsychosis 

 working upon a late medieval art form, 'and yet it does not matter that he's all in bits. The whole is disorganized. 

 But each individual fragment is in order, is a representative of a Higher Order. The Highest Order prevails even 

 in the disintegration. The totality is present even in the broken pieces. More clearly present, perhaps, than in a

 completely coherent work. At least you aren't lulled into a sense of false security by some merely human, merely 

 fabricated order. You have to rely on your immediate perception of the ultimate order. So in a certain sense 

 disintegration may have its advantages. But of course it's dangerous, horribly dangerous. Suppose you couldn't 

 get back, out of the chaos…'

I got the above quotation from this link- 

Carlo Gesualdo - Wikipedia, the free encyclopedia

?Biography - ?Music and style - ?Influence and reputation - ?Modern tributes 

• Classical

GRADING

NM  Should sound new. Record and cover appear virtually unmarked.

Might be 1 or 2 almost unnoticeable marks. Cover in shrink

VG++ Just a little under near mint will have only a very few surface marks. 

Should sound almost NM or not far from it.

VG+   Used but not abused. Will have some visual imperfections.

Any background sound or cover defects should only slightly diminish

your enjoyment unless you are a perfectionist.

VG  Still  enjoyable but there will be quite obvious visual & audible imperfections.

In this condition cover flaws will be noted or pictured.

VG- Same as VG but defects are more pronounced and unless it is a 78 or an old &/or rare record

 I personally would find it un-acceptable. Cover flaws will be noted or pictured.

I rarely use ratings under VG-

100% ACCURACY IN GRADING RECORDS IS A JOB FOR SUPERMAN!

At times defects will show up differently on different players.  For instance,

depending on the weight that a tone arm is set at or the quality of the stylus

what is just a pop on one player can sometimes be a skip on another

SO IF YOU HAVE A PROBLEM, BEFORE RATING ME ,

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