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  This is Gesualdo’s most famous composition, as its chromatic agonies are extreme even by his standards. Charles Burney, the 18th century English music historian, couldn’t understand why a piece so full of “forced, affected and disgusting” modulations had once been admired. We don’t mind those; more troublesome to us is the way the music suddenly flips from painful harmonies for “I die, alas, of my suffering,” to liveliness for “she who would give me life.” But it all comes together for the final line: “She who could give me life, alas gives me death.”