Biographies of Gesualdo abound in titles such as Composer and Assassin, Prince of Suffering or Assassin in five voices. His music, or at least the last two of his six books of madrigals and his final Responsoria et alia ad Officium Hebdomadæ Sancta spectantia (Tenebrae Responsories), published by the composer’s own printer in 1611, was forgotten for over three centuries. Its pervasive popular flavour led to its resurgence as a result of the crisis in tonality and functional harmony. From a present-day point of view, Gesualdo’s chromatic accidentals, dissonances and extreme expressive contrasts make him sound like a visionary. Perhaps that is why the legend continues to grow.